[MUSIC]
>> WHAT'S THAT? >> HEY, PEACHES. IT'S A WEIGHT-GAIN CHART THAT
DAD IS GOING TO USE TO TEACH ALL
OF THE PREGNANT MOMMIES AT
THE COMMUNITY CENTER ABOUT
WEIGHT GAIN.
WHAT DO YOU THINK?
>> WENT OUTSIDE THE LINE.
>> OKAY, MRS. VAN GOGH,
HOW WOULD YOU LIKE TO TRY ONE?
GO 'HEAD, RIGHT HERE.
GO 'HEAD...
>> DADDY!
>> CLIFF!
>> HEY.
>> CLIFF, YOU'RE ALMOST READY?
>> YES, DEAR.
>> RUDY, HEY, YOU'RE DOING
A GREAT JOB HERE.
YOU HAVEN'T BEEN COLORING THAT
LONG, BUT LOOK AT THAT YOU'VE
GOT GREAT ARTISTIC STROKES.
>> YEAH WELL DEAR, I DID THESE.
>> YOU WENT OUTSIDE THE LINE.
>> NO, RUDY DID THIS ONE.
>> AH.
>> NO, I DIDN'T.
[PHONE RINGING]
>> HUXTABLE RESIDENCE. TONY, ¿CÓMO ESTÁ? ESTOY BIEN.
¿CUÁNTOS?
¿VEINTICINCO?
AY, NO ME DIGAS--
NO, NO, NO, NO,
ESTÁ BIEN, NO, ESTÁ BIEN.
PUES, NOS VEMOS MUY PRONTO,
OKAY?
OKAY, ¡ADIÓS!
>> QUIEN ERA, MAMÁ?
>> ERA MI AMIGO, TONY CASTILLO,
THE COMMUNITY CENTER.
>> GRACIAS.
>> OH RUDY, HABLAS MUY BIEN
EN ESPAÑOL.
WELL, WHAT'S THE MATTER,
CLIFF, YOU FEELING LEFT OUT
BECAUSE YOU DON'T SPEAK SPANISH?
>> NO, I JUST LISTEN FOR
MY NAME.
>> DENISE, WE'RE LEAVING.
KEEP AN EYE ON RUDY.
>> OKAY!
>> THEO, LET'S GO!
>> COMING!
>> ADIOS, PAPA.
[SPEAKING GIBBERISH]
>> WHAT? >> JUST LISTEN FOR YOUR NAME.
[MUSIC]
>> CHESTER, CLASS WAS SUPPOSED TO START 5 MINUTES AGO, WHERE IS DR. HUXTABLE?
>> HE'S LATE.
>> I KNOW THAT, WHERE IS HE?
>> MY BUSINESS IS TO LOOK AFTER
WHAT GOES ON IN HERE.
WHAT THEY DO OUT THERE IS
THEIR BUSINESS.
>> WELL, WHEN HE GETS HERE, I'M
REALLY GONNA LET HIM HAVE IT.
>> WELL, THAT'S YOUR BUSINESS.
>> CHESTER, GREAT NEWS.
WE GOT OURSELVES A NEW CUSTOMER.
NOW THIS IS OUR MAIN MAN.
ANYTHING YOU NEED, ANYTHING YOU
WANT, REMEMBER, HE'LL GIVE IT
TO YOU.
>> CAN I HAVE A BASKETBALL?
>> YEAH, WE HAVE RULES.
YOU TAKE A BALL, YOU HAVE TO
LEAVE SOMETHING IN EXCHANGE.
>> BUT I DON'T HAVE ANYTHING.
>> THEN YOU DON'T HAVE A BALL.
>> CHESTER, I JUST GAVE YOU
A BIG BUILD UP, AND THIS IS
THE WAY YOU'RE GONNA TREAT OUR
NEW FRIEND?
NOW SON, I KNOW YOU GOT
SOMETHING.
LET ME SEE YOUR POCKETS.
AND I THOUGHT YOU SAID YOU
DIDN'T HAVE ANYTHING.
LOOKY HERE, A PERFECTLY GOOD
PIECE OF FUZZ.
CHESTER, GIVE THE BOY THE BALL.
>> THANKS, TONY.
>> YOU GOT IT.
AND REMEMBER, YOU DON'T RETURN
THE BALL, YOU DON'T GET BACK
THE FUZZ.
>> TONY, WE GOT RULES.
