All language subtitles for SNL S03E13 Art Garfunkel.DVDRip.HI.RLP.cc.en.UNVSL

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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:01,301 --> 00:00:02,445 Announcer: "JACQUES COUSTEAU 2 00:00:02,469 --> 00:00:04,003 GETS AN UNDERSEA ENEMA" WILL NOT 3 00:00:04,137 --> 00:00:05,837 BE SEEN TONIGHT SO THAT NBC MAY 4 00:00:05,972 --> 00:00:07,339 PRESENT THE FOLLOWING SPECIAL 5 00:00:07,474 --> 00:00:11,343 PROGRAM. 6 00:00:11,478 --> 00:00:13,445 [PIANO MUSIC PLAYING] 7 00:00:21,154 --> 00:00:22,954 [TEMPO QUICKENS] 8 00:00:41,574 --> 00:00:43,375 [TEMPO SLOWS] 9 00:00:56,656 --> 00:00:58,457 [TEMPO QUICKENS] 10 00:01:12,638 --> 00:01:14,440 [TEMPO SLOWS] 11 00:01:56,882 --> 00:01:58,683 [BAND PLAYS] 12 00:02:05,791 --> 00:02:07,593 IT'S... 13 00:02:12,965 --> 00:02:19,938 STARRING... WITH HIS SPECIAL GUESTS... 14 00:02:35,755 --> 00:02:43,755 DAN AYKROYD... JOHN BELUSHI... JANE CURTIN... 15 00:02:45,466 --> 00:02:48,612 JOHN BELUSHI... JANE CURTIN... GARRETT MORRIS... 16 00:02:48,636 --> 00:02:51,781 JANE CURTIN... GARRETT MORRIS... BILL MURRAY... 17 00:02:51,805 --> 00:02:54,117 GARRETT MORRIS... BILL MURRAY... LARAINE NEWMAN... 18 00:02:54,141 --> 00:03:00,957 BILL MURRAY... LARAINE NEWMAN... AND GILDA RADNER. 19 00:03:00,981 --> 00:03:02,792 LARAINE NEWMAN... AND GILDA RADNER. LADIES AND GENTLEMEN, 20 00:03:02,816 --> 00:03:04,794 AND GILDA RADNER. LADIES AND GENTLEMEN, ART GARFUNKEL! 21 00:03:04,818 --> 00:03:07,058 LADIES AND GENTLEMEN, ART GARFUNKEL! [CHEERS AND APPLAUSE] 22 00:03:26,138 --> 00:03:30,853 ONE, TWO... ♪ WHAT A WONDERFUL ♪ ♪ WONDERFUL ♪ 23 00:03:30,877 --> 00:03:32,021 ♪ WHAT A WONDERFUL ♪ ♪ WONDERFUL ♪ ♪ WONDERFUL ♪ 24 00:03:32,045 --> 00:03:38,961 ♪ WONDERFUL ♪ ♪ WONDERFUL ♪ ♪ WONDERFUL WORLD ♪ 25 00:03:38,985 --> 00:03:40,697 ♪ WONDERFUL ♪ ♪ WONDERFUL WORLD ♪ ♪ DON'T KNOW MUCH ABOUT 26 00:03:40,721 --> 00:03:43,433 ♪ WONDERFUL WORLD ♪ ♪ DON'T KNOW MUCH ABOUT HISTORY ♪ 27 00:03:43,457 --> 00:03:48,238 ♪ DON'T KNOW MUCH ABOUT HISTORY ♪ ♪ DON'T KNOW MUCH BIOLOGY ♪ 28 00:03:48,262 --> 00:03:49,839 HISTORY ♪ ♪ DON'T KNOW MUCH BIOLOGY ♪ ♪ DON'T KNOW MUCH ABOUT A 29 00:03:49,863 --> 00:03:52,809 ♪ DON'T KNOW MUCH BIOLOGY ♪ ♪ DON'T KNOW MUCH ABOUT A SCIENCE BOOK ♪ 30 00:03:52,833 --> 00:03:54,644 ♪ DON'T KNOW MUCH ABOUT A SCIENCE BOOK ♪ ♪ DON'T KNOW MUCH ABOUT THE 31 00:03:54,668 --> 00:03:57,447 SCIENCE BOOK ♪ ♪ DON'T KNOW MUCH ABOUT THE FRENCH I TOOK ♪ 32 00:03:57,471 --> 00:04:00,383 ♪ DON'T KNOW MUCH ABOUT THE FRENCH I TOOK ♪ ♪ BUT I DO KNOW THAT I LOVE 33 00:04:00,407 --> 00:04:02,118 FRENCH I TOOK ♪ ♪ BUT I DO KNOW THAT I LOVE YOU ♪ 34 00:04:02,142 --> 00:04:04,821 ♪ BUT I DO KNOW THAT I LOVE YOU ♪ ♪ AND I KNOW THAT IF YOU LOVE 35 00:04:04,845 --> 00:04:07,757 YOU ♪ ♪ AND I KNOW THAT IF YOU LOVE ME, TOO ♪ 36 00:04:07,781 --> 00:04:11,094 ♪ AND I KNOW THAT IF YOU LOVE ME, TOO ♪ ♪ WHAT A WONDERFUL, WONDERFUL, 37 00:04:11,118 --> 00:04:12,429 ME, TOO ♪ ♪ WHAT A WONDERFUL, WONDERFUL, WONDERFUL... ♪ 38 00:04:12,453 --> 00:04:14,264 ♪ WHAT A WONDERFUL, WONDERFUL, WONDERFUL... ♪ [FEEDBACK] 39 00:04:14,288 --> 00:04:15,432 WONDERFUL... ♪ [FEEDBACK] CAN WE STOP? 40 00:04:15,456 --> 00:04:16,766 [FEEDBACK] CAN WE STOP? CAN WE DO IT AGAIN? 41 00:04:16,790 --> 00:04:17,367 CAN WE STOP? CAN WE DO IT AGAIN? I'M SORRY. 42 00:04:17,391 --> 00:04:18,401 CAN WE DO IT AGAIN? I'M SORRY. THE SPEAKER WENT BAD. 43 00:04:18,425 --> 00:04:19,569 I'M SORRY. THE SPEAKER WENT BAD. IT SOUNDED WEIRD, RIGHT? 44 00:04:19,593 --> 00:04:20,803 THE SPEAKER WENT BAD. IT SOUNDED WEIRD, RIGHT? WHAT'S THE MATTER, ART? 45 00:04:20,827 --> 00:04:23,473 IT SOUNDED WEIRD, RIGHT? WHAT'S THE MATTER, ART? DID SOMETHING GO WRONG? 46 00:04:23,497 --> 00:04:26,142 WHAT'S THE MATTER, ART? DID SOMETHING GO WRONG? THE FEEDBACK AND THE SPEAKER 47 00:04:26,166 --> 00:04:27,310 DID SOMETHING GO WRONG? THE FEEDBACK AND THE SPEAKER THREW ME A LITTLE BIT. 48 00:04:27,334 --> 00:04:28,645 THE FEEDBACK AND THE SPEAKER THREW ME A LITTLE BIT. BUT LET ME START AGAIN. 49 00:04:28,669 --> 00:04:32,649 THREW ME A LITTLE BIT. BUT LET ME START AGAIN. IT'S THAT SPEAKER AGAIN, HUH? 50 00:04:32,673 --> 00:04:34,150 BUT LET ME START AGAIN. IT'S THAT SPEAKER AGAIN, HUH? THIS WHOLE PLACE IS FALLING 51 00:04:34,174 --> 00:04:36,986 IT'S THAT SPEAKER AGAIN, HUH? THIS WHOLE PLACE IS FALLING APART, REALLY. 52 00:04:37,010 --> 00:04:38,655 THIS WHOLE PLACE IS FALLING APART, REALLY. JOHN, IT'S ALL RIGHT, REALLY. 53 00:04:38,679 --> 00:04:39,989 APART, REALLY. JOHN, IT'S ALL RIGHT, REALLY. NO, IT'S NOT ALL RIGHT, ART. 54 00:04:40,013 --> 00:04:40,990 JOHN, IT'S ALL RIGHT, REALLY. NO, IT'S NOT ALL RIGHT, ART. IT'S NOT. 55 00:04:41,014 --> 00:04:42,024 NO, IT'S NOT ALL RIGHT, ART. IT'S NOT. I'LL TAKE CARE OF THIS. 56 00:04:42,048 --> 00:04:43,326 IT'S NOT. I'LL TAKE CARE OF THIS. THAT SPEAKER'S BEEN BROKEN FOR 57 00:04:43,350 --> 00:04:44,026 I'LL TAKE CARE OF THIS. THAT SPEAKER'S BEEN BROKEN FOR QUITE A WHILE. 58 00:04:44,050 --> 00:04:45,362 THAT SPEAKER'S BEEN BROKEN FOR QUITE A WHILE. THEY USED IT ON "HULLABALOO" A 59 00:04:45,386 --> 00:04:46,863 QUITE A WHILE. THEY USED IT ON "HULLABALOO" A FEW YEARS BACK. 60 00:04:46,887 --> 00:04:48,765 THEY USED IT ON "HULLABALOO" A FEW YEARS BACK. YOU SEE, THE NETWORK STILL SEES 61 00:04:48,789 --> 00:04:50,634 FEW YEARS BACK. YOU SEE, THE NETWORK STILL SEES US AS A LATE-NIGHT SHOW, SO WE 62 00:04:50,658 --> 00:04:52,435 YOU SEE, THE NETWORK STILL SEES US AS A LATE-NIGHT SHOW, SO WE DON'T GET THE GOOD EQUIPMENT. 63 00:04:52,459 --> 00:04:53,169 US AS A LATE-NIGHT SHOW, SO WE DON'T GET THE GOOD EQUIPMENT. UH, JOHN.. 64 00:04:53,193 --> 00:04:54,571 DON'T GET THE GOOD EQUIPMENT. UH, JOHN.. YOU KNOW, IT'S A CORPORATE 65 00:04:54,595 --> 00:04:55,472 UH, JOHN.. YOU KNOW, IT'S A CORPORATE STRUCTURE, ARTIE. 66 00:04:55,496 --> 00:04:56,539 YOU KNOW, IT'S A CORPORATE STRUCTURE, ARTIE. I KNOW WHAT I'M TALKING ABOUT. 67 00:04:56,563 --> 00:04:58,007 STRUCTURE, ARTIE. I KNOW WHAT I'M TALKING ABOUT. YOU KNOW, I'VE BEEN AROUND HERE 68 00:04:58,031 --> 00:04:58,875 I KNOW WHAT I'M TALKING ABOUT. YOU KNOW, I'VE BEEN AROUND HERE FOR THREE YEARS. 69 00:04:58,899 --> 00:05:00,710 YOU KNOW, I'VE BEEN AROUND HERE FOR THREE YEARS. I KNOW THESE THINGS, OKAY? 70 00:05:00,734 --> 00:05:02,679 FOR THREE YEARS. I KNOW THESE THINGS, OKAY? NOW, IF PAUL WILLIAMS WAS DOING 71 00:05:02,703 --> 00:05:04,514 I KNOW THESE THINGS, OKAY? NOW, IF PAUL WILLIAMS WAS DOING A SPECIAL, HE'D GET THE BEST 72 00:05:04,538 --> 00:05:05,348 NOW, IF PAUL WILLIAMS WAS DOING A SPECIAL, HE'D GET THE BEST SOUND EQUIPMENT. 73 00:05:05,372 --> 00:05:06,516 A SPECIAL, HE'D GET THE BEST SOUND EQUIPMENT. HE'D GET MARSHALL AMPS. 74 00:05:06,540 --> 00:05:07,584 SOUND EQUIPMENT. HE'D GET MARSHALL AMPS. YOU KNOW, THEY'D DO IT LIKE 75 00:05:07,608 --> 00:05:07,917 HE'D GET MARSHALL AMPS. YOU KNOW, THEY'D DO IT LIKE PROS! 76 00:05:07,941 --> 00:05:09,085 YOU KNOW, THEY'D DO IT LIKE PROS! DO YOU KNOW WHAT I MEAN, GUYS? 77 00:05:09,109 --> 00:05:11,154 PROS! DO YOU KNOW WHAT I MEAN, GUYS? PROS! 78 00:05:11,178 --> 00:05:12,989 DO YOU KNOW WHAT I MEAN, GUYS? PROS! YOU KNOW, BUT IF A MAJOR STAR, 79 00:05:13,013 --> 00:05:14,457 PROS! YOU KNOW, BUT IF A MAJOR STAR, LIKE YOURSELF, COMES ON 80 00:05:14,481 --> 00:05:16,092 YOU KNOW, BUT IF A MAJOR STAR, LIKE YOURSELF, COMES ON "SATURDAY NIGHT LIVE," THE 81 00:05:16,116 --> 00:05:17,627 LIKE YOURSELF, COMES ON "SATURDAY NIGHT LIVE," THE SPEAKER FEEDS BACK. 82 00:05:17,651 --> 00:05:18,762 "SATURDAY NIGHT LIVE," THE SPEAKER FEEDS BACK. IT'S THE LOWEST! 83 00:05:18,786 --> 00:05:19,596 SPEAKER FEEDS BACK. IT'S THE LOWEST! BUT IT'S OKAY. 84 00:05:19,620 --> 00:05:20,930 IT'S THE LOWEST! BUT IT'S OKAY. NO, IT GOES ALL THE WAY DOWN 85 00:05:20,954 --> 00:05:21,698 BUT IT'S OKAY. NO, IT GOES ALL THE WAY DOWN THE LINE, ARTIE. 86 00:05:21,722 --> 00:05:22,965 NO, IT GOES ALL THE WAY DOWN THE LINE, ARTIE. THE SPEAKER IS ONLY THE TIP OF 87 00:05:22,989 --> 00:05:23,566 THE LINE, ARTIE. THE SPEAKER IS ONLY THE TIP OF THE ICEBERG. 88 00:05:23,590 --> 00:05:24,668 THE SPEAKER IS ONLY THE TIP OF THE ICEBERG. I MEAN, THEY'RE USING US! 89 00:05:24,692 --> 00:05:26,336 THE ICEBERG. I MEAN, THEY'RE USING US! YOU KNOW, AND IT JUST SHOULDN'T 90 00:05:26,360 --> 00:05:27,103 I MEAN, THEY'RE USING US! YOU KNOW, AND IT JUST SHOULDN'T BE THAT WAY. 91 00:05:27,127 --> 00:05:28,305 YOU KNOW, AND IT JUST SHOULDN'T BE THAT WAY. THERE'S NO REASON WHY 92 00:05:28,329 --> 00:05:29,872 BE THAT WAY. THERE'S NO REASON WHY GARRETT MORRIS SHOULD HAVE TO 93 00:05:29,896 --> 00:05:31,107 THERE'S NO REASON WHY GARRETT MORRIS SHOULD HAVE TO GET UP EARLY AND DRIVE 94 00:05:31,131 --> 00:05:32,809 GARRETT MORRIS SHOULD HAVE TO GET UP EARLY AND DRIVE JANE PAULEY TO WORK EVERY SINGLE 95 00:05:32,833 --> 00:05:34,944 GET UP EARLY AND DRIVE JANE PAULEY TO WORK EVERY SINGLE MORNING. 96 00:05:34,968 --> 00:05:36,245 JANE PAULEY TO WORK EVERY SINGLE MORNING. AND NOW I'VE HAD IT! 97 00:05:36,269 --> 00:05:37,814 MORNING. AND NOW I'VE HAD IT! THIS SPEAKER THING, IT'S THE 98 00:05:37,838 --> 00:05:38,581 AND NOW I'VE HAD IT! THIS SPEAKER THING, IT'S THE LAST STRAW. 99 00:05:38,605 --> 00:05:39,516 THIS SPEAKER THING, IT'S THE LAST STRAW. FORGET IT. 100 00:05:39,540 --> 00:05:40,950 LAST STRAW. FORGET IT. JOHN, I DON'T WANT TO START 101 00:05:40,974 --> 00:05:41,518 FORGET IT. JOHN, I DON'T WANT TO START ANYTHING. 102 00:05:41,542 --> 00:05:43,019 JOHN, I DON'T WANT TO START ANYTHING. THE SOUND WASN'T THAT BAD. 103 00:05:43,043 --> 00:05:44,354 ANYTHING. THE SOUND WASN'T THAT BAD. I COULD JUST TAKE IT FROM THE 104 00:05:44,378 --> 00:05:44,721 THE SOUND WASN'T THAT BAD. I COULD JUST TAKE IT FROM THE TOP. 105 00:05:44,745 --> 00:05:46,356 I COULD JUST TAKE IT FROM THE TOP. DON'T DO IT, ARTIE. 106 00:05:46,380 --> 00:05:47,990 TOP. DON'T DO IT, ARTIE. COME ON, DON'T DO THIS. 107 00:05:48,014 --> 00:05:49,592 DON'T DO IT, ARTIE. COME ON, DON'T DO THIS. YOU KNOW, DON'T GIVE IN AN INCH. 108 00:05:49,616 --> 00:05:50,993 COME ON, DON'T DO THIS. YOU KNOW, DON'T GIVE IN AN INCH. LET'S ASSERT OURSELVES, YOU 109 00:05:51,017 --> 00:05:51,428 YOU KNOW, DON'T GIVE IN AN INCH. LET'S ASSERT OURSELVES, YOU KNOW. 110 00:05:51,452 --> 00:05:53,029 LET'S ASSERT OURSELVES, YOU KNOW. AND WE'VE DONE A PRETTY GOOD JOB 111 00:05:53,053 --> 00:05:54,664 KNOW. AND WE'VE DONE A PRETTY GOOD JOB FOR THIS NETWORK, RIGHT? 112 00:05:54,688 --> 00:05:55,097 AND WE'VE DONE A PRETTY GOOD JOB FOR THIS NETWORK, RIGHT? YEAH. 113 00:05:55,121 --> 00:05:56,599 FOR THIS NETWORK, RIGHT? YEAH. AND BESIDES, THERE ARE OTHER 114 00:05:56,623 --> 00:05:57,567 YEAH. AND BESIDES, THERE ARE OTHER NETWORKS! 115 00:05:57,591 --> 00:05:58,267 AND BESIDES, THERE ARE OTHER NETWORKS! THAT'S RIGHT. 116 00:05:58,291 --> 00:06:01,538 NETWORKS! THAT'S RIGHT. AND THERE ARE OTHER NETWORKS. 117 00:06:01,562 --> 00:06:02,872 THAT'S RIGHT. AND THERE ARE OTHER NETWORKS. NBC ISN'T GOD! 118 00:06:02,896 --> 00:06:04,207 AND THERE ARE OTHER NETWORKS. NBC ISN'T GOD! DO YOU THINK NBC's GOD? 119 00:06:04,231 --> 00:06:05,842 NBC ISN'T GOD! DO YOU THINK NBC's GOD? WELL, THEY'RE NOT, 'CAUSE GOD 120 00:06:05,866 --> 00:06:07,310 DO YOU THINK NBC's GOD? WELL, THEY'RE NOT, 'CAUSE GOD WOULD NEVER PUT PART 3 OF 121 00:06:07,334 --> 00:06:10,313 WELL, THEY'RE NOT, 'CAUSE GOD WOULD NEVER PUT PART 3 OF "LOOSE CHANGE" ON BEFORE PART 2. 122 00:06:10,337 --> 00:06:12,449 WOULD NEVER PUT PART 3 OF "LOOSE CHANGE" ON BEFORE PART 2. OKAY? 123 00:06:12,473 --> 00:06:13,883 "LOOSE CHANGE" ON BEFORE PART 2. OKAY? YOU STICK WITH ME, ARTIE. 124 00:06:13,907 --> 00:06:14,617 OKAY? YOU STICK WITH ME, ARTIE. STICK WITH ME. 125 00:06:14,641 --> 00:06:15,685 YOU STICK WITH ME, ARTIE. STICK WITH ME. I'M GONNA FEND FOR YOU. 126 00:06:15,709 --> 00:06:16,353 STICK WITH ME. I'M GONNA FEND FOR YOU. DON'T WORRY. 127 00:06:16,377 --> 00:06:17,721 I'M GONNA FEND FOR YOU. DON'T WORRY. LET'S GET OUT OF HERE, COME ON. 128 00:06:17,745 --> 00:06:19,155 DON'T WORRY. LET'S GET OUT OF HERE, COME ON. JOHN, LOOK, IT WAS AN HONEST 129 00:06:19,179 --> 00:06:19,622 LET'S GET OUT OF HERE, COME ON. JOHN, LOOK, IT WAS AN HONEST ERROR. 130 00:06:19,646 --> 00:06:20,857 JOHN, LOOK, IT WAS AN HONEST ERROR. MAYBE I WAS EVEN OFF-KEY A 131 00:06:20,881 --> 00:06:21,491 ERROR. MAYBE I WAS EVEN OFF-KEY A LITTLE BIT. 132 00:06:21,515 --> 00:06:22,692 MAYBE I WAS EVEN OFF-KEY A LITTLE BIT. I DON'T WANT TO START ANY 133 00:06:22,716 --> 00:06:23,226 LITTLE BIT. I DON'T WANT TO START ANY TROUBLE. 134 00:06:23,250 --> 00:06:24,927 I DON'T WANT TO START ANY TROUBLE. I'M HONORED TO BE A HOST ON THE 135 00:06:24,951 --> 00:06:25,395 TROUBLE. I'M HONORED TO BE A HOST ON THE SHOW. 136 00:06:25,419 --> 00:06:27,129 I'M HONORED TO BE A HOST ON THE SHOW. EVERYBODY'S BEEN NICE TO ME ALL 137 00:06:27,153 --> 00:06:27,630 SHOW. EVERYBODY'S BEEN NICE TO ME ALL WEEK. 138 00:06:27,654 --> 00:06:28,698 EVERYBODY'S BEEN NICE TO ME ALL WEEK. LET'S NOT MAKE WAVES. 139 00:06:28,722 --> 00:06:30,266 WEEK. LET'S NOT MAKE WAVES. LET ME JUST DO THE SONG FROM THE 140 00:06:30,290 --> 00:06:30,633 LET'S NOT MAKE WAVES. LET ME JUST DO THE SONG FROM THE TOP. 141 00:06:30,657 --> 00:06:31,968 LET ME JUST DO THE SONG FROM THE TOP. YOU'RE REALLY SOMETHING, 142 00:06:31,992 --> 00:06:33,636 TOP. YOU'RE REALLY SOMETHING, GARFUNKEL. 143 00:06:33,660 --> 00:06:34,971 YOU'RE REALLY SOMETHING, GARFUNKEL. YOU REALLY ARE. 144 00:06:34,995 --> 00:06:36,473 GARFUNKEL. YOU REALLY ARE. YOU KNOW, I DIDN'T HAVE TO COME 145 00:06:36,497 --> 00:06:37,807 YOU REALLY ARE. YOU KNOW, I DIDN'T HAVE TO COME OUT HERE, YOU KNOW. 146 00:06:37,831 --> 00:06:39,609 YOU KNOW, I DIDN'T HAVE TO COME OUT HERE, YOU KNOW. I DIDN'T SEE GILDA OR DANNY OR 147 00:06:39,633 --> 00:06:41,277 OUT HERE, YOU KNOW. I DIDN'T SEE GILDA OR DANNY OR ANYONE COME TO YOUR AID WHEN 148 00:06:41,301 --> 00:06:43,112 I DIDN'T SEE GILDA OR DANNY OR ANYONE COME TO YOUR AID WHEN YOUR SONG WENT DOWN THE TOILET. 149 00:06:43,136 --> 00:06:44,414 ANYONE COME TO YOUR AID WHEN YOUR SONG WENT DOWN THE TOILET. YEAH? 150 00:06:44,438 --> 00:06:45,715 YOUR SONG WENT DOWN THE TOILET. YEAH? OH, NO. 151 00:06:45,739 --> 00:06:46,683 YEAH? OH, NO. YOU KNOW, IT WAS ME. 152 00:06:46,707 --> 00:06:47,517 OH, NO. YOU KNOW, IT WAS ME. I CAME OUT HERE. 153 00:06:47,541 --> 00:06:48,385 YOU KNOW, IT WAS ME. I CAME OUT HERE. I DIDN'T HAVE TO. 154 00:06:48,409 --> 00:06:49,786 I CAME OUT HERE. I DIDN'T HAVE TO. I COULD HAVE STAYED IN MY 155 00:06:49,810 --> 00:06:51,388 I DIDN'T HAVE TO. I COULD HAVE STAYED IN MY DRESSING ROOM, BY MYSELF, AND 156 00:06:51,412 --> 00:06:52,889 I COULD HAVE STAYED IN MY DRESSING ROOM, BY MYSELF, AND LET YOU DIE OUT HERE ALONE. 157 00:06:52,913 --> 00:06:54,891 DRESSING ROOM, BY MYSELF, AND LET YOU DIE OUT HERE ALONE. BUT N-O-O-O-O-O! 158 00:06:54,915 --> 00:06:56,225 LET YOU DIE OUT HERE ALONE. BUT N-O-O-O-O-O! I'VE GOT TO COME OUT HERE AND 159 00:06:56,249 --> 00:06:57,560 BUT N-O-O-O-O-O! I'VE GOT TO COME OUT HERE AND HELP YOU, AND WHAT DO YOU DO? 160 00:06:57,584 --> 00:06:59,061 I'VE GOT TO COME OUT HERE AND HELP YOU, AND WHAT DO YOU DO? YOU TURN ON ME LIKE A SHARK! 161 00:06:59,085 --> 00:07:00,563 HELP YOU, AND WHAT DO YOU DO? YOU TURN ON ME LIKE A SHARK! COME ON, JOHN, IT'S NOT... 162 00:07:00,587 --> 00:07:02,565 YOU TURN ON ME LIKE A SHARK! COME ON, JOHN, IT'S NOT... DON'T "COME ON, JOHN" ME! 163 00:07:02,589 --> 00:07:03,733 COME ON, JOHN, IT'S NOT... DON'T "COME ON, JOHN" ME! YOU'RE LIKE ALL THE REST. 164 00:07:03,757 --> 00:07:05,067 DON'T "COME ON, JOHN" ME! YOU'RE LIKE ALL THE REST. LOOK WHAT HAPPENED TO YOU, 165 00:07:05,091 --> 00:07:07,570 YOU'RE LIKE ALL THE REST. LOOK WHAT HAPPENED TO YOU, MR. BIG RECORDING STAR. 166 00:07:07,594 --> 00:07:09,572 LOOK WHAT HAPPENED TO YOU, MR. BIG RECORDING STAR. YOU SOLD OUT. 167 00:07:09,596 --> 00:07:11,274 MR. BIG RECORDING STAR. YOU SOLD OUT. I REMEMBER WHEN YOU USED TO SING 168 00:07:11,298 --> 00:07:12,776 YOU SOLD OUT. I REMEMBER WHEN YOU USED TO SING SONGS... SONGS WITH MEANING, 169 00:07:12,800 --> 00:07:13,976 I REMEMBER WHEN YOU USED TO SING SONGS... SONGS WITH MEANING, SONGS WITH INTEGRITY. 170 00:07:14,000 --> 00:07:15,311 SONGS... SONGS WITH MEANING, SONGS WITH INTEGRITY. THE LYRICS MEANT SOMETHING. 171 00:07:15,335 --> 00:07:17,313 SONGS WITH INTEGRITY. THE LYRICS MEANT SOMETHING. LIKE "THE BOXER"... A SONG ABOUT 172 00:07:17,337 --> 00:07:18,981 THE LYRICS MEANT SOMETHING. LIKE "THE BOXER"... A SONG ABOUT STREET PEOPLE, LONELINESS. 173 00:07:19,005 --> 00:07:21,785 LIKE "THE BOXER"... A SONG ABOUT STREET PEOPLE, LONELINESS. ♪ LI-LI-LI-LI-LI-LI-LI-LI-LI ♪ 174 00:07:21,809 --> 00:07:23,620 STREET PEOPLE, LONELINESS. ♪ LI-LI-LI-LI-LI-LI-LI-LI-LI ♪ THAT MEANT SOMETHING TO PEOPLE. 175 00:07:23,644 --> 00:07:25,087 ♪ LI-LI-LI-LI-LI-LI-LI-LI-LI ♪ THAT MEANT SOMETHING TO PEOPLE. BUT ARE YOU SINGING THAT NOW? 176 00:07:25,111 --> 00:07:26,956 THAT MEANT SOMETHING TO PEOPLE. BUT ARE YOU SINGING THAT NOW? N-O-O-O-O-O! 177 00:07:26,980 --> 00:07:28,525 BUT ARE YOU SINGING THAT NOW? N-O-O-O-O-O! NO, YOU GET A LITTLE SUCCESSFUL, 178 00:07:28,549 --> 00:07:29,526 N-O-O-O-O-O! NO, YOU GET A LITTLE SUCCESSFUL, SO WHAT DO YOU DO? 179 00:07:29,550 --> 00:07:31,294 NO, YOU GET A LITTLE SUCCESSFUL, SO WHAT DO YOU DO? YOU DROP PAUL SIMON LIKE A HOT 180 00:07:31,318 --> 00:07:33,062 SO WHAT DO YOU DO? YOU DROP PAUL SIMON LIKE A HOT POTATO, AND NOW YOU'RE SINGING 181 00:07:33,086 --> 00:07:34,798 YOU DROP PAUL SIMON LIKE A HOT POTATO, AND NOW YOU'RE SINGING SOME SAM COOKE SONG. 182 00:07:34,822 --> 00:07:36,399 POTATO, AND NOW YOU'RE SINGING SOME SAM COOKE SONG. ♪ I DON'T CLAIM TO BE AN 183 00:07:36,423 --> 00:07:38,835 SOME SAM COOKE SONG. ♪ I DON'T CLAIM TO BE AN "A" STUDENT ♪ 184 00:07:38,859 --> 00:07:45,341 ♪ I DON'T CLAIM TO BE AN "A" STUDENT ♪ ♪ BUT I TRY TO BE ♪ 185 00:07:45,365 --> 00:07:46,676 "A" STUDENT ♪ ♪ BUT I TRY TO BE ♪ GIVE ME A BREAK, MAN. 186 00:07:46,700 --> 00:07:47,644 ♪ BUT I TRY TO BE ♪ GIVE ME A BREAK, MAN. I MEAN, I LIKE... 187 00:07:47,668 --> 00:07:48,611 GIVE ME A BREAK, MAN. I MEAN, I LIKE... IT'S GREAT LYRICS. 188 00:07:48,635 --> 00:07:50,012 I MEAN, I LIKE... IT'S GREAT LYRICS. I MEAN, REALLY GOOD LYRICS. 189 00:07:50,036 --> 00:07:51,748 IT'S GREAT LYRICS. I MEAN, REALLY GOOD LYRICS. REALLY, REALLY GOOD. 190 00:07:51,772 --> 00:07:53,382 I MEAN, REALLY GOOD LYRICS. REALLY, REALLY GOOD. GOOD LYRICS, GOOD SONG. 191 00:07:53,406 --> 00:07:54,751 REALLY, REALLY GOOD. GOOD LYRICS, GOOD SONG. OKAY, GO AHEAD WITH YOUR SONG, 192 00:07:54,775 --> 00:07:56,986 GOOD LYRICS, GOOD SONG. OKAY, GO AHEAD WITH YOUR SONG, MR. LP. 193 00:07:57,010 --> 00:07:58,120 OKAY, GO AHEAD WITH YOUR SONG, MR. LP. BIG MAN, GO AHEAD. 194 00:07:58,144 --> 00:07:59,088 MR. LP. BIG MAN, GO AHEAD. NO, GO. 195 00:07:59,112 --> 00:08:00,389 BIG MAN, GO AHEAD. NO, GO. LET'S JUST TAKE IT FROM THE 196 00:08:00,413 --> 00:08:00,757 NO, GO. LET'S JUST TAKE IT FROM THE TOP. 197 00:08:00,781 --> 00:08:02,024 LET'S JUST TAKE IT FROM THE TOP. OH, BY THE WAY, NICE HAIR, 198 00:08:02,048 --> 00:08:09,065 TOP. OH, BY THE WAY, NICE HAIR, ARTIE. 199 00:08:09,089 --> 00:08:10,834 OH, BY THE WAY, NICE HAIR, ARTIE. ♪ DON'T KNOW MUCH ABOUT 200 00:08:10,858 --> 00:08:14,070 ARTIE. ♪ DON'T KNOW MUCH ABOUT GEOGRAPHY ♪ 201 00:08:14,094 --> 00:08:18,708 ♪ DON'T KNOW MUCH ABOUT GEOGRAPHY ♪ ♪ DON'T KNOW MUCH TRIGONOMETRY ♪ 202 00:08:18,732 --> 00:08:20,409 GEOGRAPHY ♪ ♪ DON'T KNOW MUCH TRIGONOMETRY ♪ ♪ DON'T KNOW MUCH ABOUT 203 00:08:20,433 --> 00:08:23,580 ♪ DON'T KNOW MUCH TRIGONOMETRY ♪ ♪ DON'T KNOW MUCH ABOUT ALGEBRA ♪ 204 00:08:23,604 --> 00:08:25,414 ♪ DON'T KNOW MUCH ABOUT ALGEBRA ♪ ♪ I DON'T KNOW WHAT THIS SLIDE 205 00:08:25,438 --> 00:08:28,084 ALGEBRA ♪ ♪ I DON'T KNOW WHAT THIS SLIDE RULE IS FOR ♪ 206 00:08:28,108 --> 00:08:31,120 ♪ I DON'T KNOW WHAT THIS SLIDE RULE IS FOR ♪ ♪ BUT I DO KNOW ONE AND ONE IS 207 00:08:31,144 --> 00:08:32,856 RULE IS FOR ♪ ♪ BUT I DO KNOW ONE AND ONE IS TWO ♪ 208 00:08:32,880 --> 00:08:35,725 ♪ BUT I DO KNOW ONE AND ONE IS TWO ♪ ♪ AND IF THIS ONE COULD BE WITH 209 00:08:35,749 --> 00:08:38,895 TWO ♪ ♪ AND IF THIS ONE COULD BE WITH YOU ♪ 210 00:08:38,919 --> 00:08:41,831 ♪ AND IF THIS ONE COULD BE WITH YOU ♪ ♪ WHAT A WONDERFUL, WONDERFUL 211 00:08:41,855 --> 00:08:44,734 YOU ♪ ♪ WHAT A WONDERFUL, WONDERFUL WORLD THIS WOULD BE ♪ 212 00:08:44,758 --> 00:08:47,871 ♪ WHAT A WONDERFUL, WONDERFUL WORLD THIS WOULD BE ♪ ♪ WHAT A WONDERFUL, WONDERFUL, 213 00:08:47,895 --> 00:08:53,075 WORLD THIS WOULD BE ♪ ♪ WHAT A WONDERFUL, WONDERFUL, WONDERFUL WORLD ♪ 214 00:08:53,099 --> 00:08:56,846 ♪ WHAT A WONDERFUL, WONDERFUL, WONDERFUL WORLD ♪ ♪ NOW, I DON'T CLAIM TO BE AN 215 00:08:56,870 --> 00:08:59,048 WONDERFUL WORLD ♪ ♪ NOW, I DON'T CLAIM TO BE AN "A" STUDENT ♪ 216 00:08:59,072 --> 00:09:02,519 ♪ NOW, I DON'T CLAIM TO BE AN "A" STUDENT ♪ ♪ BUT I'M TRYIN' TO BE ♪ 217 00:09:02,543 --> 00:09:05,655 "A" STUDENT ♪ ♪ BUT I'M TRYIN' TO BE ♪ ♪ I'M THINKING MAYBE BY BEIN' AN 218 00:09:05,679 --> 00:09:08,658 ♪ BUT I'M TRYIN' TO BE ♪ ♪ I'M THINKING MAYBE BY BEIN' AN "A" STUDENT, BABY, BABY ♪ 219 00:09:08,682 --> 00:09:14,931 ♪ I'M THINKING MAYBE BY BEIN' AN "A" STUDENT, BABY, BABY ♪ ♪ I COULD WIN YOUR LOVE FOR ME ♪ 220 00:09:14,955 --> 00:09:16,799 "A" STUDENT, BABY, BABY ♪ ♪ I COULD WIN YOUR LOVE FOR ME ♪ ♪ DON'T KNOW MUCH ABOUT THE 221 00:09:16,823 --> 00:09:19,402 ♪ I COULD WIN YOUR LOVE FOR ME ♪ ♪ DON'T KNOW MUCH ABOUT THE MIDDLE AGES ♪ 222 00:09:19,426 --> 00:09:21,538 ♪ DON'T KNOW MUCH ABOUT THE MIDDLE AGES ♪ ♪ LOOKED AT THE PICTURES, THEN I 223 00:09:21,562 --> 00:09:24,440 MIDDLE AGES ♪ ♪ LOOKED AT THE PICTURES, THEN I TURN THE PAGES ♪ 224 00:09:24,464 --> 00:09:26,543 ♪ LOOKED AT THE PICTURES, THEN I TURN THE PAGES ♪ ♪ DON'T KNOW NOTHING 'BOUT NO 225 00:09:26,567 --> 00:09:29,579 TURN THE PAGES ♪ ♪ DON'T KNOW NOTHING 'BOUT NO RISE AND FALL ♪ 226 00:09:29,603 --> 00:09:31,514 ♪ DON'T KNOW NOTHING 'BOUT NO RISE AND FALL ♪ ♪ DON'T KNOW NOTHING 'BOUT 227 00:09:31,538 --> 00:09:34,350 RISE AND FALL ♪ ♪ DON'T KNOW NOTHING 'BOUT NOTHING AT ALL ♪ 228 00:09:34,374 --> 00:09:36,318 ♪ DON'T KNOW NOTHING 'BOUT NOTHING AT ALL ♪ ♪ GIRL, IT'S YOU THAT I'VE BEEN 229 00:09:36,342 --> 00:09:39,355 NOTHING AT ALL ♪ ♪ GIRL, IT'S YOU THAT I'VE BEEN THINKIN' OF ♪ 230 00:09:39,379 --> 00:09:41,991 ♪ GIRL, IT'S YOU THAT I'VE BEEN THINKIN' OF ♪ ♪ AND IF I COULD ONLY WIN YOUR 231 00:09:42,015 --> 00:09:44,928 THINKIN' OF ♪ ♪ AND IF I COULD ONLY WIN YOUR LOVE ♪ 232 00:09:44,952 --> 00:09:48,097 ♪ AND IF I COULD ONLY WIN YOUR LOVE ♪ ♪ WHAT A WONDERFUL, WONDERFUL 233 00:09:48,121 --> 00:09:51,000 LOVE ♪ ♪ WHAT A WONDERFUL, WONDERFUL WORLD THIS WOULD BE ♪ 234 00:09:51,024 --> 00:09:53,937 ♪ WHAT A WONDERFUL, WONDERFUL WORLD THIS WOULD BE ♪ ♪ WHAT A WONDERFUL, WONDERFUL 235 00:09:53,961 --> 00:09:56,573 WORLD THIS WOULD BE ♪ ♪ WHAT A WONDERFUL, WONDERFUL WONDERFUL WORLD ♪ 236 00:09:56,597 --> 00:09:59,976 ♪ WHAT A WONDERFUL, WONDERFUL WONDERFUL WORLD ♪ ♪ WHAT A WONDERFUL, WONDERFUL, 237 00:10:00,000 --> 00:10:03,846 WONDERFUL WORLD ♪ ♪ WHAT A WONDERFUL, WONDERFUL, WONDERFUL, WONDERFUL WORLD ♪ 238 00:10:03,870 --> 00:10:07,116 ♪ WHAT A WONDERFUL, WONDERFUL, WONDERFUL, WONDERFUL WORLD ♪ ♪ WHAT A WONDERFUL, WONDERFUL, 239 00:10:07,140 --> 00:10:11,120 WONDERFUL, WONDERFUL WORLD ♪ ♪ WHAT A WONDERFUL, WONDERFUL, WONDERFUL, WONDERFUL WORLD ♪ 240 00:10:11,144 --> 00:10:13,957 ♪ WHAT A WONDERFUL, WONDERFUL, WONDERFUL, WONDERFUL WORLD ♪ ♪ WHAT A WONDERFUL, WONDERFUL, 241 00:10:13,981 --> 00:10:19,629 WONDERFUL, WONDERFUL WORLD ♪ ♪ WHAT A WONDERFUL, WONDERFUL, WONDERFUL, WONDERFUL WORLD ♪ 242 00:10:19,653 --> 00:10:21,798 ♪ WHAT A WONDERFUL, WONDERFUL, WONDERFUL, WONDERFUL WORLD ♪ WE'LL BE RIGHT BACK. 243 00:10:21,822 --> 00:10:24,142 WONDERFUL, WONDERFUL WORLD ♪ WE'LL BE RIGHT BACK. [APPLAUSE] 244 00:10:31,497 --> 00:10:38,180 Announcer: SOMEDAY, EVERYONE WILL OWN A WATCH LIKE THIS. NOW IT IS AVAILABLE ONLY FOR THE 245 00:10:38,204 --> 00:10:40,516 WILL OWN A WATCH LIKE THIS. NOW IT IS AVAILABLE ONLY FOR THE PRIVILEGED FEW. 246 00:10:40,540 --> 00:10:43,380 NOW IT IS AVAILABLE ONLY FOR THE PRIVILEGED FEW. [DRAMATIC MUSIC PLAYING] 247 00:10:52,618 --> 00:10:54,819 THE MOGASAKI CORPORATION OF 248 00:10:54,954 --> 00:11:02,827 TOKYO IS HONORED TO ANNOUNCE... 