>> DIDN'T YOU SEE THE LOOK ON
THAT BOY'S FACE?
YOU KNOW WHAT I SAW?
I SAW HAPPINESS.
I SAW GRATITUDE.
I SAW OPTIMISM.
>> ALL I SAW WAS GOOD-BYE BALL.
>> HI CHESTER, HOW'S EVERYTHING GOING? >> YOU LATE.
YOUR WHOLE CLASS BEEN UP HERE
YELLING AT ME.
GET HERE ON TIME.
>> HELLO, CHESTER.
>> WHY HELLO, MRS. HUXTABLE.
>> WHY ARE YOU BEING SO NICE
TO HER?
SHE'S LATE TOO, CHESTER.
>> WELL, SHE'S LATE BUT LOOK
GOOD, YOU JUST LATE.
>> HEY CLIFF. >> HOW YOU DOIN', TONY? >> YEAH IT'S GOOD TO SEE YOU.
AY, DIOS MÍO.
MIRA QUÉ BONITA ESTÁ.
>> AY, MUCHAS GRACIAS.
DÓNDE ESTÁ LA CLASE?
>> ARRIBA EN SALÓN
VEINTICINCO.
>> PUES, ME VOY.
VEINTE CINCO. >> PUES, ME VOY. >> SÍ.
>> I'M JUST LISTENING FOR
MY NAME.
>> I BETTER GET GOING.
>> LISTEN, BEFORE YOU GO, COME
INTO THE OFFICE, I HAVE THOSE
PAMPHLETS YOU WANTED ABOUT
TENANTS' RIGHTS.
>> OH, THAT'S RIGHT.
>> HEY CHESTER, GOT A BALL?
THANKS.
CHESTER IS THAT ALL YOU'VE GOT?
I'LL TAKE THIS ONE.
>> TENANTS' RIGHTS PAMPHLETS, TENANTS' RIGHTS PAMPHLETS, ALL RIGHT, HERE WE GO.
>> TONY, HOW DO YOU EVER FIND
ANYTHING IN HERE?
>> CLAIR, WHAT'S A MESS TO YOU
IS ORDER TO ME.
PICK ANY SUBJECT, ANY SUBJECT.
>> FIELD TRIPS.
>> GOOD CHOICE.
PICK A YEAR.
>> 1983.
>> NO PROBLEM, NEW YORK
OR NEW JERSEY?
>> NEW JERSEY.
>> THERE YOU GO.
>> WELL, THAT DOESN'T MEAN
ANYTHING.
YOU JUST GOT LUCKY, THAT'S ALL.
>> YOU THINK THAT WAS LUCKY?
>> YES.
>> YOU REALLY DO?
>> YES.
>> I'LL MAKE IT HARDER.
>> OKAY.
>> WATCH THIS, OKAY?
GO 'HEAD.
>> DARECARE EXPENSES.
>> DAYCARE EXPENSES.
>> 1981, JUNE, 1981.
>> JUNE 1981.
YOU THINK I'M GONNA FAIL ON
THIS, DON'T YOU?
JUNE 1981.
NO PROBLEM.
CHECK THAT OUT.
JUNE 1981.
>> TONY, YOU KNOW YOU CRAZY.
>> SURE I'M CRAZY, THAT'S WHY
I'M THE BOSS HERE.
>> HEY, I'M INTERESTED IN ARTS
AND CRAFTS, BUT I DON'T KNOW
WHAT TO TAKE.
>> WELL, WE HAVE POTTERY.
>> WHO TEACHES IT?
>> MR. ADLEMAN.
WELL, THEN THERE'S OIL PAINTING.
>> WHO TEACHES THAT?
>> MR. BURKESS.
WELL, THERE'S
FLOWER ARRANGING.
>> WHO TEACHES THAT?
>> MS. ENGSTRUM.
>> I'LL TAKE IT.
HEY, WAIT A MINUTE,
WHAT DO YOU TEACH?
>> I DO LEGAL COUNSELING,
AND I'M MARRIED.
>> I'LL STICK WITH MS. ENGSTRUM.
>> I'LL SEE YOU LATER, TONY.
>> I'LL SEE YOU, CLAIR.
>> I HAVE 30 SECONDS TILL MY NEXT SESSION, I NEED A FIX. >> WELL, BRING IT OVER HERE.
I GOT A FEELING THE PSYCHOLOGIST
IS HAVING A VERY ROUGH MORNING.