249 00:11:02,962 --> 00:11:06,430 KROMEGA III. 250 00:11:06,699 --> 00:11:13,382 A WATCH SO COMPLEX IT TAKES TWO PEOPLE TO MAKE IT WORK. ONE HAND WEARS THE WATCH. 251 00:11:13,406 --> 00:11:14,951 PEOPLE TO MAKE IT WORK. ONE HAND WEARS THE WATCH. THE OTHER HAND PRESSES THE 252 00:11:14,975 --> 00:11:16,719 ONE HAND WEARS THE WATCH. THE OTHER HAND PRESSES THE BUTTONS THAT ACTIVATE THE 100% 253 00:11:16,743 --> 00:11:18,220 THE OTHER HAND PRESSES THE BUTTONS THAT ACTIVATE THE 100% SOLID-STATE MULTIFUNCTION 254 00:11:18,244 --> 00:11:19,588 BUTTONS THAT ACTIVATE THE 100% SOLID-STATE MULTIFUNCTION DIGITAL QUARTZ CRYSTAL 255 00:11:19,612 --> 00:11:21,057 SOLID-STATE MULTIFUNCTION DIGITAL QUARTZ CRYSTAL MICROCOMPUTER UNIT, AND NOW 256 00:11:21,081 --> 00:11:22,692 DIGITAL QUARTZ CRYSTAL MICROCOMPUTER UNIT, AND NOW YOU'RE READY FOR THE THIRD HAND 257 00:11:22,716 --> 00:11:24,260 MICROCOMPUTER UNIT, AND NOW YOU'RE READY FOR THE THIRD HAND TO TRIGGER THE LIGHT-EMITTING 258 00:11:24,284 --> 00:11:25,762 YOU'RE READY FOR THE THIRD HAND TO TRIGGER THE LIGHT-EMITTING DIODE AND GIVE YOU A PRECISE 259 00:11:25,786 --> 00:11:27,130 TO TRIGGER THE LIGHT-EMITTING DIODE AND GIVE YOU A PRECISE ALPHANUMERIC TIME READOUT 260 00:11:27,154 --> 00:11:28,765 DIODE AND GIVE YOU A PRECISE ALPHANUMERIC TIME READOUT ACCURATE TO WITHIN NINE SECONDS 261 00:11:28,789 --> 00:11:30,033 ALPHANUMERIC TIME READOUT ACCURATE TO WITHIN NINE SECONDS A YEAR. 262 00:11:30,057 --> 00:11:32,368 ACCURATE TO WITHIN NINE SECONDS A YEAR. IT'S THAT SIMPLE. 263 00:11:32,392 --> 00:11:33,435 A YEAR. IT'S THAT SIMPLE. KROMEGA III. 264 00:11:33,459 --> 00:11:35,337 IT'S THAT SIMPLE. KROMEGA III. COMMAND-CRAFTED IN RUGGED, 265 00:11:35,361 --> 00:11:37,640 KROMEGA III. COMMAND-CRAFTED IN RUGGED, IMPACT-RESISTANT BRUSHED CHROME. 266 00:11:37,664 --> 00:11:39,942 COMMAND-CRAFTED IN RUGGED, IMPACT-RESISTANT BRUSHED CHROME. IT'S NO WONDER THAT PROFESSIONAL 267 00:11:39,966 --> 00:11:42,111 IMPACT-RESISTANT BRUSHED CHROME. IT'S NO WONDER THAT PROFESSIONAL SKIERS PREFER KROMEGA III OVER 268 00:11:42,135 --> 00:11:44,714 IT'S NO WONDER THAT PROFESSIONAL SKIERS PREFER KROMEGA III OVER ANY ORDINARY TIMEPIECE. 269 00:11:44,738 --> 00:11:46,683 SKIERS PREFER KROMEGA III OVER ANY ORDINARY TIMEPIECE. AND I LOVE LADY KROMEGA III. 270 00:11:46,707 --> 00:11:48,484 ANY ORDINARY TIMEPIECE. AND I LOVE LADY KROMEGA III. THE SLEEK, SPACE-AGE STYLING 271 00:11:48,508 --> 00:11:50,452 AND I LOVE LADY KROMEGA III. THE SLEEK, SPACE-AGE STYLING COMPLEMENTS ANY OUTFIT, AND THE 272 00:11:50,476 --> 00:11:52,188 THE SLEEK, SPACE-AGE STYLING COMPLEMENTS ANY OUTFIT, AND THE CLEARLY DISPLAYED PERPETUAL 273 00:11:52,212 --> 00:11:54,190 COMPLEMENTS ANY OUTFIT, AND THE CLEARLY DISPLAYED PERPETUAL CALENDAR HELPS ME TO REMEMBER MY 274 00:11:54,214 --> 00:11:55,457 CLEARLY DISPLAYED PERPETUAL CALENDAR HELPS ME TO REMEMBER MY MANY APPOINTMENTS. 275 00:11:55,481 --> 00:12:00,129 CALENDAR HELPS ME TO REMEMBER MY MANY APPOINTMENTS. WOULD YOU MIND? 276 00:12:00,153 --> 00:12:03,132 MANY APPOINTMENTS. WOULD YOU MIND? THANK YOU. 277 00:12:03,156 --> 00:12:05,301 WOULD YOU MIND? THANK YOU. Announcer: KROMEGA III. 278 00:12:05,325 --> 00:12:07,725 THANK YOU. Announcer: KROMEGA III. [DRAMATIC MUSIC PLAYING] 279 00:12:11,363 --> 00:12:13,231 IT'S LIKE ASKING A STRANGER FOR 280 00:12:13,365 --> 00:12:15,166 THE TIME. 281 00:12:30,116 --> 00:12:32,995 HELLO, EVERYBODY. AT THE OUTSET OF TONIGHT'S PROGRAM, I JUST... WITHOUT 282 00:12:33,019 --> 00:12:34,030 AT THE OUTSET OF TONIGHT'S PROGRAM, I JUST... WITHOUT BRINGING ANYBODY DOWN, OF 283 00:12:34,054 --> 00:12:35,297 PROGRAM, I JUST... WITHOUT BRINGING ANYBODY DOWN, OF COURSE... I JUST WANT TO RELATE 284 00:12:35,321 --> 00:12:36,565 BRINGING ANYBODY DOWN, OF COURSE... I JUST WANT TO RELATE A PERSONAL TRAGEDY THAT HAPPENED 285 00:12:36,589 --> 00:12:37,533 COURSE... I JUST WANT TO RELATE A PERSONAL TRAGEDY THAT HAPPENED IN MY LIFE, CERTAINLY. 286 00:12:37,557 --> 00:12:38,567 A PERSONAL TRAGEDY THAT HAPPENED IN MY LIFE, CERTAINLY. WHEN WE MOVED OUT HERE TO 287 00:12:38,591 --> 00:12:39,869 IN MY LIFE, CERTAINLY. WHEN WE MOVED OUT HERE TO SOUTHERN CALIFORNIA, I EXPECTED, 288 00:12:39,893 --> 00:12:41,104 WHEN WE MOVED OUT HERE TO SOUTHERN CALIFORNIA, I EXPECTED, OF COURSE, TO MISS ALL THE SNOW 289 00:12:41,128 --> 00:12:42,338 SOUTHERN CALIFORNIA, I EXPECTED, OF COURSE, TO MISS ALL THE SNOW AND BAD WEATHER THEY'RE HAVING 290 00:12:42,362 --> 00:12:43,439 OF COURSE, TO MISS ALL THE SNOW AND BAD WEATHER THEY'RE HAVING BACK EAST AND TO THE NORTH. 291 00:12:43,463 --> 00:12:44,640 AND BAD WEATHER THEY'RE HAVING BACK EAST AND TO THE NORTH. TODAY, I WOKE UP, FOUND MY WHOLE 292 00:12:44,664 --> 00:12:45,775 BACK EAST AND TO THE NORTH. TODAY, I WOKE UP, FOUND MY WHOLE CAR COVERED FROM A MUDSLIDE DUE 293 00:12:45,799 --> 00:12:46,876 TODAY, I WOKE UP, FOUND MY WHOLE CAR COVERED FROM A MUDSLIDE DUE TO THE TORRENTIAL RAINS WE'VE 294 00:12:46,900 --> 00:12:47,944 CAR COVERED FROM A MUDSLIDE DUE TO THE TORRENTIAL RAINS WE'VE BEEN HAVING HERE IN SOUTHERN 295 00:12:47,968 --> 00:12:48,577 TO THE TORRENTIAL RAINS WE'VE BEEN HAVING HERE IN SOUTHERN CALIFORNIA. 296 00:12:48,601 --> 00:12:49,979 BEEN HAVING HERE IN SOUTHERN CALIFORNIA. SO I GUESS THAT JUST PROVES IT, 297 00:12:50,003 --> 00:12:51,280 CALIFORNIA. SO I GUESS THAT JUST PROVES IT, AND YOU CAN TAKE IT FROM ME. 298 00:12:51,304 --> 00:12:52,882 SO I GUESS THAT JUST PROVES IT, AND YOU CAN TAKE IT FROM ME. THE WEATHER IS EVERYWHERE. 299 00:12:52,906 --> 00:12:54,083 AND YOU CAN TAKE IT FROM ME. THE WEATHER IS EVERYWHERE. TONIGHT ON OUR PROGRAM, WE'RE 300 00:12:54,107 --> 00:12:55,351 THE WEATHER IS EVERYWHERE. TONIGHT ON OUR PROGRAM, WE'RE GONNA BE DEALING WITH A SUBJECT 301 00:12:55,375 --> 00:12:56,485 TONIGHT ON OUR PROGRAM, WE'RE GONNA BE DEALING WITH A SUBJECT THAT'S BEEN OF CONSIDERABLE 302 00:12:56,509 --> 00:12:57,720 GONNA BE DEALING WITH A SUBJECT THAT'S BEEN OF CONSIDERABLE CONCERN TO PEOPLE OF THE LEGAL 303 00:12:57,744 --> 00:12:58,721 THAT'S BEEN OF CONSIDERABLE CONCERN TO PEOPLE OF THE LEGAL AND MEDICAL PROFESSIONS. 304 00:12:58,745 --> 00:12:59,822 CONCERN TO PEOPLE OF THE LEGAL AND MEDICAL PROFESSIONS. IT'S BEEN GETTING A LOT OF 305 00:12:59,846 --> 00:13:01,057 AND MEDICAL PROFESSIONS. IT'S BEEN GETTING A LOT OF ATTENTION IN THE PRESS LATELY. 306 00:13:01,081 --> 00:13:02,258 IT'S BEEN GETTING A LOT OF ATTENTION IN THE PRESS LATELY. I'M TALKING, OF COURSE, ABOUT 307 00:13:02,282 --> 00:13:03,092 ATTENTION IN THE PRESS LATELY. I'M TALKING, OF COURSE, ABOUT BATTERED HUSBANDS. 308 00:13:03,116 --> 00:13:03,559 I'M TALKING, OF COURSE, ABOUT BATTERED HUSBANDS. AND... 309 00:13:03,583 --> 00:13:04,227 BATTERED HUSBANDS. AND... [COUGHS] 310 00:13:04,251 --> 00:13:04,861 AND... [COUGHS] EXCUSE ME. 311 00:13:04,885 --> 00:13:06,195 [COUGHS] EXCUSE ME. TONIGHT, WE HAVE WITH US A 312 00:13:06,219 --> 00:13:07,663 EXCUSE ME. TONIGHT, WE HAVE WITH US A BATTERED HUSBAND, A GENTLEMAN 313 00:13:07,687 --> 00:13:09,031 TONIGHT, WE HAVE WITH US A BATTERED HUSBAND, A GENTLEMAN WHO WE'LL BE CALLING FRANK. 314 00:13:09,055 --> 00:13:10,399 BATTERED HUSBAND, A GENTLEMAN WHO WE'LL BE CALLING FRANK. FRANK HAS ASKED US NOT TO REVEAL 315 00:13:10,423 --> 00:13:11,634 WHO WE'LL BE CALLING FRANK. FRANK HAS ASKED US NOT TO REVEAL HIS REAL IDENTITY OR SHOW HIS 316 00:13:11,658 --> 00:13:12,902 FRANK HAS ASKED US NOT TO REVEAL HIS REAL IDENTITY OR SHOW HIS FACE BECAUSE, WELL, LET'S FACE 317 00:13:12,926 --> 00:13:13,202 HIS REAL IDENTITY OR SHOW HIS FACE BECAUSE, WELL, LET'S FACE IT. 318 00:13:13,226 --> 00:13:14,570 FACE BECAUSE, WELL, LET'S FACE IT. IF I WERE AFRAID OF MY WIFE, I'D 319 00:13:14,594 --> 00:13:15,872 IT. IF I WERE AFRAID OF MY WIFE, I'D BE A LITTLE EMBARRASSED MYSELF. 320 00:13:15,896 --> 00:13:19,216 IF I WERE AFRAID OF MY WIFE, I'D BE A LITTLE EMBARRASSED MYSELF. [LAUGHS OBNOXIOUSLY] 321 00:13:23,135 --> 00:13:28,651 FRANK, WHY DON'T YOU TELL US HOW THE HECK DOES A GUY GET TO BE A BATTERED HUSBAND, ANYWAY? 322 00:13:28,675 --> 00:13:31,053 THE HECK DOES A GUY GET TO BE A BATTERED HUSBAND, ANYWAY? WELL, TOM, MY FIRST WIFE BEAT 323 00:13:31,077 --> 00:13:33,389 BATTERED HUSBAND, ANYWAY? WELL, TOM, MY FIRST WIFE BEAT ME 15 YEARS AGO AFTER SHE FOUND 324 00:13:33,413 --> 00:13:35,091 WELL, TOM, MY FIRST WIFE BEAT ME 15 YEARS AGO AFTER SHE FOUND ME... 325 00:13:35,115 --> 00:13:37,193 ME 15 YEARS AGO AFTER SHE FOUND ME... FOUND ME MASTURBATING. 326 00:13:37,217 --> 00:13:38,928 ME... FOUND ME MASTURBATING. SHE, UH, POURED BOILING WATER ON 327 00:13:38,952 --> 00:13:40,663 FOUND ME MASTURBATING. SHE, UH, POURED BOILING WATER ON ME AND HIT ME IN THE FACE WITH A 328 00:13:40,687 --> 00:13:42,298 SHE, UH, POURED BOILING WATER ON ME AND HIT ME IN THE FACE WITH A BASEBALL BAT. 329 00:13:42,322 --> 00:13:44,000 ME AND HIT ME IN THE FACE WITH A BASEBALL BAT. SHE'S BEATEN ME EVER SINCE, AND 330 00:13:44,024 --> 00:13:45,501 BASEBALL BAT. SHE'S BEATEN ME EVER SINCE, AND I LIVE IN CONSTANT TERROR. 331 00:13:45,525 --> 00:13:46,735 SHE'S BEATEN ME EVER SINCE, AND I LIVE IN CONSTANT TERROR. OF YOUR WIFE, SIR? 332 00:13:46,759 --> 00:13:48,671 I LIVE IN CONSTANT TERROR. OF YOUR WIFE, SIR? YES, BUT ALSO TERROR THAT MY 333 00:13:48,695 --> 00:13:50,139 OF YOUR WIFE, SIR? YES, BUT ALSO TERROR THAT MY FRIENDS AND NEIGHBORS AND 334 00:13:50,163 --> 00:13:52,141 YES, BUT ALSO TERROR THAT MY FRIENDS AND NEIGHBORS AND COLLEAGUES AT WORK WILL DISCOVER 335 00:13:52,165 --> 00:13:54,110 FRIENDS AND NEIGHBORS AND COLLEAGUES AT WORK WILL DISCOVER THE HUMILIATING TRUTH THAT I AM 336 00:13:54,134 --> 00:13:56,179 COLLEAGUES AT WORK WILL DISCOVER THE HUMILIATING TRUTH THAT I AM A BATTERED HUSBAND. 337 00:13:56,203 --> 00:13:57,814 THE HUMILIATING TRUTH THAT I AM A BATTERED HUSBAND. YOU KNOW, I'VE NEVER BEEN ABLE 338 00:13:57,838 --> 00:13:59,415 A BATTERED HUSBAND. YOU KNOW, I'VE NEVER BEEN ABLE TO SPEAK TO ANYONE ABOUT THIS 339 00:13:59,439 --> 00:14:00,883 YOU KNOW, I'VE NEVER BEEN ABLE TO SPEAK TO ANYONE ABOUT THIS BEFORE, AND I'M HERE TODAY 340 00:14:00,907 --> 00:14:02,484 TO SPEAK TO ANYONE ABOUT THIS BEFORE, AND I'M HERE TODAY ANONYMOUSLY TO HELP OTHER MEN 341 00:14:02,508 --> 00:14:04,020 BEFORE, AND I'M HERE TODAY ANONYMOUSLY TO HELP OTHER MEN WHO ARE LIVING IN THIS DARK, 342 00:14:04,044 --> 00:14:06,722 ANONYMOUSLY TO HELP OTHER MEN WHO ARE LIVING IN THIS DARK, TORTURED, PRIVATE HELL. 343 00:14:06,746 --> 00:14:08,157 WHO ARE LIVING IN THIS DARK, TORTURED, PRIVATE HELL. I WANT TO SHOW THEM THAT THERE 344 00:14:08,181 --> 00:14:09,525 TORTURED, PRIVATE HELL. I WANT TO SHOW THEM THAT THERE ARE OTHERS WHO MASTURBATE AND 345 00:14:09,549 --> 00:14:11,027 I WANT TO SHOW THEM THAT THERE ARE OTHERS WHO MASTURBATE AND CRY ALONE IN THE DARK OUT OF 346 00:14:11,051 --> 00:14:12,361 ARE OTHERS WHO MASTURBATE AND CRY ALONE IN THE DARK OUT OF SHAME AND FEAR. 347 00:14:12,385 --> 00:14:13,696 CRY ALONE IN THE DARK OUT OF SHAME AND FEAR. OKAY, SIR, I'LL BUY THAT, 348 00:14:13,720 --> 00:14:14,363 SHAME AND FEAR. OKAY, SIR, I'LL BUY THAT, ANDY. 349 00:14:14,387 --> 00:14:15,865 OKAY, SIR, I'LL BUY THAT, ANDY. UH, I'M SORRY... FRANK. 350 00:14:15,889 --> 00:14:16,933 ANDY. UH, I'M SORRY... FRANK. YOUR NAME'S NOT ANDY. 351 00:14:16,957 --> 00:14:18,067 UH, I'M SORRY... FRANK. YOUR NAME'S NOT ANDY. IT'S NOT FRANK, EITHER. 352 00:14:18,091 --> 00:14:19,568 YOUR NAME'S NOT ANDY. IT'S NOT FRANK, EITHER. IT'S NEITHER FRANK NOR ANDY, BUT 353 00:14:19,592 --> 00:14:20,903 IT'S NOT FRANK, EITHER. IT'S NEITHER FRANK NOR ANDY, BUT WHATEVER YOUR NAME IS, IT'S 354 00:14:20,927 --> 00:14:21,871 IT'S NEITHER FRANK NOR ANDY, BUT WHATEVER YOUR NAME IS, IT'S CERTAINLY NOT ANDY. 355 00:14:21,895 --> 00:14:24,740 WHATEVER YOUR NAME IS, IT'S CERTAINLY NOT ANDY. ALL RIGHT, ANDY... NO. 356 00:14:24,764 --> 00:14:25,441 CERTAINLY NOT ANDY. ALL RIGHT, ANDY... NO. NOT ANDY. 357 00:14:25,465 --> 00:14:26,976 ALL RIGHT, ANDY... NO. NOT ANDY. ALL RIGHT, MR. STRAUSS. 358 00:14:27,000 --> 00:14:27,376 NOT ANDY. ALL RIGHT, MR. STRAUSS. SORRY. 359 00:14:27,400 --> 00:14:28,610 ALL RIGHT, MR. STRAUSS. SORRY. YOUR NAME'S NOT ANDY STRAUSS. 360 00:14:28,634 --> 00:14:29,946 SORRY. YOUR NAME'S NOT ANDY STRAUSS. I ONCE KNEW A GUY WHO WORKED IN 361 00:14:29,970 --> 00:14:30,546 YOUR NAME'S NOT ANDY STRAUSS. I ONCE KNEW A GUY WHO WORKED IN LOCAL RADIO. 362 00:14:30,570 --> 00:14:31,680 I ONCE KNEW A GUY WHO WORKED IN LOCAL RADIO. HIS NAME WAS ANDY STRAUSS. 363 00:14:31,704 --> 00:14:32,882 LOCAL RADIO. HIS NAME WAS ANDY STRAUSS. THE NAME JUST POPPED INTO MY 364 00:14:32,906 --> 00:14:33,249 HIS NAME WAS ANDY STRAUSS. THE NAME JUST POPPED INTO MY HEAD. 365 00:14:33,273 --> 00:14:35,417 THE NAME JUST POPPED INTO MY HEAD. NOW, FRANK, COULD YOU DESCRIBE 366 00:14:35,441 --> 00:14:37,353 HEAD. NOW, FRANK, COULD YOU DESCRIBE YOUR WIFE PHYSICALLY? 367 00:14:37,377 --> 00:14:38,888 NOW, FRANK, COULD YOU DESCRIBE YOUR WIFE PHYSICALLY? I-I'D RATHER NOT GIVE ANY 368 00:14:38,912 --> 00:14:40,589 YOUR WIFE PHYSICALLY? I-I'D RATHER NOT GIVE ANY INFORMATION THAT COULD REVEAL MY 369 00:14:40,613 --> 00:14:41,224 I-I'D RATHER NOT GIVE ANY INFORMATION THAT COULD REVEAL MY IDENTITY. 370 00:14:41,248 --> 00:14:42,558 INFORMATION THAT COULD REVEAL MY IDENTITY. WELL, WOULD IT BE SAFE TO SAY 371 00:14:42,582 --> 00:14:43,726 IDENTITY. WELL, WOULD IT BE SAFE TO SAY THAT SHE WEIGHS LESS THAN 372 00:14:43,750 --> 00:14:44,727 WELL, WOULD IT BE SAFE TO SAY THAT SHE WEIGHS LESS THAN 120 POUNDS? 373 00:14:44,751 --> 00:14:45,228 THAT SHE WEIGHS LESS THAN 120 POUNDS? YES. 374 00:14:45,252 --> 00:14:46,428 120 POUNDS? YES. AND YOU, SIR, ARE AN 375 00:14:46,452 --> 00:14:47,330 YES. AND YOU, SIR, ARE AN ABLE-BODIED MAN. 376 00:14:47,354 --> 00:14:48,831 AND YOU, SIR, ARE AN ABLE-BODIED MAN. YOU LOOK TO BE ABOUT 155, 160 377 00:14:48,855 --> 00:14:50,666 ABLE-BODIED MAN. YOU LOOK TO BE ABOUT 155, 160 POUNDS, 6 FEET TALL. 378 00:14:50,690 --> 00:14:52,001 YOU LOOK TO BE ABOUT 155, 160 POUNDS, 6 FEET TALL. MY QUESTION TO YOU, SIR, IS WHY 379 00:14:52,025 --> 00:14:53,269 POUNDS, 6 FEET TALL. MY QUESTION TO YOU, SIR, IS WHY THE HECK DON'T YOU JUST GET UP 380 00:14:53,293 --> 00:14:54,636 MY QUESTION TO YOU, SIR, IS WHY THE HECK DON'T YOU JUST GET UP SOME MORNING AND KICK THE LIVING 381 00:14:54,660 --> 00:14:56,305 THE HECK DON'T YOU JUST GET UP SOME MORNING AND KICK THE LIVING DAYLIGHTS OUT OF HER? 382 00:14:56,329 --> 00:14:57,806 SOME MORNING AND KICK THE LIVING DAYLIGHTS OUT OF HER? WELL, I'M AFRAID THAT SHE'LL 383 00:14:57,830 --> 00:14:59,141 DAYLIGHTS OUT OF HER? WELL, I'M AFRAID THAT SHE'LL WITHHOLD SEX. 384 00:14:59,165 --> 00:15:00,476 WELL, I'M AFRAID THAT SHE'LL WITHHOLD SEX. SO SHE'S THE TYPE OF GAL THAT 385 00:15:00,500 --> 00:15:01,643 WITHHOLD SEX. SO SHE'S THE TYPE OF GAL THAT WOULD USE SEX AS A WEAPON. 386 00:15:01,667 --> 00:15:02,778 SO SHE'S THE TYPE OF GAL THAT WOULD USE SEX AS A WEAPON. THAT'S RIGHT. 387 00:15:02,802 --> 00:15:04,747 WOULD USE SEX AS A WEAPON. THAT'S RIGHT. SOMETIMES SHE TELLS ME TO GO GET 388 00:15:04,771 --> 00:15:05,748 THAT'S RIGHT. SOMETIMES SHE TELLS ME TO GO GET SEX ELSEWHERE. 389 00:15:05,772 --> 00:15:07,250 SOMETIMES SHE TELLS ME TO GO GET SEX ELSEWHERE. WELL, FRANK, DO YOU? 390 00:15:07,274 --> 00:15:08,251 SEX ELSEWHERE. WELL, FRANK, DO YOU? NO. 391 00:15:08,275 --> 00:15:10,086 WELL, FRANK, DO YOU? NO. WELL, WHY NOT? 392 00:15:10,110 --> 00:15:11,587 NO. WELL, WHY NOT? I CAN'T. 393 00:15:11,611 --> 00:15:12,889 WELL, WHY NOT? I CAN'T. WELL, SIR, YOU'RE NOT AN 394 00:15:12,913 --> 00:15:13,822 I CAN'T. WELL, SIR, YOU'RE NOT AN UNATTRACTIVE MAN. 395 00:15:13,846 --> 00:15:15,291 WELL, SIR, YOU'RE NOT AN UNATTRACTIVE MAN. HE'S GOT NICE, DELICATE-LOOKING 396 00:15:15,315 --> 00:15:16,725 UNATTRACTIVE MAN. HE'S GOT NICE, DELICATE-LOOKING FEATURES... A NICE COMPLEXION, 397 00:15:16,749 --> 00:15:18,094 HE'S GOT NICE, DELICATE-LOOKING FEATURES... A NICE COMPLEXION, A BIRTHMARK THERE UNDER YOUR 398 00:15:18,118 --> 00:15:20,096 FEATURES... A NICE COMPLEXION, A BIRTHMARK THERE UNDER YOUR LEFT EYE. 399 00:15:20,120 --> 00:15:21,430 A BIRTHMARK THERE UNDER YOUR LEFT EYE. YOU MEAN TO SAY YOU CAN'T GET 400 00:15:21,454 --> 00:15:22,932 LEFT EYE. YOU MEAN TO SAY YOU CAN'T GET SOME BIMBO TO TAKE A ROLL IN THE 401 00:15:22,956 --> 00:15:24,767 YOU MEAN TO SAY YOU CAN'T GET SOME BIMBO TO TAKE A ROLL IN THE HAY WITH YOU? 402 00:15:24,791 --> 00:15:26,535 SOME BIMBO TO TAKE A ROLL IN THE HAY WITH YOU? WELL, THE PROBLEM IS I'M 403 00:15:26,559 --> 00:15:28,470 HAY WITH YOU? WELL, THE PROBLEM IS I'M IMPOTENT WITH WOMEN OTHER THAN 404 00:15:28,494 --> 00:15:29,171 WELL, THE PROBLEM IS I'M IMPOTENT WITH WOMEN OTHER THAN MY WIFE. 405 00:15:29,195 --> 00:15:30,506 IMPOTENT WITH WOMEN OTHER THAN MY WIFE. OKAY, LET'S SEE IF WE GOT 406 00:15:30,530 --> 00:15:31,840 MY WIFE. OKAY, LET'S SEE IF WE GOT THIS STRAIGHT HERE. 407 00:15:31,864 --> 00:15:33,075 OKAY, LET'S SEE IF WE GOT THIS STRAIGHT HERE. I'M THE OWNER OF A STRAUSS 408 00:15:33,099 --> 00:15:34,143 THIS STRAIGHT HERE. I'M THE OWNER OF A STRAUSS CONSTRUCTION-MACHINERY 409 00:15:34,167 --> 00:15:35,344 I'M THE OWNER OF A STRAUSS CONSTRUCTION-MACHINERY DEALERSHIP IN BENNINGTON, 410 00:15:35,368 --> 00:15:35,811 CONSTRUCTION-MACHINERY DEALERSHIP IN BENNINGTON, VERMONT. 411 00:15:35,835 --> 00:15:36,379 DEALERSHIP IN BENNINGTON, VERMONT. I'M SORRY. 412 00:15:36,403 --> 00:15:37,546 VERMONT. I'M SORRY. YOU'RE NOT FROM BENNINGTON, 413 00:15:37,570 --> 00:15:38,014 I'M SORRY. YOU'RE NOT FROM BENNINGTON, VERMONT. 414 00:15:38,038 --> 00:15:39,215 YOU'RE NOT FROM BENNINGTON, VERMONT. YOU'RE FROM SOME OTHER TOWN 415 00:15:39,239 --> 00:15:39,715 VERMONT. YOU'RE FROM SOME OTHER TOWN ENTIRELY. 416 00:15:39,739 --> 00:15:40,516 YOU'RE FROM SOME OTHER TOWN ENTIRELY. AND YOU'RE IN THE 417 00:15:40,540 --> 00:15:41,884 ENTIRELY. AND YOU'RE IN THE CONSTRUCTION-MACHINERY BUSINESS. 418 00:15:41,908 --> 00:15:43,085 AND YOU'RE IN THE CONSTRUCTION-MACHINERY BUSINESS. AND, FRANK, YOU'RE REGULARLY 419 00:15:43,109 --> 00:15:44,020 CONSTRUCTION-MACHINERY BUSINESS. AND, FRANK, YOU'RE REGULARLY BEATEN BY YOUR WIFE. 420 00:15:44,044 --> 00:15:45,054 AND, FRANK, YOU'RE REGULARLY BEATEN BY YOUR WIFE. WE'VE ESTABLISHED THAT. 421 00:15:45,078 --> 00:15:45,788 BEATEN BY YOUR WIFE. WE'VE ESTABLISHED THAT. AND BELIEVE ME. 422 00:15:45,812 --> 00:15:46,889 WE'VE ESTABLISHED THAT. AND BELIEVE ME. HUSBAND-BEATING IS A VERY 423 00:15:46,913 --> 00:15:47,589 AND BELIEVE ME. HUSBAND-BEATING IS A VERY SERIOUS THING. 424 00:15:47,613 --> 00:15:48,357 HUSBAND-BEATING IS A VERY SERIOUS THING. THIS IS SERIOUS. 425 00:15:48,381 --> 00:15:49,625 SERIOUS THING. THIS IS SERIOUS. WE'RE NOT FOOLING AROUND HERE. 426 00:15:49,649 --> 00:15:50,927 THIS IS SERIOUS. WE'RE NOT FOOLING AROUND HERE. FRANK HAD SOME PICTURES, WHICH 427 00:15:50,951 --> 00:15:51,593 WE'RE NOT FOOLING AROUND HERE. FRANK HAD SOME PICTURES, WHICH HE SHOWED ME. 428 00:15:51,617 --> 00:15:52,962 FRANK HAD SOME PICTURES, WHICH HE SHOWED ME. I TOOK THE LIBERTY OF HAVING ONE 429 00:15:52,986 --> 00:15:53,462 HE SHOWED ME. I TOOK THE LIBERTY OF HAVING ONE BLOWN UP. 430 00:15:53,486 --> 00:15:54,663 I TOOK THE LIBERTY OF HAVING ONE BLOWN UP. HE'S SO BATTERED HERE, YOU'D 431 00:15:54,687 --> 00:15:55,597 BLOWN UP. HE'S SO BATTERED HERE, YOU'D NEVER RECOGNIZE HIM. 432 00:15:55,621 --> 00:15:56,432 HE'S SO BATTERED HERE, YOU'D NEVER RECOGNIZE HIM. THAT'S MY FACE! 433 00:15:56,456 --> 00:15:57,366 NEVER RECOGNIZE HIM. THAT'S MY FACE! THEY'LL SEE MY FACE! 434 00:15:57,390 --> 00:15:58,534 THAT'S MY FACE! THEY'LL SEE MY FACE! THEY'RE SEEING YOUR FACE 435 00:15:58,558 --> 00:15:59,101 THEY'LL SEE MY FACE! THEY'RE SEEING YOUR FACE RIGHT NOW. 436 00:15:59,125 --> 00:16:00,369 THEY'RE SEEING YOUR FACE RIGHT NOW. YOU SHOULD HAVE JUST SAT THERE 437 00:16:00,393 --> 00:16:01,003 RIGHT NOW. YOU SHOULD HAVE JUST SAT THERE IN THE DARK. 438 00:16:01,027 --> 00:16:01,570 YOU SHOULD HAVE JUST SAT THERE IN THE DARK. I TOLD YOU. 439 00:16:01,594 --> 00:16:02,504 IN THE DARK. I TOLD YOU. YOU'VE BLOWN IT NOW. 440 00:16:02,528 --> 00:16:03,505 I TOLD YOU. YOU'VE BLOWN IT NOW. [GROANS] 441 00:16:03,529 --> 00:16:04,573 YOU'VE BLOWN IT NOW. [GROANS] I MIGHT AS WELL CALL YOU 442 00:16:04,597 --> 00:16:04,907 [GROANS] I MIGHT AS WELL CALL YOU ANDY. 443 00:16:04,931 --> 00:16:05,942 I MIGHT AS WELL CALL YOU ANDY. THE CAT'S OUT OF THE BAG. 444 00:16:05,966 --> 00:16:07,143 ANDY. THE CAT'S OUT OF THE BAG. IT'S ALL FOR THE BEST, I GUESS. 445 00:16:07,167 --> 00:16:08,277 THE CAT'S OUT OF THE BAG. IT'S ALL FOR THE BEST, I GUESS. LADIES AND GENTLEMEN, IN CASE 446 00:16:08,301 --> 00:16:09,478 IT'S ALL FOR THE BEST, I GUESS. LADIES AND GENTLEMEN, IN CASE YOU DON'T KNOW WHAT'S GOING ON 447 00:16:09,502 --> 00:16:10,546 LADIES AND GENTLEMEN, IN CASE YOU DON'T KNOW WHAT'S GOING ON HERE, WE'VE BEEN TALKING TO 448 00:16:10,570 --> 00:16:11,580 YOU DON'T KNOW WHAT'S GOING ON HERE, WE'VE BEEN TALKING TO ANDY STRAUSS, WHO RUNS THE 449 00:16:11,604 --> 00:16:12,781 HERE, WE'VE BEEN TALKING TO ANDY STRAUSS, WHO RUNS THE STRAUSS CONSTRUCTION-MACHINERY 450 00:16:12,805 --> 00:16:13,782 ANDY STRAUSS, WHO RUNS THE STRAUSS CONSTRUCTION-MACHINERY DEALERSHIP IN BENNINGTON, 451 00:16:13,806 --> 00:16:14,984 STRAUSS CONSTRUCTION-MACHINERY DEALERSHIP IN BENNINGTON, VERMONT, WITH HIS BROTHER PAUL. 452 00:16:15,008 --> 00:16:15,952 DEALERSHIP IN BENNINGTON, VERMONT, WITH HIS BROTHER PAUL. HE'S AFRAID OF HIS WIFE. 453 00:16:15,976 --> 00:16:17,186 VERMONT, WITH HIS BROTHER PAUL. HE'S AFRAID OF HIS WIFE. HE CRIES IN THE DARK, AND HE'S A 454 00:16:17,210 --> 00:16:18,087 HE'S AFRAID OF HIS WIFE. HE CRIES IN THE DARK, AND HE'S A BATTERED MASTURBATOR. 455 00:16:18,111 --> 00:16:18,787 HE CRIES IN THE DARK, AND HE'S A BATTERED MASTURBATOR. THANK YOU, ANDY. 456 00:16:18,811 --> 00:16:19,621 BATTERED MASTURBATOR. THANK YOU, ANDY. THANK YOU VERY MUCH. 457 00:16:19,645 --> 00:16:20,689 THANK YOU, ANDY. THANK YOU VERY MUCH. YOU'RE WELCOME TO COME BACK 458 00:16:20,713 --> 00:16:21,123 THANK YOU VERY MUCH. YOU'RE WELCOME TO COME BACK ANYTIME. 459 00:16:21,147 --> 00:16:22,992 YOU'RE WELCOME TO COME BACK ANYTIME. YOU'VE RUINED MY LIFE! 460 00:16:23,016 --> 00:16:24,226 ANYTIME. YOU'VE RUINED MY LIFE! WELL, SURE, I GUESS I'VE 461 00:16:24,250 --> 00:16:25,061 YOU'VE RUINED MY LIFE! WELL, SURE, I GUESS I'VE RUINED YOUR LIFE. 462 00:16:25,085 --> 00:16:25,727 WELL, SURE, I GUESS I'VE RUINED YOUR LIFE. FAIR ENOUGH. 463 00:16:25,751 --> 00:16:27,263 RUINED YOUR LIFE. FAIR ENOUGH. I'LL BUY THAT, ANDY. 464 00:16:27,287 --> 00:16:28,431 FAIR ENOUGH. I'LL BUY THAT, ANDY. LADIES AND GENTLEMEN, GOOD 465 00:16:28,455 --> 00:16:28,831 I'LL BUY THAT, ANDY. LADIES AND GENTLEMEN, GOOD NIGHT. 466 00:16:28,855 --> 00:16:30,099 LADIES AND GENTLEMEN, GOOD NIGHT. WE'LL SEE YOU TOMORROW ON THE 467 00:16:30,123 --> 00:16:30,466 NIGHT. WE'LL SEE YOU TOMORROW ON THE SHOW. 468 00:16:30,490 --> 00:16:30,967 WE'LL SEE YOU TOMORROW ON THE SHOW. TUNE IN. 469 00:16:30,991 --> 00:16:34,470 SHOW. TUNE IN. I'M GONNA BE TALKING ABOUT... 470 00:16:34,494 --> 00:16:36,138 TUNE IN. I'M GONNA BE TALKING ABOUT... MY EYEBROWS, MY EYEBROWS. 471 00:16:36,162 --> 00:16:37,306 I'M GONNA BE TALKING ABOUT... MY EYEBROWS, MY EYEBROWS. I'M LOSING MY EYEBROWS. 472 00:16:37,330 --> 00:16:38,640 MY EYEBROWS, MY EYEBROWS. I'M LOSING MY EYEBROWS. AND I WANT TO TALK A LITTLE BIT 473 00:16:38,664 --> 00:16:39,308 I'M LOSING MY EYEBROWS. AND I WANT TO TALK A LITTLE BIT ABOUT THAT. 474 00:16:39,332 --> 00:16:41,852 AND I WANT TO TALK A LITTLE BIT ABOUT THAT. THANK YOU, EVERYBODY. 