>> VERY ROUGH, I HAD
FOUR SESSIONS IN A ROW.
>> OH, THAT DESERVES A KISS.
>> I JUST WANTED TO SEE
THE MAN I LOVE.
>> OH, THAT DESERVES
ANOTHER KISS.
HAVE YOU ANY IDEA HOW ROUGH
A DAY I'VE HAD TODAY?
>> SAY NO MORE.
>> I HEAR YOU.
>> WILL THAT DO YOU TILL LUNCH?
>> ONE MORE LITTLE ONE WILL DO.
>> I'LL SEE YOU AT THE USUAL
PLACE?
>> YES, YOU WILL.
>> YOU BRING A TABLECLOTH,
I'LL BRING THE FOOD.
>> I'LL BE THERE.
>> MR. CASTILLO! >> YEAH. >> COME HERE PLEASE.
>> THEO, WHAT'S GOING ON?
>> I WAS OUTSIDE PLAYING BALL,
AND I SAW TWO KIDS
BEATIN' HIM UP.
>> YOU OKAY?
YOU LOOK A LITTLE BANGED UP.
>> HE WON'T TALK.
>> YOU KNOW WHAT, THEO?
I THINK YOUR FATHER SHOULD TAKE
A LOOK AT THIS.
WHY DON'T YOU GET HIM?
>> I'LL GO GET HIM.
>> HEY CHESTER, GIVE ME
THE FIRST AID KIT, PLEASE.
>> I HAVEN'T SEEN THIS
ONE BEFORE.
>> NO, HUH?
WHAT'S YOUR NAME, SON?
YOU NEW AROUND HERE?
>> MAYBE HE CAN'T HEAR.
>> WELL NO, I THINK HE HEARD
THAT.
>> MAYBE HE CAN'T TALK.
>> I CAN TALK.
>> WELL, THEN WHY DON'T YOU
TELL US YOUR NAME?
I MEAN AT LEAST LOOK AT ME.
OKAY, IF YOU'RE GONNA LOOK OVER
THERE, I'M GONNA GO OVER THERE.
AH, COME ON, I'M NOT THAT
UGLY NOW.
>> THERE HE IS, DAD.
>> HEY, CLIFF.
>> HI SON.
LET ME TAKE A LOOK AT IT.
>> HE'S NOT VERY TALKATIVE.
>> ALL RIGHT, COME ON AROUND.
OF COURSE, YOU WOULDN'T BE
TALKATIVE IF SOME PEOPLE
BEAT YOU UP, MAN.
I REMEMBER GUYS IN
THE NEIGHBORHOOD I WAS IN WHEN
I SMALL USED TO BEAT ME UP UNTIL
I DEVELOPED A THING CALLED
THE STARE...
>> AND IT NEVER FOOLED ANYBODY,
THAT'S WHEN HE INVENTED
SOMETHING CALLED THE RUN.
>> BETTER BELIEVE IT AND THAT
WORKED BETTER THAN THE STARE.
WELL, I'LL TELL YOU SOMETHING, MR. CASTILLO IS A VERY NICE PERSON TO KNOW.
YOU OUGHT TO MAKE HIM YOUR
FRIEND, NOT BECAUSE BIG GUYS
WILL JUMP ON YA AND BEAT YA UP
BUT BECAUSE HE'S IN CHARGE OF
THE PING-PONG TABLE.
AND IF YOU WANT A PING-PONG
TABLE, SEE, AND HE'S YOUR BUDDY,
YOU GET UP THERE AND YOU SAY,
"MR. CASTILLO, CAN I HAVE
A PING-PONG TABLE?"
AND HE'LL JUST BUMP PEOPLE RIGHT
OFF SO YOU CAN GET IN THERE,
YOU UNDERSTAND?
YOU LIKE PING-PONG?
>> YOU LIKE BASKETBALL?
>> CARDS?
>> PUBLIC SPEAKING.
OH, BOY.
WELL, NO CHARGE FOR THAT.
>> THANKS.
THANK YOU, CLIFF.
>> YOU GOT IT.
>> AH-HA.
I DON'T THINK YOU SHOULD HAVE
DONE THAT, MMM-MMM.
'CAUSE YOU'RE LOOKING AT ONE OF
THE GREAT CHESS PLAYERS OF ALL
TIME, UNBEATEN.
IN FACT I'M SO CONFIDENT, I'M
GONNA SIT DOWN AND LET YOU MAKE
THE FIRST MOVE.
>> INTERESTING MOVE.
[MUSIC]
>> NOW YOU WANT TO PLAY CHESS? ALL RIGHT. YOU GOT IT.
YOU MAKE THE FIRST MOVE.
YEAH.
NOW YOU DON'T HAVE TOO MUCH TO
SAY, NOW, SON.
BUT BEFORE THIS GAME IS OVER,
YOU'RE GONNA BE SAYING THINGS
LIKE "UNCLE, MERCY, I GIVE UP
AND WHOA, CHECK OUT THAT MOVE."
>> YOU TALK A LOT.
>> WELL, YOU DON'T GIVE ME
MUCH CHOICE.
YOU'RE NOT EXACTLY A MOTOR
MOUTH, YOU KNOW.
>> I ONLY TALK WHEN I HAVE
SOMETHING TO SAY.
>> YEAH, BUT I LIKE TO KNOW
THE NAMES OF THE PEOPLE I BEAT
IN CHESS, AND I'M NOT EVEN
ASKING FOR YOUR LAST NAME.
I'M ONLY ASKING FOR YOUR FIRST.
>> CHECKMATE.
>> THE ONE WORD I DIDN'T WANT TO
HEAR YOU SAY, "CHECKMATE."
I REALLY DON'T BELIEVE YOU
DID THAT.
>> SO IN SPITE OF WHAT ANYONE SAYS, YOU ARE NOT EATING FOR TWO PEOPLE.
>> AWWW.
>> NO, NO, NO, NO, NO.
YOU'RE EATING FOR ONLY
ONE PERSON.
PLEASE, I DON'T CARE WHAT YOU
FEEL LIKE WHEN YOU SIT DOWN AT
BREAKFAST, YOU ARE NOT TO EAT
A SEVEN-COURSE MEAL THINKING
THAT YOU'RE DOING A WONDERFUL
JOB FOR THAT CHILD.
ALL RIGHT, NOW I HAVE A FEW
MINUTES LEFT, ANY QUESTIONS?
YES.
>> DR. HUXTABLE, THIS IS MY
FIRST BABY, AND I'VE TALKED TO
WOMEN IN THE CLASS WHO'VE HAD
NATURAL CHILDBIRTH.
>> YES.
>> I HEAR SCARY THINGS.
HOW INTENSE WILL THE PAIN BE
DURING THE DELIVERY?
>> IT DEPENDS.
FOR SOME PEOPLE, SOME WOMEN,
IT'S...
AND THEN OTHERS IT'S...
IT'S LIKE I DON'T KNOW.
ALL I CAN SAY IS THAT YOU OUGHT
NOT THINK OF IT AS PAIN BUT
MORE LIKE AN UNCOMFORTABLE
CONTRACTION.
>> HA!
>> MRS. MITCHELL, YOU HAVE SOMETHING TO SAY? >> DOCTOR, I'VE GIVEN BIRTH TO
TWO CHILDREN AND WHAT I HAD
WAS PAIN.
>> BUT I THINK THAT WHEN YOU'RE
TALKING TO MRS. RODRIGUEZ,
WE WANT YOU TO BE MORE OF
A POSITIVE INFLUENCE ON HER.
PLEASE.
>> DOCTOR, I KNOW YOU'VE
DELIVERED OVER 50 MILLION
BABIES, BUT IN MY CASE, TWO OUT
OF TWO TIMES IT FELT LIKE
SOMEBODY TRIED TO RIP MY--
>> I UNDERSTAND, YES, YES, YES,
YES.
>> I HAVE A QUESTION, DOCTOR.
I'M DREAMING MORE THAN EVER.
IS THAT NORMAL?
>> SURE.
>> YES BUT MY DREAMS ARE GETTING
SO STRANGE 'CAUSE LIKE THE OTHER
NIGHT I DREAMT THAT I WAS
AN ENGINEER ON A TRAIN, AND I
LOOKED OUT AND I SAW MY HUSBAND
TIED TO THE TRACKS.
SO I GRABBED THE HAND BREAK,
BUT I PULL IT AND IT BROKE OFF.
[CLAPPING]
>> I--I THINK THAT THIS FORM OF SUBCONSCIOUS RESENTMENT TOWARDS THE HUSBAND IS QUITE NORMAL.
>> I'M GLAD YOU SAID THAT,
DR. HUXTABLE, BECAUSE LAST WEEK
I DREAMT MY HUSBAND AND I WERE
IN OUR APARTMENT.