475 00:16:55,247 --> 00:17:03,247 AND NOW MY GOOD FRIEND STEPHEN BISHOP. [INTRO TO "ON AND ON" PLAYS] 476 00:17:11,030 --> 00:17:18,180 ♪ DOWN IN JAMAICA, THEY GOT LOTS OF PRETTY WOMEN ♪ ♪ STEAL YOUR MONEY, THEN THEY 477 00:17:18,204 --> 00:17:20,782 LOTS OF PRETTY WOMEN ♪ ♪ STEAL YOUR MONEY, THEN THEY BREAK YOUR HEART ♪ 478 00:17:20,806 --> 00:17:23,052 ♪ STEAL YOUR MONEY, THEN THEY BREAK YOUR HEART ♪ ♪ LONESOME SUE, SHE'S IN LOVE 479 00:17:23,076 --> 00:17:25,054 BREAK YOUR HEART ♪ ♪ LONESOME SUE, SHE'S IN LOVE WITH OLD SAM ♪ 480 00:17:25,078 --> 00:17:27,423 ♪ LONESOME SUE, SHE'S IN LOVE WITH OLD SAM ♪ ♪ TAKE HIM FROM THE FIRE INTO 481 00:17:27,447 --> 00:17:29,358 WITH OLD SAM ♪ ♪ TAKE HIM FROM THE FIRE INTO THE FRYING PAN ♪ 482 00:17:29,382 --> 00:17:31,693 ♪ TAKE HIM FROM THE FIRE INTO THE FRYING PAN ♪ ♪ ON AND ON ♪ 483 00:17:31,717 --> 00:17:35,697 THE FRYING PAN ♪ ♪ ON AND ON ♪ ♪ SHE JUST KEEPS ON TRYING ♪ 484 00:17:35,721 --> 00:17:37,400 ♪ ON AND ON ♪ ♪ SHE JUST KEEPS ON TRYING ♪ ♪ AND SHE SMILES WHEN SHE 485 00:17:37,424 --> 00:17:39,735 ♪ SHE JUST KEEPS ON TRYING ♪ ♪ AND SHE SMILES WHEN SHE FEELS LIKE CRYING ♪ 486 00:17:39,759 --> 00:17:41,803 ♪ AND SHE SMILES WHEN SHE FEELS LIKE CRYING ♪ ♪ ON AND ON ♪ 487 00:17:41,827 --> 00:17:43,739 FEELS LIKE CRYING ♪ ♪ ON AND ON ♪ ♪ ON AND ON ♪ 488 00:17:43,763 --> 00:17:50,112 ♪ ON AND ON ♪ ♪ ON AND ON ♪ ♪ ON AND ON ♪ 489 00:17:50,136 --> 00:17:53,282 ♪ ON AND ON ♪ ♪ ON AND ON ♪ ♪ POOR OLD JIMMY SITS ALONE IN 490 00:17:53,306 --> 00:17:55,017 ♪ ON AND ON ♪ ♪ POOR OLD JIMMY SITS ALONE IN THE MOONLIGHT ♪ 491 00:17:55,041 --> 00:17:58,187 ♪ POOR OLD JIMMY SITS ALONE IN THE MOONLIGHT ♪ ♪ SAW HIS WOMAN KISS ANOTHER 492 00:17:58,211 --> 00:17:59,088 THE MOONLIGHT ♪ ♪ SAW HIS WOMAN KISS ANOTHER MAN ♪ 493 00:17:59,112 --> 00:18:01,823 ♪ SAW HIS WOMAN KISS ANOTHER MAN ♪ ♪ SO HE TAKES A LADDER, STEALS 494 00:18:01,847 --> 00:18:04,993 MAN ♪ ♪ SO HE TAKES A LADDER, STEALS THE STARS FROM THE SKY ♪ 495 00:18:05,017 --> 00:18:07,663 ♪ SO HE TAKES A LADDER, STEALS THE STARS FROM THE SKY ♪ ♪ PUTS ON SINATRA AND STARTS TO 496 00:18:07,687 --> 00:18:08,664 THE STARS FROM THE SKY ♪ ♪ PUTS ON SINATRA AND STARTS TO CRY ♪ 497 00:18:08,688 --> 00:18:11,167 ♪ PUTS ON SINATRA AND STARTS TO CRY ♪ ♪ ON AND ON ♪ 498 00:18:11,191 --> 00:18:15,071 CRY ♪ ♪ ON AND ON ♪ ♪ HE JUST KEEPS ON TRYING ♪ 499 00:18:15,095 --> 00:18:17,339 ♪ ON AND ON ♪ ♪ HE JUST KEEPS ON TRYING ♪ ♪ AND HE SMILES WHEN HE FEELS 500 00:18:17,363 --> 00:18:19,108 ♪ HE JUST KEEPS ON TRYING ♪ ♪ AND HE SMILES WHEN HE FEELS LIKE CRYING ♪ 501 00:18:19,132 --> 00:18:20,909 ♪ AND HE SMILES WHEN HE FEELS LIKE CRYING ♪ ♪ ON AND ON ♪ 502 00:18:20,933 --> 00:18:23,011 LIKE CRYING ♪ ♪ ON AND ON ♪ ♪ ON AND ON ♪ 503 00:18:23,035 --> 00:18:28,184 ♪ ON AND ON ♪ ♪ ON AND ON ♪ ♪ ON AND ON ♪ 504 00:18:28,208 --> 00:18:31,187 ♪ ON AND ON ♪ ♪ ON AND ON ♪ ♪ WHEN THE FIRST TIME IS THE 505 00:18:31,211 --> 00:18:33,189 ♪ ON AND ON ♪ ♪ WHEN THE FIRST TIME IS THE LAST TIME ♪ 506 00:18:33,213 --> 00:18:37,526 ♪ WHEN THE FIRST TIME IS THE LAST TIME ♪ ♪ IT CAN MAKE YOU FEEL SO BAD ♪ 507 00:18:37,550 --> 00:18:40,529 LAST TIME ♪ ♪ IT CAN MAKE YOU FEEL SO BAD ♪ ♪ BUT IF YOU KNOW IT ♪ 508 00:18:40,553 --> 00:18:42,364 ♪ IT CAN MAKE YOU FEEL SO BAD ♪ ♪ BUT IF YOU KNOW IT ♪ ♪ SHOW IT ♪ 509 00:18:42,388 --> 00:18:44,866 ♪ BUT IF YOU KNOW IT ♪ ♪ SHOW IT ♪ ♪ HOLD ON TIGHT ♪ 510 00:18:44,890 --> 00:18:52,890 ♪ SHOW IT ♪ ♪ HOLD ON TIGHT ♪ ♪ DON'T LET HER SAY GOOD NIGHT ♪ 511 00:18:59,271 --> 00:19:07,123 ♪ GOT THE SUN ON MY SHOULDERS AND MY TOES IN THE SAND ♪ ♪ MY WOMAN'S LEFT ME FOR SOME 512 00:19:07,147 --> 00:19:09,158 AND MY TOES IN THE SAND ♪ ♪ MY WOMAN'S LEFT ME FOR SOME OTHER MAN ♪ 513 00:19:09,182 --> 00:19:11,327 ♪ MY WOMAN'S LEFT ME FOR SOME OTHER MAN ♪ ♪ OH, BUT I DON'T CARE ♪ 514 00:19:11,351 --> 00:19:15,030 OTHER MAN ♪ ♪ OH, BUT I DON'T CARE ♪ ♪ I'LL JUST DREAM AND STAY TAN ♪ 515 00:19:15,054 --> 00:19:17,633 ♪ OH, BUT I DON'T CARE ♪ ♪ I'LL JUST DREAM AND STAY TAN ♪ ♪ TOSS UP MY HEART TO SEE WHERE 516 00:19:17,657 --> 00:19:18,567 ♪ I'LL JUST DREAM AND STAY TAN ♪ ♪ TOSS UP MY HEART TO SEE WHERE IT LANDS ♪ 517 00:19:18,591 --> 00:19:21,036 ♪ TOSS UP MY HEART TO SEE WHERE IT LANDS ♪ ♪ ON AND ON ♪ 518 00:19:21,060 --> 00:19:24,706 IT LANDS ♪ ♪ ON AND ON ♪ ♪ I JUST KEEP ON TRYING ♪ 519 00:19:24,730 --> 00:19:27,709 ♪ ON AND ON ♪ ♪ I JUST KEEP ON TRYING ♪ ♪ AND I SMILE WHEN I FEEL LIKE 520 00:19:27,733 --> 00:19:29,011 ♪ I JUST KEEP ON TRYING ♪ ♪ AND I SMILE WHEN I FEEL LIKE DYING ♪ 521 00:19:29,035 --> 00:19:30,779 ♪ AND I SMILE WHEN I FEEL LIKE DYING ♪ ♪ ON AND ON ♪ 522 00:19:30,803 --> 00:19:32,948 DYING ♪ ♪ ON AND ON ♪ ♪ ON AND ON ♪ 523 00:19:32,972 --> 00:19:37,386 ♪ ON AND ON ♪ ♪ ON AND ON ♪ ♪ ON AND ON ♪ 524 00:19:37,410 --> 00:19:39,788 ♪ ON AND ON ♪ ♪ ON AND ON ♪ ♪ ON AND ON ♪ 525 00:19:39,812 --> 00:19:42,124 ♪ ON AND ON ♪ ♪ ON AND ON ♪ ♪ ON AND ON ♪ 526 00:19:42,148 --> 00:19:46,962 ♪ ON AND ON ♪ ♪ ON AND ON ♪ ♪ ON AND ON ♪ 527 00:19:46,986 --> 00:19:49,298 ♪ ON AND ON ♪ ♪ ON AND ON ♪ ♪ ON AND ON ♪ 528 00:19:49,322 --> 00:19:51,634 ♪ ON AND ON ♪ ♪ ON AND ON ♪ ♪ ON AND ON ♪ 529 00:19:51,658 --> 00:19:57,139 ♪ ON AND ON ♪ ♪ ON AND ON ♪ ♪ ON AND ON ♪ 530 00:19:57,163 --> 00:19:59,975 ♪ ON AND ON ♪ ♪ ON AND ON ♪ ♪ OOH ♪ 531 00:19:59,999 --> 00:20:03,145 ♪ ON AND ON ♪ ♪ OOH ♪ ♪ OOH, OOH ♪ 532 00:20:03,169 --> 00:20:05,102 ♪ OOH ♪ ♪ OOH, OOH ♪ [CHEERS AND APPLAUSE] 533 00:20:14,513 --> 00:20:21,997 STAND BY. [UP-TEMPO MUSIC PLAYING] HEY, TIM, HOW COME YOU DIDN'T 534 00:20:22,021 --> 00:20:23,432 [UP-TEMPO MUSIC PLAYING] HEY, TIM, HOW COME YOU DIDN'T GET "TOO-RA-LOO-RA-LOO-RAL" THIS 535 00:20:23,456 --> 00:20:23,832 HEY, TIM, HOW COME YOU DIDN'T GET "TOO-RA-LOO-RA-LOO-RAL" THIS YEAR? 536 00:20:23,856 --> 00:20:25,234 GET "TOO-RA-LOO-RA-LOO-RAL" THIS YEAR? [Irish accent] I TOLD THE 537 00:20:25,258 --> 00:20:26,502 YEAR? [Irish accent] I TOLD THE GUY... I SAID I WANT ALL THE 538 00:20:26,526 --> 00:20:27,869 [Irish accent] I TOLD THE GUY... I SAID I WANT ALL THE CROSBYS AND IRISH ROLLERS YOU 539 00:20:27,893 --> 00:20:28,370 GUY... I SAID I WANT ALL THE CROSBYS AND IRISH ROLLERS YOU CAN GET. 540 00:20:28,394 --> 00:20:30,038 CROSBYS AND IRISH ROLLERS YOU CAN GET. AND HERE IT IS, SIX DAYS BEFORE 541 00:20:30,062 --> 00:20:31,740 CAN GET. AND HERE IT IS, SIX DAYS BEFORE ST. PATRICK'S DAY, AND I'VE ONLY 542 00:20:31,764 --> 00:20:33,108 AND HERE IT IS, SIX DAYS BEFORE ST. PATRICK'S DAY, AND I'VE ONLY GOT 12 IRISH TUNES ON THE 543 00:20:33,132 --> 00:20:33,642 ST. PATRICK'S DAY, AND I'VE ONLY GOT 12 IRISH TUNES ON THE JUKEBOX. 544 00:20:33,666 --> 00:20:35,077 GOT 12 IRISH TUNES ON THE JUKEBOX. YEAH, AND YOU'VE GOT TWO OF 545 00:20:35,101 --> 00:20:36,245 JUKEBOX. YEAH, AND YOU'VE GOT TWO OF "THE UNICORN SONG." 546 00:20:36,269 --> 00:20:37,879 YEAH, AND YOU'VE GOT TWO OF "THE UNICORN SONG." YEAH, BUT NOBODY'S GONNA PLAY 547 00:20:37,903 --> 00:20:39,248 "THE UNICORN SONG." YEAH, BUT NOBODY'S GONNA PLAY THE VERSION BY CARLO BUTI. 548 00:20:39,272 --> 00:20:39,948 YEAH, BUT NOBODY'S GONNA PLAY THE VERSION BY CARLO BUTI. [CHUCKLES] 549 00:20:39,972 --> 00:20:40,816 THE VERSION BY CARLO BUTI. [CHUCKLES] I'M TELLING YOU. 550 00:20:40,840 --> 00:20:42,050 [CHUCKLES] I'M TELLING YOU. I'VE HAD IT WITH THOSE JUKEBOX 551 00:20:42,074 --> 00:20:42,484 I'M TELLING YOU. I'VE HAD IT WITH THOSE JUKEBOX PEOPLE. 552 00:20:42,508 --> 00:20:44,286 I'VE HAD IT WITH THOSE JUKEBOX PEOPLE. CAN YOU BELIEVE A CHICAGO TAVERN 553 00:20:44,310 --> 00:20:46,021 PEOPLE. CAN YOU BELIEVE A CHICAGO TAVERN WITHOUT "TOO-RA-LOO-RA-LOO-RAL" 554 00:20:46,045 --> 00:20:47,856 CAN YOU BELIEVE A CHICAGO TAVERN WITHOUT "TOO-RA-LOO-RA-LOO-RAL" ON ST. PATRICK'S DAY? 555 00:20:47,880 --> 00:20:49,024 WITHOUT "TOO-RA-LOO-RA-LOO-RAL" ON ST. PATRICK'S DAY? YOU'D THINK THE JUKEBOX 556 00:20:49,048 --> 00:20:49,958 ON ST. PATRICK'S DAY? YOU'D THINK THE JUKEBOX PEOPLE WOULD HAVE PUT 557 00:20:49,982 --> 00:20:51,126 YOU'D THINK THE JUKEBOX PEOPLE WOULD HAVE PUT "TOO-RA-LOO-RA-LOO-RAL" IN 558 00:20:51,150 --> 00:20:51,993 PEOPLE WOULD HAVE PUT "TOO-RA-LOO-RA-LOO-RAL" IN EVERYWHERE BY NOW. 559 00:20:52,017 --> 00:20:52,695 "TOO-RA-LOO-RA-LOO-RAL" IN EVERYWHERE BY NOW. NO, NO, NO. 560 00:20:52,719 --> 00:20:53,729 EVERYWHERE BY NOW. NO, NO, NO. YOU KNOW WHO RUNS THOSE 561 00:20:53,753 --> 00:20:55,364 NO, NO, NO. YOU KNOW WHO RUNS THOSE JUKEBOXES. 562 00:20:55,388 --> 00:20:57,466 YOU KNOW WHO RUNS THOSE JUKEBOXES. JUST TAKE A GANDER AT ALL THOSE 563 00:20:57,490 --> 00:20:59,368 JUKEBOXES. JUST TAKE A GANDER AT ALL THOSE FRANK SINATRA AND AL MARTINO 564 00:20:59,392 --> 00:21:00,536 JUST TAKE A GANDER AT ALL THOSE FRANK SINATRA AND AL MARTINO SONGS ON THERE. 565 00:21:00,560 --> 00:21:01,870 FRANK SINATRA AND AL MARTINO SONGS ON THERE. YOU'D THINK IT WAS COLUMBUS DAY. 566 00:21:01,894 --> 00:21:02,771 SONGS ON THERE. YOU'D THINK IT WAS COLUMBUS DAY. I'M TELLING YOU. 567 00:21:02,795 --> 00:21:03,905 YOU'D THINK IT WAS COLUMBUS DAY. I'M TELLING YOU. SOMETIMES I FEEL LIKE 568 00:21:03,929 --> 00:21:05,474 I'M TELLING YOU. SOMETIMES I FEEL LIKE COMPLAINING TO MY ALDERMAN ABOUT 569 00:21:05,498 --> 00:21:05,807 SOMETIMES I FEEL LIKE COMPLAINING TO MY ALDERMAN ABOUT IT. 570 00:21:05,831 --> 00:21:07,276 COMPLAINING TO MY ALDERMAN ABOUT IT. BUT I DON'T KNOW WHETHER IT'S 571 00:21:07,300 --> 00:21:08,744 IT. BUT I DON'T KNOW WHETHER IT'S WORTH WASTING A FAVOR ON, YOU 572 00:21:08,768 --> 00:21:10,979 BUT I DON'T KNOW WHETHER IT'S WORTH WASTING A FAVOR ON, YOU KNOW? 573 00:21:11,003 --> 00:21:12,381 WORTH WASTING A FAVOR ON, YOU KNOW? DO YOU THINK MAYOR DALEY WILL 574 00:21:12,405 --> 00:21:13,315 KNOW? DO YOU THINK MAYOR DALEY WILL APPEAR AGAIN AT THE 575 00:21:13,339 --> 00:21:14,816 DO YOU THINK MAYOR DALEY WILL APPEAR AGAIN AT THE ST. PATRICK'S DAY PARADE? 576 00:21:14,840 --> 00:21:16,252 APPEAR AGAIN AT THE ST. PATRICK'S DAY PARADE? LAST YEAR, A LOT OF PEOPLE SAID 577 00:21:16,276 --> 00:21:17,486 ST. PATRICK'S DAY PARADE? LAST YEAR, A LOT OF PEOPLE SAID THEY THOUGHT THEY SAW HIM 578 00:21:17,510 --> 00:21:18,887 LAST YEAR, A LOT OF PEOPLE SAID THEY THOUGHT THEY SAW HIM HOVERING OVER THE "LITHUANIANS 579 00:21:18,911 --> 00:21:21,223 THEY THOUGHT THEY SAW HIM HOVERING OVER THE "LITHUANIANS SALUTE THE IRISH" FLOAT. 580 00:21:21,247 --> 00:21:22,725 HOVERING OVER THE "LITHUANIANS SALUTE THE IRISH" FLOAT. I DON'T KNOW WHY HE'D HOVER 581 00:21:22,749 --> 00:21:24,059 SALUTE THE IRISH" FLOAT. I DON'T KNOW WHY HE'D HOVER OVER THE LITHUANIAN FLOAT. 582 00:21:24,083 --> 00:21:25,861 I DON'T KNOW WHY HE'D HOVER OVER THE LITHUANIAN FLOAT. THAT WAS PROBABLY JUST SOME KIND 583 00:21:25,885 --> 00:21:27,596 OVER THE LITHUANIAN FLOAT. THAT WAS PROBABLY JUST SOME KIND OF LITHUANIAN PUBLICITY STUNT. 584 00:21:27,620 --> 00:21:28,530 THAT WAS PROBABLY JUST SOME KIND OF LITHUANIAN PUBLICITY STUNT. YEAH. 585 00:21:28,554 --> 00:21:30,332 OF LITHUANIAN PUBLICITY STUNT. YEAH. I KNOW A GUY THAT SAYS HE SAW 586 00:21:30,356 --> 00:21:32,033 YEAH. I KNOW A GUY THAT SAYS HE SAW HIM LAST YEAR ON THE CORNER OF 587 00:21:32,057 --> 00:21:33,769 I KNOW A GUY THAT SAYS HE SAW HIM LAST YEAR ON THE CORNER OF STATE AND WABASH SELLING RAFFLE 588 00:21:33,793 --> 00:21:35,437 HIM LAST YEAR ON THE CORNER OF STATE AND WABASH SELLING RAFFLE TICKETS. 589 00:21:35,461 --> 00:21:36,037 STATE AND WABASH SELLING RAFFLE TICKETS. NO, NO. 590 00:21:36,061 --> 00:21:37,273 TICKETS. NO, NO. THAT FELLA, HE PROBABLY SAW 591 00:21:37,297 --> 00:21:38,707 NO, NO. THAT FELLA, HE PROBABLY SAW SOMEBODY THAT, YOU KNOW, LOOKED 592 00:21:38,731 --> 00:21:39,475 THAT FELLA, HE PROBABLY SAW SOMEBODY THAT, YOU KNOW, LOOKED LIKE THE MAYOR. 593 00:21:39,499 --> 00:21:41,977 SOMEBODY THAT, YOU KNOW, LOOKED LIKE THE MAYOR. THAT'S WHAT I WAS THINKING. 594 00:21:42,001 --> 00:21:44,441 LIKE THE MAYOR. THAT'S WHAT I WAS THINKING. [CHORUS SINGING] 595 00:22:03,922 --> 00:22:08,937 OH, MY... MY GOD! IT'S THE MAYOR! [Chicago accent] THE PEOPLE 596 00:22:08,961 --> 00:22:10,773 IT'S THE MAYOR! [Chicago accent] THE PEOPLE OF THE CITY OF CHICAGO... 597 00:22:10,797 --> 00:22:11,973 [Chicago accent] THE PEOPLE OF THE CITY OF CHICAGO... I-IS IT REALLY YOU, YOUR 598 00:22:11,997 --> 00:22:12,374 OF THE CITY OF CHICAGO... I-IS IT REALLY YOU, YOUR HONOR? 599 00:22:12,398 --> 00:22:13,609 I-IS IT REALLY YOU, YOUR HONOR? I HAVE A MESSAGE THAT I 600 00:22:13,633 --> 00:22:14,810 HONOR? I HAVE A MESSAGE THAT I WANT YOU TO GIVE TO THE NEW 601 00:22:14,834 --> 00:22:15,210 I HAVE A MESSAGE THAT I WANT YOU TO GIVE TO THE NEW MAYOR. 602 00:22:15,234 --> 00:22:16,478 WANT YOU TO GIVE TO THE NEW MAYOR. WHAT'S IT LIKE TO BE DEAD? 603 00:22:16,502 --> 00:22:17,979 MAYOR. WHAT'S IT LIKE TO BE DEAD? HAVE YOU SEEN GOD? 604 00:22:18,003 --> 00:22:19,581 WHAT'S IT LIKE TO BE DEAD? HAVE YOU SEEN GOD? SURE, I SEEN GOD. 605 00:22:19,605 --> 00:22:21,016 HAVE YOU SEEN GOD? SURE, I SEEN GOD. I HAD TO GET JUDGED BY HIM, 606 00:22:21,040 --> 00:22:22,318 SURE, I SEEN GOD. I HAD TO GET JUDGED BY HIM, DIDN'T I? 607 00:22:22,342 --> 00:22:23,485 I HAD TO GET JUDGED BY HIM, DIDN'T I? WHAT'S HE LOOK LIKE? 608 00:22:23,509 --> 00:22:25,654 DIDN'T I? WHAT'S HE LOOK LIKE? HE'S ABOUT 5'7", 180 POUNDS, 609 00:22:25,678 --> 00:22:27,222 WHAT'S HE LOOK LIKE? HE'S ABOUT 5'7", 180 POUNDS, LOOKS TO BE IN HIS LATE 70s. 610 00:22:27,246 --> 00:22:28,524 HE'S ABOUT 5'7", 180 POUNDS, LOOKS TO BE IN HIS LATE 70s. YOU MEAN HE LOOKS JUST LIKE 611 00:22:28,548 --> 00:22:29,325 LOOKS TO BE IN HIS LATE 70s. YOU MEAN HE LOOKS JUST LIKE YOU, YOUR HONOR! 612 00:22:29,349 --> 00:22:30,192 YOU MEAN HE LOOKS JUST LIKE YOU, YOUR HONOR! [CHUCKLES] 613 00:22:30,216 --> 00:22:31,460 YOU, YOUR HONOR! [CHUCKLES] WELL, WHAT DID HE SAY TO YOU? 614 00:22:31,484 --> 00:22:33,161 [CHUCKLES] WELL, WHAT DID HE SAY TO YOU? WELL, HE ASKED ME TO 615 00:22:33,185 --> 00:22:34,896 WELL, WHAT DID HE SAY TO YOU? WELL, HE ASKED ME TO RECONSIDER MY ONE-VOTE, 616 00:22:34,920 --> 00:22:37,165 WELL, HE ASKED ME TO RECONSIDER MY ONE-VOTE, ONE-TURKEY POLITICAL PHILOSOPHY. 617 00:22:37,189 --> 00:22:38,500 RECONSIDER MY ONE-VOTE, ONE-TURKEY POLITICAL PHILOSOPHY. THAT'S WHY I'M HERE. 618 00:22:38,524 --> 00:22:40,502 ONE-TURKEY POLITICAL PHILOSOPHY. THAT'S WHY I'M HERE. I WANT YOU TO TELL THE NEW MAYOR 619 00:22:40,526 --> 00:22:42,504 THAT'S WHY I'M HERE. I WANT YOU TO TELL THE NEW MAYOR I BELIEVE YOU CAN NO LONGER GIVE 620 00:22:42,528 --> 00:22:44,506 I WANT YOU TO TELL THE NEW MAYOR I BELIEVE YOU CAN NO LONGER GIVE A MAN A TURKEY AND GET HIS VOTE. 621 00:22:44,530 --> 00:22:47,075 I BELIEVE YOU CAN NO LONGER GIVE A MAN A TURKEY AND GET HIS VOTE. FROM NOW ON, THROW IN A COUPLE 622 00:22:47,099 --> 00:22:49,445 A MAN A TURKEY AND GET HIS VOTE. FROM NOW ON, THROW IN A COUPLE OF CANS OF CRANBERRY SAUCE. 623 00:22:49,469 --> 00:22:51,179 FROM NOW ON, THROW IN A COUPLE OF CANS OF CRANBERRY SAUCE. YOU KNOW, PUT IN A NICE BUCKET 624 00:22:51,203 --> 00:22:52,948 OF CANS OF CRANBERRY SAUCE. YOU KNOW, PUT IN A NICE BUCKET OF MASHED POTATOES WITH GIBLET 625 00:22:52,972 --> 00:22:54,416 YOU KNOW, PUT IN A NICE BUCKET OF MASHED POTATOES WITH GIBLET GRAVY. 626 00:22:54,440 --> 00:22:56,585 OF MASHED POTATOES WITH GIBLET GRAVY. TELL HIM I HAVE A COMPLAINT. 627 00:22:56,609 --> 00:22:58,153 GRAVY. TELL HIM I HAVE A COMPLAINT. I DON'T LIKE THE WAY HE INTERRED 628 00:22:58,177 --> 00:22:58,487 TELL HIM I HAVE A COMPLAINT. I DON'T LIKE THE WAY HE INTERRED ME. 629 00:22:58,511 --> 00:23:00,322 I DON'T LIKE THE WAY HE INTERRED ME. I WAS HOPING THAT HE'D KEEP MY 630 00:23:00,346 --> 00:23:02,224 ME. I WAS HOPING THAT HE'D KEEP MY BODY UNDER GLASS AT THE ROTUNDA 631 00:23:02,248 --> 00:23:04,092 I WAS HOPING THAT HE'D KEEP MY BODY UNDER GLASS AT THE ROTUNDA AT O'HARE AIRPORT. 632 00:23:04,116 --> 00:23:05,861 BODY UNDER GLASS AT THE ROTUNDA AT O'HARE AIRPORT. I THOUGHT I'D BE GUARDED AROUND 633 00:23:05,885 --> 00:23:07,563 AT O'HARE AIRPORT. I THOUGHT I'D BE GUARDED AROUND THE CLOCK BY CHANGING TEAMS OF 634 00:23:07,587 --> 00:23:08,697 I THOUGHT I'D BE GUARDED AROUND THE CLOCK BY CHANGING TEAMS OF PRECINCT CAPTAINS. 635 00:23:08,721 --> 00:23:09,665 THE CLOCK BY CHANGING TEAMS OF PRECINCT CAPTAINS. I THOUGHT THEY'D HAVE 636 00:23:09,689 --> 00:23:10,966 PRECINCT CAPTAINS. I THOUGHT THEY'D HAVE "TOO-RA-LOO-RA-LOO-RAL" ON THE 637 00:23:10,990 --> 00:23:12,100 I THOUGHT THEY'D HAVE "TOO-RA-LOO-RA-LOO-RAL" ON THE LOUDSPEAKERS AT ALL TIMES. 638 00:23:12,124 --> 00:23:12,835 "TOO-RA-LOO-RA-LOO-RAL" ON THE LOUDSPEAKERS AT ALL TIMES. WE CAN'T GET 639 00:23:12,859 --> 00:23:14,102 LOUDSPEAKERS AT ALL TIMES. WE CAN'T GET "TOO-RA-LOO-RA-LOO-RAL," YOUR 640 00:23:14,126 --> 00:23:14,503 WE CAN'T GET "TOO-RA-LOO-RA-LOO-RAL," YOUR HONOR. 641 00:23:14,527 --> 00:23:15,003 "TOO-RA-LOO-RA-LOO-RAL," YOUR HONOR. WHAT?! 642 00:23:15,027 --> 00:23:15,671 HONOR. WHAT?! YOU CAN'T GET 643 00:23:15,695 --> 00:23:16,739 WHAT?! YOU CAN'T GET "TOO-RA-LOO-RA-LOO-RAL"? 644 00:23:16,763 --> 00:23:18,073 YOU CAN'T GET "TOO-RA-LOO-RA-LOO-RAL"? I CALLED THE JUKEBOX COMPANY 645 00:23:18,097 --> 00:23:19,575 "TOO-RA-LOO-RA-LOO-RAL"? I CALLED THE JUKEBOX COMPANY THREE TIMES! 646 00:23:19,599 --> 00:23:22,360 I CALLED THE JUKEBOX COMPANY THREE TIMES! I'LL TAKE CARE OF THIS. 647 00:23:31,309 --> 00:23:35,190 HELLO? THIS IS THE MAYOR. I AM. 648 00:23:35,214 --> 00:23:36,392 THIS IS THE MAYOR. I AM. I JUST CAME BACK FOR 649 00:23:36,416 --> 00:23:38,093 I AM. I JUST CAME BACK FOR ST. PATRICK'S DAY. 650 00:23:38,117 --> 00:23:39,628 I JUST CAME BACK FOR ST. PATRICK'S DAY. LISTEN, I'M IN A BAR OVER ON 651 00:23:39,652 --> 00:23:40,996 ST. PATRICK'S DAY. LISTEN, I'M IN A BAR OVER ON NORTH AVENUE AND AUSTEN. 652 00:23:41,020 --> 00:23:41,963 LISTEN, I'M IN A BAR OVER ON NORTH AVENUE AND AUSTEN. THEY DON'T HAVE 653 00:23:41,987 --> 00:23:43,265 NORTH AVENUE AND AUSTEN. THEY DON'T HAVE "TOO-RA-LOO-RA-LOO-RAL" 654 00:23:43,289 --> 00:23:45,934 THEY DON'T HAVE "TOO-RA-LOO-RA-LOO-RAL" ON THE JUKEBOX. 655 00:23:45,958 --> 00:23:49,104 "TOO-RA-LOO-RA-LOO-RAL" ON THE JUKEBOX. OKAY. 656 00:23:49,128 --> 00:23:54,443 ON THE JUKEBOX. OKAY. IT'S TAKEN CARE OF. 657 00:23:54,467 --> 00:23:56,734 OKAY. IT'S TAKEN CARE OF. [CHORUS SINGING] 658 00:24:07,446 --> 00:24:11,627 LOOK! HE LEFT HIS TURKEY! YEAH. 659 00:24:11,651 --> 00:24:12,961 HE LEFT HIS TURKEY! YEAH. IT'S LIKE A MIRACLE. 660 00:24:12,985 --> 00:24:14,963 YEAH. IT'S LIKE A MIRACLE. YEAH, HE DIDN'T EVEN TELL US 661 00:24:14,987 --> 00:24:16,799 IT'S LIKE A MIRACLE. YEAH, HE DIDN'T EVEN TELL US WHO TO VOTE FOR IN THE PRIMARY. 662 00:24:16,823 --> 00:24:18,133 YEAH, HE DIDN'T EVEN TELL US WHO TO VOTE FOR IN THE PRIMARY. IT IS A MIRACLE! 663 00:24:18,157 --> 00:24:23,472 WHO TO VOTE FOR IN THE PRIMARY. IT IS A MIRACLE! ♪ TOO-RA-LOO-RA-LOO-RAL ♪ 664 00:24:23,496 --> 00:24:28,143 IT IS A MIRACLE! ♪ TOO-RA-LOO-RA-LOO-RAL ♪ ♪ TOO-RA-LOO-RA-LI ♪ 665 00:24:28,167 --> 00:24:34,271 ♪ TOO-RA-LOO-RA-LOO-RAL ♪ ♪ TOO-RA-LOO-RA-LI ♪ ♪ TOO-RA-LOO-RA-LOO-RAL ♪ 666 00:24:34,539 --> 00:24:40,344 ♪ HUSH, NOW, DON'T YOU CRY ♪ 667 00:24:40,612 --> 00:24:44,192 [INDISTINCT SHOUTING] LISTEN! LISTEN TO ME! 668 00:24:44,216 --> 00:24:45,961 LISTEN! LISTEN TO ME! NOW, EVERYBODY STAY BEHIND THE 669 00:24:45,985 --> 00:24:46,695 LISTEN TO ME! NOW, EVERYBODY STAY BEHIND THE BARRICADE! 670 00:24:46,719 --> 00:24:48,396 NOW, EVERYBODY STAY BEHIND THE BARRICADE! STAY BEHIND THE BARRICADE! 671 00:24:48,420 --> 00:24:49,798 BARRICADE! STAY BEHIND THE BARRICADE! IF YOU'RE NOT ON THE GUEST LIST, 672 00:24:49,822 --> 00:24:50,933 STAY BEHIND THE BARRICADE! IF YOU'RE NOT ON THE GUEST LIST, DON'T COME NEAR ME! 673 00:24:50,957 --> 00:24:52,835 IF YOU'RE NOT ON THE GUEST LIST, DON'T COME NEAR ME! NOBODY GETS IN UNLESS HE'S ON 674 00:24:52,859 --> 00:24:53,969 DON'T COME NEAR ME! NOBODY GETS IN UNLESS HE'S ON THE GUEST LIST! 675 00:24:53,993 --> 00:24:56,972 NOBODY GETS IN UNLESS HE'S ON THE GUEST LIST! IS THAT UNDERSTOOD? 676 00:24:56,996 --> 00:24:58,073 THE GUEST LIST! IS THAT UNDERSTOOD? WAIT A MINUTE. 677 00:24:58,097 --> 00:24:59,274 IS THAT UNDERSTOOD? WAIT A MINUTE. HOLD IT, HOLD IT. 678 00:24:59,298 --> 00:25:00,542 WAIT A MINUTE. HOLD IT, HOLD IT. CAN I HELP YOU? 679 00:25:00,566 --> 00:25:01,810 HOLD IT, HOLD IT. CAN I HELP YOU? LISTEN, MAN. 680 00:25:01,834 --> 00:25:04,179 CAN I HELP YOU? LISTEN, MAN. YOU KNOW, UH, I FLEW ALL THE WAY 681 00:25:04,203 --> 00:25:06,515 LISTEN, MAN. YOU KNOW, UH, I FLEW ALL THE WAY FROM LOS ANGELES, AND I COULDN'T 682 00:25:06,539 --> 00:25:08,283 YOU KNOW, UH, I FLEW ALL THE WAY FROM LOS ANGELES, AND I COULDN'T GET A TICKET, YOU KNOW? 683 00:25:08,307 --> 00:25:10,519 FROM LOS ANGELES, AND I COULDN'T GET A TICKET, YOU KNOW? AND, LIKE, KISS IS MY FAVORITE 684 00:25:10,543 --> 00:25:11,219 GET A TICKET, YOU KNOW? AND, LIKE, KISS IS MY FAVORITE GROUP. 685 00:25:11,243 --> 00:25:13,254 AND, LIKE, KISS IS MY FAVORITE GROUP. I HAVE TO GET IN, YOU KNOW? 686 00:25:13,278 --> 00:25:13,956 GROUP. I HAVE TO GET IN, YOU KNOW? I'M SORRY. 687 00:25:13,980 --> 00:25:14,790 I HAVE TO GET IN, YOU KNOW? I'M SORRY. YOU CAN'T GET IN. 688 00:25:14,814 --> 00:25:17,158 I'M SORRY. YOU CAN'T GET IN. OH, LOOK, UM... 689 00:25:17,182 --> 00:25:18,527 YOU CAN'T GET IN. OH, LOOK, UM... I'M A FRIEND OF PETER CRISS', 690 00:25:18,551 --> 00:25:20,395 OH, LOOK, UM... I'M A FRIEND OF PETER CRISS', OKAY? 691 00:25:20,419 --> 00:25:22,998 I'M A FRIEND OF PETER CRISS', OKAY? I MEAN, HE TOOK ME HOME ONCE. 692 00:25:23,022 --> 00:25:25,266 OKAY? I MEAN, HE TOOK ME HOME ONCE. ALL RIGHT? 693 00:25:25,290 --> 00:25:27,102 I MEAN, HE TOOK ME HOME ONCE. ALL RIGHT? AND, LISTEN... 694 00:25:27,126 --> 00:25:28,737 ALL RIGHT? AND, LISTEN... I MEAN, IF YOU LET ME IN, MAYBE 695 00:25:28,761 --> 00:25:29,705 AND, LISTEN... I MEAN, IF YOU LET ME IN, MAYBE LATER WE COULD... 696 00:25:29,729 --> 00:25:31,206 I MEAN, IF YOU LET ME IN, MAYBE LATER WE COULD... GET OUT OF HERE AND DON'T 697 00:25:31,230 --> 00:25:31,874 LATER WE COULD... GET OUT OF HERE AND DON'T COME BACK. 698 00:25:31,898 --> 00:25:32,941 GET OUT OF HERE AND DON'T COME BACK. OH, GOD, MAN. 699 00:25:32,965 --> 00:25:34,776 COME BACK. OH, GOD, MAN. YOU KNOW, I DIDN'T KNOW KISS HAD 700 00:25:34,800 --> 00:25:36,177 OH, GOD, MAN. YOU KNOW, I DIDN'T KNOW KISS HAD SUCH JERKS FOR ROADIES. 701 00:25:36,201 --> 00:25:38,847 YOU KNOW, I DIDN'T KNOW KISS HAD SUCH JERKS FOR ROADIES. GET LOST! 702 00:25:38,871 --> 00:25:39,548 SUCH JERKS FOR ROADIES. GET LOST! EXCUSE ME. 703 00:25:39,572 --> 00:25:40,782 GET LOST! EXCUSE ME. I'M PAUL STANLEY'S BROTHER. 704 00:25:40,806 --> 00:25:41,984 EXCUSE ME. I'M PAUL STANLEY'S BROTHER. IT'S HIS BIRTHDAY TONIGHT. 705 00:25:42,008 --> 00:25:43,184 I'M PAUL STANLEY'S BROTHER. IT'S HIS BIRTHDAY TONIGHT. I'M IN THE AIR FORCE, AND I 706 00:25:43,208 --> 00:25:44,586 IT'S HIS BIRTHDAY TONIGHT. I'M IN THE AIR FORCE, AND I BAILED OUT OVER THE CITY TO GET 707 00:25:44,610 --> 00:25:46,121 I'M IN THE AIR FORCE, AND I BAILED OUT OVER THE CITY TO GET HERE. 708 00:25:46,145 --> 00:25:47,523 BAILED OUT OVER THE CITY TO GET HERE. GEE, THAT'S THE BEST ONE I'VE 709 00:25:47,547 --> 00:25:48,323 HERE. GEE, THAT'S THE BEST ONE I'VE HEARD ALL NIGHT. 710 00:25:48,347 --> 00:25:49,157 GEE, THAT'S THE BEST ONE I'VE HEARD ALL NIGHT. [LAUGHS] 711 00:25:49,181 --> 00:25:50,225 HEARD ALL NIGHT. [LAUGHS] WHAT'S YOUR NAME? 712 00:25:50,249 --> 00:25:51,560 [LAUGHS] WHAT'S YOUR NAME? ANGUS STANLEY. 713 00:25:51,584 --> 00:25:53,795 WHAT'S YOUR NAME? ANGUS STANLEY. IS ANGUS STANLEY ON THE LIST, 714 00:25:53,819 --> 00:25:56,131 ANGUS STANLEY. IS ANGUS STANLEY ON THE LIST, JONAS? 715 00:25:56,155 --> 00:25:58,133 IS ANGUS STANLEY ON THE LIST, JONAS? UH, NO. 716 00:25:58,157 --> 00:25:59,535 JONAS? UH, NO. ALL RIGHT, YOU'RE NOT ON THE 717 00:25:59,559 --> 00:26:00,836 UH, NO. ALL RIGHT, YOU'RE NOT ON THE LIST, SO, UH, WOULD YOU MIND 718 00:26:00,860 --> 00:26:01,803 ALL RIGHT, YOU'RE NOT ON THE LIST, SO, UH, WOULD YOU MIND STANDING BACK THERE? 719 00:26:01,827 --> 00:26:03,171 LIST, SO, UH, WOULD YOU MIND STANDING BACK THERE? AND IF YOUR BROTHER COMES OUT, 720 00:26:03,195 --> 00:26:04,339 STANDING BACK THERE? AND IF YOUR BROTHER COMES OUT, HE'LL SEE YOU, OKAY, PAL? 721 00:26:04,363 --> 00:26:05,140 AND IF YOUR BROTHER COMES OUT, HE'LL SEE YOU, OKAY, PAL? COME ON, MAN! 722 00:26:05,164 --> 00:26:06,508 HE'LL SEE YOU, OKAY, PAL? COME ON, MAN! DON'T GIVE ME ANY PROBLEMS. 