WELL, HE GAVE ME FLOWERS.
HE COOKED ME DINNER AND THEN
KING KONG CLIMBED UP THE SIDE
OF THE BUILDING, REACHED IN,
GRABBED MY HUSBAND AND DROPPED
HIM TO THE FLOOR.
[LAUGHING]
>> GOOD FOR YOU. LAST NIGHT I HAD A DREAM ABOUT MY HUSBAND.
WE WERE--
>> MRS. MITCHELL.
I THINK THAT'S ALL FOR
DESTROYING THE HUSBAND.
NOW I WANT TO THANK ALL OF YOU
FOR THE FOOD THAT YOU BROUGHT
FOR MY FAMILY AND ME.
YOU ALL TAKE CARE OF YOURSELVES.
WE'LL SEE YOU IN 2 WEEKS.
>> THANK YOU.
>> AND DOCTOR, PLEASE BE ON TIME
NEXT CLASS.
>> OR ELSE YOU'LL GIVE ME PAIN.
I KNOW THAT, YES.
>> HEY.
>> HI CLAIR, HOW YOU DOIN'?
>> I'M FINE.
>> WHEN YOU WERE CARRYING, DID
YOU HAVE ANY DREAMS ABOUT ME?
>> ONCE I DID.
>> REALLY?
>> MMM-HMM.
YOU KNOW THAT MACHINE IN
THE JUNK YARD THAT CRUSHES
THE CARS LIKE THIS...?
>> WAS I IN THE CAR?
[LAUGHING]
>> MRS. HUXTABLE.
¿CÓMO ESTÁS?
TIEMPO QUE NO LE VEO.
ENCANTADO.
OIGA, DÉJAME DECIR
A UN SUEÑO QUE LE
ESTABA DICIENDO A SU MARIDO.
BUENO, ESTABA MI MARIDO
Y YO EN EL APARTAMENTO, ¿NO?
VIENE KING KONG,
HIZO ASÍ...AGARRANDO
A MI MARIDO Y LO DEJÓ CAER.
>> YO TUVE LA MISMA COSA.
>> ¿NO ME DIGAS?
>> SÍ, ES VERDAD.
SABES LA MÁQUINA QUE DESTRUYE
LOS CARROS QUE COMO ASÍ...
>> COME ON, LET'S GO, DEAR. >> POBRECITO. TIENE QUE APRENDERLE
EL ESPAÑOL.
>> POR SUPESTO, POR SUPESTO.
>> SÍ, CREO QUE SÍ.
>> POR SUPESTO, POR SUPESTO. >> SI, CREO QUE SI. >> YEAH, WELL, I JUST LISTEN FOR
MY NAME, THAT'S ALL.
[MUSIC]
>> LUNCH IS BEING SERVED. >> OOH TONY, IF WE WERE MARRIED, YOU THINK WE'D STILL DO THIS?
>> OF COURSE WE WOULD.
THIS HAPPENS TO BE MY FAVORITE
PART OF EVERY DAY.
>> MINE TOO.
>> YEAH, THAT'S WHY YOU GOT
THE CHEESEBURGER DELUXE,
AND I GOT THE ROAST BEEF.
>> SELENA, HEAD'S UP!
SORRY.
>> TONY, IS THERE ANYONE
AROUND US?
>> NOT THAT I CAN SEE.
>> WHOA.
KISSING IN THE PARK.
HA, HA!
>> DO YOU BELIEVE IT?
THE ONLY CHANCE WE HAVE TODAY TO
GET TOGETHER, THESE TWO HAVE TO
FIND US AND COME IN
AND BOTHER US.
>> WELL, WE'RE ON OUR WAY OUT.
BUT I JUST WANTED TO SAY THAT,
SELENA, YOU'RE A BEAUTIFUL
PERSON TO SIT HERE IN THE PARK
AND HAVE LUNCH WITH A MAN WHO
BLEW $2.19 ON YOU.
>> TWO DOLLARS AND FIFTY-NINE
CENTS.
>> OH, I BEG YOUR PARDON.
NOW, SELENA, IF YOU HAVE ANY
BRAVERY AT ALL, YOU WILL LEAVE
THIS MAN AND COME TO OUR HOUSE
BECAUSE THE WONDERFUL LADIES
THAT I HAD THE MEETING WITH
TODAY COOKED SOME FOOD FOR ME.
I HAVE FROM MRS. SCARVY, SOME
LINGUINE AND CHEESE AND VEAL.
I HAVE FROM MRS. MITCHELL,
SOME RED BEANS AND RICE.
AND FROM MRS. ORTEGA,
REE-SAY Y CON ZAPATOS.
>> WAIT, WAIT, WAIT.
REE-SAY?
>> REE-SAY.
>> WHAT IS REE-SAY?
>> RICE.
[LAUGHING]
>> REE-SAY Y CON ZAPATOS.
>> Y CON ZAPATOS.
>> DO YOU KNOW WHAT
YOU'RE EATING?
>> NO.
>> RICE WITH SHOES.
ARROZ CON GARBONZOS,
ARROZ CON GARBONZOS.
>> RIGHT, I'M GONNA EAT IT.
OKAY.
>> YOU KNOW SOMETHING?
YOU TWO ARE REALLY THE GREATEST
PEOPLE, AND I WANT YOU BOTH TO
KNOW SOMETHING, WE APPRECIATE
ALL THE WORK YOU DO AT
THE CENTER.
>> WE JUST BELIEVE, TAKE
A LITTLE OUT, PUT A LOT BACK IN.
>> YEAH.
>> TAKE CARE.
>> OKAY.
>> REE-SAY--
>> THEO, COME ON!
>> LET'S EAT UP.
>> TONY, NEXT TIME WE EAT AT
THIS RESTAURANT, DO YOU THINK
YOU CAN GET US A BOOTH?
>> OH, YEAH, YOU BET.
I GOT CONNECTIONS.
>> EXCUSE ME.
ARE YOU MR. CASTILLO?
>> YES, I AM.
>> THE MAN AT THE DESK SAID
I'D FIND YOU OUT HERE.
I'M SONYA TERRÓN,
ENRIQUE'S MOTHER.
>> ENRIQUE, WHO'S THAT?
>> SMALL BOY, CURLY HAIR.
YOU FIXED HIS HAND TODAY.
>> OF COURSE, PLEASE, PLEASE,
SIT DOWN.
>> OH, I DON'T WANT TO INTERRUPT
YOUR LUNCH.
>> OH, NO, NO, PLEASE, PLEASE,
SIT DOWN.
THIS IS MY GOOD FRIEND,
SELENA CRUZ.
>> HOW DO YOU DO?
>> SHE'S A COUNSELOR AT
THE CENTER.
>> NICE TO MEET YOU.
ENRIQUE CALLED ME TODAY
FROM YOUR CENTER.
HE WAS AFRAID TO COME HOME
BECAUSE HE'D BEEN IN A FIGHT.
THANK YOU FOR EVERYTHING
YOU'VE DONE.
>> I REALLY HAVEN'T DONE
ANYTHING AT ALL.
AS A MATTER OF FACT, ENRIQUE
WOULDN'T EVEN SPEAK TO ME.
IF YOU HADN'T SHOWN UP TODAY,
I WOULDN'T EVEN KNOW HIS NAME.
>> YOU SHOULD FEEL FLATTERED
HE STAYED HERE SO LONG.
IT MEANS HE LIKES YOU.
>> WELL, IF HE LIKES ME, HOW
COME HE DOESN'T SPEAK TO ME?
>> HE'S BEEN THAT WAY EVER SINCE
HIS FATHER DIED.
HE WAS A POLICEMAN.
HE WAS KILLED IN THE LINE
OF DUTY 5 YEARS AGO.
AND THE MAN WHO SHOT HIM WAS
RELEASED FROM PRISON A YEAR AGO.
WELL, EVER SINCE THAT TIME,
ENRIQUE FINDS IT HARD TO TALK TO
STRANGERS.
>> I UNDERSTAND.
>> DON'T LET MY SON FOOL YOU,
AT HOME HE'S LIKE THIS...
>> NO.
>> DO YOU KNOW WHERE HE IS?
>> NO, I DON'T, BUT I'LL FIND
HIM FOR YOU.
>> NO, NO, YOU STAY.
FINISH YOUR LUNCH.
I'LL FIND HIM.
>> WELL, I'M GLAD TO HAVE
MET YOU.
YOU KNOW, YOU HAVE A VERY,
VERY SPECIAL BOY.
AND YOU TELL ENRIQUE ANYTIME
HE WANTS TO COME TO THE CENTER,
HE'S WELCOME.
>> I WILL.
BYE-BYE.
>> BYE-BYE.