723 00:26:06,532 --> 00:26:08,010 COME ON, MAN! DON'T GIVE ME ANY PROBLEMS. YOU UNDERSTAND? 724 00:26:08,034 --> 00:26:09,344 DON'T GIVE ME ANY PROBLEMS. YOU UNDERSTAND? HEY, HEY! 725 00:26:09,368 --> 00:26:10,445 YOU UNDERSTAND? HEY, HEY! WHERE YOU GOING? 726 00:26:10,469 --> 00:26:11,980 HEY, HEY! WHERE YOU GOING? IT'S OKAY... I'M DR. BOB. 727 00:26:12,004 --> 00:26:13,181 WHERE YOU GOING? IT'S OKAY... I'M DR. BOB. I'M ON THE LIST. 728 00:26:13,205 --> 00:26:14,750 IT'S OKAY... I'M DR. BOB. I'M ON THE LIST. DR. BOB ON THE LIST? 729 00:26:14,774 --> 00:26:17,252 I'M ON THE LIST. DR. BOB ON THE LIST? YEAH, WITH A STAR NEXT TO IT. 730 00:26:17,276 --> 00:26:18,754 DR. BOB ON THE LIST? YEAH, WITH A STAR NEXT TO IT. OKAY, GO ON IN, DR. BOB. 731 00:26:18,778 --> 00:26:21,757 YEAH, WITH A STAR NEXT TO IT. OKAY, GO ON IN, DR. BOB. HEY, GOOD TO SEE YOU. 732 00:26:21,781 --> 00:26:22,357 OKAY, GO ON IN, DR. BOB. HEY, GOOD TO SEE YOU. STAY BACK! 733 00:26:22,381 --> 00:26:23,759 HEY, GOOD TO SEE YOU. STAY BACK! TELL HIM HIS BROTHER'S OUT 734 00:26:23,783 --> 00:26:24,159 STAY BACK! TELL HIM HIS BROTHER'S OUT HERE! 735 00:26:24,183 --> 00:26:25,027 TELL HIM HIS BROTHER'S OUT HERE! PAUL STANLEY? 736 00:26:25,051 --> 00:26:28,096 HERE! PAUL STANLEY? YEAH! 737 00:26:28,120 --> 00:26:29,431 PAUL STANLEY? YEAH! ♪ AND PARTY EVERY DAY ♪ 738 00:26:29,455 --> 00:26:30,933 YEAH! ♪ AND PARTY EVERY DAY ♪ EXCUSE ME, WHO ARE YOU? 739 00:26:30,957 --> 00:26:32,434 ♪ AND PARTY EVERY DAY ♪ EXCUSE ME, WHO ARE YOU? I'M RYAN O'NEAL'S BROTHER. 740 00:26:32,458 --> 00:26:34,135 EXCUSE ME, WHO ARE YOU? I'M RYAN O'NEAL'S BROTHER. OH, YOU'RE, UH, 741 00:26:34,159 --> 00:26:36,071 I'M RYAN O'NEAL'S BROTHER. OH, YOU'RE, UH, TATUM O'NEAL'S UNCLE. 742 00:26:36,095 --> 00:26:38,373 OH, YOU'RE, UH, TATUM O'NEAL'S UNCLE. GO RIGHT IN. 743 00:26:38,397 --> 00:26:39,908 TATUM O'NEAL'S UNCLE. GO RIGHT IN. CAN YOU TELL PAUL, THE LEAD 744 00:26:39,932 --> 00:26:41,342 GO RIGHT IN. CAN YOU TELL PAUL, THE LEAD GUITARIST, HIS BROTHER'S... 745 00:26:41,366 --> 00:26:43,445 CAN YOU TELL PAUL, THE LEAD GUITARIST, HIS BROTHER'S... LOOK, PAL, JUST DON'T GIVE ME 746 00:26:43,469 --> 00:26:44,046 GUITARIST, HIS BROTHER'S... LOOK, PAL, JUST DON'T GIVE ME ANY... 747 00:26:44,070 --> 00:26:45,581 LOOK, PAL, JUST DON'T GIVE ME ANY... WHO IS RYAN O'NEAL? 748 00:26:45,605 --> 00:26:47,082 ANY... WHO IS RYAN O'NEAL? EXCUSE ME. 749 00:26:47,106 --> 00:26:49,685 WHO IS RYAN O'NEAL? EXCUSE ME. UH, I'M STEPHEN BISHOP. 750 00:26:49,709 --> 00:26:51,186 EXCUSE ME. UH, I'M STEPHEN BISHOP. JUST GOT INTO TOWN, THOUGHT I'D 751 00:26:51,210 --> 00:26:52,020 UH, I'M STEPHEN BISHOP. JUST GOT INTO TOWN, THOUGHT I'D CATCH THE SHOW. 752 00:26:52,044 --> 00:26:53,455 JUST GOT INTO TOWN, THOUGHT I'D CATCH THE SHOW. ARE YOU ON THE GUEST LIST? 753 00:26:53,479 --> 00:26:54,656 CATCH THE SHOW. ARE YOU ON THE GUEST LIST? NO, NO. 754 00:26:54,680 --> 00:26:56,124 ARE YOU ON THE GUEST LIST? NO, NO. YOU KNOW, I HAVE A HIT SONG, 755 00:26:56,148 --> 00:26:56,892 NO, NO. YOU KNOW, I HAVE A HIT SONG, "ON AND ON." 756 00:26:56,916 --> 00:26:58,060 YOU KNOW, I HAVE A HIT SONG, "ON AND ON." "ON AND ON"? 757 00:26:58,084 --> 00:26:58,894 "ON AND ON." "ON AND ON"? ON... 758 00:26:58,918 --> 00:27:00,395 "ON AND ON"? ON... Both: ♪ DOWN IN JAMAICA, THEY 759 00:27:00,419 --> 00:27:00,896 ON... Both: ♪ DOWN IN JAMAICA, THEY GOT... ♪ 760 00:27:00,920 --> 00:27:01,362 Both: ♪ DOWN IN JAMAICA, THEY GOT... ♪ YEAH? 761 00:27:01,386 --> 00:27:02,464 GOT... ♪ YEAH? DID YOU WRITE THAT SONG? 762 00:27:02,488 --> 00:27:02,965 YEAH? DID YOU WRITE THAT SONG? YEAH. 763 00:27:02,989 --> 00:27:03,632 DID YOU WRITE THAT SONG? YEAH. I HATE IT. 764 00:27:03,656 --> 00:27:05,266 YEAH. I HATE IT. NOW GET OUT OF HERE. 765 00:27:05,290 --> 00:27:10,205 I HATE IT. NOW GET OUT OF HERE. NOW GO, GET OUT! 766 00:27:10,229 --> 00:27:11,539 NOW GET OUT OF HERE. NOW GO, GET OUT! EXCUSE ME. 767 00:27:11,563 --> 00:27:12,240 NOW GO, GET OUT! EXCUSE ME. YEAH? 768 00:27:12,264 --> 00:27:14,175 EXCUSE ME. YEAH? HI, JERRY ELDINI WITH A 769 00:27:14,199 --> 00:27:14,876 YEAH? HI, JERRY ELDINI WITH A GUEST. 770 00:27:14,900 --> 00:27:16,712 HI, JERRY ELDINI WITH A GUEST. JERRY ELDINI, JONAS? 771 00:27:16,736 --> 00:27:18,379 GUEST. JERRY ELDINI, JONAS? UH, NO. 772 00:27:18,403 --> 00:27:19,848 JERRY ELDINI, JONAS? UH, NO. I'M SORRY, YOU'RE GONNA HAVE 773 00:27:19,872 --> 00:27:21,316 UH, NO. I'M SORRY, YOU'RE GONNA HAVE TO STAND BEHIND THE BARRICADES. 774 00:27:21,340 --> 00:27:22,684 I'M SORRY, YOU'RE GONNA HAVE TO STAND BEHIND THE BARRICADES. YOUR NAME'S NOT ON THE LIST. 775 00:27:22,708 --> 00:27:23,952 TO STAND BEHIND THE BARRICADES. YOUR NAME'S NOT ON THE LIST. EXCUSE ME FOR A SECOND. 776 00:27:23,976 --> 00:27:24,853 YOUR NAME'S NOT ON THE LIST. EXCUSE ME FOR A SECOND. I'M JERRY ELDINI. 777 00:27:24,877 --> 00:27:25,821 EXCUSE ME FOR A SECOND. I'M JERRY ELDINI. I'M "A" AND "R" FOR 778 00:27:25,845 --> 00:27:27,188 I'M JERRY ELDINI. I'M "A" AND "R" FOR POLYSUTRA RECORDS, KISS' NEW 779 00:27:27,212 --> 00:27:27,623 I'M "A" AND "R" FOR POLYSUTRA RECORDS, KISS' NEW LABEL. 780 00:27:27,647 --> 00:27:28,356 POLYSUTRA RECORDS, KISS' NEW LABEL. I'M SORRY. 781 00:27:28,380 --> 00:27:29,758 LABEL. I'M SORRY. YOU ARE NOT ON THE LIST, SIR. 782 00:27:29,782 --> 00:27:30,659 I'M SORRY. YOU ARE NOT ON THE LIST, SIR. I'M DOING MY JOB. 783 00:27:30,683 --> 00:27:31,793 YOU ARE NOT ON THE LIST, SIR. I'M DOING MY JOB. YOU'RE NOT ON THE LIST. 784 00:27:31,817 --> 00:27:33,061 I'M DOING MY JOB. YOU'RE NOT ON THE LIST. I CAN'T BELIEVE THEY'RE 785 00:27:33,085 --> 00:27:35,731 YOU'RE NOT ON THE LIST. I CAN'T BELIEVE THEY'RE TREATING JERRY ELDINI THIS WAY. 786 00:27:35,755 --> 00:27:37,398 I CAN'T BELIEVE THEY'RE TREATING JERRY ELDINI THIS WAY. ALL RIGHT, HOLD ON. 787 00:27:37,422 --> 00:27:39,234 TREATING JERRY ELDINI THIS WAY. ALL RIGHT, HOLD ON. IS LOU ADLER OR IRV AZOFF 788 00:27:39,258 --> 00:27:39,968 ALL RIGHT, HOLD ON. IS LOU ADLER OR IRV AZOFF INSIDE? 789 00:27:39,992 --> 00:27:42,070 IS LOU ADLER OR IRV AZOFF INSIDE? I PLAY TENNIS WITH BOTH OF THEM. 790 00:27:42,094 --> 00:27:42,904 INSIDE? I PLAY TENNIS WITH BOTH OF THEM. NOW MOVE! 791 00:27:42,928 --> 00:27:44,239 I PLAY TENNIS WITH BOTH OF THEM. NOW MOVE! GET BEHIND THE BARRIER. 792 00:27:44,263 --> 00:27:45,107 NOW MOVE! GET BEHIND THE BARRIER. COME ON, PAL. 793 00:27:45,131 --> 00:27:46,742 GET BEHIND THE BARRIER. COME ON, PAL. HE REALLY IS JERRY ELDINI! 794 00:27:46,766 --> 00:27:47,743 COME ON, PAL. HE REALLY IS JERRY ELDINI! I DON'T CARE. 795 00:27:47,767 --> 00:27:48,744 HE REALLY IS JERRY ELDINI! I DON'T CARE. WHAT'S YOUR NAME? 796 00:27:48,768 --> 00:27:49,778 I DON'T CARE. WHAT'S YOUR NAME? STEVE PARRISH. 797 00:27:49,802 --> 00:27:50,612 WHAT'S YOUR NAME? STEVE PARRISH. ALL RIGHT. 798 00:27:50,636 --> 00:27:52,280 STEVE PARRISH. ALL RIGHT. IF LOU ADLER OR IRV AZOFF COMES 799 00:27:52,304 --> 00:27:53,949 ALL RIGHT. IF LOU ADLER OR IRV AZOFF COMES OUT AND SAYS, "WAS JERRY ELDINI 800 00:27:53,973 --> 00:27:55,517 IF LOU ADLER OR IRV AZOFF COMES OUT AND SAYS, "WAS JERRY ELDINI HERE," YOU SAY, "YES, HE WAS, 801 00:27:55,541 --> 00:27:57,218 OUT AND SAYS, "WAS JERRY ELDINI HERE," YOU SAY, "YES, HE WAS, BUT I, STEVE 'I'LL NEVER WORK IN 802 00:27:57,242 --> 00:27:58,787 HERE, " YOU SAY, " YES, HE WAS, BUT I, STEVE 'I'LL NEVER WORK IN THIS BUSINESS AGAIN' PARRISH, 803 00:27:58,811 --> 00:27:59,988 BUT I, STEVE 'I'LL NEVER WORK IN THIS BUSINESS AGAIN' PARRISH, SENT HIM AWAY," OKAY? 804 00:28:00,012 --> 00:28:01,322 THIS BUSINESS AGAIN' PARRISH, SENT HIM AWAY," OKAY? JILL, LET'S GET OUT OF THIS 805 00:28:01,346 --> 00:28:03,659 SENT HIM AWAY," OKAY? JILL, LET'S GET OUT OF THIS FIRETRAP. 806 00:28:03,683 --> 00:28:06,327 JILL, LET'S GET OUT OF THIS FIRETRAP. JUST KISS MY... 807 00:28:06,351 --> 00:28:07,162 FIRETRAP. JUST KISS MY... COME ON. 808 00:28:07,186 --> 00:28:08,496 JUST KISS MY... COME ON. NO, HEY, WHAT'S GO... 809 00:28:08,520 --> 00:28:09,164 COME ON. NO, HEY, WHAT'S GO... OH. 810 00:28:09,188 --> 00:28:12,868 NO, HEY, WHAT'S GO... OH. [INDISTINCT SHOUTING] 811 00:28:12,892 --> 00:28:14,435 OH. [INDISTINCT SHOUTING] HEY, MAN! 812 00:28:14,459 --> 00:28:15,804 [INDISTINCT SHOUTING] HEY, MAN! YOU MADE IT, MAN! 813 00:28:15,828 --> 00:28:16,872 HEY, MAN! YOU MADE IT, MAN! YOU MADE IT! 814 00:28:16,896 --> 00:28:18,840 YOU MADE IT, MAN! YOU MADE IT! WOW, YOU ACTUALLY PARACHUTED! 815 00:28:18,864 --> 00:28:19,607 YOU MADE IT! WOW, YOU ACTUALLY PARACHUTED! FAR OUT! 816 00:28:19,631 --> 00:28:20,075 WOW, YOU ACTUALLY PARACHUTED! FAR OUT! COME ON IN. 817 00:28:20,099 --> 00:28:21,009 FAR OUT! COME ON IN. COME ON, WE'RE JUST ABOUT TO 818 00:28:21,033 --> 00:28:21,342 COME ON IN. COME ON, WE'RE JUST ABOUT TO START! 819 00:28:21,366 --> 00:28:22,678 COME ON, WE'RE JUST ABOUT TO START! HEY, YOU IN THE BAND?! 820 00:28:22,702 --> 00:28:27,015 START! HEY, YOU IN THE BAND?! [HISSES] 821 00:28:27,039 --> 00:28:30,686 HEY, YOU IN THE BAND?! [HISSES] YEAH, ALL RIGHT. 822 00:28:30,710 --> 00:28:32,020 [HISSES] YEAH, ALL RIGHT. ALL RIGHT, ALL RIGHT. 823 00:28:32,044 --> 00:28:34,022 YEAH, ALL RIGHT. ALL RIGHT, ALL RIGHT. IT'S ALL OVER, RELAX. 824 00:28:34,046 --> 00:28:35,023 ALL RIGHT, ALL RIGHT. IT'S ALL OVER, RELAX. TAKE IT EASY. 825 00:28:35,047 --> 00:28:36,357 IT'S ALL OVER, RELAX. TAKE IT EASY. I GUESS EVERYTHING'S UNDER 826 00:28:36,381 --> 00:28:37,693 TAKE IT EASY. I GUESS EVERYTHING'S UNDER CONTROL HERE. 827 00:28:37,717 --> 00:28:39,027 I GUESS EVERYTHING'S UNDER CONTROL HERE. LISTEN, I'M GONNA GO BACKSTAGE 828 00:28:39,051 --> 00:28:40,195 CONTROL HERE. LISTEN, I'M GONNA GO BACKSTAGE AND GET A BEER. 829 00:28:40,219 --> 00:28:41,362 LISTEN, I'M GONNA GO BACKSTAGE AND GET A BEER. WAIT A MINUTE, WHAT'S YOUR 830 00:28:41,386 --> 00:28:42,197 AND GET A BEER. WAIT A MINUTE, WHAT'S YOUR NAME AGAIN? 831 00:28:42,221 --> 00:28:43,531 WAIT A MINUTE, WHAT'S YOUR NAME AGAIN? WHAT DO YOU MEAN, WHAT'S MY 832 00:28:43,555 --> 00:28:44,199 NAME AGAIN? WHAT DO YOU MEAN, WHAT'S MY NAME, AGAIN? 833 00:28:44,223 --> 00:28:45,400 WHAT DO YOU MEAN, WHAT'S MY NAME, AGAIN? WHAT'S YOUR NAME, AGAIN? 834 00:28:45,424 --> 00:28:46,634 NAME, AGAIN? WHAT'S YOUR NAME, AGAIN? MY NAME'S STEVE PARRISH. 835 00:28:46,658 --> 00:28:47,969 WHAT'S YOUR NAME, AGAIN? MY NAME'S STEVE PARRISH. I'M THE ROAD MANAGER. 836 00:28:47,993 --> 00:28:49,437 MY NAME'S STEVE PARRISH. I'M THE ROAD MANAGER. UH, SORRY, STEVE PARRISH IS 837 00:28:49,461 --> 00:28:50,305 I'M THE ROAD MANAGER. UH, SORRY, STEVE PARRISH IS NOT ON THE LIST. 838 00:28:50,329 --> 00:28:51,173 UH, SORRY, STEVE PARRISH IS NOT ON THE LIST. NOT ON THE LIST. 839 00:28:51,197 --> 00:28:52,207 NOT ON THE LIST. NOT ON THE LIST. NOT ON THE LIST?! 840 00:28:52,231 --> 00:28:53,709 NOT ON THE LIST. NOT ON THE LIST?! WHAT DO YOU MEAN I'M NOT ON THE 841 00:28:53,733 --> 00:28:54,176 NOT ON THE LIST?! WHAT DO YOU MEAN I'M NOT ON THE LIST?! 842 00:28:54,200 --> 00:28:55,343 WHAT DO YOU MEAN I'M NOT ON THE LIST?! HEY, HEY! 843 00:28:55,367 --> 00:28:56,511 LIST?! HEY, HEY! WAIT A MINUTE! 844 00:28:56,535 --> 00:28:59,014 HEY, HEY! WAIT A MINUTE! [INDISTINCT SHOUTING] 845 00:28:59,038 --> 00:29:01,138 WAIT A MINUTE! [INDISTINCT SHOUTING] [SCREAMS] 846 00:29:12,683 --> 00:29:17,699 ELIZABETH TAYLOR IS FORCE-FED FOR CHARITY. THIS STORY AND MORE COMING UP ON 847 00:29:17,723 --> 00:29:21,369 FOR CHARITY. THIS STORY AND MORE COMING UP ON "WEEKEND UPDATE." 848 00:29:21,393 --> 00:29:22,537 THIS STORY AND MORE COMING UP ON "WEEKEND UPDATE." Announcer: AND NOW 849 00:29:22,561 --> 00:29:23,872 "WEEKEND UPDATE." Announcer: AND NOW "WEEKEND UPDATE" WITH THE 850 00:29:23,896 --> 00:29:25,207 Announcer: AND NOW "WEEKEND UPDATE" WITH THE "WEEKEND UPDATE" NEWS TEAM, 851 00:29:25,231 --> 00:29:26,208 "WEEKEND UPDATE" WITH THE "WEEKEND UPDATE" NEWS TEAM, BROUGHT TO YOU BY 852 00:29:26,232 --> 00:29:28,043 "WEEKEND UPDATE" NEWS TEAM, BROUGHT TO YOU BY HERSHEY HIGHWAY, THE CANDY 853 00:29:28,067 --> 00:29:29,544 BROUGHT TO YOU BY HERSHEY HIGHWAY, THE CANDY THAT'S TURNED AMERICA'S TASTE 854 00:29:29,568 --> 00:29:31,880 HERSHEY HIGHWAY, THE CANDY THAT'S TURNED AMERICA'S TASTE AROUND FOR 50 YEARS. 855 00:29:31,904 --> 00:29:33,048 THAT'S TURNED AMERICA'S TASTE AROUND FOR 50 YEARS. HERE ARE CO-ANCHORPERSONS 856 00:29:33,072 --> 00:29:35,050 AROUND FOR 50 YEARS. HERE ARE CO-ANCHORPERSONS DAN AYKROYD AND JANE CURTIN. 857 00:29:35,074 --> 00:29:37,219 HERE ARE CO-ANCHORPERSONS DAN AYKROYD AND JANE CURTIN. HELLO, I'M DAN AYKROYD. 858 00:29:37,243 --> 00:29:38,887 DAN AYKROYD AND JANE CURTIN. HELLO, I'M DAN AYKROYD. AND I'M JANE CURTIN. 859 00:29:38,911 --> 00:29:40,889 HELLO, I'M DAN AYKROYD. AND I'M JANE CURTIN. OUR TOP STORY TONIGHT... 860 00:29:40,913 --> 00:29:42,590 AND I'M JANE CURTIN. OUR TOP STORY TONIGHT... ACCORDING TO A NEW BOOK THAT IS 861 00:29:42,614 --> 00:29:44,292 OUR TOP STORY TONIGHT... ACCORDING TO A NEW BOOK THAT IS CAUSING WIDESPREAD ALARM IN THE 862 00:29:44,316 --> 00:29:46,261 ACCORDING TO A NEW BOOK THAT IS CAUSING WIDESPREAD ALARM IN THE SCIENTIFIC COMMUNITY, A HUMAN 863 00:29:46,285 --> 00:29:48,230 CAUSING WIDESPREAD ALARM IN THE SCIENTIFIC COMMUNITY, A HUMAN BABY CREATED FROM A SINGLE MALE 864 00:29:48,254 --> 00:29:49,597 SCIENTIFIC COMMUNITY, A HUMAN BABY CREATED FROM A SINGLE MALE CELL IS NOW A NORMAL 865 00:29:49,621 --> 00:29:52,000 BABY CREATED FROM A SINGLE MALE CELL IS NOW A NORMAL 14-MONTH-OLD BABY BOY. 866 00:29:52,024 --> 00:29:53,769 CELL IS NOW A NORMAL 14-MONTH-OLD BABY BOY. ONE SOURCE SAID THAT THE CHILD 867 00:29:53,793 --> 00:29:55,536 14-MONTH-OLD BABY BOY. ONE SOURCE SAID THAT THE CHILD WAS THE CLONE OR EXACT GENETIC 868 00:29:55,560 --> 00:29:57,005 ONE SOURCE SAID THAT THE CHILD WAS THE CLONE OR EXACT GENETIC DUPLICATE OF AN AMERICAN 869 00:29:57,029 --> 00:29:58,740 WAS THE CLONE OR EXACT GENETIC DUPLICATE OF AN AMERICAN MILLIONAIRE WHO WANTED TO COPY 870 00:29:58,764 --> 00:29:59,407 DUPLICATE OF AN AMERICAN MILLIONAIRE WHO WANTED TO COPY HIMSELF. 871 00:29:59,431 --> 00:30:01,176 MILLIONAIRE WHO WANTED TO COPY HIMSELF. "UPDATE" NEWS HAS LEARNED THAT 872 00:30:01,200 --> 00:30:02,844 HIMSELF. "UPDATE" NEWS HAS LEARNED THAT THE INCIDENT IS ACTUALLY THE 873 00:30:02,868 --> 00:30:04,646 "UPDATE" NEWS HAS LEARNED THAT THE INCIDENT IS ACTUALLY THE SECOND HUMAN CLONING, THE FIRST 874 00:30:04,670 --> 00:30:06,447 THE INCIDENT IS ACTUALLY THE SECOND HUMAN CLONING, THE FIRST HAPPENING MORE THAN 30 YEARS AGO 875 00:30:06,471 --> 00:30:07,983 SECOND HUMAN CLONING, THE FIRST HAPPENING MORE THAN 30 YEARS AGO USING THE CELL OF A FAMOUS 876 00:30:08,007 --> 00:30:11,219 HAPPENING MORE THAN 30 YEARS AGO USING THE CELL OF A FAMOUS AMERICAN SINGER. 877 00:30:11,243 --> 00:30:13,288 USING THE CELL OF A FAMOUS AMERICAN SINGER. THE ENTIRE CORPS OF MALE CADETS 878 00:30:13,312 --> 00:30:15,356 AMERICAN SINGER. THE ENTIRE CORPS OF MALE CADETS AT THE U.S. MILITARY ACADEMY AT 879 00:30:15,380 --> 00:30:17,325 THE ENTIRE CORPS OF MALE CADETS AT THE U.S. MILITARY ACADEMY AT WEST POINT HAS BEEN DISMISSED 880 00:30:17,349 --> 00:30:18,593 AT THE U.S. MILITARY ACADEMY AT WEST POINT HAS BEEN DISMISSED FOR FRATERNIZING. 881 00:30:18,617 --> 00:30:20,495 WEST POINT HAS BEEN DISMISSED FOR FRATERNIZING. THE LONE FEMALE CADET INVOLVED 882 00:30:20,519 --> 00:30:22,497 FOR FRATERNIZING. THE LONE FEMALE CADET INVOLVED WAS NOT IDENTIFIED, PENDING NEXT 883 00:30:22,521 --> 00:30:26,168 THE LONE FEMALE CADET INVOLVED WAS NOT IDENTIFIED, PENDING NEXT OF KIN. 884 00:30:26,192 --> 00:30:27,836 WAS NOT IDENTIFIED, PENDING NEXT OF KIN. ACTOR/DIRECTOR ORSON WELLES 885 00:30:27,860 --> 00:30:30,605 OF KIN. ACTOR/DIRECTOR ORSON WELLES SUFFERED MULTIPLE FRACTURES IN A 886 00:30:30,629 --> 00:30:33,074 ACTOR/DIRECTOR ORSON WELLES SUFFERED MULTIPLE FRACTURES IN A SKIING ACCIDENT YESTERDAY IN 887 00:30:33,098 --> 00:30:34,609 SUFFERED MULTIPLE FRACTURES IN A SKIING ACCIDENT YESTERDAY IN ASPEN, COLORADO. 888 00:30:34,633 --> 00:30:36,111 SKIING ACCIDENT YESTERDAY IN ASPEN, COLORADO. DOCTORS SAY THE FRACTURES WILL 889 00:30:36,135 --> 00:30:37,578 ASPEN, COLORADO. DOCTORS SAY THE FRACTURES WILL HEAL IN SIX WEEKS AND THEY'LL 890 00:30:37,602 --> 00:30:39,147 DOCTORS SAY THE FRACTURES WILL HEAL IN SIX WEEKS AND THEY'LL GET HIM BACK ON HIS FEET IN FIVE 891 00:30:39,171 --> 00:30:40,816 HEAL IN SIX WEEKS AND THEY'LL GET HIM BACK ON HIS FEET IN FIVE YEARS. 892 00:30:40,840 --> 00:30:42,184 GET HIM BACK ON HIS FEET IN FIVE YEARS. THE ENTIRE POLICE FORCE OF THE 893 00:30:42,208 --> 00:30:43,518 YEARS. THE ENTIRE POLICE FORCE OF THE VILLAGE OF ROBBINS, ILLINOIS, 894 00:30:43,542 --> 00:30:44,886 THE ENTIRE POLICE FORCE OF THE VILLAGE OF ROBBINS, ILLINOIS, WAS FIRED THIS WEEK BECAUSE OF 895 00:30:44,910 --> 00:30:46,221 VILLAGE OF ROBBINS, ILLINOIS, WAS FIRED THIS WEEK BECAUSE OF ALLEGED CORRUPTION AND CRIMES 896 00:30:46,245 --> 00:30:47,388 WAS FIRED THIS WEEK BECAUSE OF ALLEGED CORRUPTION AND CRIMES INCLUDING DRIVING WITHOUT 897 00:30:47,412 --> 00:30:48,523 ALLEGED CORRUPTION AND CRIMES INCLUDING DRIVING WITHOUT LICENSES, ARMED ROBBERY, 898 00:30:48,547 --> 00:30:50,058 INCLUDING DRIVING WITHOUT LICENSES, ARMED ROBBERY, BURGLARY, CAR THEFT, NARCOTIC 899 00:30:50,082 --> 00:30:51,293 LICENSES, ARMED ROBBERY, BURGLARY, CAR THEFT, NARCOTIC THEFT, ASSAULT, POLICE 900 00:30:51,317 --> 00:30:52,627 BURGLARY, CAR THEFT, NARCOTIC THEFT, ASSAULT, POLICE BRUTALITY, EXTORTION, AND 901 00:30:52,651 --> 00:30:54,129 THEFT, ASSAULT, POLICE BRUTALITY, EXTORTION, AND FAILURE TO RESPOND TO POLICE 902 00:30:54,153 --> 00:30:54,629 BRUTALITY, EXTORTION, AND FAILURE TO RESPOND TO POLICE CALLS. 903 00:30:54,653 --> 00:30:56,097 FAILURE TO RESPOND TO POLICE CALLS. IN A RELATED STORY, OUR SOURCES 904 00:30:56,121 --> 00:30:57,165 CALLS. IN A RELATED STORY, OUR SOURCES REPORT THAT TODAY THE 905 00:30:57,189 --> 00:30:58,533 IN A RELATED STORY, OUR SOURCES REPORT THAT TODAY THE ROBBINS POLICE FORCE HAS JUST 906 00:30:58,557 --> 00:30:59,968 REPORT THAT TODAY THE ROBBINS POLICE FORCE HAS JUST BEEN HIRED BY THE PHILADELPHIA 907 00:30:59,992 --> 00:31:00,702 ROBBINS POLICE FORCE HAS JUST BEEN HIRED BY THE PHILADELPHIA POLICE FORCE. 908 00:31:00,726 --> 00:31:02,103 BEEN HIRED BY THE PHILADELPHIA POLICE FORCE. I IMAGINE THEY SHOULD FEEL AT 909 00:31:02,127 --> 00:31:04,439 POLICE FORCE. I IMAGINE THEY SHOULD FEEL AT HOME THERE. 910 00:31:04,463 --> 00:31:05,240 I IMAGINE THEY SHOULD FEEL AT HOME THERE. JANE? 911 00:31:05,264 --> 00:31:06,708 HOME THERE. JANE? STOLEN FROM ITS GRAVE IN 912 00:31:06,732 --> 00:31:08,343 JANE? STOLEN FROM ITS GRAVE IN VEVEY, SWITZERLAND, MORE THAN 913 00:31:08,367 --> 00:31:09,777 STOLEN FROM ITS GRAVE IN VEVEY, SWITZERLAND, MORE THAN TWO WEEKS AGO, THE BODY OF 914 00:31:09,801 --> 00:31:11,112 VEVEY, SWITZERLAND, MORE THAN TWO WEEKS AGO, THE BODY OF CHARLIE CHAPLIN IS STILL 915 00:31:11,136 --> 00:31:11,746 TWO WEEKS AGO, THE BODY OF CHARLIE CHAPLIN IS STILL MISSING. 916 00:31:11,770 --> 00:31:13,315 CHARLIE CHAPLIN IS STILL MISSING. IN THE INTEREST OF RECOVERING 917 00:31:13,339 --> 00:31:14,382 MISSING. IN THE INTEREST OF RECOVERING THIS GREAT ARTIST, 918 00:31:14,406 --> 00:31:15,951 IN THE INTEREST OF RECOVERING THIS GREAT ARTIST, "WEEKEND UPDATE" IS OFFERING A 919 00:31:15,975 --> 00:31:17,385 THIS GREAT ARTIST, "WEEKEND UPDATE" IS OFFERING A SUBSTANTIAL REWARD FOR HIS 920 00:31:17,409 --> 00:31:18,585 "WEEKEND UPDATE" IS OFFERING A SUBSTANTIAL REWARD FOR HIS RETURN. 921 00:31:18,609 --> 00:31:20,878 IF YOU HAVE OR THINK YOU HAVE 922 00:31:21,012 --> 00:31:23,146 MR. CHAPLIN'S BODY, MAIL IT 923 00:31:23,281 --> 00:31:27,584 TO... 924 00:31:27,718 --> 00:31:29,186 IN CASE OF DUPLICATE BODIES, THE 925 00:31:29,320 --> 00:31:30,320 REWARD WILL BE SPLIT 926 00:31:30,421 --> 00:31:31,889 ACCORDINGLY. 927 00:31:32,156 --> 00:31:37,973 THIS OFFER IS VOID WHERE PROHIBITED BY LAW. ARCHBISHOP SHEEN AND 928 00:31:37,997 --> 00:31:39,975 PROHIBITED BY LAW. ARCHBISHOP SHEEN AND CARDINAL COOK WENT DANCING AT 929 00:31:39,999 --> 00:31:41,442 ARCHBISHOP SHEEN AND CARDINAL COOK WENT DANCING AT STUDIO 54 THIS WEEK. 930 00:31:41,466 --> 00:31:43,511 CARDINAL COOK WENT DANCING AT STUDIO 54 THIS WEEK. HOWEVER, THEIR MERRIMENT WAS CUT 931 00:31:43,535 --> 00:31:44,946 STUDIO 54 THIS WEEK. HOWEVER, THEIR MERRIMENT WAS CUT SHORT WHEN CLUB OWNER 932 00:31:44,970 --> 00:31:46,982 HOWEVER, THEIR MERRIMENT WAS CUT SHORT WHEN CLUB OWNER STEVE RUBELL THREW THEM OUT FOR 933 00:31:47,006 --> 00:31:48,416 SHORT WHEN CLUB OWNER STEVE RUBELL THREW THEM OUT FOR NOT WEARING NECKTIES. 934 00:31:48,440 --> 00:31:49,985 STEVE RUBELL THREW THEM OUT FOR NOT WEARING NECKTIES. WELL, DAN, I GUESS A DRESS CODE 935 00:31:50,009 --> 00:31:52,453 NOT WEARING NECKTIES. WELL, DAN, I GUESS A DRESS CODE IS A DRESS CODE. 936 00:31:52,477 --> 00:31:55,223 WELL, DAN, I GUESS A DRESS CODE IS A DRESS CODE. I GUESS SO. 937 00:31:55,247 --> 00:31:56,591 IS A DRESS CODE. I GUESS SO. UNITED MINE WORKER PRESIDENT 938 00:31:56,615 --> 00:31:58,093 I GUESS SO. UNITED MINE WORKER PRESIDENT ARNOLD MILLER IS UNDER PRESSURE 939 00:31:58,117 --> 00:31:59,594 UNITED MINE WORKER PRESIDENT ARNOLD MILLER IS UNDER PRESSURE TO RESIGN BECAUSE CRITICS SAY HE 940 00:31:59,618 --> 00:32:00,962 ARNOLD MILLER IS UNDER PRESSURE TO RESIGN BECAUSE CRITICS SAY HE IS PROVIDING WEAK LEADERSHIP 941 00:32:00,986 --> 00:32:02,130 TO RESIGN BECAUSE CRITICS SAY HE IS PROVIDING WEAK LEADERSHIP DURING THE COAL STRIKE. 942 00:32:02,154 --> 00:32:03,631 IS PROVIDING WEAK LEADERSHIP DURING THE COAL STRIKE. FORMER UMW PRESIDENT TONY BOYLE, 943 00:32:03,655 --> 00:32:04,799 DURING THE COAL STRIKE. FORMER UMW PRESIDENT TONY BOYLE, WHO WAS CONVICTED OF THE 944 00:32:04,823 --> 00:32:06,234 FORMER UMW PRESIDENT TONY BOYLE, WHO WAS CONVICTED OF THE YABLONSKI MURDERS, GAVE MILLER 945 00:32:06,258 --> 00:32:07,702 WHO WAS CONVICTED OF THE YABLONSKI MURDERS, GAVE MILLER SOME POINTERS TODAY, SUGGESTING 946 00:32:07,726 --> 00:32:09,037 YABLONSKI MURDERS, GAVE MILLER SOME POINTERS TODAY, SUGGESTING THAT HE HIRE PAID KILLERS TO 947 00:32:09,061 --> 00:32:10,372 SOME POINTERS TODAY, SUGGESTING THAT HE HIRE PAID KILLERS TO SNEAK INTO CRITICS' HOMES AT 948 00:32:10,396 --> 00:32:11,839 THAT HE HIRE PAID KILLERS TO SNEAK INTO CRITICS' HOMES AT NIGHT AND MURDER THEM AND THEIR 949 00:32:11,863 --> 00:32:13,741 SNEAK INTO CRITICS' HOMES AT NIGHT AND MURDER THEM AND THEIR FAMILIES. 950 00:32:13,765 --> 00:32:15,310 NIGHT AND MURDER THEM AND THEIR FAMILIES. GOOD NEWS FOR PHLEBITIS VICTIMS. 951 00:32:15,334 --> 00:32:16,677 FAMILIES. GOOD NEWS FOR PHLEBITIS VICTIMS. THE DOWNSTATE MEDICAL CENTER 952 00:32:16,701 --> 00:32:17,946 GOOD NEWS FOR PHLEBITIS VICTIMS. THE DOWNSTATE MEDICAL CENTER HERE IN NEW YORK HAS JUST 953 00:32:17,970 --> 00:32:19,347 THE DOWNSTATE MEDICAL CENTER HERE IN NEW YORK HAS JUST DEVELOPED AN ANTICOAGULANT THAT 954 00:32:19,371 --> 00:32:20,581 HERE IN NEW YORK HAS JUST DEVELOPED AN ANTICOAGULANT THAT EFFECTIVELY DISSOLVES BLOOD 955 00:32:20,605 --> 00:32:21,016 DEVELOPED AN ANTICOAGULANT THAT EFFECTIVELY DISSOLVES BLOOD CLOTS. 956 00:32:21,040 --> 00:32:22,384 EFFECTIVELY DISSOLVES BLOOD CLOTS. AND HERE TO TELL US MORE ABOUT 957 00:32:22,408 --> 00:32:23,351 CLOTS. AND HERE TO TELL US MORE ABOUT IT IS SCIENCE EDITOR 958 00:32:23,375 --> 00:32:24,286 AND HERE TO TELL US MORE ABOUT IT IS SCIENCE EDITOR DR. GARRETT MORRIS. 959 00:32:24,310 --> 00:32:24,953 IT IS SCIENCE EDITOR DR. GARRETT MORRIS. HI, GARRETT. 960 00:32:24,977 --> 00:32:26,221 DR. GARRETT MORRIS. HI, GARRETT. UH, HELLO, DAN. 961 00:32:26,245 --> 00:32:27,956 HI, GARRETT. UH, HELLO, DAN. DR. MORRIS, WHAT IS THIS 962 00:32:27,980 --> 00:32:29,857 UH, HELLO, DAN. DR. MORRIS, WHAT IS THIS ANTICOAGULANT, AND HOW DOES IT 963 00:32:29,881 --> 00:32:30,392 DR. MORRIS, WHAT IS THIS ANTICOAGULANT, AND HOW DOES IT WORK? 964 00:32:30,416 --> 00:32:32,027 ANTICOAGULANT, AND HOW DOES IT WORK? WELL, DAN, IT'S CALLED 965 00:32:32,051 --> 00:32:33,661 WORK? WELL, DAN, IT'S CALLED HEMOMYCIN, AND IT'S TRULY 966 00:32:33,685 --> 00:32:34,529 WELL, DAN, IT'S CALLED HEMOMYCIN, AND IT'S TRULY REMARKABLE. 967 00:32:34,553 --> 00:32:36,298 HEMOMYCIN, AND IT'S TRULY REMARKABLE. AS YOU KNOW, PHLEBITIS IS A 968 00:32:36,322 --> 00:32:38,133 REMARKABLE. AS YOU KNOW, PHLEBITIS IS A CONDITION WHERE A BLOOD CLOT 969 00:32:38,157 --> 00:32:39,700 AS YOU KNOW, PHLEBITIS IS A CONDITION WHERE A BLOOD CLOT FORMS IN THE VEIN, MAN. 970 00:32:39,724 --> 00:32:41,536 CONDITION WHERE A BLOOD CLOT FORMS IN THE VEIN, MAN. AND IT'S DANGEROUS BECAUSE IT 971 00:32:41,560 --> 00:32:43,471 FORMS IN THE VEIN, MAN. AND IT'S DANGEROUS BECAUSE IT CAN DISLODGE AND TRAVEL THROUGH 972 00:32:43,495 --> 00:32:45,373 AND IT'S DANGEROUS BECAUSE IT CAN DISLODGE AND TRAVEL THROUGH THE BLOOD SYSTEM TO THE HEART, 973 00:32:45,397 --> 00:32:47,309 CAN DISLODGE AND TRAVEL THROUGH THE BLOOD SYSTEM TO THE HEART, CAUSING INSTANT DEATH, YOU SEE. 974 00:32:47,333 --> 00:32:48,910 THE BLOOD SYSTEM TO THE HEART, CAUSING INSTANT DEATH, YOU SEE. NOW, THE IDEAL TREATMENT WOULD 975 00:32:48,934 --> 00:32:50,912 CAUSING INSTANT DEATH, YOU SEE. NOW, THE IDEAL TREATMENT WOULD BE TO DESTROY THE BLOOD CLOT. 976 00:32:50,936 --> 00:32:53,081 NOW, THE IDEAL TREATMENT WOULD BE TO DESTROY THE BLOOD CLOT. AND THIS IS THE DRUG THAT CAN DO 977 00:32:53,105 --> 00:32:53,415 BE TO DESTROY THE BLOOD CLOT. AND THIS IS THE DRUG THAT CAN DO IT. 978 00:32:53,439 --> 00:32:54,215 AND THIS IS THE DRUG THAT CAN DO IT. THIS ONE HERE. 979 00:32:54,239 --> 00:32:55,716 IT. THIS ONE HERE. WELL, TELL US HOW HEMOMYCIN 980 00:32:55,740 --> 00:32:56,184 THIS ONE HERE. WELL, TELL US HOW HEMOMYCIN WORKS. 981 00:32:56,208 --> 00:32:57,352 WELL, TELL US HOW HEMOMYCIN WORKS. HEY, I'LL SHOW YOU. 982 00:32:57,376 --> 00:32:59,354 WORKS. HEY, I'LL SHOW YOU. NOW, I HAVE HERE A BLOOD SAMPLE 983 00:32:59,378 --> 00:33:01,522 HEY, I'LL SHOW YOU. NOW, I HAVE HERE A BLOOD SAMPLE FROM A PHLEBITIS VICTIM. 984 00:33:01,546 --> 00:33:02,657 NOW, I HAVE HERE A BLOOD SAMPLE FROM A PHLEBITIS VICTIM. PUT IT RIGHT ON THERE. 985 00:33:02,681 --> 00:33:04,892 FROM A PHLEBITIS VICTIM. PUT IT RIGHT ON THERE. NOW I AM GOING TO ADD SOME 986 00:33:04,916 --> 00:33:07,528 PUT IT RIGHT ON THERE. NOW I AM GOING TO ADD SOME NATURAL ANTIBODIES, WHICH TRY TO 987 00:33:07,552 --> 00:33:09,831 NOW I AM GOING TO ADD SOME NATURAL ANTIBODIES, WHICH TRY TO WARD OFF THE BLOOD-CLOTTING 988 00:33:09,855 --> 00:33:11,099 NATURAL ANTIBODIES, WHICH TRY TO WARD OFF THE BLOOD-CLOTTING AGENTS. 989 00:33:11,123 --> 00:33:11,666 WARD OFF THE BLOOD-CLOTTING AGENTS. THERE. 990 00:33:11,690 --> 00:33:13,601 AGENTS. THERE. NOW I WANT YOU TO WATCH HOW THEY 991 00:33:13,625 --> 00:33:14,535 THERE. NOW I WANT YOU TO WATCH HOW THEY INTERACT. 992 00:33:14,559 --> 00:33:15,870 NOW I WANT YOU TO WATCH HOW THEY INTERACT. LET ME JUST GET IT DOWN THERE 993 00:33:15,894 --> 00:33:16,637 INTERACT. LET ME JUST GET IT DOWN THERE LIKE... UH-OH! 994 00:33:16,661 --> 00:33:17,805 LET ME JUST GET IT DOWN THERE LIKE... UH-OH! GET IT BACK UP HERE. 995 00:33:17,829 --> 00:33:19,474 LIKE... UH-OH! GET IT BACK UP HERE. BACK UP THERE, YEAH. 996 00:33:19,498 --> 00:33:22,143 GET IT BACK UP HERE. BACK UP THERE, YEAH. NOW... 997 00:33:22,167 --> 00:33:23,144 BACK UP THERE, YEAH. NOW... AH, AHA! 998 00:33:23,168 --> 00:33:24,145 NOW... AH, AHA! THERE THEY ARE! 999 00:33:24,169 --> 00:33:25,146 AH, AHA! THERE THEY ARE! THERE THEY ARE! 1000 00:33:25,170 --> 00:33:26,314 THERE THEY ARE! THERE THEY ARE! YOU SEE HOW THE ANTIBODIES, THEY 1001 00:33:26,338 --> 00:33:27,315 THERE THEY ARE! YOU SEE HOW THE ANTIBODIES, THEY ARE HELPLESS AGAINST... 1002 00:33:27,339 --> 00:33:29,150 YOU SEE HOW THE ANTIBODIES, THEY ARE HELPLESS AGAINST... ♪ HERE I COME TO SAVE THE 1003 00:33:29,174 --> 00:33:32,153 ARE HELPLESS AGAINST... ♪ HERE I COME TO SAVE THE DAY ♪ 1004 00:33:32,177 --> 00:33:34,990 ♪ HERE I COME TO SAVE THE DAY ♪ ALL RIGHT, THAT'S... 1005 00:33:35,014 --> 00:33:36,324 DAY ♪ ALL RIGHT, THAT'S... THAT'S HEMOMYCIN. 1006 00:33:36,348 --> 00:33:37,658 ALL RIGHT, THAT'S... THAT'S HEMOMYCIN. NOW WATCH IT GO TO WORK. 1007 00:33:37,682 --> 00:33:39,160 THAT'S HEMOMYCIN. NOW WATCH IT GO TO WORK. THE CLOTTING AGENTS TRY THEIR 1008 00:33:39,184 --> 00:33:40,661 NOW WATCH IT GO TO WORK. THE CLOTTING AGENTS TRY THEIR BEST TO REPEL THE HEMOMYCIN, 1009 00:33:40,685 --> 00:33:42,197 THE CLOTTING AGENTS TRY THEIR BEST TO REPEL THE HEMOMYCIN, BUT IT'S NO AVAIL, AS IT FENDS 1010 00:33:42,221 --> 00:33:43,798 BEST TO REPEL THE HEMOMYCIN, BUT IT'S NO AVAIL, AS IT FENDS THEM OFF, RENDERING MILLIONS OF 1011 00:33:43,822 --> 00:33:45,166 BUT IT'S NO AVAIL, AS IT FENDS THEM OFF, RENDERING MILLIONS OF THEM HARMLESS AS THEY ARE 1012 00:33:45,190 --> 00:33:46,801 THEM OFF, RENDERING MILLIONS OF THEM HARMLESS AS THEY ARE CARRIED AWAY IN THE BLOODSTREAM. 1013 00:33:46,825 --> 00:33:48,803 THEM HARMLESS AS THEY ARE CARRIED AWAY IN THE BLOODSTREAM. BUT THAT'S NOT ENOUGH, DAN. 1014 00:33:48,827 --> 00:33:50,538 CARRIED AWAY IN THE BLOODSTREAM. BUT THAT'S NOT ENOUGH, DAN. THE HEMOMYCIN TOTALLY DESTROYS 1015 00:33:50,562 --> 00:33:52,040 BUT THAT'S NOT ENOUGH, DAN. THE HEMOMYCIN TOTALLY DESTROYS THESE AGENTS, AS THEY CAN 1016 00:33:52,064 --> 00:33:53,808 THE HEMOMYCIN TOTALLY DESTROYS THESE AGENTS, AS THEY CAN REGROUP AND TRY TO HEAD FOR THE 1017 00:33:53,832 --> 00:33:54,609 THESE AGENTS, AS THEY CAN REGROUP AND TRY TO HEAD FOR THE HEART, MAN. 1018 00:33:54,633 --> 00:33:56,011 REGROUP AND TRY TO HEAD FOR THE HEART, MAN. AND THERE'S NOT TOO MUCH YOU CAN 1019 00:33:56,035 --> 00:33:57,379 HEART, MAN. AND THERE'S NOT TOO MUCH YOU CAN DO WHEN THEY DO THAT, DAN, ONCE 1020 00:33:57,403 --> 00:33:58,380 AND THERE'S NOT TOO MUCH YOU CAN DO WHEN THEY DO THAT, DAN, ONCE THEY'RE ON THEIR WAY. 1021 00:33:58,404 --> 00:34:00,148 DO WHEN THEY DO THAT, DAN, ONCE THEY'RE ON THEIR WAY. THEY GO RIGHT THROUGH CELL WALLS 1022 00:34:00,172 --> 00:34:01,716 THEY'RE ON THEIR WAY. THEY GO RIGHT THROUGH CELL WALLS AND EVEN TRY TO RETALIATE BY 1023 00:34:01,740 --> 00:34:03,151 THEY GO RIGHT THROUGH CELL WALLS AND EVEN TRY TO RETALIATE BY THROWING NEW CLOTS AT THE 1024 00:34:03,175 --> 00:34:03,885 AND EVEN TRY TO RETALIATE BY THROWING NEW CLOTS AT THE HEMOMYCIN. 1025 00:34:03,909 --> 00:34:05,253 THROWING NEW CLOTS AT THE HEMOMYCIN. BUT WATCH THIS, WATCH THIS! 1026 00:34:05,277 --> 00:34:06,988 HEMOMYCIN. BUT WATCH THIS, WATCH THIS! ♪ HERE HE COMES TO SAVE THE 1027 00:34:07,012 --> 00:34:07,955 BUT WATCH THIS, WATCH THIS! ♪ HERE HE COMES TO SAVE THE DAY ♪ 1028 00:34:07,979 --> 00:34:09,257 ♪ HERE HE COMES TO SAVE THE DAY ♪ YEAH, HERE HE COMES! 1029 00:34:09,281 --> 00:34:10,892 DAY ♪ YEAH, HERE HE COMES! THAT'S WHY THEY CALL IT A 1030 00:34:10,916 --> 00:34:12,494 YEAH, HERE HE COMES! THAT'S WHY THEY CALL IT A MIRACLE DRUG, MAN! 1031 00:34:12,518 --> 00:34:13,528 THAT'S WHY THEY CALL IT A MIRACLE DRUG, MAN! YEAH! LOOK AT IT! 1032 00:34:13,552 --> 00:34:14,896 MIRACLE DRUG, MAN! YEAH! LOOK AT IT! ISN'T THAT AMAZING? 1033 00:34:14,920 --> 00:34:16,431 YEAH! LOOK AT IT! ISN'T THAT AMAZING? YEAH, IT'S AMAZING, DAN. 1034 00:34:16,455 --> 00:34:18,566 ISN'T THAT AMAZING? YEAH, IT'S AMAZING, DAN. IT'S GREAT. 1035 00:34:18,590 --> 00:34:20,568 YEAH, IT'S AMAZING, DAN. IT'S GREAT. GET THEM. 1036 00:34:20,592 --> 00:34:23,038 IT'S GREAT. GET THEM. NOW, IF THAT DON'T KILL A GERM, 1037 00:34:23,062 --> 00:34:24,939 GET THEM. NOW, IF THAT DON'T KILL A GERM, NOTHING WILL. 1038 00:34:24,963 --> 00:34:29,844 NOW, IF THAT DON'T KILL A GERM, NOTHING WILL. JUST AMAZING. 1039 00:34:29,868 --> 00:34:31,346 NOTHING WILL. JUST AMAZING. UH, JUST A FOOTNOTE, DOCTOR. 1040 00:34:31,370 --> 00:34:33,014 JUST AMAZING. UH, JUST A FOOTNOTE, DOCTOR. PHLEBITIS IS THE AFFLICTION THAT 1041 00:34:33,038 --> 00:34:34,682 UH, JUST A FOOTNOTE, DOCTOR. PHLEBITIS IS THE AFFLICTION THAT PRESIDENT NIXON HAD, WASN'T IT? 1042 00:34:34,706 --> 00:34:35,850 PHLEBITIS IS THE AFFLICTION THAT PRESIDENT NIXON HAD, WASN'T IT? THAT'S RIGHT, DAN. 1043 00:34:35,874 --> 00:34:37,452 PRESIDENT NIXON HAD, WASN'T IT? THAT'S RIGHT, DAN. WHICH WOULD MEAN THAT HE 1044 00:34:37,476 --> 00:34:38,819 THAT'S RIGHT, DAN. WHICH WOULD MEAN THAT HE SUFFERED A GREAT DEAL. 1045 00:34:38,843 --> 00:34:39,720 WHICH WOULD MEAN THAT HE SUFFERED A GREAT DEAL. YES. 1046 00:34:39,744 --> 00:34:40,755 SUFFERED A GREAT DEAL. YES. I'M GLAD. 1047 00:34:40,779 --> 00:34:41,923 YES. I'M GLAD. I AM, TOO. 1048 00:34:41,947 --> 00:34:42,690 I'M GLAD. I AM, TOO. YEAH. 1049 00:34:42,714 --> 00:34:43,624 I AM, TOO. YEAH. SO AM I. 1050 00:34:43,648 --> 00:34:44,859 YEAH. SO AM I. OKAY, THANK YOU, DOCTOR. 1051 00:34:44,883 --> 00:34:45,560 SO AM I. OKAY, THANK YOU, DOCTOR. ALL RIGHT. 1052 00:34:45,584 --> 00:34:51,399 OKAY, THANK YOU, DOCTOR. ALL RIGHT. BYE, DAN, I'LL SEE YOU. 1053 00:34:51,423 --> 00:34:52,900 ALL RIGHT. BYE, DAN, I'LL SEE YOU. UH, DAN, BACK TO YOU. 1054 00:34:52,924 --> 00:34:54,735 BYE, DAN, I'LL SEE YOU. UH, DAN, BACK TO YOU. OH, JANE, UH, YES. 1055 00:34:54,759 --> 00:34:56,071 UH, DAN, BACK TO YOU. OH, JANE, UH, YES. OKAY, FINE. 1056 00:34:56,095 --> 00:34:58,239 OH, JANE, UH, YES. OKAY, FINE. UH, IN LAWRENCEVILLE... 1057 00:34:58,263 --> 00:34:59,240 OKAY, FINE. UH, IN LAWRENCEVILLE... IT'S LIVE. 1058 00:34:59,264 --> 00:35:01,076 UH, IN LAWRENCEVILLE... IT'S LIVE. IN LAWRENCEVILLE, GEORGIA, 1059 00:35:01,100 --> 00:35:02,743 IT'S LIVE. IN LAWRENCEVILLE, GEORGIA, BORN-AGAIN PORNOGRAPHER 1060 00:35:02,767 --> 00:35:04,479 IN LAWRENCEVILLE, GEORGIA, BORN-AGAIN PORNOGRAPHER LARRY FLYNT WAS SHOT AND 1061 00:35:04,503 --> 00:35:06,514 BORN-AGAIN PORNOGRAPHER LARRY FLYNT WAS SHOT AND CRITICALLY INJURED THIS WEEK. 1062 00:35:06,538 --> 00:35:07,882 LARRY FLYNT WAS SHOT AND CRITICALLY INJURED THIS WEEK. FLYNT SAID FROM HIS HOSPITAL BED 1063 00:35:07,906 --> 00:35:09,250 CRITICALLY INJURED THIS WEEK. FLYNT SAID FROM HIS HOSPITAL BED THAT PEOPLE SHOULD NOW TAKE MORE 1064 00:35:09,274 --> 00:35:10,518 FLYNT SAID FROM HIS HOSPITAL BED THAT PEOPLE SHOULD NOW TAKE MORE SERIOUSLY HIS CLAIM THAT HE IS 1065 00:35:10,542 --> 00:35:11,886 THAT PEOPLE SHOULD NOW TAKE MORE SERIOUSLY HIS CLAIM THAT HE IS WILLING TO GIVE HIS LIFE FOR THE 1066 00:35:11,910 --> 00:35:14,389 SERIOUSLY HIS CLAIM THAT HE IS WILLING TO GIVE HIS LIFE FOR THE FIRST AMENDMENT, WHICH INVOLVES 1067 00:35:14,413 --> 00:35:15,523 WILLING TO GIVE HIS LIFE FOR THE FIRST AMENDMENT, WHICH INVOLVES THE RIGHT TO PRINT OR SAY 1068 00:35:15,547 --> 00:35:16,558 FIRST AMENDMENT, WHICH INVOLVES THE RIGHT TO PRINT OR SAY ANYTHING, NO MATTER HOW 1069 00:35:16,582 --> 00:35:17,925 THE RIGHT TO PRINT OR SAY ANYTHING, NO MATTER HOW SEEMINGLY TASTELESS, OFFENSIVE, 1070 00:35:17,949 --> 00:35:18,426 ANYTHING, NO MATTER HOW SEEMINGLY TASTELESS, OFFENSIVE, OR SICK. 1071 00:35:18,450 --> 00:35:19,727 SEEMINGLY TASTELESS, OFFENSIVE, OR SICK. WHEN ASKED TO COMMENT ON THIS, 1072 00:35:19,751 --> 00:35:21,096 OR SICK. WHEN ASKED TO COMMENT ON THIS, THE ATTORNEY GENERAL OF GEORGIA 1073 00:35:21,120 --> 00:35:22,363 WHEN ASKED TO COMMENT ON THIS, THE ATTORNEY GENERAL OF GEORGIA SAID IT WAS HIS UNDERSTANDING 1074 00:35:22,387 --> 00:35:23,565 THE ATTORNEY GENERAL OF GEORGIA SAID IT WAS HIS UNDERSTANDING THAT THE FIRST AMENDMENT IS 1075 00:35:23,589 --> 00:35:29,237 SAID IT WAS HIS UNDERSTANDING THAT THE FIRST AMENDMENT IS PROTECTIVE BUT NOT BULLETPROOF. 1076 00:35:29,261 --> 00:35:33,908 THAT THE FIRST AMENDMENT IS PROTECTIVE BUT NOT BULLETPROOF. STEPIN FETCHIT. 1077 00:35:33,932 --> 00:35:35,776 PROTECTIVE BUT NOT BULLETPROOF. STEPIN FETCHIT. AND NOW WITH THIS WEEK'S FILM 1078 00:35:35,800 --> 00:35:37,579 STEPIN FETCHIT. AND NOW WITH THIS WEEK'S FILM REVIEW IS "WEEKEND UPDATE'S" 1079 00:35:37,603 --> 00:35:39,247 AND NOW WITH THIS WEEK'S FILM REVIEW IS "WEEKEND UPDATE'S" MOVIE CRITIC BILL MURRAY. 1080 00:35:39,271 --> 00:35:39,780 REVIEW IS "WEEKEND UPDATE'S" MOVIE CRITIC BILL MURRAY. BILL? 1081 00:35:39,804 --> 00:35:45,953 MOVIE CRITIC BILL MURRAY. BILL? THANK YOU, JANE. 1082 00:35:45,977 --> 00:35:46,954 BILL? THANK YOU, JANE. THANKS, JANE. 1083 00:35:46,978 --> 00:35:48,723 THANK YOU, JANE. THANKS, JANE. IN 1972, JANE FONDA WENT TO 1084 00:35:48,747 --> 00:35:50,558 THANKS, JANE. IN 1972, JANE FONDA WENT TO NORTH VIETNAM TO EXPRESS HER 1085 00:35:50,582 --> 00:35:52,494 IN 1972, JANE FONDA WENT TO NORTH VIETNAM TO EXPRESS HER OPPOSITION TO THE VIETNAM WAR. 1086 00:35:52,518 --> 00:35:54,695 NORTH VIETNAM TO EXPRESS HER OPPOSITION TO THE VIETNAM WAR. AT THAT TIME, THIS REVIEWER TOLD 1087 00:35:54,719 --> 00:35:57,064 OPPOSITION TO THE VIETNAM WAR. AT THAT TIME, THIS REVIEWER TOLD HER, "NO, JANE, DON'T GO. 1088 00:35:57,088 --> 00:35:58,266 AT THAT TIME, THIS REVIEWER TOLD HER, "NO, JANE, DON'T GO. YOU'RE AN ACTRESS, NOT A 1089 00:35:58,290 --> 00:35:58,933 HER, "NO, JANE, DON'T GO. YOU'RE AN ACTRESS, NOT A DIPLOMAT. 1090 00:35:58,957 --> 00:36:00,502 YOU'RE AN ACTRESS, NOT A DIPLOMAT. ART AND POLITICS DON'T MIX. 1091 00:36:00,526 --> 00:36:01,402 DIPLOMAT. ART AND POLITICS DON'T MIX. UNH-UNH!" 1092 00:36:01,426 --> 00:36:03,004 ART AND POLITICS DON'T MIX. UNH-UNH!" I SAID, "JANE, HOLLYWOOD WILL 1093 00:36:03,028 --> 00:36:04,539 UNH-UNH!" I SAID, "JANE, HOLLYWOOD WILL BRAND YOU A RADICAL, AND YOU 1094 00:36:04,563 --> 00:36:06,207 I SAID, "JANE, HOLLYWOOD WILL BRAND YOU A RADICAL, AND YOU WILL NOT GET ANYMORE ESSENTIAL 1095 00:36:06,231 --> 00:36:07,509 BRAND YOU A RADICAL, AND YOU WILL NOT GET ANYMORE ESSENTIAL STAR-VEHICLE ROLES LIKE 1096 00:36:07,533 --> 00:36:09,076 WILL NOT GET ANYMORE ESSENTIAL STAR-VEHICLE ROLES LIKE 'BARBARELLA.'" 1097 00:36:09,100 --> 00:36:10,512 STAR-VEHICLE ROLES LIKE 'BARBARELLA.'" LET'S FACE IT, "BARBARELLA'S" A 1098 00:36:10,536 --> 00:36:11,012 'BARBARELLA.'" LET'S FACE IT, "BARBARELLA'S" A CLASSIC. 1099 00:36:11,036 --> 00:36:12,213 LET'S FACE IT, "BARBARELLA'S" A CLASSIC. COME ON. 1100 00:36:12,237 --> 00:36:13,615 CLASSIC. COME ON. WELL, THAT'S WHAT I WAS SAYING 1101 00:36:13,639 --> 00:36:15,082 COME ON. WELL, THAT'S WHAT I WAS SAYING SIX YEARS AGO, BUT AFTER SEEING 1102 00:36:15,106 --> 00:36:16,451 WELL, THAT'S WHAT I WAS SAYING SIX YEARS AGO, BUT AFTER SEEING "COMING HOME," I HAVE TO TELL 1103 00:36:16,475 --> 00:36:18,786 SIX YEARS AGO, BUT AFTER SEEING "COMING HOME," I HAVE TO TELL YOU, JANE, I WAS WRONG. 1104 00:36:18,810 --> 00:36:20,555 "COMING HOME," I HAVE TO TELL YOU, JANE, I WAS WRONG. I'M NOT OFTEN WRONG, BUT WHEN I 1105 00:36:20,579 --> 00:36:22,290 YOU, JANE, I WAS WRONG. I'M NOT OFTEN WRONG, BUT WHEN I AM, I'M THE FIRST TO ADMIT IT. 1106 00:36:22,314 --> 00:36:25,293 I'M NOT OFTEN WRONG, BUT WHEN I AM, I'M THE FIRST TO ADMIT IT. I LOVE THAT ABOUT MYSELF. 1107 00:36:25,317 --> 00:36:27,195 AM, I'M THE FIRST TO ADMIT IT. I LOVE THAT ABOUT MYSELF. "COMING HOME," WHICH ALSO STARS 1108 00:36:27,219 --> 00:36:29,063 I LOVE THAT ABOUT MYSELF. "COMING HOME," WHICH ALSO STARS JON VOIGHT AND BRUCE DERN, IS A 1109 00:36:29,087 --> 00:36:30,698 "COMING HOME," WHICH ALSO STARS JON VOIGHT AND BRUCE DERN, IS A SENSITIVE PORTRAYAL OF THE 1110 00:36:30,722 --> 00:36:32,534 JON VOIGHT AND BRUCE DERN, IS A SENSITIVE PORTRAYAL OF THE VIETNAM WAR'S TRAGIC IMPACT ON 1111 00:36:32,558 --> 00:36:34,469 SENSITIVE PORTRAYAL OF THE VIETNAM WAR'S TRAGIC IMPACT ON THE PERSONAL LIVES OF THREE VERY 1112 00:36:34,493 --> 00:36:35,670 VIETNAM WAR'S TRAGIC IMPACT ON THE PERSONAL LIVES OF THREE VERY ATTRACTIVE PEOPLE. 1113 00:36:35,694 --> 00:36:37,338 THE PERSONAL LIVES OF THREE VERY ATTRACTIVE PEOPLE. WHILE WATCHING "COMING HOME," 1114 00:36:37,362 --> 00:36:39,174 ATTRACTIVE PEOPLE. WHILE WATCHING "COMING HOME," THIS REVIEWER WAS FORCED TO VIEW 1115 00:36:39,198 --> 00:36:40,941 WHILE WATCHING "COMING HOME," THIS REVIEWER WAS FORCED TO VIEW THAT PERIOD OF OUR HISTORY IN A 1116 00:36:40,965 --> 00:36:42,677 THIS REVIEWER WAS FORCED TO VIEW THAT PERIOD OF OUR HISTORY IN A DIFFERENT LIGHT, AND I REALIZE 1117 00:36:42,701 --> 00:36:44,345 THAT PERIOD OF OUR HISTORY IN A DIFFERENT LIGHT, AND I REALIZE NOW, AND I MUST SAY THIS, AND 1118 00:36:44,369 --> 00:36:46,181 DIFFERENT LIGHT, AND I REALIZE NOW, AND I MUST SAY THIS, AND I'VE NEVER SAID THIS BEFORE, THE 1119 00:36:46,205 --> 00:36:48,883 NOW, AND I MUST SAY THIS, AND I'VE NEVER SAID THIS BEFORE, THE VIETNAM WAR WAS A MISTAKE. 1120 00:36:48,907 --> 00:36:50,351 I'VE NEVER SAID THIS BEFORE, THE VIETNAM WAR WAS A MISTAKE. LET ME FINISH, PLEASE. 1121 00:36:50,375 --> 00:36:51,986 VIETNAM WAR WAS A MISTAKE. LET ME FINISH, PLEASE. I WILL BE HEARD. 1122 00:36:52,010 --> 00:36:53,555 LET ME FINISH, PLEASE. I WILL BE HEARD. I DON'T CARE HOW THIS HURTS ME 1123 00:36:53,579 --> 00:36:54,755 I WILL BE HEARD. I DON'T CARE HOW THIS HURTS ME PRIVATELY OR PUBLICLY. 1124 00:36:54,779 --> 00:36:56,224 I DON'T CARE HOW THIS HURTS ME PRIVATELY OR PUBLICLY. I BELIEVE WE SHOULD NOT HAVE 1125 00:36:56,248 --> 00:36:58,326 PRIVATELY OR PUBLICLY. I BELIEVE WE SHOULD NOT HAVE FOUGHT THAT WAR. 1126 00:36:58,350 --> 00:37:00,127 I BELIEVE WE SHOULD NOT HAVE FOUGHT THAT WAR. JANE, YOU WERE RIGHT IN 1972, 1127 00:37:00,151 --> 00:37:01,962 FOUGHT THAT WAR. JANE, YOU WERE RIGHT IN 1972, AND YOUR CAREER HAS GROWN EVER 1128 00:37:01,986 --> 00:37:02,530 JANE, YOU WERE RIGHT IN 1972, AND YOUR CAREER HAS GROWN EVER SINCE. 1129 00:37:02,554 --> 00:37:03,831 AND YOUR CAREER HAS GROWN EVER SINCE. YOU DESERVED THAT OSCAR FOR 1130 00:37:03,855 --> 00:37:04,365 SINCE. YOU DESERVED THAT OSCAR FOR "KLUTE." 1131 00:37:04,389 --> 00:37:05,433 YOU DESERVED THAT OSCAR FOR "KLUTE." YOU WERE TERRIFIC. 1132 00:37:05,457 --> 00:37:06,934 "KLUTE." YOU WERE TERRIFIC. YOUR PERFORMANCE IN "JULIA" 1133 00:37:06,958 --> 00:37:08,536 YOU WERE TERRIFIC. YOUR PERFORMANCE IN "JULIA" PROVED YOU'VE BECOME A WOMAN. 1134 00:37:08,560 --> 00:37:10,338 YOUR PERFORMANCE IN "JULIA" PROVED YOU'VE BECOME A WOMAN. AND WHILE WE ALL KNOW YOU MADE 1135 00:37:10,362 --> 00:37:11,806 PROVED YOU'VE BECOME A WOMAN. AND WHILE WE ALL KNOW YOU MADE LAST YEAR'S EMBARRASSMENT 1136 00:37:11,830 --> 00:37:13,708 AND WHILE WE ALL KNOW YOU MADE LAST YEAR'S EMBARRASSMENT "FUN WITH DICK AND JANE" ONLY TO 1137 00:37:13,732 --> 00:37:15,410 LAST YEAR'S EMBARRASSMENT "FUN WITH DICK AND JANE" ONLY TO RAISE MONEY FOR YOUR HUSBAND 1138 00:37:15,434 --> 00:37:17,044 "FUN WITH DICK AND JANE" ONLY TO RAISE MONEY FOR YOUR HUSBAND TOMMY HAYDEN'S UNSUCCESSFUL 1139 00:37:17,068 --> 00:37:18,479 RAISE MONEY FOR YOUR HUSBAND TOMMY HAYDEN'S UNSUCCESSFUL SENATE CAMPAIGN, WE CAN 1140 00:37:18,503 --> 00:37:20,348 TOMMY HAYDEN'S UNSUCCESSFUL SENATE CAMPAIGN, WE CAN UNDERSTAND THAT, HONEY, BECAUSE 1141 00:37:20,372 --> 00:37:22,149 SENATE CAMPAIGN, WE CAN UNDERSTAND THAT, HONEY, BECAUSE YOU'RE A POLITICAL ANIMAL, AND 1142 00:37:22,173 --> 00:37:23,418 UNDERSTAND THAT, HONEY, BECAUSE YOU'RE A POLITICAL ANIMAL, AND WE RESPECT THAT NOW. 1143 00:37:23,442 --> 00:37:25,220 YOU'RE A POLITICAL ANIMAL, AND WE RESPECT THAT NOW. I'M INTO POLITICS. 1144 00:37:25,244 --> 00:37:28,289 WE RESPECT THAT NOW. I'M INTO POLITICS. IT'S NEAT. 1145 00:37:28,313 --> 00:37:30,157 I'M INTO POLITICS. IT'S NEAT. SO, JANE, THANK YOU FOR BEING 1146 00:37:30,181 --> 00:37:31,559 IT'S NEAT. SO, JANE, THANK YOU FOR BEING RIGHT ABOUT THE WAR. 1147 00:37:31,583 --> 00:37:33,127 SO, JANE, THANK YOU FOR BEING RIGHT ABOUT THE WAR. THANK YOU FOR BEING A BRILLIANT 1148 00:37:33,151 --> 00:37:33,695 RIGHT ABOUT THE WAR. THANK YOU FOR BEING A BRILLIANT ACTRESS. 1149 00:37:33,719 --> 00:37:36,197 THANK YOU FOR BEING A BRILLIANT ACTRESS. BUT MOST OF ALL, THANK YOU FOR 1150 00:37:36,221 --> 00:37:39,033 ACTRESS. BUT MOST OF ALL, THANK YOU FOR BEING YOU. 1151 00:37:39,057 --> 00:37:40,535 BUT MOST OF ALL, THANK YOU FOR BEING YOU. AND YOU OUT THERE IN AMERICA, 1152 00:37:40,559 --> 00:37:41,902 BEING YOU. AND YOU OUT THERE IN AMERICA, YOU MAY THINK I'M OFF-BASE. 1153 00:37:41,926 --> 00:37:43,504 AND YOU OUT THERE IN AMERICA, YOU MAY THINK I'M OFF-BASE. I'M SORRY, BUT I FEEL THAT WAY. 1154 00:37:43,528 --> 00:37:45,106 YOU MAY THINK I'M OFF-BASE. I'M SORRY, BUT I FEEL THAT WAY. SO GET OUT OF HERE, ALL YOU HAWK 1155 00:37:45,130 --> 00:37:45,673 I'M SORRY, BUT I FEEL THAT WAY. SO GET OUT OF HERE, ALL YOU HAWK MANIACS. 1156 00:37:45,697 --> 00:37:46,807 SO GET OUT OF HERE, ALL YOU HAWK MANIACS. I MEAN IT, YOU HAWKS. 1157 00:37:46,831 --> 00:37:48,008 MANIACS. I MEAN IT, YOU HAWKS. AND SPEAKING OF BEAUTIFUL WOMEN 1158 00:37:48,032 --> 00:37:49,210 I MEAN IT, YOU HAWKS. AND SPEAKING OF BEAUTIFUL WOMEN NAMED JANE, LET ME THROW IT BACK 1159 00:37:49,234 --> 00:37:57,218 AND SPEAKING OF BEAUTIFUL WOMEN NAMED JANE, LET ME THROW IT BACK TO OUR OWN JANE CURTIN. 1160 00:37:57,242 --> 00:37:59,220 NAMED JANE, LET ME THROW IT BACK TO OUR OWN JANE CURTIN. THANK YOU, BILL. 1161 00:37:59,244 --> 00:38:01,556 TO OUR OWN JANE CURTIN. THANK YOU, BILL. OUR FINAL STORY TONIGHT IS A SAD 1162 00:38:01,580 --> 00:38:02,223 THANK YOU, BILL. OUR FINAL STORY TONIGHT IS A SAD ONE. 1163 00:38:02,247 --> 00:38:03,891 OUR FINAL STORY TONIGHT IS A SAD ONE. BUBBLES THE FREEDOM-LOVING 1164 00:38:03,915 --> 00:38:05,526 ONE. BUBBLES THE FREEDOM-LOVING HIPPOPOTAMUS WHO HAD BEEN 1165 00:38:05,550 --> 00:38:07,462 BUBBLES THE FREEDOM-LOVING HIPPOPOTAMUS WHO HAD BEEN ELUDING HER WOULD-BE CAPTORS IN 1166 00:38:07,486 --> 00:38:09,397 HIPPOPOTAMUS WHO HAD BEEN ELUDING HER WOULD-BE CAPTORS IN AN IRVINE, CALIFORNIA, LAKE FOR 1167 00:38:09,421 --> 00:38:11,198 ELUDING HER WOULD-BE CAPTORS IN AN IRVINE, CALIFORNIA, LAKE FOR THREE WEEKS DIED AFTER BEING 1168 00:38:11,222 --> 00:38:13,134 AN IRVINE, CALIFORNIA, LAKE FOR THREE WEEKS DIED AFTER BEING SHOT BY TRANQUILIZING DARTS AND 1169 00:38:13,158 --> 00:38:14,702 THREE WEEKS DIED AFTER BEING SHOT BY TRANQUILIZING DARTS AND ROLLING DOWN A HILLSIDE. 1170 00:38:14,726 --> 00:38:16,304 SHOT BY TRANQUILIZING DARTS AND ROLLING DOWN A HILLSIDE. FORTUNATELY, THERE'S A HUMOROUS 1171 00:38:16,328 --> 00:38:17,538 ROLLING DOWN A HILLSIDE. FORTUNATELY, THERE'S A HUMOROUS SIDE TO BUBBLES' STORY. 1172 00:38:17,562 --> 00:38:18,706 FORTUNATELY, THERE'S A HUMOROUS SIDE TO BUBBLES' STORY. SHE ROLLED OVER A TROOP OF 1173 00:38:18,730 --> 00:38:20,107 SIDE TO BUBBLES' STORY. SHE ROLLED OVER A TROOP OF BROWNIES WHO WERE CAMPING ON THE 1174 00:38:20,131 --> 00:38:21,442 SHE ROLLED OVER A TROOP OF BROWNIES WHO WERE CAMPING ON THE HILLSIDE AND CRUSHED EVERY ONE 1175 00:38:21,466 --> 00:38:23,444 BROWNIES WHO WERE CAMPING ON THE HILLSIDE AND CRUSHED EVERY ONE OF THEM TO DEATH. 1176 00:38:23,468 --> 00:38:24,379 HILLSIDE AND CRUSHED EVERY ONE OF THEM TO DEATH. THAT'S THE NEWS. 1177 00:38:24,403 --> 00:38:25,980 OF THEM TO DEATH. THAT'S THE NEWS. GOOD NIGHT AND HAVE A PLEASANT 1178 00:38:26,004 --> 00:38:28,549 THAT'S THE NEWS. GOOD NIGHT AND HAVE A PLEASANT TOMORROW. 1179 00:38:28,573 --> 00:38:30,017 GOOD NIGHT AND HAVE A PLEASANT TOMORROW. Announcer: "WEEKEND UPDATE" 1180 00:38:30,041 --> 00:38:31,085 TOMORROW. Announcer: "WEEKEND UPDATE" IS A PRESENTATION OF 1181 00:38:31,109 --> 00:38:32,553 Announcer: "WEEKEND UPDATE" IS A PRESENTATION OF "SATURDAY NIGHT NEWS," KEEPING 1182 00:38:32,577 --> 00:38:34,555 IS A PRESENTATION OF "SATURDAY NIGHT NEWS," KEEPING AMERICA INFORMED FOR OVER A 50th 1183 00:38:34,579 --> 00:38:37,224 "SATURDAY NIGHT NEWS," KEEPING AMERICA INFORMED FOR OVER A 50th OF A CENTURY. 