>> WHAT A NICE WOMAN.
>> OH, YEAH, SHE IS.
>> HEY LISTEN, WE GOTTA GET TO
THIS CHEESEBURGER DELUXE, MAN,
THAT COST ME A LOT OF MONEY.
>> WELL, OKAY.
>> AND YOU DIDN'T EVEN
OFFER ME A FRENCH FRY.
>> OH, HERE.
UH-OH, I THINK WE'RE BEING
WATCHED.
>> OH.
OH, YOU'RE GONNA GET IT.
YOUR MOTHER WAS HERE LOOKING
FOR YOU.
>> I KNOW.
>> ENRIQUE, COME ON.
>> WELL, I HOPE I SEE YOU AGAIN.
>> MAYBE YOU WILL,
MAYBE YOU WON'T.
>> SO LONG, ENRIQUE.
>> MY FRIENDS CALL ME PAPO.
[MUSIC]
[SINGING]
>> CLIFF, YOU ARE HAVING LINGUINE WITH VEAL MIXED WITH ARROZ CON GARBONZOS MIXED
WITH GERMAN CHOCOLATE CAKE.
>> MMM-HMM, I CAN HANDLE IT.
>> DO YOU REMEMBER WHAT YOU SAID
ABOUT THE CENTER TODAY?
>> YES.
>> WELL, DARLING, I THINK THAT
YOU ARE PUTTIN' IN A LITTLE BIT
MORE THAN YOU'RE TAKING OUT.
>> LISTEN, WHEN THOSE LADIES NEXT WEEK ASK ME HOW WAS IT, I HAVE TO TELL THEM HOW IT WAS.
>> WHAT'S WRONG WITH THEM,
CAN'T THEY SEE?
>> DAD, WE BOTH HAVE TO ASK YOU
SOMETHING AND I THINK DENISE
SHOULD GO FIRST.
>> UH- UH, VANESSA YOU'RE GOING
FIRST.
>> WELL, IT REALLY DOESN'T MAKE
ANY DIFFERENCE WHO GOES FIRST,
DOES IT?
>> DADDY, YES IT DOES.
IT'S KNOWN IN THIS HOUSE
THAT WHOEVER GOES FIRST GETS
TURNED DOWN.
>> WELL, THAT'S NOT ALTOGETHER
TRUE.
NOW WHAT IS IT?
>> DADDY, CAN I--
>> YES.
>> HA, HA, HA!
>> THANK YOU.
>> WELCOME.
>> DOES THIS MEAN YOU'RE GONNA
SAY NO TO WHAT I WANT?
>> YES.
>> MOM, THAT'S NOT FAIR.
>> MAYBE YOU SHOULD WAIT UNTIL
HE'S DONE EATING.
>> OKAY.
>> DAD, CAN I--
>> NO, NO, COME ON, MAN.
EVERY TIME SOMEBODY--
YOU KNOW WHAT?
I DID NOT HAVE CHILDREN SO YOU
ALL COULD CHANGE MY NAME TO,
"DAD-CAN-I."
YOU KNOW THE BEAUTY OF LIVING
WITH YOU ALL IS LATE AT NIGHT
TO GO DOWN THE HALLWAY,
OPEN THE DOOR TO YOUR BEDROOM,
SEE THE LIGHT FALL ON YOUR FACES
AND I SMILE.
YOU KNOW WHY?
NOT BECAUSE YOU'RE BEAUTIFUL,
BUT BECAUSE NOBODY'S BEGGING.
NOW WHAT IS IT YOU WANT
TO BEG FOR?
>> WELL, DAD, I SAW THOSE
BASKETBALLS AT THE COMMUNITY
CENTER--CAN I GIVE THEM MY
NEW ONE?
>> I'M SORRY.
SIT DOWN. ARE YA HUNGRY? >> NO.
>> OKAY.
>> CLIFF?
>> HUH?
>> HOW OLD WERE YOU WHEN YOUR
FATHER STOPPED KISSING YOU?
>> HOLD OLD AM I NOW?
I GET A LITTLE EMBARRASSED
YOU KNOW, BUT I THINK DEEP DOWN
INSIDE WE ALL STILL LOVE IT.
BUT I'LL TELL YOU ONE THING,
I RATHER KISS MY WIFE.
[MUSIC]
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[COSBY] THE COSBY SHOW WAS VIDEOTAPED IN FRONT OF A LIVE STUDIO AUDIENCE