1184 00:38:37,248 --> 00:38:40,208 AMERICA INFORMED FOR OVER A 50th OF A CENTURY. [INTRO TO "ALL I KNOW" PLAYS] 1185 00:38:52,363 --> 00:39:00,363 ♪ I BRUISE YOU ♪ ♪ YOU BRUISE ME ♪ ♪ WE BOTH BRUISE TOO EASILY ♪ 1186 00:39:04,543 --> 00:39:11,726 ♪ YOU BRUISE ME ♪ ♪ WE BOTH BRUISE TOO EASILY ♪ ♪ TOO EASILY TO LET IT SHOW ♪ 1187 00:39:11,750 --> 00:39:16,764 ♪ WE BOTH BRUISE TOO EASILY ♪ ♪ TOO EASILY TO LET IT SHOW ♪ ♪ I LOVE YOU, AND THAT'S ALL I 1188 00:39:16,788 --> 00:39:20,468 ♪ TOO EASILY TO LET IT SHOW ♪ ♪ I LOVE YOU, AND THAT'S ALL I KNOW ♪ 1189 00:39:20,492 --> 00:39:24,672 ♪ I LOVE YOU, AND THAT'S ALL I KNOW ♪ ♪ ALL MY PLANS HAVE FALLEN 1190 00:39:24,696 --> 00:39:27,074 KNOW ♪ ♪ ALL MY PLANS HAVE FALLEN THROUGH ♪ 1191 00:39:27,098 --> 00:39:32,714 ♪ ALL MY PLANS HAVE FALLEN THROUGH ♪ ♪ ALL MY PLANS DEPEND ON YOU ♪ 1192 00:39:32,738 --> 00:39:37,819 THROUGH ♪ ♪ ALL MY PLANS DEPEND ON YOU ♪ ♪ DEPEND ON YOU TO HELP THEM 1193 00:39:37,843 --> 00:39:40,287 ♪ ALL MY PLANS DEPEND ON YOU ♪ ♪ DEPEND ON YOU TO HELP THEM GROW ♪ 1194 00:39:40,311 --> 00:39:43,791 ♪ DEPEND ON YOU TO HELP THEM GROW ♪ ♪ I LOVE YOU, AND THAT'S ALL 1195 00:39:43,815 --> 00:39:47,462 GROW ♪ ♪ I LOVE YOU, AND THAT'S ALL I KNOW ♪ 1196 00:39:47,486 --> 00:39:51,298 ♪ I LOVE YOU, AND THAT'S ALL I KNOW ♪ ♪ WHEN THE SINGER'S GONE, LET 1197 00:39:51,322 --> 00:39:57,260 I KNOW ♪ ♪ WHEN THE SINGER'S GONE, LET THE SONG GO ON ♪ 1198 00:40:08,773 --> 00:40:16,773 ♪ BUT THE ENDING ALWAYS COMES AT LAST ♪ ♪ ENDINGS ALWAYS COME TOO FAST ♪ 1199 00:40:21,152 --> 00:40:24,965 LAST ♪ ♪ ENDINGS ALWAYS COME TOO FAST ♪ ♪ THEY COME TOO FAST, BUT THEY 1200 00:40:24,989 --> 00:40:28,803 ♪ ENDINGS ALWAYS COME TOO FAST ♪ ♪ THEY COME TOO FAST, BUT THEY PASS SO SLOW ♪ 1201 00:40:28,827 --> 00:40:35,476 ♪ THEY COME TOO FAST, BUT THEY PASS SO SLOW ♪ ♪ I LOVE YOU, AND THAT'S ALL I 1202 00:40:35,500 --> 00:40:39,146 PASS SO SLOW ♪ ♪ I LOVE YOU, AND THAT'S ALL I KNOW ♪ 1203 00:40:39,170 --> 00:40:45,653 ♪ I LOVE YOU, AND THAT'S ALL I KNOW ♪ ♪ THAT'S ALL I KNOW ♪ 1204 00:40:45,677 --> 00:40:52,660 KNOW ♪ ♪ THAT'S ALL I KNOW ♪ ♪ THAT'S ALL I KNOW ♪ 1205 00:40:52,684 --> 00:40:57,787 ♪ THAT'S ALL I KNOW ♪ ♪ THAT'S ALL I KNOW ♪ ♪ THAT'S ALL I KNOW ♪ 1206 00:41:22,713 --> 00:41:30,713 [CHEERS AND APPLAUSE] [INTRO TO "SCARBOROUGH FAIR" PLAYS] 1207 00:41:36,660 --> 00:41:44,660 ♪ ARE YOU GOIN' TO SCARBOROUGH FAIR? ♪ ♪ PARSLEY, SAGE, ROSEMARY, AND 1208 00:41:47,105 --> 00:41:51,953 FAIR? ♪ ♪ PARSLEY, SAGE, ROSEMARY, AND THYME ♪ 1209 00:41:51,977 --> 00:41:56,256 ♪ PARSLEY, SAGE, ROSEMARY, AND THYME ♪ ♪ REMEMBER ME TO ONE WHO LIVES 1210 00:41:56,280 --> 00:41:58,593 THYME ♪ ♪ REMEMBER ME TO ONE WHO LIVES THERE ♪ 1211 00:41:58,617 --> 00:42:02,730 ♪ REMEMBER ME TO ONE WHO LIVES THERE ♪ ♪ SHE ONCE WAS A TRUE LOVE OF 1212 00:42:02,754 --> 00:42:08,002 THERE ♪ ♪ SHE ONCE WAS A TRUE LOVE OF MINE ♪ 1213 00:42:08,026 --> 00:42:11,873 ♪ SHE ONCE WAS A TRUE LOVE OF MINE ♪ ♪ TELL HER TO MAKE ME A CAMBRIC 1214 00:42:11,897 --> 00:42:14,642 MINE ♪ ♪ TELL HER TO MAKE ME A CAMBRIC SHIRT ♪ 1215 00:42:14,666 --> 00:42:18,379 ♪ TELL HER TO MAKE ME A CAMBRIC SHIRT ♪ ♪ PARSLEY, SAGE, ROSEMARY, AND 1216 00:42:18,403 --> 00:42:23,050 SHIRT ♪ ♪ PARSLEY, SAGE, ROSEMARY, AND THYME ♪ 1217 00:42:23,074 --> 00:42:26,286 ♪ PARSLEY, SAGE, ROSEMARY, AND THYME ♪ ♪ WITHOUT NO SEAM NOR 1218 00:42:26,310 --> 00:42:30,157 THYME ♪ ♪ WITHOUT NO SEAM NOR NEEDLEWORK ♪ 1219 00:42:30,181 --> 00:42:34,161 ♪ WITHOUT NO SEAM NOR NEEDLEWORK ♪ ♪ THEN SHE'LL BE A TRUE LOVE OF 1220 00:42:34,185 --> 00:42:39,266 NEEDLEWORK ♪ ♪ THEN SHE'LL BE A TRUE LOVE OF MINE ♪ 1221 00:42:39,290 --> 00:42:43,237 ♪ THEN SHE'LL BE A TRUE LOVE OF MINE ♪ ♪ TELL HER TO FIND ME AN ACRE OF 1222 00:42:43,261 --> 00:42:46,373 MINE ♪ ♪ TELL HER TO FIND ME AN ACRE OF LAND ♪ 1223 00:42:46,397 --> 00:42:49,844 ♪ TELL HER TO FIND ME AN ACRE OF LAND ♪ ♪ PARSLEY, SAGE, ROSEMARY, AND 1224 00:42:49,868 --> 00:42:54,682 LAND ♪ ♪ PARSLEY, SAGE, ROSEMARY, AND THYME ♪ 1225 00:42:54,706 --> 00:42:58,653 ♪ PARSLEY, SAGE, ROSEMARY, AND THYME ♪ ♪ BETWEEN THE SALTWATER AND THE 1226 00:42:58,677 --> 00:43:01,856 THYME ♪ ♪ BETWEEN THE SALTWATER AND THE SEASTRAND ♪ 1227 00:43:01,880 --> 00:43:05,760 ♪ BETWEEN THE SALTWATER AND THE SEASTRAND ♪ ♪ THEN SHE'LL BE A TRUE LOVE OF 1228 00:43:05,784 --> 00:43:11,165 SEASTRAND ♪ ♪ THEN SHE'LL BE A TRUE LOVE OF MINE ♪ 1229 00:43:11,189 --> 00:43:13,601 ♪ THEN SHE'LL BE A TRUE LOVE OF MINE ♪ ♪ TELL HER TO REAP IT IN A 1230 00:43:13,625 --> 00:43:17,905 MINE ♪ ♪ TELL HER TO REAP IT IN A SICKLE OF LEATHER ♪ 1231 00:43:17,929 --> 00:43:21,576 ♪ TELL HER TO REAP IT IN A SICKLE OF LEATHER ♪ ♪ PARSLEY, SAGE, ROSEMARY, AND 1232 00:43:21,600 --> 00:43:26,480 SICKLE OF LEATHER ♪ ♪ PARSLEY, SAGE, ROSEMARY, AND THYME ♪ 1233 00:43:26,504 --> 00:43:30,585 ♪ PARSLEY, SAGE, ROSEMARY, AND THYME ♪ ♪ AND GATHER IT ALL IN A BUNCH 1234 00:43:30,609 --> 00:43:33,621 THYME ♪ ♪ AND GATHER IT ALL IN A BUNCH OF HEATHER ♪ 1235 00:43:33,645 --> 00:43:37,692 ♪ AND GATHER IT ALL IN A BUNCH OF HEATHER ♪ ♪ THEN SHE'LL BE A TRUE LOVE OF 1236 00:43:37,716 --> 00:43:42,930 OF HEATHER ♪ ♪ THEN SHE'LL BE A TRUE LOVE OF MINE ♪ 1237 00:43:42,954 --> 00:43:46,701 ♪ THEN SHE'LL BE A TRUE LOVE OF MINE ♪ ♪ ARE YOU GOIN' TO SCARBOROUGH 1238 00:43:46,725 --> 00:43:49,870 MINE ♪ ♪ ARE YOU GOIN' TO SCARBOROUGH FAIR? ♪ 1239 00:43:49,894 --> 00:43:53,540 ♪ ARE YOU GOIN' TO SCARBOROUGH FAIR? ♪ ♪ PARSLEY, SAGE, ROSEMARY, AND 1240 00:43:53,564 --> 00:43:58,445 FAIR? ♪ ♪ PARSLEY, SAGE, ROSEMARY, AND THYME ♪ 1241 00:43:58,469 --> 00:44:03,484 ♪ PARSLEY, SAGE, ROSEMARY, AND THYME ♪ ♪ REMEMBER ME TO ONE WHO LIVES 1242 00:44:03,508 --> 00:44:05,653 THYME ♪ ♪ REMEMBER ME TO ONE WHO LIVES THERE ♪ 1243 00:44:05,677 --> 00:44:09,490 ♪ REMEMBER ME TO ONE WHO LIVES THERE ♪ ♪ SHE ONCE WAS A TRUE LOVE OF 1244 00:44:09,514 --> 00:44:12,949 THERE ♪ ♪ SHE ONCE WAS A TRUE LOVE OF MINE ♪ 1245 00:44:21,992 --> 00:44:23,793 [CHEERS AND APPLAUSE] 1246 00:44:38,108 --> 00:44:42,123 HELLO. WELCOME TO "LOOKS AT BOOKS." I'M YOUR HOST, JANE CURTIN. 1247 00:44:42,147 --> 00:44:43,824 WELCOME TO "LOOKS AT BOOKS." I'M YOUR HOST, JANE CURTIN. ONE OF THIS TV SEASON'S BIGGEST 1248 00:44:43,848 --> 00:44:45,059 I'M YOUR HOST, JANE CURTIN. ONE OF THIS TV SEASON'S BIGGEST HITS IS A SHOW CALLED 1249 00:44:45,083 --> 00:44:46,761 ONE OF THIS TV SEASON'S BIGGEST HITS IS A SHOW CALLED "WHATEVER HAPPENED TO THE CLASS 1250 00:44:46,785 --> 00:44:47,361 HITS IS A SHOW CALLED "WHATEVER HAPPENED TO THE CLASS OF '65?" 1251 00:44:47,385 --> 00:44:49,130 "WHATEVER HAPPENED TO THE CLASS OF '65?" BASED ON A BOOK BY THE SAME 1252 00:44:49,154 --> 00:44:51,098 OF '65?" BASED ON A BOOK BY THE SAME NAME, THE SHOW FOLLOWS THE 1965 1253 00:44:51,122 --> 00:44:53,167 BASED ON A BOOK BY THE SAME NAME, THE SHOW FOLLOWS THE 1965 GRADUATING CLASS OF A CALIFORNIA 1254 00:44:53,191 --> 00:44:54,101 NAME, THE SHOW FOLLOWS THE 1965 GRADUATING CLASS OF A CALIFORNIA HIGH SCHOOL. 1255 00:44:54,125 --> 00:44:55,602 GRADUATING CLASS OF A CALIFORNIA HIGH SCHOOL. TODAY, OUR GUESTS ARE TWO YOUNG 1256 00:44:55,626 --> 00:44:57,138 HIGH SCHOOL. TODAY, OUR GUESTS ARE TWO YOUNG AUTHORS WHO HAVE WRITTEN A BOOK 1257 00:44:57,162 --> 00:44:58,438 TODAY, OUR GUESTS ARE TWO YOUNG AUTHORS WHO HAVE WRITTEN A BOOK ABOUT THEIR OWN GRADUATING 1258 00:44:58,462 --> 00:45:00,474 AUTHORS WHO HAVE WRITTEN A BOOK ABOUT THEIR OWN GRADUATING CLASS... "WHATEVER HAPPENED TO 1259 00:45:00,498 --> 00:45:02,677 ABOUT THEIR OWN GRADUATING CLASS... "WHATEVER HAPPENED TO THE CLASS OF '77?" 1260 00:45:02,701 --> 00:45:04,411 CLASS... "WHATEVER HAPPENED TO THE CLASS OF '77?" LISA LOOPNER, TODD LABOUNDA, 1261 00:45:04,435 --> 00:45:06,213 THE CLASS OF '77?" LISA LOOPNER, TODD LABOUNDA, TELL US A LITTLE ABOUT YOUR 1262 00:45:06,237 --> 00:45:06,781 LISA LOOPNER, TODD LABOUNDA, TELL US A LITTLE ABOUT YOUR BOOK. 1263 00:45:06,805 --> 00:45:08,949 TELL US A LITTLE ABOUT YOUR BOOK. WELL, IT'S ABOUT 30 OF OUR 1264 00:45:08,973 --> 00:45:11,185 BOOK. WELL, IT'S ABOUT 30 OF OUR CLASSMATES AND WHAT'S HAPPENED 1265 00:45:11,209 --> 00:45:13,020 WELL, IT'S ABOUT 30 OF OUR CLASSMATES AND WHAT'S HAPPENED TO THEM SINCE LAST JUNE. 1266 00:45:13,044 --> 00:45:14,121 CLASSMATES AND WHAT'S HAPPENED TO THEM SINCE LAST JUNE. [CHUCKLES] 1267 00:45:14,145 --> 00:45:15,556 TO THEM SINCE LAST JUNE. [CHUCKLES] WELL, I HAVE TO ADMIT THAT I 1268 00:45:15,580 --> 00:45:17,091 [CHUCKLES] WELL, I HAVE TO ADMIT THAT I HAVEN'T READ THE BOOK YET, BUT 1269 00:45:17,115 --> 00:45:18,159 WELL, I HAVE TO ADMIT THAT I HAVEN'T READ THE BOOK YET, BUT IT SOUNDS EXCITING. 1270 00:45:18,183 --> 00:45:19,794 HAVEN'T READ THE BOOK YET, BUT IT SOUNDS EXCITING. CAN YOU TELL US SOME OF THE MOST 1271 00:45:19,818 --> 00:45:21,361 IT SOUNDS EXCITING. CAN YOU TELL US SOME OF THE MOST VIVID CHARACTERS FROM THE CLASS 1272 00:45:21,385 --> 00:45:22,863 CAN YOU TELL US SOME OF THE MOST VIVID CHARACTERS FROM THE CLASS OF '77 AND WHAT'S HAPPENED TO 1273 00:45:22,887 --> 00:45:24,231 VIVID CHARACTERS FROM THE CLASS OF '77 AND WHAT'S HAPPENED TO THEM SINCE THEY GRADUATED? 1274 00:45:24,255 --> 00:45:25,332 OF '77 AND WHAT'S HAPPENED TO THEM SINCE THEY GRADUATED? UH, WELL, THERE'S 1275 00:45:25,356 --> 00:45:26,834 THEM SINCE THEY GRADUATED? UH, WELL, THERE'S SCOTT KENDALL, WHO, UH... WHO 1276 00:45:26,858 --> 00:45:28,502 UH, WELL, THERE'S SCOTT KENDALL, WHO, UH... WHO MOWED LAWNS ALL SUMMER, AND HE'S 1277 00:45:28,526 --> 00:45:30,037 SCOTT KENDALL, WHO, UH... WHO MOWED LAWNS ALL SUMMER, AND HE'S GOING TO JUNIOR COLLEGE OUT IN 1278 00:45:30,061 --> 00:45:30,838 MOWED LAWNS ALL SUMMER, AND HE'S GOING TO JUNIOR COLLEGE OUT IN SOUTH DAKOTA. 1279 00:45:30,862 --> 00:45:33,007 GOING TO JUNIOR COLLEGE OUT IN SOUTH DAKOTA. YEAH, AND THERE'S THIS REAL 1280 00:45:33,031 --> 00:45:35,209 SOUTH DAKOTA. YEAH, AND THERE'S THIS REAL INTERESTING CHAPTER ABOUT THIS 1281 00:45:35,233 --> 00:45:35,810 YEAH, AND THERE'S THIS REAL INTERESTING CHAPTER ABOUT THIS GIRL. 1282 00:45:35,834 --> 00:45:38,012 INTERESTING CHAPTER ABOUT THIS GIRL. HER NAME'S CARRY FINN, AND SHE 1283 00:45:38,036 --> 00:45:40,314 GIRL. HER NAME'S CARRY FINN, AND SHE GOT A JOB IN... SHE GOT A JOB AS 1284 00:45:40,338 --> 00:45:41,749 HER NAME'S CARRY FINN, AND SHE GOT A JOB IN... SHE GOT A JOB AS A NANNY, YOU KNOW. 1285 00:45:41,773 --> 00:45:44,018 GOT A JOB IN... SHE GOT A JOB AS A NANNY, YOU KNOW. LIKE, SHE TOOK CARE OF THIS REAL 1286 00:45:44,042 --> 00:45:46,486 A NANNY, YOU KNOW. LIKE, SHE TOOK CARE OF THIS REAL RICH FAMILY'S LITTLE GIRL IN 1287 00:45:46,510 --> 00:45:50,524 LIKE, SHE TOOK CARE OF THIS REAL RICH FAMILY'S LITTLE GIRL IN PARIS AND FRANCE, AND THE 1288 00:45:50,548 --> 00:45:51,358 RICH FAMILY'S LITTLE GIRL IN PARIS AND FRANCE, AND THE HOTEL... 1289 00:45:51,382 --> 00:45:52,326 PARIS AND FRANCE, AND THE HOTEL... [BOTH LAUGH] 1290 00:45:52,350 --> 00:45:54,361 HOTEL... [BOTH LAUGH] THE HOTEL WHERE THEY FILMED... 1291 00:45:54,385 --> 00:45:56,463 [BOTH LAUGH] THE HOTEL WHERE THEY FILMED... THEY FILMED A MOVIE IN FRONT OF 1292 00:45:56,487 --> 00:45:58,032 THE HOTEL WHERE THEY FILMED... THEY FILMED A MOVIE IN FRONT OF IT, AND SHE... SHE SAW 1293 00:45:58,056 --> 00:45:59,200 THEY FILMED A MOVIE IN FRONT OF IT, AND SHE... SHE SAW CYBILL SHEPHERD. 1294 00:45:59,224 --> 00:46:01,135 IT, AND SHE... SHE SAW CYBILL SHEPHERD. [LAUGHS] 1295 00:46:01,159 --> 00:46:02,870 CYBILL SHEPHERD. [LAUGHS] THEN... TELL HER... TELL HER 1296 00:46:02,894 --> 00:46:04,038 [LAUGHS] THEN... TELL HER... TELL HER ABOUT RICKY GALE. 1297 00:46:04,062 --> 00:46:05,639 THEN... TELL HER... TELL HER ABOUT RICKY GALE. OH, YEAH, RIGHT, OKAY. 1298 00:46:05,663 --> 00:46:08,008 ABOUT RICKY GALE. OH, YEAH, RIGHT, OKAY. THERE'S THIS GIRL, RICKY GALE, 1299 00:46:08,032 --> 00:46:10,544 OH, YEAH, RIGHT, OKAY. THERE'S THIS GIRL, RICKY GALE, WHO, LIKE, AT THE FOURTH OF JULY 1300 00:46:10,568 --> 00:46:11,478 THERE'S THIS GIRL, RICKY GALE, WHO, LIKE, AT THE FOURTH OF JULY PICNIC... 1301 00:46:11,502 --> 00:46:12,847 WHO, LIKE, AT THE FOURTH OF JULY PICNIC... [BOTH LAUGH] 1302 00:46:12,871 --> 00:46:15,082 PICNIC... [BOTH LAUGH] SHE, LIKE, GOT THE... IT WAS FOR 1303 00:46:15,106 --> 00:46:17,084 [BOTH LAUGH] SHE, LIKE, GOT THE... IT WAS FOR HER COUSINS, AND SHE GOT THE 1304 00:46:17,108 --> 00:46:19,286 SHE, LIKE, GOT THE... IT WAS FOR HER COUSINS, AND SHE GOT THE SUGAR AND SALT MIXED UP, AND SHE 1305 00:46:19,310 --> 00:46:21,488 HER COUSINS, AND SHE GOT THE SUGAR AND SALT MIXED UP, AND SHE PUT THE... SHE PUT THE SUGAR IN 1306 00:46:21,512 --> 00:46:23,690 SUGAR AND SALT MIXED UP, AND SHE PUT THE... SHE PUT THE SUGAR IN THE POTATO SALAD AND THE SALT IN 1307 00:46:23,714 --> 00:46:24,792 PUT THE... SHE PUT THE SUGAR IN THE POTATO SALAD AND THE SALT IN THE CUPCAKES. 1308 00:46:24,816 --> 00:46:26,160 THE POTATO SALAD AND THE SALT IN THE CUPCAKES. GOOD... GOOD CUPCAKES! 1309 00:46:26,184 --> 00:46:27,795 THE CUPCAKES. GOOD... GOOD CUPCAKES! YEAH, IT WAS... IT WAS REAL 1310 00:46:27,819 --> 00:46:28,295 GOOD... GOOD CUPCAKES! YEAH, IT WAS... IT WAS REAL FUNNY. 1311 00:46:28,319 --> 00:46:29,864 YEAH, IT WAS... IT WAS REAL FUNNY. WE WROTE A REAL FUNNY CHAPTER 1312 00:46:29,888 --> 00:46:30,865 FUNNY. WE WROTE A REAL FUNNY CHAPTER ABOUT IT. 1313 00:46:30,889 --> 00:46:33,033 WE WROTE A REAL FUNNY CHAPTER ABOUT IT. [LAUGHS] 1314 00:46:33,057 --> 00:46:35,702 ABOUT IT. [LAUGHS] I'M SURE IT'S HILARIOUS. 1315 00:46:35,726 --> 00:46:37,204 [LAUGHS] I'M SURE IT'S HILARIOUS. A WHOLE BUNCH OF GUYS GOT A 1316 00:46:37,228 --> 00:46:38,605 I'M SURE IT'S HILARIOUS. A WHOLE BUNCH OF GUYS GOT A DRIVE-AWAY CAR AND WENT OUT TO 1317 00:46:38,629 --> 00:46:39,240 A WHOLE BUNCH OF GUYS GOT A DRIVE-AWAY CAR AND WENT OUT TO CALIFORNIA. 1318 00:46:39,264 --> 00:46:40,607 DRIVE-AWAY CAR AND WENT OUT TO CALIFORNIA. THEY WOULD DRIVE IN SHIFTS AND 1319 00:46:40,631 --> 00:46:41,075 CALIFORNIA. THEY WOULD DRIVE IN SHIFTS AND STUFF. 1320 00:46:41,099 --> 00:46:41,909 THEY WOULD DRIVE IN SHIFTS AND STUFF. THEY TOOK TURNS. 1321 00:46:41,933 --> 00:46:43,244 STUFF. THEY TOOK TURNS. ALL THEY DID WAS STOP FOR GAS 1322 00:46:43,268 --> 00:46:43,844 THEY TOOK TURNS. ALL THEY DID WAS STOP FOR GAS AND STUFF. 1323 00:46:43,868 --> 00:46:45,345 ALL THEY DID WAS STOP FOR GAS AND STUFF. YEAH, LIKE, THEY DROVE 1324 00:46:45,369 --> 00:46:47,214 AND STUFF. YEAH, LIKE, THEY DROVE STRAIGHT THROUGH IT, AND JUST SO 1325 00:46:47,238 --> 00:46:48,949 YEAH, LIKE, THEY DROVE STRAIGHT THROUGH IT, AND JUST SO ONLY THEY WOULD STOP TO GO TO 1326 00:46:48,973 --> 00:46:50,251 STRAIGHT THROUGH IT, AND JUST SO ONLY THEY WOULD STOP TO GO TO THE BATHROOM AND EAT. 1327 00:46:50,275 --> 00:46:51,318 ONLY THEY WOULD STOP TO GO TO THE BATHROOM AND EAT. THEY HAD TO. 1328 00:46:51,342 --> 00:46:51,986 THE BATHROOM AND EAT. THEY HAD TO. YEAH. 1329 00:46:52,010 --> 00:46:53,220 THEY HAD TO. YEAH. OH, WAIT A MINUTE! 1330 00:46:53,244 --> 00:46:55,289 YEAH. OH, WAIT A MINUTE! ONE... ONE CHAPTER'S ABOUT THIS 1331 00:46:55,313 --> 00:46:57,992 OH, WAIT A MINUTE! ONE... ONE CHAPTER'S ABOUT THIS GIRL WHO GOT COOTIES! 1332 00:46:58,016 --> 00:47:02,897 ONE... ONE CHAPTER'S ABOUT THIS GIRL WHO GOT COOTIES! [BOTH LAUGH] 1333 00:47:02,921 --> 00:47:04,899 GIRL WHO GOT COOTIES! [BOTH LAUGH] I'M JUST KIDDING. 1334 00:47:04,923 --> 00:47:06,233 [BOTH LAUGH] I'M JUST KIDDING. OH, GREAT, GREAT, GREAT. 1335 00:47:06,257 --> 00:47:07,668 I'M JUST KIDDING. OH, GREAT, GREAT, GREAT. THAT'S SO FUNNY, IT'S NOT EVEN 1336 00:47:07,692 --> 00:47:08,135 OH, GREAT, GREAT, GREAT. THAT'S SO FUNNY, IT'S NOT EVEN FUNNY. 1337 00:47:08,159 --> 00:47:09,603 THAT'S SO FUNNY, IT'S NOT EVEN FUNNY. HOW ABOUT A NOOGIE FOR THAT?! 1338 00:47:09,627 --> 00:47:12,072 FUNNY. HOW ABOUT A NOOGIE FOR THAT?! AAH! 1339 00:47:12,096 --> 00:47:14,308 HOW ABOUT A NOOGIE FOR THAT?! AAH! YEAH, I SAW YOU THIS MORNING, 1340 00:47:14,332 --> 00:47:15,876 AAH! YEAH, I SAW YOU THIS MORNING, BUT MY MOM MADE ME FLUSH THE 1341 00:47:15,900 --> 00:47:17,144 YEAH, I SAW YOU THIS MORNING, BUT MY MOM MADE ME FLUSH THE TOILET. 1342 00:47:17,168 --> 00:47:20,547 BUT MY MOM MADE ME FLUSH THE TOILET. MORE NOOGIES FOR THAT! 1343 00:47:20,571 --> 00:47:22,749 TOILET. MORE NOOGIES FOR THAT! I-I UNDERSTAND THAT YOU EACH 1344 00:47:22,773 --> 00:47:24,318 MORE NOOGIES FOR THAT! I-I UNDERSTAND THAT YOU EACH WROTE A CHAPTER ABOUT 1345 00:47:24,342 --> 00:47:25,286 I-I UNDERSTAND THAT YOU EACH WROTE A CHAPTER ABOUT YOURSELVES. 1346 00:47:25,310 --> 00:47:26,420 WROTE A CHAPTER ABOUT YOURSELVES. YEAH. 1347 00:47:26,444 --> 00:47:28,189 YOURSELVES. YEAH. IT'S ALL ABOUT US AND THE STUFF 1348 00:47:28,213 --> 00:47:29,857 YEAH. IT'S ALL ABOUT US AND THE STUFF WE DO AND ALL THE WORK WE DID 1349 00:47:29,881 --> 00:47:30,958 IT'S ALL ABOUT US AND THE STUFF WE DO AND ALL THE WORK WE DID WRITING THE BOOK. 1350 00:47:30,982 --> 00:47:32,359 WE DO AND ALL THE WORK WE DID WRITING THE BOOK. YEAH, LIKE, RIGHT. 1351 00:47:32,383 --> 00:47:34,761 WRITING THE BOOK. YEAH, LIKE, RIGHT. I HAD A LOT OF TROUBLE FINDING 1352 00:47:34,785 --> 00:47:36,797 YEAH, LIKE, RIGHT. I HAD A LOT OF TROUBLE FINDING EVERYBODY'S PHONE NUMBER. 1353 00:47:36,821 --> 00:47:37,564 I HAD A LOT OF TROUBLE FINDING EVERYBODY'S PHONE NUMBER. [LAUGHS] 1354 00:47:37,588 --> 00:47:38,265 EVERYBODY'S PHONE NUMBER. [LAUGHS] STOP IT! 1355 00:47:38,289 --> 00:47:39,967 [LAUGHS] STOP IT! AND ANYWAY, THIS ONE GUY WASN'T 1356 00:47:39,991 --> 00:47:41,668 STOP IT! AND ANYWAY, THIS ONE GUY WASN'T LISTED ANYWHERE, AND I TRIED TO 1357 00:47:41,692 --> 00:47:42,669 AND ANYWAY, THIS ONE GUY WASN'T LISTED ANYWHERE, AND I TRIED TO PHONE EVERYBODY. 1358 00:47:42,693 --> 00:47:44,171 LISTED ANYWHERE, AND I TRIED TO PHONE EVERYBODY. I COULDN'T FIND HIS NUMBER. 1359 00:47:44,195 --> 00:47:45,906 PHONE EVERYBODY. I COULDN'T FIND HIS NUMBER. AND I PHONED HIS MOTHER, AND SHE 1360 00:47:45,930 --> 00:47:47,241 I COULDN'T FIND HIS NUMBER. AND I PHONED HIS MOTHER, AND SHE WOULDN'T GIVE IT TO ME. 1361 00:47:47,265 --> 00:47:48,608 AND I PHONED HIS MOTHER, AND SHE WOULDN'T GIVE IT TO ME. I DON'T BLAME HER. 1362 00:47:48,632 --> 00:47:49,877 WOULDN'T GIVE IT TO ME. I DON'T BLAME HER. OKAY, TODD LABOUNDA, 1363 00:47:49,901 --> 00:47:51,312 I DON'T BLAME HER. OKAY, TODD LABOUNDA, LISA LOOPNER, THANK YOU FOR 1364 00:47:51,336 --> 00:47:52,913 OKAY, TODD LABOUNDA, LISA LOOPNER, THANK YOU FOR TELLING US WHAT HAPPENED TO THE 1365 00:47:52,937 --> 00:47:54,081 LISA LOOPNER, THANK YOU FOR TELLING US WHAT HAPPENED TO THE CLASS OF '77. 1366 00:47:54,105 --> 00:47:55,249 TELLING US WHAT HAPPENED TO THE CLASS OF '77. Both: [Singsong voice] 1367 00:47:55,273 --> 00:47:59,086 CLASS OF '77. Both: [Singsong voice] THANK YOU, MISS CURTIN. 1368 00:47:59,110 --> 00:48:00,587 Both: [Singsong voice] THANK YOU, MISS CURTIN. AND THANK YOU. 1369 00:48:00,611 --> 00:48:02,711 THANK YOU, MISS CURTIN. AND THANK YOU. GOOD NIGHT. 1370 00:48:19,329 --> 00:48:27,329 [TRAIN WHISTLE BLOWING] [BRAKES SQUEAL] [CLEARS THROAT] 1371 00:48:29,374 --> 00:48:31,852 [BRAKES SQUEAL] [CLEARS THROAT] I GUESS THIS IS MY STOP. 1372 00:48:31,876 --> 00:48:33,956 [CLEARS THROAT] I GUESS THIS IS MY STOP. [GROANING] 1373 00:48:51,661 --> 00:48:55,309 YEAH. THEY ALL THOUGHT I'D BE THE FIRST TO GO. 1374 00:48:55,333 --> 00:48:57,211 THEY ALL THOUGHT I'D BE THE FIRST TO GO. I WAS ONE OF THOSE "LIVE FAST, 1375 00:48:57,235 --> 00:48:59,146 FIRST TO GO. I WAS ONE OF THOSE "LIVE FAST, DIE YOUNG, LEAVE A GOOD-LOOKING 1376 00:48:59,170 --> 00:49:01,282 I WAS ONE OF THOSE "LIVE FAST, DIE YOUNG, LEAVE A GOOD-LOOKING CORPSE" TYPES, YOU KNOW? 1377 00:49:01,306 --> 00:49:03,817 DIE YOUNG, LEAVE A GOOD-LOOKING CORPSE" TYPES, YOU KNOW? BUT I GUESS THEY WERE WRONG. 1378 00:49:03,841 --> 00:49:06,320 CORPSE" TYPES, YOU KNOW? BUT I GUESS THEY WERE WRONG. THERE THEY ARE... ALL MY 1379 00:49:06,344 --> 00:49:07,621 BUT I GUESS THEY WERE WRONG. THERE THEY ARE... ALL MY FRIENDS. 1380 00:49:07,645 --> 00:49:08,355 THERE THEY ARE... ALL MY FRIENDS. THIS IS THE 1381 00:49:08,379 --> 00:49:09,723 FRIENDS. THIS IS THE NOT-READY-FOR-PRIME-TIME 1382 00:49:09,747 --> 00:49:12,492 THIS IS THE NOT-READY-FOR-PRIME-TIME CEMETERY. 1383 00:49:12,516 --> 00:49:18,598 NOT-READY-FOR-PRIME-TIME CEMETERY. COME ON UP. 1384 00:49:18,622 --> 00:49:24,104 CEMETERY. COME ON UP. [GRUNTING] 1385 00:49:24,128 --> 00:49:26,506 COME ON UP. [GRUNTING] WELL... 1386 00:49:26,530 --> 00:49:29,509 [GRUNTING] WELL... HERE'S GILDA RADNER. 1387 00:49:29,533 --> 00:49:31,278 WELL... HERE'S GILDA RADNER. AH... 1388 00:49:31,302 --> 00:49:33,213 HERE'S GILDA RADNER. AH... SHE HAD HER OWN SHOW ON CANADIAN 1389 00:49:33,237 --> 00:49:35,382 AH... SHE HAD HER OWN SHOW ON CANADIAN TELEVISION FOR YEARS AND YEARS, 1390 00:49:35,406 --> 00:49:38,352 SHE HAD HER OWN SHOW ON CANADIAN TELEVISION FOR YEARS AND YEARS, "THE GILDA RADNER SHOW." 1391 00:49:38,376 --> 00:49:40,354 TELEVISION FOR YEARS AND YEARS, "THE GILDA RADNER SHOW." WELL, AT LEAST NOW I CAN SEE HER 1392 00:49:40,378 --> 00:49:41,188 "THE GILDA RADNER SHOW." WELL, AT LEAST NOW I CAN SEE HER ON RERUNS. 1393 00:49:41,212 --> 00:49:43,023 WELL, AT LEAST NOW I CAN SEE HER ON RERUNS. CUTE AS A BUTTON, GOD BLESS HER. 1394 00:49:43,047 --> 00:49:45,859 ON RERUNS. CUTE AS A BUTTON, GOD BLESS HER. HERE'S WHERE LARAINE IS. 1395 00:49:45,883 --> 00:49:47,527 CUTE AS A BUTTON, GOD BLESS HER. HERE'S WHERE LARAINE IS. THEY SAY SHE MURDERED HER DEEJAY 1396 00:49:47,551 --> 00:49:49,930 HERE'S WHERE LARAINE IS. THEY SAY SHE MURDERED HER DEEJAY HUSBAND, THEN MOVED TO THE 1397 00:49:49,954 --> 00:49:52,666 THEY SAY SHE MURDERED HER DEEJAY HUSBAND, THEN MOVED TO THE VALLEY IN CALIFORNIA AND HAD A 1398 00:49:52,690 --> 00:49:55,624 HUSBAND, THEN MOVED TO THE VALLEY IN CALIFORNIA AND HAD A PECAN FARM. 1399 00:49:55,892 --> 00:49:58,861 SHE WAS THIS BIG WHEN SHE DIED. 1400 00:49:59,129 --> 00:50:06,113 JANE CURTIN. SHE MARRIED A STOCKBROKER, HAD TWO CHILDREN, MOVED TO UPSTATE 1401 00:50:06,137 --> 00:50:07,514 SHE MARRIED A STOCKBROKER, HAD TWO CHILDREN, MOVED TO UPSTATE NEW YORK. 1402 00:50:07,538 --> 00:50:10,451 TWO CHILDREN, MOVED TO UPSTATE NEW YORK. SHE DIED FROM COMPLICATIONS 1403 00:50:10,475 --> 00:50:14,554 NEW YORK. SHE DIED FROM COMPLICATIONS DURING COSMETIC SURGERY. 1404 00:50:14,578 --> 00:50:16,723 SHE DIED FROM COMPLICATIONS DURING COSMETIC SURGERY. THIS IS GARRETT MORRIS. 1405 00:50:16,747 --> 00:50:19,593 DURING COSMETIC SURGERY. THIS IS GARRETT MORRIS. NOW, GARRETT... GARRETT LEFT THE 1406 00:50:19,617 --> 00:50:21,295 THIS IS GARRETT MORRIS. NOW, GARRETT... GARRETT LEFT THE SHOW AND THEN WORKED IN THE 1407 00:50:21,319 --> 00:50:23,230 NOW, GARRETT... GARRETT LEFT THE SHOW AND THEN WORKED IN THE BLACK THEATER FOR YEARS. 1408 00:50:23,254 --> 00:50:24,764 SHOW AND THEN WORKED IN THE BLACK THEATER FOR YEARS. THEN HE DIED OF AN OVERDOSE OF 1409 00:50:24,788 --> 00:50:26,766 BLACK THEATER FOR YEARS. THEN HE DIED OF AN OVERDOSE OF HEROIN. 1410 00:50:26,790 --> 00:50:28,935 THEN HE DIED OF AN OVERDOSE OF HEROIN. HERE'S BILL MURRAY. 1411 00:50:28,959 --> 00:50:30,537 HEROIN. HERE'S BILL MURRAY. HE LIVED THE LONGEST... 1412 00:50:30,561 --> 00:50:32,939 HERE'S BILL MURRAY. HE LIVED THE LONGEST... 38 YEARS. 1413 00:50:32,963 --> 00:50:35,242 HE LIVED THE LONGEST... 38 YEARS. AH, HE WAS HAPPY WHEN HE DIED, 1414 00:50:35,266 --> 00:50:36,010 38 YEARS. AH, HE WAS HAPPY WHEN HE DIED, THOUGH. 1415 00:50:36,034 --> 00:50:37,811 AH, HE WAS HAPPY WHEN HE DIED, THOUGH. HE'D JUST GROWN HIS MUSTACHE 1416 00:50:37,835 --> 00:50:40,314 THOUGH. HE'D JUST GROWN HIS MUSTACHE BACK. 1417 00:50:40,338 --> 00:50:42,749 HE'D JUST GROWN HIS MUSTACHE BACK. PROBABLY STILL GROWING. 1418 00:50:42,773 --> 00:50:47,654 BACK. PROBABLY STILL GROWING. OVER HERE IS CHEVY CHASE. 1419 00:50:47,678 --> 00:50:49,156 PROBABLY STILL GROWING. OVER HERE IS CHEVY CHASE. HE DIED RIGHT AFTER HIS FIRST 1420 00:50:49,180 --> 00:50:51,358 OVER HERE IS CHEVY CHASE. HE DIED RIGHT AFTER HIS FIRST MOVIE WITH GOLDIE HAWN. 1421 00:50:51,382 --> 00:50:57,031 HE DIED RIGHT AFTER HIS FIRST MOVIE WITH GOLDIE HAWN. OVER HERE IS DANNY AYKROYD. 1422 00:50:57,055 --> 00:50:58,765 MOVIE WITH GOLDIE HAWN. OVER HERE IS DANNY AYKROYD. I GUESS HE LOVED HIS HARLEY TOO 1423 00:50:58,789 --> 00:50:59,733 OVER HERE IS DANNY AYKROYD. I GUESS HE LOVED HIS HARLEY TOO MUCH. 1424 00:50:59,757 --> 00:51:02,903 I GUESS HE LOVED HIS HARLEY TOO MUCH. THEY CLOCKED HIM AT 175 MILES AN 1425 00:51:02,927 --> 00:51:04,905 MUCH. THEY CLOCKED HIM AT 175 MILES AN HOUR BEFORE THE CRASH. 1426 00:51:04,929 --> 00:51:07,741 THEY CLOCKED HIM AT 175 MILES AN HOUR BEFORE THE CRASH. IT WAS A BLUR. 1427 00:51:07,765 --> 00:51:09,009 HOUR BEFORE THE CRASH. IT WAS A BLUR. I HAD TO BE CALLED IN TO 1428 00:51:09,033 --> 00:51:11,078 IT WAS A BLUR. I HAD TO BE CALLED IN TO IDENTIFY HIS BODY. 1429 00:51:11,102 --> 00:51:12,579 I HAD TO BE CALLED IN TO IDENTIFY HIS BODY. I RECOGNIZED HIM BY HIS WEBBED 1430 00:51:12,603 --> 00:51:13,813 IDENTIFY HIS BODY. I RECOGNIZED HIM BY HIS WEBBED TOES. 1431 00:51:13,837 --> 00:51:16,150 I RECOGNIZED HIM BY HIS WEBBED TOES. YEP. 1432 00:51:16,174 --> 00:51:22,689 TOES. YEP. WELL... 1433 00:51:22,713 --> 00:51:24,024 YEP. WELL... THE "SATURDAY NIGHT" SHOW WAS 1434 00:51:24,048 --> 00:51:27,727 WELL... THE "SATURDAY NIGHT" SHOW WAS THE BEST EXPERIENCE OF MY LIFE. 1435 00:51:27,751 --> 00:51:31,098 THE "SATURDAY NIGHT" SHOW WAS THE BEST EXPERIENCE OF MY LIFE. AND NOW THEY'RE ALL GONE. 1436 00:51:31,122 --> 00:51:35,469 THE BEST EXPERIENCE OF MY LIFE. AND NOW THEY'RE ALL GONE. AND I MISS EVERY ONE OF THEM. 1437 00:51:35,493 --> 00:51:37,904 AND NOW THEY'RE ALL GONE. AND I MISS EVERY ONE OF THEM. WHY ME? 1438 00:51:37,928 --> 00:51:41,308 AND I MISS EVERY ONE OF THEM. WHY ME? WHY DID I LIVE SO LONG? 1439 00:51:41,332 --> 00:51:45,145 WHY ME? WHY DID I LIVE SO LONG? THEY'RE ALL DEAD. 1440 00:51:45,169 --> 00:51:47,814 WHY DID I LIVE SO LONG? THEY'RE ALL DEAD. I'LL TELL YOU WHY. 1441 00:51:47,838 --> 00:51:50,484 THEY'RE ALL DEAD. I'LL TELL YOU WHY. 'CAUSE I'M A DANCER! 1442 00:51:50,508 --> 00:51:51,485 I'LL TELL YOU WHY. 'CAUSE I'M A DANCER! [UP-TEMPO MUSIC PLAYS] 1443 00:51:51,509 --> 00:51:52,986 'CAUSE I'M A DANCER! [UP-TEMPO MUSIC PLAYS] [MAN SINGING IN NATIVE 1444 00:51:53,010 --> 00:51:55,130 [UP-TEMPO MUSIC PLAYS] [MAN SINGING IN NATIVE LANGUAGE] 1445 00:52:21,238 --> 00:52:26,542 LADIES AND GENTLEMEN, MR. ANDY KAUFMAN. [CHEERS AND APPLAUSE] 1446 00:52:36,186 --> 00:52:44,186 [MARCHING-BAND MUSIC PLAYS] [MUSIC STOPS] [MARCHING-BAND MUSIC PLAYS] 1447 00:52:48,232 --> 00:52:52,879 [MUSIC STOPS] [MARCHING-BAND MUSIC PLAYS] [MUSIC STOPS] 1448 00:52:52,903 --> 00:52:54,214 [MARCHING-BAND MUSIC PLAYS] [MUSIC STOPS] [British accent] ALL RIGHT, 1449 00:52:54,238 --> 00:52:56,216 [MUSIC STOPS] [British accent] ALL RIGHT, THANK YOU VERY MUCH. 1450 00:52:56,240 --> 00:52:58,218 [British accent] ALL RIGHT, THANK YOU VERY MUCH. IT'S WONDERFUL TO BE HERE AND 1451 00:52:58,242 --> 00:53:00,086 THANK YOU VERY MUCH. IT'S WONDERFUL TO BE HERE AND LOOK OUT AND SEE EVERYONE'S 1452 00:53:00,110 --> 00:53:01,188 IT'S WONDERFUL TO BE HERE AND LOOK OUT AND SEE EVERYONE'S SMILING FACES. 1453 00:53:01,212 --> 00:53:02,623 LOOK OUT AND SEE EVERYONE'S SMILING FACES. EVERYONE IS FEELING GOOD? 1454 00:53:02,647 --> 00:53:05,992 SMILING FACES. EVERYONE IS FEELING GOOD? [CHEERS AND APPLAUSE] 1455 00:53:06,016 --> 00:53:07,427 EVERYONE IS FEELING GOOD? [CHEERS AND APPLAUSE] THANK YOU VERY MUCH. 1456 00:53:07,451 --> 00:53:09,763 [CHEERS AND APPLAUSE] THANK YOU VERY MUCH. WELL... 1457 00:53:09,787 --> 00:53:11,365 THANK YOU VERY MUCH. WELL... WELL, YOU KNOW, UM, NOW THAT 1458 00:53:11,389 --> 00:53:13,099 WELL... WELL, YOU KNOW, UM, NOW THAT WE'VE GOTTEN MORE INTIMATE WITH 1459 00:53:13,123 --> 00:53:14,501 WELL, YOU KNOW, UM, NOW THAT WE'VE GOTTEN MORE INTIMATE WITH EACH OTHER AND FEEL MORE 1460 00:53:14,525 --> 00:53:16,270 WE'VE GOTTEN MORE INTIMATE WITH EACH OTHER AND FEEL MORE COMFORTABLE, I'D LIKE TO PROCEED 1461 00:53:16,294 --> 00:53:17,804 EACH OTHER AND FEEL MORE COMFORTABLE, I'D LIKE TO PROCEED WITH WHAT I'M ABOUT TO DO. 1462 00:53:17,828 --> 00:53:19,139 COMFORTABLE, I'D LIKE TO PROCEED WITH WHAT I'M ABOUT TO DO. THEY TOLD ME THAT SINCE THERE 1463 00:53:19,163 --> 00:53:20,541 WITH WHAT I'M ABOUT TO DO. THEY TOLD ME THAT SINCE THERE WAS ONLY ABOUT 20 OR 25 MINUTES 1464 00:53:20,565 --> 00:53:22,509 THEY TOLD ME THAT SINCE THERE WAS ONLY ABOUT 20 OR 25 MINUTES LEFT IN THE SHOW TONIGHT THAT 1465 00:53:22,533 --> 00:53:24,645 WAS ONLY ABOUT 20 OR 25 MINUTES LEFT IN THE SHOW TONIGHT THAT SINCE I'VE BEEN ON SEVERAL TIMES 1466 00:53:24,669 --> 00:53:26,780 LEFT IN THE SHOW TONIGHT THAT SINCE I'VE BEEN ON SEVERAL TIMES BEFORE, THEY TRUST ME. 1467 00:53:26,804 --> 00:53:28,014 SINCE I'VE BEEN ON SEVERAL TIMES BEFORE, THEY TRUST ME. THE PRODUCERS AND THE PEOPLE 1468 00:53:28,038 --> 00:53:29,383 BEFORE, THEY TRUST ME. THE PRODUCERS AND THE PEOPLE WHO RUN THE SHOW, THEY SAID THEY 1469 00:53:29,407 --> 00:53:30,750 THE PRODUCERS AND THE PEOPLE WHO RUN THE SHOW, THEY SAID THEY TRUST ME VERY MUCH AND THAT THEY 1470 00:53:30,774 --> 00:53:32,085 WHO RUN THE SHOW, THEY SAID THEY TRUST ME VERY MUCH AND THAT THEY WOULD LET ME DO ANYTHING I WANT 1471 00:53:32,109 --> 00:53:33,453 TRUST ME VERY MUCH AND THAT THEY WOULD LET ME DO ANYTHING I WANT AND I COULD HAVE THE REST OF THE 1472 00:53:33,477 --> 00:53:35,755 WOULD LET ME DO ANYTHING I WANT AND I COULD HAVE THE REST OF THE TIME, IF IT TAKES THAT LONG. 1473 00:53:35,779 --> 00:53:38,725 AND I COULD HAVE THE REST OF THE TIME, IF IT TAKES THAT LONG. SO, UH, I WAS WONDERING WHAT... 1474 00:53:38,749 --> 00:53:40,060 TIME, IF IT TAKES THAT LONG. SO, UH, I WAS WONDERING WHAT... WHAT TO DO. 1475 00:53:40,084 --> 00:53:41,628 SO, UH, I WAS WONDERING WHAT... WHAT TO DO. WHAT COULD I DO IN THIS TO FILL 1476 00:53:41,652 --> 00:53:42,829 WHAT TO DO. WHAT COULD I DO IN THIS TO FILL UP THIS 20, 25 MINUTES? 1477 00:53:42,853 --> 00:53:45,232 WHAT COULD I DO IN THIS TO FILL UP THIS 20, 25 MINUTES? AND COULD I SING A SONG, DO A 1478 00:53:45,256 --> 00:53:46,433 UP THIS 20, 25 MINUTES? AND COULD I SING A SONG, DO A DANCE? 1479 00:53:46,457 --> 00:53:47,767 AND COULD I SING A SONG, DO A DANCE? THEN I THOUGHT, WELL, YOU KNOW, 1480 00:53:47,791 --> 00:53:49,102 DANCE? THEN I THOUGHT, WELL, YOU KNOW, BEFORE, I'VE BEEN ON THE SHOW, 1481 00:53:49,126 --> 00:53:50,437 THEN I THOUGHT, WELL, YOU KNOW, BEFORE, I'VE BEEN ON THE SHOW, I'VE DONE CHARACTERS, YOU KNOW, 1482 00:53:50,461 --> 00:53:51,672 BEFORE, I'VE BEEN ON THE SHOW, I'VE DONE CHARACTERS, YOU KNOW, LIKE THE LITTLE FOREIGN MAN, 1483 00:53:51,696 --> 00:53:52,906 I'VE DONE CHARACTERS, YOU KNOW, LIKE THE LITTLE FOREIGN MAN, FOREIGN IMMIGRANT WHO GOES... 1484 00:53:52,930 --> 00:53:54,174 LIKE THE LITTLE FOREIGN MAN, FOREIGN IMMIGRANT WHO GOES... [Foreign accent] "THANK YOU, 1485 00:53:54,198 --> 00:53:54,708 FOREIGN IMMIGRANT WHO GOES... [Foreign accent] "THANK YOU, VERY MUCH. 1486 00:53:54,732 --> 00:53:55,742 [Foreign accent] "THANK YOU, VERY MUCH. I'M VERY HAPPY TO BE HERE." 1487 00:53:55,766 --> 00:53:56,810 VERY MUCH. I'M VERY HAPPY TO BE HERE." [British accent] YOU KNOW? 1488 00:53:56,834 --> 00:53:57,977 I'M VERY HAPPY TO BE HERE." [British accent] YOU KNOW? AND THEN I'VE DONE THIS AMERICAN 1489 00:53:58,001 --> 00:53:58,878 [British accent] YOU KNOW? AND THEN I'VE DONE THIS AMERICAN CHARACTER, THAT GOES... 1490 00:53:58,902 --> 00:53:59,913 AND THEN I'VE DONE THIS AMERICAN CHARACTER, THAT GOES... [American accent] "HI, I'M 1491 00:53:59,937 --> 00:54:01,014 CHARACTER, THAT GOES... [American accent] "HI, I'M ANDY, AND HELLO, HOW ARE YOU? 1492 00:54:01,038 --> 00:54:02,015 [American accent] "HI, I'M ANDY, AND HELLO, HOW ARE YOU? ♪ OH, THE COW GOES MOO" ♪ 1493 00:54:02,039 --> 00:54:03,183 ANDY, AND HELLO, HOW ARE YOU? ♪ OH, THE COW GOES MOO" ♪ [British accent] YOU KNOW. 1494 00:54:03,207 --> 00:54:04,451 ♪ OH, THE COW GOES MOO" ♪ [British accent] YOU KNOW. AND, UH, I THOUGHT INSTEAD OF 1495 00:54:04,475 --> 00:54:05,719 [British accent] YOU KNOW. AND, UH, I THOUGHT INSTEAD OF DOING THAT, WHY DON'T I JUST 1496 00:54:05,743 --> 00:54:06,986 AND, UH, I THOUGHT INSTEAD OF DOING THAT, WHY DON'T I JUST COME OUT AND BE STRAIGHT WITH 1497 00:54:07,010 --> 00:54:08,955 DOING THAT, WHY DON'T I JUST COME OUT AND BE STRAIGHT WITH YOU AND JUST BE MYSELF? 1498 00:54:08,979 --> 00:54:11,358 COME OUT AND BE STRAIGHT WITH YOU AND JUST BE MYSELF? SO... SO THAT'S WHAT... SO, 1499 00:54:11,382 --> 00:54:12,626 YOU AND JUST BE MYSELF? SO... SO THAT'S WHAT... SO, ANYWAY, THEN I THOUGHT, WELL, 1500 00:54:12,650 --> 00:54:13,427 SO... SO THAT'S WHAT... SO, ANYWAY, THEN I THOUGHT, WELL, WHAT SHOULD I DO? 1501 00:54:13,451 --> 00:54:14,428 ANYWAY, THEN I THOUGHT, WELL, WHAT SHOULD I DO? WHAT SHOULD I DO? 1502 00:54:14,452 --> 00:54:16,330 WHAT SHOULD I DO? WHAT SHOULD I DO? I WAS AT A LOSS FOR WHAT TO DO 1503 00:54:16,354 --> 00:54:17,631 WHAT SHOULD I DO? I WAS AT A LOSS FOR WHAT TO DO TO FILL UP THE TIME. 1504 00:54:17,655 --> 00:54:18,998 I WAS AT A LOSS FOR WHAT TO DO TO FILL UP THE TIME. SO, I SAW THIS BOOK. 1505 00:54:19,022 --> 00:54:20,367 TO FILL UP THE TIME. SO, I SAW THIS BOOK. IT WAS LYING... JUST A LITTLE 1506 00:54:20,391 --> 00:54:21,535 SO, I SAW THIS BOOK. IT WAS LYING... JUST A LITTLE WHILE AGO, I SAW IT LYING 1507 00:54:21,559 --> 00:54:22,902 IT WAS LYING... JUST A LITTLE WHILE AGO, I SAW IT LYING AROUND, AND IT REMINDED ME OF 1508 00:54:22,926 --> 00:54:24,271 WHILE AGO, I SAW IT LYING AROUND, AND IT REMINDED ME OF WHEN I WAS IN SCHOOL AND THIS 1509 00:54:24,295 --> 00:54:25,706 AROUND, AND IT REMINDED ME OF WHEN I WAS IN SCHOOL AND THIS LITERATURE TEACHER GAVE ME THIS 1510 00:54:25,730 --> 00:54:27,107 WHEN I WAS IN SCHOOL AND THIS LITERATURE TEACHER GAVE ME THIS BOOK, TOLD ME TO READ IT, SAID 1511 00:54:27,131 --> 00:54:28,408 LITERATURE TEACHER GAVE ME THIS BOOK, TOLD ME TO READ IT, SAID IT WAS THE GREATEST AMERICAN 1512 00:54:28,432 --> 00:54:30,210 BOOK, TOLD ME TO READ IT, SAID IT WAS THE GREATEST AMERICAN NOVEL EVER WRITTEN. 1513 00:54:30,234 --> 00:54:31,945 IT WAS THE GREATEST AMERICAN NOVEL EVER WRITTEN. AND, UH, I TAKE ISSUE WITH THAT. 1514 00:54:31,969 --> 00:54:33,113 NOVEL EVER WRITTEN. AND, UH, I TAKE ISSUE WITH THAT. I DON'T BELIEVE THAT IT IS. 1515 00:54:33,137 --> 00:54:34,381 AND, UH, I TAKE ISSUE WITH THAT. I DON'T BELIEVE THAT IT IS. BUT I'D... WHAT I'D LIKE TO DO 1516 00:54:34,405 --> 00:54:35,716 I DON'T BELIEVE THAT IT IS. BUT I'D... WHAT I'D LIKE TO DO TONIGHT, IS I'D LIKE TO READ IT 1517 00:54:35,740 --> 00:54:36,149 BUT I'D... WHAT I'D LIKE TO DO TONIGHT, IS I'D LIKE TO READ IT TO YOU. 1518 00:54:36,173 --> 00:54:37,751 TONIGHT, IS I'D LIKE TO READ IT TO YOU. AND THEN PERHAPS WE COULD... YOU 1519 00:54:37,775 --> 00:54:39,319 TO YOU. AND THEN PERHAPS WE COULD... YOU COULD POINT OUT SOME SUBTLETIES 1520 00:54:39,343 --> 00:54:40,754 AND THEN PERHAPS WE COULD... YOU COULD POINT OUT SOME SUBTLETIES I MIGHT HAVE MISSED IN... IN 1521 00:54:40,778 --> 00:54:42,623 COULD POINT OUT SOME SUBTLETIES I MIGHT HAVE MISSED IN... IN CASE, YOU KNOW... IF WE HAVE 1522 00:54:42,647 --> 00:54:46,393 I MIGHT HAVE MISSED IN... IN CASE, YOU KNOW... IF WE HAVE TIME TO FOLLOW FOR DISCUSSION. 1523 00:54:46,417 --> 00:54:47,761 CASE, YOU KNOW... IF WE HAVE TIME TO FOLLOW FOR DISCUSSION. SO, ANYWAY, IT'S CALLED... IT'S 1524 00:54:47,785 --> 00:54:48,995 TIME TO FOLLOW FOR DISCUSSION. SO, ANYWAY, IT'S CALLED... IT'S CALLED "THE GREAT GATSBY." 1525 00:54:49,019 --> 00:54:50,797 SO, ANYWAY, IT'S CALLED... IT'S CALLED "THE GREAT GATSBY." IT'S BY F. SCOTT FITZGERALD. 1526 00:54:50,821 --> 00:54:52,966 CALLED "THE GREAT GATSBY." IT'S BY F. SCOTT FITZGERALD. AND, UH, HERE IT IS. 1527 00:54:52,990 --> 00:54:54,234 IT'S BY F. SCOTT FITZGERALD. AND, UH, HERE IT IS. CHAPTER ONE. 1528 00:54:54,258 --> 00:54:56,336 AND, UH, HERE IT IS. CHAPTER ONE. [CLEARS THROAT] 1529 00:54:56,360 --> 00:54:57,537 CHAPTER ONE. [CLEARS THROAT] "IN MY YOUNGER AND MORE 1530 00:54:57,561 --> 00:54:59,105 [CLEARS THROAT] "IN MY YOUNGER AND MORE VULNERABLE YEARS, MY FATHER GAVE 1531 00:54:59,129 --> 00:55:00,540 "IN MY YOUNGER AND MORE VULNERABLE YEARS, MY FATHER GAVE ME SOME ADVICE THAT I'VE BEEN 1532 00:55:00,564 --> 00:55:01,941 VULNERABLE YEARS, MY FATHER GAVE ME SOME ADVICE THAT I'VE BEEN TURNING OVER IN MY MIND EVER 1533 00:55:01,965 --> 00:55:03,410 ME SOME ADVICE THAT I'VE BEEN TURNING OVER IN MY MIND EVER SINCE. 1534 00:55:03,434 --> 00:55:04,611 TURNING OVER IN MY MIND EVER SINCE. 'WHENEVER YOU FEEL LIKE 1535 00:55:04,635 --> 00:55:06,212 SINCE. 'WHENEVER YOU FEEL LIKE CRITICIZING ANYONE, ' HE TOLD ME, 1536 00:55:06,236 --> 00:55:07,381 'WHENEVER YOU FEEL LIKE CRITICIZING ANYONE, ' HE TOLD ME, 'JUST REMEMBER THAT ALL THE 1537 00:55:07,405 --> 00:55:08,715 CRITICIZING ANYONE, ' HE TOLD ME, 'JUST REMEMBER THAT ALL THE PEOPLE IN THIS WORLD HAVEN'T HAD 1538 00:55:08,739 --> 00:55:10,284 'JUST REMEMBER THAT ALL THE PEOPLE IN THIS WORLD HAVEN'T HAD THE ADVANTAGES THAT YOU'VE HAD.' 1539 00:55:10,308 --> 00:55:12,286 PEOPLE IN THIS WORLD HAVEN'T HAD THE ADVANTAGES THAT YOU'VE HAD.' HE DIDN'T SAY ANY MORE, BUT 1540 00:55:12,310 --> 00:55:13,487 THE ADVANTAGES THAT YOU'VE HAD.' HE DIDN'T SAY ANY MORE, BUT WE'VE ALWAYS BEEN UNUSUALLY 1541 00:55:13,511 --> 00:55:15,522 HE DIDN'T SAY ANY MORE, BUT WE'VE ALWAYS BEEN UNUSUALLY COMMUNICATIVE IN A RESERVED WAY, 1542 00:55:15,546 --> 00:55:17,658 WE'VE ALWAYS BEEN UNUSUALLY COMMUNICATIVE IN A RESERVED WAY, AND I UNDERSTOOD THAT HE MEANT A 1543 00:55:17,682 --> 00:55:19,459 COMMUNICATIVE IN A RESERVED WAY, AND I UNDERSTOOD THAT HE MEANT A GREAT DEAL MORE THAN THAT. 1544 00:55:19,483 --> 00:55:21,328 AND I UNDERSTOOD THAT HE MEANT A GREAT DEAL MORE THAN THAT. IN CONSEQUENCE, I'M INCLINED TO 1545 00:55:21,352 --> 00:55:23,196 GREAT DEAL MORE THAN THAT. IN CONSEQUENCE, I'M INCLINED TO RESERVE ALL JUDGEMENTS, A HABIT 1546 00:55:23,220 --> 00:55:25,064 IN CONSEQUENCE, I'M INCLINED TO RESERVE ALL JUDGEMENTS, A HABIT THAT HAS OPENED UP MANY CURIOUS 1547 00:55:25,088 --> 00:55:26,866 RESERVE ALL JUDGEMENTS, A HABIT THAT HAS OPENED UP MANY CURIOUS NATURES TO ME AND ALSO MADE ME 1548 00:55:26,890 --> 00:55:28,735 THAT HAS OPENED UP MANY CURIOUS NATURES TO ME AND ALSO MADE ME THE VICTIM OF NOT A FEW VETERAN 1549 00:55:28,759 --> 00:55:29,403 NATURES TO ME AND ALSO MADE ME THE VICTIM OF NOT A FEW VETERAN BORES." 1550 00:55:29,427 --> 00:55:30,737 THE VICTIM OF NOT A FEW VETERAN BORES." [AUDIENCE COUGHING] 1551 00:55:30,761 --> 00:55:32,539 BORES." [AUDIENCE COUGHING] "THE ABNORMAL MIND IS QUICK TO 1552 00:55:32,563 --> 00:55:34,408 [AUDIENCE COUGHING] "THE ABNORMAL MIND IS QUICK TO DETECT AND ATTACH ITSELF TO THIS 1553 00:55:34,432 --> 00:55:36,109 "THE ABNORMAL MIND IS QUICK TO DETECT AND ATTACH ITSELF TO THIS QUALITY WHEN IT APPEARS IN A 1554 00:55:36,133 --> 00:55:37,844 DETECT AND ATTACH ITSELF TO THIS QUALITY WHEN IT APPEARS IN A NORMAL PERSON, AND SO IT CAME 1555 00:55:37,868 --> 00:55:39,479 QUALITY WHEN IT APPEARS IN A NORMAL PERSON, AND SO IT CAME ABOUT THAT IN COLLEGE I WAS 1556 00:55:39,503 --> 00:55:41,114 NORMAL PERSON, AND SO IT CAME ABOUT THAT IN COLLEGE I WAS UNJUSTLY ACCUSED OF BEING A 1557 00:55:41,138 --> 00:55:42,916 ABOUT THAT IN COLLEGE I WAS UNJUSTLY ACCUSED OF BEING A POLITICIAN BECAUSE I WAS PRIVY 1558 00:55:42,940 --> 00:55:44,484 UNJUSTLY ACCUSED OF BEING A POLITICIAN BECAUSE I WAS PRIVY TO THE SECRET GRIEFS OF WILD, 1559 00:55:44,508 --> 00:55:45,952 POLITICIAN BECAUSE I WAS PRIVY TO THE SECRET GRIEFS OF WILD, UNKNOWN MEN. 1560 00:55:45,976 --> 00:55:47,721 TO THE SECRET GRIEFS OF WILD, UNKNOWN MEN. MOST OF THE CONFIDENCES WERE 1561 00:55:47,745 --> 00:55:48,455 UNKNOWN MEN. MOST OF THE CONFIDENCES WERE UNSOUGHT. 1562 00:55:48,479 --> 00:55:50,290 MOST OF THE CONFIDENCES WERE UNSOUGHT. FREQUENTLY I HAVE FEIGNED SLEEP, 1563 00:55:50,314 --> 00:55:52,058 UNSOUGHT. FREQUENTLY I HAVE FEIGNED SLEEP, PREOCCUPATION, OR A HOSTILE 1564 00:55:52,082 --> 00:55:54,027 FREQUENTLY I HAVE FEIGNED SLEEP, PREOCCUPATION, OR A HOSTILE LEVITY WHEN I REALIZED BY SOME 1565 00:55:54,051 --> 00:55:55,696 PREOCCUPATION, OR A HOSTILE LEVITY WHEN I REALIZED BY SOME UNMISTAKABLE SIGN THAT AN 1566 00:55:55,720 --> 00:55:57,230 LEVITY WHEN I REALIZED BY SOME UNMISTAKABLE SIGN THAT AN INTIMATE REVELATION WAS 1567 00:55:57,254 --> 00:55:59,132 UNMISTAKABLE SIGN THAT AN INTIMATE REVELATION WAS QUIVERING ON THE HORIZON, FOR 1568 00:55:59,156 --> 00:56:00,534 INTIMATE REVELATION WAS QUIVERING ON THE HORIZON, FOR THE INTIMATE REVELATIONS OF 1569 00:56:00,558 --> 00:56:02,202 QUIVERING ON THE HORIZON, FOR THE INTIMATE REVELATIONS OF YOUNG MEN, OR AT LEAST THE TERMS 1570 00:56:02,226 --> 00:56:03,770 THE INTIMATE REVELATIONS OF YOUNG MEN, OR AT LEAST THE TERMS IN WHICH THEY EXPRESS THEM, ARE 1571 00:56:03,794 --> 00:56:05,372 YOUNG MEN, OR AT LEAST THE TERMS IN WHICH THEY EXPRESS THEM, ARE USUALLY PLAGIARISTIC AND MARRED 1572 00:56:05,396 --> 00:56:06,540 IN WHICH THEY EXPRESS THEM, ARE USUALLY PLAGIARISTIC AND MARRED BY OBVIOUS SUPPRESSIONS." 1573 00:56:06,564 --> 00:56:07,541 USUALLY PLAGIARISTIC AND MARRED BY OBVIOUS SUPPRESSIONS." [AUDIENCE BOOING] 1574 00:56:07,565 --> 00:56:09,509 BY OBVIOUS SUPPRESSIONS." [AUDIENCE BOOING] "RESERVING JUDGMENTS IS A MATTER 1575 00:56:09,533 --> 00:56:10,677 [AUDIENCE BOOING] "RESERVING JUDGMENTS IS A MATTER OF INFINITE HOPE. 1576 00:56:10,701 --> 00:56:12,111 "RESERVING JUDGMENTS IS A MATTER OF INFINITE HOPE. I AM STILL A LITTLE AFRAID OF 1577 00:56:12,135 --> 00:56:13,580 OF INFINITE HOPE. I AM STILL A LITTLE AFRAID OF MISSING SOMETHING IF I FORGET 1578 00:56:13,604 --> 00:56:15,014 I AM STILL A LITTLE AFRAID OF MISSING SOMETHING IF I FORGET THAT, AS MY FATHER SNOBBISHLY 1579 00:56:15,038 --> 00:56:16,783 MISSING SOMETHING IF I FORGET THAT, AS MY FATHER SNOBBISHLY SUGGESTED AND I SNOBBISHLY 1580 00:56:16,807 --> 00:56:18,318 THAT, AS MY FATHER SNOBBISHLY SUGGESTED AND I SNOBBISHLY REPEAT, A SENSE OF THE 1581 00:56:18,342 --> 00:56:19,919 SUGGESTED AND I SNOBBISHLY REPEAT, A SENSE OF THE FUNDAMENTAL DECENCIES IS 1582 00:56:19,943 --> 00:56:24,023 REPEAT, A SENSE OF THE FUNDAMENTAL DECENCIES IS PARCELED OUT UNEQUALLY AT BIRTH. 1583 00:56:24,047 --> 00:56:26,125 FUNDAMENTAL DECENCIES IS PARCELED OUT UNEQUALLY AT BIRTH. AND, AFTER BOASTING THIS WAY OF 1584 00:56:26,149 --> 00:56:27,994 PARCELED OUT UNEQUALLY AT BIRTH. AND, AFTER BOASTING THIS WAY OF MY TOLERANCE, I COME TO THE 1585 00:56:28,018 --> 00:56:30,029 AND, AFTER BOASTING THIS WAY OF MY TOLERANCE, I COME TO THE ADMISSION THAT IT HAS A LIMIT. 1586 00:56:30,053 --> 00:56:31,698 MY TOLERANCE, I COME TO THE ADMISSION THAT IT HAS A LIMIT. CONDUCT MAY BE FOUNDED ON THE 1587 00:56:31,722 --> 00:56:33,367 ADMISSION THAT IT HAS A LIMIT. CONDUCT MAY BE FOUNDED ON THE HARD ROCK OR THE WET MARSHES, 1588 00:56:33,391 --> 00:56:34,634 CONDUCT MAY BE FOUNDED ON THE HARD ROCK OR THE WET MARSHES, BUT AFTER A CERTAIN POINT, I 1589 00:56:34,658 --> 00:56:36,035 HARD ROCK OR THE WET MARSHES, BUT AFTER A CERTAIN POINT, I DON'T CARE WHAT IT'S FOUNDED ON. 1590 00:56:36,059 --> 00:56:37,637 BUT AFTER A CERTAIN POINT, I DON'T CARE WHAT IT'S FOUNDED ON. WHEN I CAME BACK FROM THE EAST 1591 00:56:37,661 --> 00:56:39,038 DON'T CARE WHAT IT'S FOUNDED ON. WHEN I CAME BACK FROM THE EAST LAST AUTUMN I FELT THAT... 1592 00:56:39,062 --> 00:56:40,407 WHEN I CAME BACK FROM THE EAST LAST AUTUMN I FELT THAT... I FELT THAT I WANTED THE WORLD 1593 00:56:40,431 --> 00:56:40,974 LAST AUTUMN I FELT THAT... I FELT THAT I WANTED THE WORLD TO BE..." 1594 00:56:40,998 --> 00:56:42,075 I FELT THAT I WANTED THE WORLD TO BE..." [INDISTINCT SHOUTING] 1595 00:56:42,099 --> 00:56:43,643 TO BE..." [INDISTINCT SHOUTING] "IN UNIFORM AND AT A SORT OF 1596 00:56:43,667 --> 00:56:44,878 [INDISTINCT SHOUTING] "IN UNIFORM AND AT A SORT OF MORAL ATTENTION FOR..." 1597 00:56:44,902 --> 00:56:45,846 "IN UNIFORM AND AT A SORT OF MORAL ATTENTION FOR..." ALL RIGHT, NOW, LOOK! 1598 00:56:45,870 --> 00:56:47,080 MORAL ATTENTION FOR..." ALL RIGHT, NOW, LOOK! LET'S KEEP IT DOWN, PLEASE, 1599 00:56:47,104 --> 00:56:48,314 ALL RIGHT, NOW, LOOK! LET'S KEEP IT DOWN, PLEASE, BECAUSE, YOU KNOW, WE HAVE A 1600 00:56:48,338 --> 00:56:49,315 LET'S KEEP IT DOWN, PLEASE, BECAUSE, YOU KNOW, WE HAVE A LONG WAY TO GO. 1601 00:56:49,339 --> 00:56:51,351 BECAUSE, YOU KNOW, WE HAVE A LONG WAY TO GO. [LAUGHTER] 1602 00:56:51,375 --> 00:56:53,520 LONG WAY TO GO. [LAUGHTER] [INDISTINCT SHOUTING] 1603 00:56:53,544 --> 00:56:54,954 [LAUGHTER] [INDISTINCT SHOUTING] NOW, LOOK, WE'RE PRESSED FOR 1604 00:56:54,978 --> 00:56:56,390 [INDISTINCT SHOUTING] NOW, LOOK, WE'RE PRESSED FOR TIME, IF YOU DON'T MIND, ALL 1605 00:56:56,414 --> 00:56:58,759 NOW, LOOK, WE'RE PRESSED FOR TIME, IF YOU DON'T MIND, ALL RIGHT? 1606 00:56:58,783 --> 00:57:00,326 TIME, IF YOU DON'T MIND, ALL RIGHT? "WHEN I CAME BACK FROM THE EAST 1607 00:57:00,350 --> 00:57:01,695 RIGHT? "WHEN I CAME BACK FROM THE EAST LAST AUTUMN, I FELT THAT I 1608 00:57:01,719 --> 00:57:03,029 "WHEN I CAME BACK FROM THE EAST LAST AUTUMN, I FELT THAT I WANTED THE WORLD TO BE IN 1609 00:57:03,053 --> 00:57:04,564 LAST AUTUMN, I FELT THAT I WANTED THE WORLD TO BE IN UNIFORM AND AT A SORT OF MORAL 1610 00:57:04,588 --> 00:57:05,565 WANTED THE WORLD TO BE IN UNIFORM AND AT A SORT OF MORAL ATTENTION FOREVER. 1611 00:57:05,589 --> 00:57:06,966 UNIFORM AND AT A SORT OF MORAL ATTENTION FOREVER. I WANTED NO MORE RIOTOUS 1612 00:57:06,990 --> 00:57:08,468 ATTENTION FOREVER. I WANTED NO MORE RIOTOUS EXCURSIONS WITH PRIVILEGED 1613 00:57:08,492 --> 00:57:10,136 I WANTED NO MORE RIOTOUS EXCURSIONS WITH PRIVILEGED GLIMPSES INTO THE HUMAN HEART. 1614 00:57:10,160 --> 00:57:12,439 EXCURSIONS WITH PRIVILEGED GLIMPSES INTO THE HUMAN HEART. ONLY GATSBY, THE MAN WHO GIVES 1615 00:57:12,463 --> 00:57:15,709 GLIMPSES INTO THE HUMAN HEART. ONLY GATSBY, THE MAN WHO GIVES HIS NAME TO THIS BOOK, GATSBY, 1616 00:57:15,733 --> 00:57:16,877 ONLY GATSBY, THE MAN WHO GIVES HIS NAME TO THIS BOOK, GATSBY, WHO REPRESENTED... WHO... 1617 00:57:16,901 --> 00:57:18,177 HIS NAME TO THIS BOOK, GATSBY, WHO REPRESENTED... WHO... ONLY GATSBY WAS EXEMPT FROM MY 1618 00:57:18,201 --> 00:57:18,678 WHO REPRESENTED... WHO... ONLY GATSBY WAS EXEMPT FROM MY REACTION. 1619 00:57:18,702 --> 00:57:19,145 ONLY GATSBY WAS EXEMPT FROM MY REACTION. GATS..." 1620 00:57:19,169 --> 00:57:20,046 REACTION. GATS..." [AUDIENCE BOOING] 1621 00:57:20,070 --> 00:57:20,980 GATS..." [AUDIENCE BOOING] ALL RIGHT, NOW, LOOK. 1622 00:57:21,004 --> 00:57:21,948 [AUDIENCE BOOING] ALL RIGHT, NOW, LOOK. ALL RIGHT, NOW, LOOK. 1623 00:57:21,972 --> 00:57:22,849 ALL RIGHT, NOW, LOOK. ALL RIGHT, NOW, LOOK. NOW, WAIT A MINUTE. 1624 00:57:22,873 --> 00:57:24,150 ALL RIGHT, NOW, LOOK. NOW, WAIT A MINUTE. ALL RIGHT, NOW, WAIT A MINUTE. 1625 00:57:24,174 --> 00:57:25,452 NOW, WAIT A MINUTE. ALL RIGHT, NOW, WAIT A MINUTE. NOW, HOLD ON! 1626 00:57:25,476 --> 00:57:28,221 ALL RIGHT, NOW, WAIT A MINUTE. NOW, HOLD ON! IF I HEAR ANY MORE... 1627 00:57:28,245 --> 00:57:29,589 NOW, HOLD ON! IF I HEAR ANY MORE... I WANT IT QUIET. 1628 00:57:29,613 --> 00:57:30,757 IF I HEAR ANY MORE... I WANT IT QUIET. IF I HEAR ONE MORE SOUND, I'M 1629 00:57:30,781 --> 00:57:31,892 I WANT IT QUIET. IF I HEAR ONE MORE SOUND, I'M GOING TO CLOSE THIS BOOK AND 1630 00:57:31,916 --> 00:57:33,059 IF I HEAR ONE MORE SOUND, I'M GOING TO CLOSE THIS BOOK AND FORGET ABOUT THE WHOLE THING! 1631 00:57:33,083 --> 00:57:37,731 GOING TO CLOSE THIS BOOK AND FORGET ABOUT THE WHOLE THING! [CHEERS AND APPLAUSE] 1632 00:57:37,755 --> 00:57:39,232 FORGET ABOUT THE WHOLE THING! [CHEERS AND APPLAUSE] ALL RIGHT, THANK YOU VERY MUCH. 1633 00:57:39,256 --> 00:57:40,567 [CHEERS AND APPLAUSE] ALL RIGHT, THANK YOU VERY MUCH. THANK YOU, ALL RIGHT. 1634 00:57:40,591 --> 00:57:41,902 ALL RIGHT, THANK YOU VERY MUCH. THANK YOU, ALL RIGHT. OH, THANK YOU. 1635 00:57:41,926 --> 00:57:43,236 THANK YOU, ALL RIGHT. OH, THANK YOU. [INDISTINCT SHOUTING] 1636 00:57:43,260 --> 00:57:44,137 OH, THANK YOU. [INDISTINCT SHOUTING] ALL RIGHT, THAT'S IT. 1637 00:57:44,161 --> 00:57:45,405 [INDISTINCT SHOUTING] ALL RIGHT, THAT'S IT. YOU'VE MADE YOUR BED, NOW LIE IN 1638 00:57:45,429 --> 00:57:45,672 ALL RIGHT, THAT'S IT. YOU'VE MADE YOUR BED, NOW LIE IN IT. 1639 00:57:45,696 --> 00:57:46,205 YOU'VE MADE YOUR BED, NOW LIE IN IT. I'M GOING! 1640 00:57:46,229 --> 00:57:46,706 IT. I'M GOING! THAT'S IT! 1641 00:57:46,730 --> 00:57:47,273 I'M GOING! THAT'S IT! GOOD NIGHT! 1642 00:57:47,297 --> 00:57:48,708 THAT'S IT! GOOD NIGHT! I'M CLOSING IT, FORGETTING ABOUT 1643 00:57:48,732 --> 00:57:49,509 GOOD NIGHT! I'M CLOSING IT, FORGETTING ABOUT THE WHOLE THING! 1644 00:57:49,533 --> 00:57:53,513 I'M CLOSING IT, FORGETTING ABOUT THE WHOLE THING! [CHEERS AND APPLAUSE] 1645 00:57:53,537 --> 00:57:55,515 THE WHOLE THING! [CHEERS AND APPLAUSE] I... NO, I'M ONLY FOOLING. 1646 00:57:55,539 --> 00:57:58,017 [CHEERS AND APPLAUSE] I... NO, I'M ONLY FOOLING. I-I WOULDN'T DO THAT TO YOU. 1647 00:57:58,041 --> 00:57:59,352 I... NO, I'M ONLY FOOLING. I-I WOULDN'T DO THAT TO YOU. I WOULDN'T... I WOULDN'T DO THAT 1648 00:57:59,376 --> 00:57:59,786 I-I WOULDN'T DO THAT TO YOU. I WOULDN'T... I WOULDN'T DO THAT TO YOU. 1649 00:57:59,810 --> 00:58:01,621 I WOULDN'T... I WOULDN'T DO THAT TO YOU. NO, NO. 1650 00:58:01,645 --> 00:58:03,457 TO YOU. NO, NO. "ONLY GATSBY, THE MAN WHO GIVES 1651 00:58:03,481 --> 00:58:05,058 NO, NO. "ONLY GATSBY, THE MAN WHO GIVES HIS NAME TO THIS BOOK, WAS 1652 00:58:05,082 --> 00:58:06,526 "ONLY GATSBY, THE MAN WHO GIVES HIS NAME TO THIS BOOK, WAS EXEMPT FROM MY REACTION. 1653 00:58:06,550 --> 00:58:07,994 HIS NAME TO THIS BOOK, WAS EXEMPT FROM MY REACTION. GATSBY, WHO REPRESENTED 1654 00:58:08,018 --> 00:58:09,863 EXEMPT FROM MY REACTION. GATSBY, WHO REPRESENTED EVERYTHING FOR WHICH I HAVE AN 1655 00:58:09,887 --> 00:58:11,030 GATSBY, WHO REPRESENTED EVERYTHING FOR WHICH I HAVE AN UNAFFECTED SCORN. 1656 00:58:11,054 --> 00:58:12,699 EVERYTHING FOR WHICH I HAVE AN UNAFFECTED SCORN. IF PERSONALITY IS AN UNBROKEN 1657 00:58:12,723 --> 00:58:14,400 UNAFFECTED SCORN. IF PERSONALITY IS AN UNBROKEN SERIES OF SUCCESSFUL GESTURES, 1658 00:58:14,424 --> 00:58:15,401 IF PERSONALITY IS AN UNBROKEN SERIES OF SUCCESSFUL GESTURES, THEN THERE WAS SOMETHING 1659 00:58:15,425 --> 00:58:17,103 SERIES OF SUCCESSFUL GESTURES, THEN THERE WAS SOMETHING GORGEOUS ABOUT HIM, SOME..." 1660 00:58:17,127 --> 00:58:18,338 THEN THERE WAS SOMETHING GORGEOUS ABOUT HIM, SOME..." [AUDIENCE BOOING] 1661 00:58:18,362 --> 00:58:19,539 GORGEOUS ABOUT HIM, SOME..." [AUDIENCE BOOING] YOU KNOW... YOU KNOW, LET ME 1662 00:58:19,563 --> 00:58:20,406 [AUDIENCE BOOING] YOU KNOW... YOU KNOW, LET ME TELL YOU SOMETHING. 1663 00:58:20,430 --> 00:58:21,942 YOU KNOW... YOU KNOW, LET ME TELL YOU SOMETHING. I THINK WHAT WE NEED... I THINK 1664 00:58:21,966 --> 00:58:23,376 TELL YOU SOMETHING. I THINK WHAT WE NEED... I THINK WHAT WE NEED NOWADAYS IS MORE 1665 00:58:23,400 --> 00:58:24,544 I THINK WHAT WE NEED... I THINK WHAT WE NEED NOWADAYS IS MORE DISCIPLINE. 1666 00:58:24,568 --> 00:58:26,112 WHAT WE NEED NOWADAYS IS MORE DISCIPLINE. YOU KNOW, WHEN I WAS YOUR AGE, I 1667 00:58:26,136 --> 00:58:27,514 DISCIPLINE. YOU KNOW, WHEN I WAS YOUR AGE, I USED TO HAVE TO WALK ABOUT 7 1668 00:58:27,538 --> 00:58:29,182 YOU KNOW, WHEN I WAS YOUR AGE, I USED TO HAVE TO WALK ABOUT 7 MILES TO SCHOOL. 1669 00:58:29,206 --> 00:58:30,684 USED TO HAVE TO WALK ABOUT 7 MILES TO SCHOOL. "SPARE THE ROD AND SPOIL THE 1670 00:58:30,708 --> 00:58:32,352 MILES TO SCHOOL. "SPARE THE ROD AND SPOIL THE CHILD," IS WHAT I SAY. 1671 00:58:32,376 --> 00:58:33,687 "SPARE THE ROD AND SPOIL THE CHILD," IS WHAT I SAY. GOOD HUFF AROUND A WOODSHED 1672 00:58:33,711 --> 00:58:37,357 CHILD," IS WHAT I SAY. GOOD HUFF AROUND A WOODSHED WOULD DO SOME OF YOU VERY GOOD. 1673 00:58:37,381 --> 00:58:39,860 GOOD HUFF AROUND A WOODSHED WOULD DO SOME OF YOU VERY GOOD. ALL RIGHT? 1674 00:58:39,884 --> 00:58:41,194 WOULD DO SOME OF YOU VERY GOOD. ALL RIGHT? NOW, IF YOU DON'T MIND, I'M 1675 00:58:41,218 --> 00:58:42,529 ALL RIGHT? NOW, IF YOU DON'T MIND, I'M GOING TO CONTINUE READING. 1676 00:58:42,553 --> 00:58:44,531 NOW, IF YOU DON'T MIND, I'M GOING TO CONTINUE READING. [AUDIENCE BOOING] 1677 00:58:44,555 --> 00:58:46,032 GOING TO CONTINUE READING. [AUDIENCE BOOING] "IF PERSONALITY IS AN..." 1678 00:58:46,056 --> 00:58:46,733 [AUDIENCE BOOING] "IF PERSONALITY IS AN..." I WON'T THEN! 1679 00:58:46,757 --> 00:58:48,101 "IF PERSONALITY IS AN..." I WON'T THEN! ALL RIGHT, WHAT DO YOU WANT ME 1680 00:58:48,125 --> 00:58:49,102 I WON'T THEN! ALL RIGHT, WHAT DO YOU WANT ME TO DO? 1681 00:58:49,126 --> 00:58:50,837 ALL RIGHT, WHAT DO YOU WANT ME TO DO? [INDISTINCT SHOUTING] 1682 00:58:50,861 --> 00:58:51,905 TO DO? [INDISTINCT SHOUTING] ALL RIGHT, GOOD. 1683 00:58:51,929 --> 00:58:53,406 [INDISTINCT SHOUTING] ALL RIGHT, GOOD. "ONLY GATSBY, THE MAN... IF 1684 00:58:53,430 --> 00:58:54,875 ALL RIGHT, GOOD. "ONLY GATSBY, THE MAN... IF PERSONALITY IS AN UNBROKEN 1685 00:58:54,899 --> 00:58:56,510 "ONLY GATSBY, THE MAN... IF PERSONALITY IS AN UNBROKEN SERIES OF SUCCESSFUL GESTURES, 1686 00:58:56,534 --> 00:58:57,878 PERSONALITY IS AN UNBROKEN SERIES OF SUCCESSFUL GESTURES, THEN THERE WAS SOMETHING 1687 00:58:57,902 --> 00:58:59,245 SERIES OF SUCCESSFUL GESTURES, THEN THERE WAS SOMETHING GORGEOUS ABOUT HIM, SOME 1688 00:58:59,269 --> 00:59:01,781 THEN THERE WAS SOMETHING GORGEOUS ABOUT HIM, SOME HEIGHT..." 1689 00:59:01,805 --> 00:59:03,182 GORGEOUS ABOUT HIM, SOME HEIGHT..." WHAT?! 1690 00:59:03,206 --> 00:59:04,518 HEIGHT..." WHAT?! ALL RIGHT, THAT IS IT! 1691 00:59:04,542 --> 00:59:05,685 WHAT?! ALL RIGHT, THAT IS IT! I HAVE BEEN ASKED TO LEAVE, 1692 00:59:05,709 --> 00:59:06,620 ALL RIGHT, THAT IS IT! I HAVE BEEN ASKED TO LEAVE, LADIES AND GENTLEMEN. 1693 00:59:06,644 --> 00:59:07,621 I HAVE BEEN ASKED TO LEAVE, LADIES AND GENTLEMEN. [CHEERS AND APPLAUSE] 1694 00:59:07,645 --> 00:59:09,255 LADIES AND GENTLEMEN. [CHEERS AND APPLAUSE] I HAVE BEEN ASKED TO LEAVE. 1695 00:59:09,279 --> 00:59:10,724 [CHEERS AND APPLAUSE] I HAVE BEEN ASKED TO LEAVE. I HAVE BEEN ASKED TO LEAVE, AND 1696 00:59:10,748 --> 00:59:12,058 I HAVE BEEN ASKED TO LEAVE. I HAVE BEEN ASKED TO LEAVE, AND I RESENT IT! 1697 00:59:12,082 --> 00:59:13,393 I HAVE BEEN ASKED TO LEAVE, AND I RESENT IT! I WAS TOLD I COULD TAKE ALL THE 1698 00:59:13,417 --> 00:59:14,728 I RESENT IT! I WAS TOLD I COULD TAKE ALL THE TIME I WANT, AND NOW THEY ASK ME 1699 00:59:14,752 --> 00:59:15,261 I WAS TOLD I COULD TAKE ALL THE TIME I WANT, AND NOW THEY ASK ME TO LEAVE. 1700 00:59:15,285 --> 00:59:16,029 TIME I WANT, AND NOW THEY ASK ME TO LEAVE. WELL, ALL RIGHT. 1701 00:59:16,053 --> 00:59:17,363 TO LEAVE. WELL, ALL RIGHT. I WAS GOING TO READ YOU THE BOOK 1702 00:59:17,387 --> 00:59:18,732 WELL, ALL RIGHT. I WAS GOING TO READ YOU THE BOOK AND THEN I WAS GOING TO PLAY YOU 1703 00:59:18,756 --> 00:59:20,133 I WAS GOING TO READ YOU THE BOOK AND THEN I WAS GOING TO PLAY YOU THE MUSIC RECORD. 1704 00:59:20,157 --> 00:59:20,767 AND THEN I WAS GOING TO PLAY YOU THE MUSIC RECORD. BUT THAT'S IT. 1705 00:59:20,791 --> 00:59:21,902 THE MUSIC RECORD. BUT THAT'S IT. YOU DON'T WANT IT, THEN FINE. 1706 00:59:21,926 --> 00:59:22,736 BUT THAT'S IT. YOU DON'T WANT IT, THEN FINE. I WON'T EVEN DO THAT. 1707 00:59:22,760 --> 00:59:23,870 YOU DON'T WANT IT, THEN FINE. I WON'T EVEN DO THAT. [SPEAKING INDISTINCTLY] 1708 00:59:23,894 --> 00:59:24,370 I WON'T EVEN DO THAT. [SPEAKING INDISTINCTLY] NO! 1709 00:59:24,394 --> 00:59:25,639 [SPEAKING INDISTINCTLY] NO! YOU DON'T WANT THE RECORD, 1710 00:59:25,663 --> 00:59:26,439 NO! YOU DON'T WANT THE RECORD, EITHER, DO YOU? 1711 00:59:26,463 --> 00:59:27,273 YOU DON'T WANT THE RECORD, EITHER, DO YOU? FINE. 1712 00:59:27,297 --> 00:59:29,075 EITHER, DO YOU? FINE. [INDISTINCT SHOUTING] 1713 00:59:29,099 --> 00:59:30,744 FINE. [INDISTINCT SHOUTING] I LOVE THAT... HOW MANY PEOPLE 1714 00:59:30,768 --> 00:59:31,745 [INDISTINCT SHOUTING] I LOVE THAT... HOW MANY PEOPLE WANT THE RECORD? 1715 00:59:31,769 --> 00:59:33,312 I LOVE THAT... HOW MANY PEOPLE WANT THE RECORD? HOW MANY PEOPLE WANT THE RECORD? 1716 00:59:33,336 --> 00:59:35,214 WANT THE RECORD? HOW MANY PEOPLE WANT THE RECORD? [CHEERS AND APPLAUSE] 1717 00:59:35,238 --> 00:59:36,215 HOW MANY PEOPLE WANT THE RECORD? [CHEERS AND APPLAUSE] ALL RIGHT. 1718 00:59:36,239 --> 00:59:37,584 [CHEERS AND APPLAUSE] ALL RIGHT. YOU REALLY... DO YOU REALLY WANT 1719 00:59:37,608 --> 00:59:38,018 ALL RIGHT. YOU REALLY... DO YOU REALLY WANT THE RECORD? 1720 00:59:38,042 --> 00:59:39,886 YOU REALLY... DO YOU REALLY WANT THE RECORD? [CHEERS AND APPLAUSE] 1721 00:59:39,910 --> 00:59:41,187 THE RECORD? [CHEERS AND APPLAUSE] OR WOULD YOU RATHER THAT I 1722 00:59:41,211 --> 00:59:41,655 [CHEERS AND APPLAUSE] OR WOULD YOU RATHER THAT I LEAVE? 1723 00:59:41,679 --> 00:59:43,690 OR WOULD YOU RATHER THAT I LEAVE? ALL RIGHT, I'LL DO THE RECORD. 1724 00:59:43,714 --> 00:59:45,792 LEAVE? ALL RIGHT, I'LL DO THE RECORD. BUT... BUT FIRST... FIRST THE 1725 00:59:45,816 --> 00:59:46,793 ALL RIGHT, I'LL DO THE RECORD. BUT... BUT FIRST... FIRST THE BOOK. 1726 00:59:46,817 --> 00:59:48,361 BUT... BUT FIRST... FIRST THE BOOK. [AUDIENCE BOOS] 1727 00:59:48,385 --> 00:59:49,729 BOOK. [AUDIENCE BOOS] ALL RIGHT, ALL RIGHT, ALL RIGHT. 1728 00:59:49,753 --> 00:59:50,764 [AUDIENCE BOOS] ALL RIGHT, ALL RIGHT, ALL RIGHT. YOU WANT THE RECORD? 1729 00:59:50,788 --> 00:59:51,297 ALL RIGHT, ALL RIGHT, ALL RIGHT. YOU WANT THE RECORD? YEAH! 1730 00:59:51,321 --> 00:59:52,799 YOU WANT THE RECORD? YEAH! YOU WANT THE RECORD? 1731 00:59:52,823 --> 00:59:54,367 YEAH! YOU WANT THE RECORD? ALL RIGHT, THEN WE'LL HAVE THE 1732 00:59:54,391 --> 00:59:54,935 YOU WANT THE RECORD? ALL RIGHT, THEN WE'LL HAVE THE RECORD. 1733 00:59:54,959 --> 00:59:56,369 ALL RIGHT, THEN WE'LL HAVE THE RECORD. THEN, WE'LL HAVE... NO, ALL 1734 00:59:56,393 --> 00:59:56,870 RECORD. THEN, WE'LL HAVE... NO, ALL RIGHT. 1735 00:59:56,894 --> 01:00:03,376 THEN, WE'LL HAVE... NO, ALL RIGHT. ENOUGH IS ENOUGH, ALL RIGHT. 1736 01:00:03,400 --> 01:00:05,333 RIGHT. ENOUGH IS ENOUGH, ALL RIGHT. [STATIC] 1737 01:00:16,879 --> 01:00:22,261 "ONLY GATSBY, THE MAN WHO GIVES HIS NAME TO THIS BOOK, WAS EXEMPT FROM MY REACTION. 1738 01:00:22,285 --> 01:00:23,597 GIVES HIS NAME TO THIS BOOK, WAS EXEMPT FROM MY REACTION. GATSBY, WHO REPRESENTED 1739 01:00:23,621 --> 01:00:24,931 WAS EXEMPT FROM MY REACTION. GATSBY, WHO REPRESENTED EVERYTHING FOR WHICH I HAVE AN 1740 01:00:24,955 --> 01:00:27,995 GATSBY, WHO REPRESENTED EVERYTHING FOR WHICH I HAVE AN UNAFFECTED SCORN..." 1741 01:00:33,096 --> 01:00:37,966 YOU'VE READ THE BOOK. YOU'VE SEEN THE MOVIE. NOW INTRODUCING... 1742 01:00:41,337 --> 01:00:46,620 YES, NOW YOUR LITTLE GIRL CAN RECREATE THE GRIM REALITY OF JUDITH ROSSNER'S BLEAK NOVEL OF 1743 01:00:46,644 --> 01:00:48,488 RECREATE THE GRIM REALITY OF JUDITH ROSSNER'S BLEAK NOVEL OF HOPELESSNESS AND DESPAIR RIGHT 1744 01:00:48,512 --> 01:00:50,289 JUDITH ROSSNER'S BLEAK NOVEL OF HOPELESSNESS AND DESPAIR RIGHT IN HER VERY OWN BEDROOM ALONE AT 1745 01:00:50,313 --> 01:00:51,124 HOPELESSNESS AND DESPAIR RIGHT IN HER VERY OWN BEDROOM ALONE AT NIGHT. 1746 01:00:51,148 --> 01:00:51,992 IN HER VERY OWN BEDROOM ALONE AT NIGHT. YAY! 1747 01:00:52,016 --> 01:00:53,860 NIGHT. YAY! IT'S EXCITING AND 1748 01:00:53,884 --> 01:00:55,095 YAY! IT'S EXCITING AND EDUCATIONAL! 1749 01:00:55,119 --> 01:00:56,262 IT'S EXCITING AND EDUCATIONAL! HOW DO YOU PLAY? 1750 01:00:56,286 --> 01:00:57,998 EDUCATIONAL! HOW DO YOU PLAY? WELL, TAKE YOUR DIANE KEATON 1751 01:00:58,022 --> 01:00:59,733 HOW DO YOU PLAY? WELL, TAKE YOUR DIANE KEATON DOLL AND GO TO THE SINGLES BAR. 1752 01:00:59,757 --> 01:01:02,902 WELL, TAKE YOUR DIANE KEATON DOLL AND GO TO THE SINGLES BAR. ♪ DA DA DA DA DA DA ♪ 1753 01:01:02,926 --> 01:01:04,237 DOLL AND GO TO THE SINGLES BAR. ♪ DA DA DA DA DA DA ♪ NOW DRINK THREE 1754 01:01:04,261 --> 01:01:10,576 ♪ DA DA DA DA DA DA ♪ NOW DRINK THREE TEQUILA SUNRISES. 1755 01:01:10,600 --> 01:01:14,247 NOW DRINK THREE TEQUILA SUNRISES. NOW PICK UP A BUSINESSMAN. 1756 01:01:14,271 --> 01:01:15,414 TEQUILA SUNRISES. NOW PICK UP A BUSINESSMAN. OH, HELLO! 1757 01:01:15,438 --> 01:01:16,449 NOW PICK UP A BUSINESSMAN. OH, HELLO! [Deep voice] YOU'RE SO 1758 01:01:16,473 --> 01:01:17,017 OH, HELLO! [Deep voice] YOU'RE SO BEAUTIFUL. 1759 01:01:17,041 --> 01:01:17,684 [Deep voice] YOU'RE SO BEAUTIFUL. WANT TO DANCE? 1760 01:01:17,708 --> 01:01:18,885 BEAUTIFUL. WANT TO DANCE? [Normal voice] ♪ BOOM BOOM 1761 01:01:18,909 --> 01:01:19,285 WANT TO DANCE? [Normal voice] ♪ BOOM BOOM BOOM ♪ 1762 01:01:19,309 --> 01:01:20,453 [Normal voice] ♪ BOOM BOOM BOOM ♪ ♪ STAYIN' ALIVE ♪ 1763 01:01:20,477 --> 01:01:21,254 BOOM ♪ ♪ STAYIN' ALIVE ♪ ♪ STAYIN' ALIVE ♪ 1764 01:01:21,278 --> 01:01:22,488 ♪ STAYIN' ALIVE ♪ ♪ STAYIN' ALIVE ♪ HEY, WHAT ARE YOU WAITING 1765 01:01:22,512 --> 01:01:22,822 ♪ STAYIN' ALIVE ♪ HEY, WHAT ARE YOU WAITING FOR? 1766 01:01:22,846 --> 01:01:24,057 HEY, WHAT ARE YOU WAITING FOR? TAKE HIM BACK TO YOUR SINGLES 1767 01:01:24,081 --> 01:01:24,624 FOR? TAKE HIM BACK TO YOUR SINGLES APARTMENT. 1768 01:01:24,648 --> 01:01:25,859 TAKE HIM BACK TO YOUR SINGLES APARTMENT. OH, COME TO MY HOUSE! 1769 01:01:25,883 --> 01:01:27,226 APARTMENT. OH, COME TO MY HOUSE! I'LL MAKE YOU SOME COOKIES! 1770 01:01:27,250 --> 01:01:28,995 OH, COME TO MY HOUSE! I'LL MAKE YOU SOME COOKIES! ♪ DA DA DA DA DA ♪ 1771 01:01:29,019 --> 01:01:29,696 I'LL MAKE YOU SOME COOKIES! ♪ DA DA DA DA DA ♪ ♪ LA LA LA ♪ 1772 01:01:29,720 --> 01:01:30,797 ♪ DA DA DA DA DA ♪ ♪ LA LA LA ♪ OH, NOW WE'RE WALKING! 1773 01:01:30,821 --> 01:01:31,865 ♪ LA LA LA ♪ OH, NOW WE'RE WALKING! NOW WE'RE AT MY HOUSE! 1774 01:01:31,889 --> 01:01:32,866 OH, NOW WE'RE WALKING! NOW WE'RE AT MY HOUSE! OKAY, NOW... 1775 01:01:32,890 --> 01:01:34,367 NOW WE'RE AT MY HOUSE! OKAY, NOW... [Deep voice] I'M GONNA KISS 1776 01:01:34,391 --> 01:01:35,201 OKAY, NOW... [Deep voice] I'M GONNA KISS YOU RIGHT NOW! 1777 01:01:35,225 --> 01:01:37,436 [Deep voice] I'M GONNA KISS YOU RIGHT NOW! MMM! 1778 01:01:37,460 --> 01:01:38,404 YOU RIGHT NOW! MMM! [Normal voice] STOP IT! 1779 01:01:38,428 --> 01:01:38,938 MMM! [Normal voice] STOP IT! STOP IT! 1780 01:01:38,962 --> 01:01:40,406 [Normal voice] STOP IT! STOP IT! STOP IT, OR I'M GONNA TAKE DOWN 1781 01:01:40,430 --> 01:01:41,941 STOP IT! STOP IT, OR I'M GONNA TAKE DOWN YOUR PANTIES AND SPANK YOUR BUM! 1782 01:01:41,965 --> 01:01:44,110 STOP IT, OR I'M GONNA TAKE DOWN YOUR PANTIES AND SPANK YOUR BUM! JUST LIKE THAT, LIKE THAT! 1783 01:01:44,134 --> 01:01:45,745 YOUR PANTIES AND SPANK YOUR BUM! JUST LIKE THAT, LIKE THAT! DID I WIN YET? 1784 01:01:45,769 --> 01:01:46,746 JUST LIKE THAT, LIKE THAT! DID I WIN YET? NO. 1785 01:01:46,770 --> 01:01:48,314 DID I WIN YET? NO. YOU HAVE TO KEEP PICKING UP 1786 01:01:48,338 --> 01:01:49,783 NO. YOU HAVE TO KEEP PICKING UP STRANGE MEN UNTIL YOU GET 1787 01:01:49,807 --> 01:01:50,383 YOU HAVE TO KEEP PICKING UP STRANGE MEN UNTIL YOU GET KILLED. 1788 01:01:50,407 --> 01:01:52,218 STRANGE MEN UNTIL YOU GET KILLED. SO TAKE DIANE BACK TO THE 1789 01:01:52,242 --> 01:01:53,252 KILLED. SO TAKE DIANE BACK TO THE SINGLES BAR. 1790 01:01:53,276 --> 01:01:55,488 SO TAKE DIANE BACK TO THE SINGLES BAR. ♪ DA DA DA DA DA DA ♪ 1791 01:01:55,512 --> 01:01:56,823 SINGLES BAR. ♪ DA DA DA DA DA DA ♪ TOSS BACK THREE MORE 1792 01:01:56,847 --> 01:02:02,162 ♪ DA DA DA DA DA DA ♪ TOSS BACK THREE MORE TEQUILA SUNRISES. 1793 01:02:02,186 --> 01:02:05,865 TOSS BACK THREE MORE TEQUILA SUNRISES. NOW PICK UP ANOTHER GUY. 1794 01:02:05,889 --> 01:02:07,033 TEQUILA SUNRISES. NOW PICK UP ANOTHER GUY. UH-OH! 1795 01:02:07,057 --> 01:02:08,201 NOW PICK UP ANOTHER GUY. UH-OH! YOU PICKED UP THE PSYCHOTIC 1796 01:02:08,225 --> 01:02:11,237 UH-OH! YOU PICKED UP THE PSYCHOTIC BLOND HOMOSEXUAL. 1797 01:02:11,261 --> 01:02:12,405 YOU PICKED UP THE PSYCHOTIC BLOND HOMOSEXUAL. DOES THAT MEAN I WIN? 1798 01:02:12,429 --> 01:02:13,740 BLOND HOMOSEXUAL. DOES THAT MEAN I WIN? NO, THAT MEANS YOU GET 1799 01:02:13,764 --> 01:02:15,408 DOES THAT MEAN I WIN? NO, THAT MEANS YOU GET KILLED. 1800 01:02:15,432 --> 01:02:17,310 NO, THAT MEANS YOU GET KILLED. OH, NO, IT DON'T! 1801 01:02:17,334 --> 01:02:19,545 KILLED. OH, NO, IT DON'T! 'CAUSE GUESS WHO'S HERE! 1802 01:02:19,569 --> 01:02:21,514 OH, NO, IT DON'T! 'CAUSE GUESS WHO'S HERE! MR. TEDDY BEAR PERSON! 1803 01:02:21,538 --> 01:02:22,882 'CAUSE GUESS WHO'S HERE! MR. TEDDY BEAR PERSON! HERE HE COMES! 1804 01:02:22,906 --> 01:02:24,650 MR. TEDDY BEAR PERSON! HERE HE COMES! AND HE'S GONNA GET ALL OF THEM 1805 01:02:24,674 --> 01:02:26,519 HERE HE COMES! AND HE'S GONNA GET ALL OF THEM AND SMASH THEM ALL UP LIKE THAT! 1806 01:02:26,543 --> 01:02:28,021 AND HE'S GONNA GET ALL OF THEM AND SMASH THEM ALL UP LIKE THAT! HE'S NOT GONNA LET THEM DO THAT! 1807 01:02:28,045 --> 01:02:29,355 AND SMASH THEM ALL UP LIKE THAT! HE'S NOT GONNA LET THEM DO THAT! [LAUGHS] 1808 01:02:29,379 --> 01:02:30,690 HE'S NOT GONNA LET THEM DO THAT! [LAUGHS] YES, IT'S THE LOOKING FOR 1809 01:02:30,714 --> 01:02:31,858 [LAUGHS] YES, IT'S THE LOOKING FOR MR. GOODBAR SLEEPYTIME 1810 01:02:31,882 --> 01:02:34,163 YES, IT'S THE LOOKING FOR MR. GOODBAR SLEEPYTIME PLAYSET... 1811 01:02:37,419 --> 01:02:39,221 IT'S FROM MAINWAY. 1812 01:02:44,660 --> 01:02:52,660 [INTRO TO "CRYING IN MY SLEEP" PLAYS] ♪ I TOOK A WALK AROUND THE 1813 01:02:53,370 --> 01:02:54,848 [PLAYS] ♪ I TOOK A WALK AROUND THE YARD ♪ 1814 01:02:54,872 --> 01:02:57,016 ♪ I TOOK A WALK AROUND THE YARD ♪ ♪ I DUG THE FLOWERS TILL IT GOT 1815 01:02:57,040 --> 01:02:58,517 YARD ♪ ♪ I DUG THE FLOWERS TILL IT GOT TOO HARD ♪ 1816 01:02:58,541 --> 01:03:00,854 ♪ I DUG THE FLOWERS TILL IT GOT TOO HARD ♪ ♪ I SMOKED MY FIRST PACK OF 1817 01:03:00,878 --> 01:03:05,191 TOO HARD ♪ ♪ I SMOKED MY FIRST PACK OF CIGARETTES TODAY ♪ 1818 01:03:05,215 --> 01:03:09,428 ♪ I SMOKED MY FIRST PACK OF CIGARETTES TODAY ♪ ♪ THEN I WENT DOWN, DOWN TO 1819 01:03:09,452 --> 01:03:12,498 CIGARETTES TODAY ♪ ♪ THEN I WENT DOWN, DOWN TO LUCY'S OLD CAFé ♪ 1820 01:03:12,522 --> 01:03:15,835 ♪ THEN I WENT DOWN, DOWN TO LUCY'S OLD CAFé ♪ ♪ I PUT A HALF A CASE AWAY ♪ 1821 01:03:15,859 --> 01:03:18,004 LUCY'S OLD CAFé ♪ ♪ I PUT A HALF A CASE AWAY ♪ ♪ I TOOK A SLEEPING PILL, AND I 1822 01:03:18,028 --> 01:03:20,706 ♪ I PUT A HALF A CASE AWAY ♪ ♪ I TOOK A SLEEPING PILL, AND I TRIED TO WATCH TV ♪ 1823 01:03:20,730 --> 01:03:22,408 ♪ I TOOK A SLEEPING PILL, AND I TRIED TO WATCH TV ♪ ♪ BUT YOU KNOW, BABY, THE 1824 01:03:22,432 --> 01:03:24,610 TRIED TO WATCH TV ♪ ♪ BUT YOU KNOW, BABY, THE LEADING LADY LOOKED TOO MUCH 1825 01:03:24,634 --> 01:03:27,247 ♪ BUT YOU KNOW, BABY, THE LEADING LADY LOOKED TOO MUCH LIKE YOU FOR THE LIKES OF ME ♪ 1826 01:03:27,271 --> 01:03:31,584 LEADING LADY LOOKED TOO MUCH LIKE YOU FOR THE LIKES OF ME ♪ ♪ AND I WOKE UP CRYING IN MY 1827 01:03:31,608 --> 01:03:34,087 LIKE YOU FOR THE LIKES OF ME ♪ ♪ AND I WOKE UP CRYING IN MY SLEEP ♪ 1828 01:03:34,111 --> 01:03:38,825 ♪ AND I WOKE UP CRYING IN MY SLEEP ♪ ♪ I WAS TALKING TO YOUR 1829 01:03:38,849 --> 01:03:41,494 SLEEP ♪ ♪ I WAS TALKING TO YOUR PILLOW ♪ 1830 01:03:41,518 --> 01:03:44,864 ♪ I WAS TALKING TO YOUR PILLOW ♪ ♪ AND I REACHED OUT TO TOUCH 1831 01:03:44,888 --> 01:03:48,868 PILLOW ♪ ♪ AND I REACHED OUT TO TOUCH YOUR HAND ♪ 1832 01:03:48,892 --> 01:03:51,437 ♪ AND I REACHED OUT TO TOUCH YOUR HAND ♪ ♪ I KNOCKED THE PHONE OFF THE 1833 01:03:51,461 --> 01:03:53,039 YOUR HAND ♪ ♪ I KNOCKED THE PHONE OFF THE NIGHTSTAND ♪ 1834 01:03:53,063 --> 01:03:55,975 ♪ I KNOCKED THE PHONE OFF THE NIGHTSTAND ♪ ♪ AND THE OPERATOR SAID ♪ 1835 01:03:55,999 --> 01:03:59,813 NIGHTSTAND ♪ ♪ AND THE OPERATOR SAID ♪ ♪ MAY I HELP YOU PLEASE? ♪ 1836 01:03:59,837 --> 01:04:01,181 ♪ AND THE OPERATOR SAID ♪ ♪ MAY I HELP YOU PLEASE? ♪ ♪ AND I SAID, "NO, THANKS, 1837 01:04:01,205 --> 01:04:01,714 ♪ MAY I HELP YOU PLEASE? ♪ ♪ AND I SAID, "NO, THANKS, BABY ♪ 1838 01:04:01,738 --> 01:04:03,683 ♪ AND I SAID, "NO, THANKS, BABY ♪ ♪ TONIGHT, THERE AIN'T NO HELP 1839 01:04:03,707 --> 01:04:05,018 BABY ♪ ♪ TONIGHT, THERE AIN'T NO HELP FOR ME ♪ 1840 01:04:05,042 --> 01:04:07,187 ♪ TONIGHT, THERE AIN'T NO HELP FOR ME ♪ ♪ YOU SEE, I JUST HAD A BAD 1841 01:04:07,211 --> 01:04:09,189 FOR ME ♪ ♪ YOU SEE, I JUST HAD A BAD DREAM ♪ 1842 01:04:09,213 --> 01:04:11,024 ♪ YOU SEE, I JUST HAD A BAD DREAM ♪ ♪ THAT'S ALL THAT'S WRONG WITH 1843 01:04:11,048 --> 01:04:13,815 DREAM ♪ ♪ THAT'S ALL THAT'S WRONG WITH ME" ♪ 1844 01:04:23,059 --> 01:04:28,574 ♪ WENT OUT TO LOOSEN UP THE CAR ♪ ♪ SOMEHOW I WOUND UP AT THE 1845 01:04:28,598 --> 01:04:30,576 CAR ♪ ♪ SOMEHOW I WOUND UP AT THE RAINBOW BAR ♪ 1846 01:04:30,600 --> 01:04:33,813 ♪ SOMEHOW I WOUND UP AT THE RAINBOW BAR ♪ ♪ I HAD A SCOTCH AND SODA ON THE 1847 01:04:33,837 --> 01:04:35,215 RAINBOW BAR ♪ ♪ I HAD A SCOTCH AND SODA ON THE RUN ♪ 1848 01:04:35,239 --> 01:04:37,650 ♪ I HAD A SCOTCH AND SODA ON THE RUN ♪ ♪ BUT I DIDN'T GET TOO FAR ♪ 1849 01:04:37,674 --> 01:04:41,921 RUN ♪ ♪ BUT I DIDN'T GET TOO FAR ♪ ♪ THEN I RAN DOWN, DOWN SOME 1850 01:04:41,945 --> 01:04:44,824 ♪ BUT I DIDN'T GET TOO FAR ♪ ♪ THEN I RAN DOWN, DOWN SOME FRIENDS I USED TO KNOW ♪ 1851 01:04:44,848 --> 01:04:46,659 ♪ THEN I RAN DOWN, DOWN SOME FRIENDS I USED TO KNOW ♪ ♪ I DRAGGED THEM OUT TO SEE THE 1852 01:04:46,683 --> 01:04:48,361 FRIENDS I USED TO KNOW ♪ ♪ I DRAGGED THEM OUT TO SEE THE SHOW ♪ 1853 01:04:48,385 --> 01:04:50,730 ♪ I DRAGGED THEM OUT TO SEE THE SHOW ♪ ♪ I RAN MYSELF A BATH, AND I 1854 01:04:50,754 --> 01:04:53,867 SHOW ♪ ♪ I RAN MYSELF A BATH, AND I TRIED TO READ YOUR BOOK ♪ 1855 01:04:53,891 --> 01:04:56,069 ♪ I RAN MYSELF A BATH, AND I TRIED TO READ YOUR BOOK ♪ ♪ BUT YOU KNOW, BABY, THIS TIME 1856 01:04:56,093 --> 01:04:58,338 TRIED TO READ YOUR BOOK ♪ ♪ BUT YOU KNOW, BABY, THIS TIME IT JUST DIDN'T SEEM WORTH ALL 1857 01:04:58,362 --> 01:05:00,406 ♪ BUT YOU KNOW, BABY, THIS TIME IT JUST DIDN'T SEEM WORTH ALL THE TIME IT TOOK ♪ 1858 01:05:00,430 --> 01:05:05,111 IT JUST DIDN'T SEEM WORTH ALL THE TIME IT TOOK ♪ ♪ AND I WOKE UP CRYING IN MY 1859 01:05:05,135 --> 01:05:07,613 THE TIME IT TOOK ♪ ♪ AND I WOKE UP CRYING IN MY SLEEP ♪ 1860 01:05:07,637 --> 01:05:12,451 ♪ AND I WOKE UP CRYING IN MY SLEEP ♪ ♪ I WAS TALKING TO YOUR 1861 01:05:12,475 --> 01:05:15,521 SLEEP ♪ ♪ I WAS TALKING TO YOUR PILLOW ♪ 1862 01:05:15,545 --> 01:05:18,892 ♪ I WAS TALKING TO YOUR PILLOW ♪ ♪ AND I REACHED OUT TO TOUCH 1863 01:05:18,916 --> 01:05:23,296 PILLOW ♪ ♪ AND I REACHED OUT TO TOUCH YOUR HAND ♪ 1864 01:05:23,320 --> 01:05:25,664 ♪ AND I REACHED OUT TO TOUCH YOUR HAND ♪ ♪ I KNOCKED THE PHONE OFF THE 1865 01:05:25,688 --> 01:05:27,267 YOUR HAND ♪ ♪ I KNOCKED THE PHONE OFF THE NIGHTSTAND ♪ 1866 01:05:27,291 --> 01:05:30,836 ♪ I KNOCKED THE PHONE OFF THE NIGHTSTAND ♪ ♪ AND THE OPERATOR SAID ♪ 1867 01:05:30,860 --> 01:05:34,240 NIGHTSTAND ♪ ♪ AND THE OPERATOR SAID ♪ ♪ MAY I HELP YOU PLEASE? ♪ 1868 01:05:34,264 --> 01:05:35,674 ♪ AND THE OPERATOR SAID ♪ ♪ MAY I HELP YOU PLEASE? ♪ ♪ AND I SAID, "NO, THANKS, 1869 01:05:35,698 --> 01:05:36,209 ♪ MAY I HELP YOU PLEASE? ♪ ♪ AND I SAID, "NO, THANKS, BABY ♪ 1870 01:05:36,233 --> 01:05:38,177 ♪ AND I SAID, "NO, THANKS, BABY ♪ ♪ TONIGHT, THERE AIN'T NO HELP 1871 01:05:38,201 --> 01:05:39,512 BABY ♪ ♪ TONIGHT, THERE AIN'T NO HELP FOR ME ♪ 1872 01:05:39,536 --> 01:05:41,714 ♪ TONIGHT, THERE AIN'T NO HELP FOR ME ♪ ♪ YOU SEE, I JUST HAD A BAD 1873 01:05:41,738 --> 01:05:43,649 FOR ME ♪ ♪ YOU SEE, I JUST HAD A BAD DREAM ♪ 1874 01:05:43,673 --> 01:05:45,952 ♪ YOU SEE, I JUST HAD A BAD DREAM ♪ ♪ THAT'S ALL THAT'S WRONG WITH 1875 01:05:45,976 --> 01:05:49,622 DREAM ♪ ♪ THAT'S ALL THAT'S WRONG WITH ME" ♪ 1876 01:05:49,646 --> 01:05:54,460 ♪ THAT'S ALL THAT'S WRONG WITH ME" ♪ ♪ CRYING IN MY SLEEP ♪ 1877 01:05:54,484 --> 01:05:56,629 ME" ♪ ♪ CRYING IN MY SLEEP ♪ ♪ YOU KNOW, I JUST HAD A BAD 1878 01:05:56,653 --> 01:05:58,798 ♪ CRYING IN MY SLEEP ♪ ♪ YOU KNOW, I JUST HAD A BAD DREAM ♪ 1879 01:05:58,822 --> 01:06:01,634 ♪ YOU KNOW, I JUST HAD A BAD DREAM ♪ ♪ OOH ♪ 1880 01:06:01,658 --> 01:06:03,803 DREAM ♪ ♪ OOH ♪ ♪ I SAID, "I JUST HAD A BAD 1881 01:06:03,827 --> 01:06:07,807 ♪ OOH ♪ ♪ I SAID, "I JUST HAD A BAD DREAM" ♪ 1882 01:06:07,831 --> 01:06:11,978 ♪ I SAID, "I JUST HAD A BAD DREAM" ♪ ♪ DREAM, DREAM, DREAM ♪ 1883 01:06:12,002 --> 01:06:17,150 DREAM" ♪ ♪ DREAM, DREAM, DREAM ♪ ♪ DREAM ♪ 1884 01:06:17,174 --> 01:06:19,274 ♪ DREAM, DREAM, DREAM ♪ ♪ DREAM ♪ [APPLAUSE] 1885 01:06:30,719 --> 01:06:32,087 THAT'S ALL THE TIME WE HAVE, SO 1886 01:06:32,221 --> 01:06:33,054 THANK YOU. 1887 01:06:33,189 --> 01:06:34,055 GOOD NIGHT. 1888 01:06:34,190 --> 01:06:35,991 [CHEERS AND APPLAUSE] 208204

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