[bright instrumental music]
♪ ♪
- [sniffs]
[moans]
- [speaking French]
- Julia! Julia!
- [singing in French]
[upbeat jazzy music]
[indistinct chatter]
♪ ♪
- We did well today, Simca and I.
- Lunch will be a feast.
- Oh, mmm, do I dare to eat a peach?
Mm. - Mmm.
And I have something for you too.
- A telegram.
Oh, dear, is it good or bad?
- Yes.
It is from "Life" magazine.
Apparently we can't put them off any longer.
- It hasn't been that long. - Nearly three months.
- They've offered us a "take it or leave it" date
for your interview, and it is fast approaching.
- But no, you cannot go.
Paul, what about your garden?
Julia, you have to stay.
- My garden will be finished and ready
to be augmented when we return.
Oh, now, we all knew this day would come.
- [squeals] Yes, Simca.
We still have a book to write.
And Judith will be here in a few days.
I've been a lotus eater all spring, intoxicated by France.
We've barely made any decisions about Volume II.
Lance could pull the plug on our little project
if we don't get our act together.
- We can make short work of it.
- We've agreed on a dozen recipes in ten weeks.
How can it possibly be short work?
- Stop disagreeing with me.
- Well, it-it's good of you to come visit us,
uh, down here, Hal.
It boosts morale to see the CEO, uh, in the building,
and we're all just as excited about Julia.
She's all over the country now.
[chuckles] Pretty extraordinary.
- You're absolutely right.
That "French Chef" of yours is really something.
And that's the problem.
- Eh, p-problem?
- My board was content with nothing
when all we had was nothing.
But now that we have something,
we want more something and less nothing.
Julia is something.
In fact, she's really something.
I came down here to let you know
that nothing else on your roster even comes close.
You have a lot of nothing, Hunter--
a lot of nothing--
and one something, which makes all the nothing
seem like even less than nothing.
And where is she, by the way?
- Uh, we don't know, exactly,
or exactly when she's coming back.
But I can assure you it'll be soon.
- Make us more something, my friend.
Or we'll start looking for someone who can.
[soft playful music]
- Now, as you can see, knitting is more than just
sweaters and booties.
There are endless possibilities,
like this knit breakfast centerpiece.
Oh, dear, I've been talking so much, I've lost--
I've lost count of my bacon.
I need my glasses for this.
Where are my glasses?
Oh. [chuckles]
I should've done fruit.
- Uh, gather the troops. We need to have a talk.
- Is this about your sister-in-law, sir?
Because there's nothing any of us can do.
She can't knit under pressure.
- This is not about knitting.
Well, a little bit, but only indirectly.
This is about you. What can you do under pressure?
- Not knit. [laughter]
- Not funny.
Can you--can any of you--
make a television show?
And not just a television show,
but a show that people want to watch,
not including "The French Chef"?
- The evidence says no, sir.
- The time for dilly-dallying is over.
We need new content yesterday.
Where is Russ, by the way?
- Stuck in a meeting about his new weekly docuseries.
- Now, that's the kind of initiative I'm talking about.
And, Alice, I am disappointed.
Our new programming for women-- women don't seem to care.
- Well, to be fair, sir, "Why Not Knit?,"
"Wake Up Calisthenics"--none of those shows were my idea.
- That's hardly the point, is it, Alice?
- Well, it's sort of the point, Hunter.
- I always thought of you as a team player, Alice.
- Well, I-- I pitched a travel show,
a show about raising children,
a show with a panel of doctors talking about health,
but you all rejected them.
At some point, you have to put me in the game.
- Enough with the metaphor, Alice.
- I hired a new director for "The French Chef."
- Okay, yes, that's true,
someone to fill Russ's size-11 shoes,
maybe even take us up to a 12.
[chuckles] Metaphorically.
Amazing woman Alice found.
What's her name again? - Elaine Levitch.
- Sounds Jewish.
- She worked at CBS in Hollywood.
Worked with Murrow, no less.
- Murrow who? - She sounds scary.
- Not only a woman, but she's qualified too.
I just hope she's finally the dynamo we need
to get things moving around here.
- Well, Hunter, I think that she and I--
- Oh, and fire my sister-in-law,
will you, Alice?
- Me?
- Well, out with the old, in with the new, as they say.
- Hunter, Hunter, you just told me
I should be focused on the new.
- Make it quick.
And be gentle, as she's still family.
[phone ringing]
- There you are.
Walk with you?
Oh, did Hunter complain that I was missing?
- He seems fully invested in your new show, Russ.
- Okay, good.
It's going very well, I think, but it's-it's huge.
It's like constructing an ocean liner.
It looks like a boat, but you're not sure it floats.
I'm used to having you to bounce ideas off of.
- Bounce away. - Great.
I got most of the episodes worked out,
I think--pollution in the Boston Harbor,
antiwar movement, segregation in Boston schools--
remind me to tell you about that one.
- I'd love to hear about civil rights, Russ, thank you.
- But are these the right subjects?
Which one should go first?
Who's the host? That's critical.
Whoever that guy is could make or break the show.
- Definitely.
- You're so good at stuff like that.
- Russ, while you are working on the details
of this one show, I'm tasked with saving
the entire station.
- Who better to do that too?
- I will give it some thought.
Drop the material on my desk.
- Thanks, pal.
[phone whirring]
[line trills]
[phone rings]
- Alice Naman.
- So it is.
Oh, Alice, it's so lovely to hear your voice.
- Oh, Julia! [sighs]
Julia, the person I most wanted to hear from
in the whole world.
- Oh, then, I have a feeling
I'm going to make you even happier.
I'm coming home in ten days' time.
- Ugh! Oh, if you can make it nine.
You have no idea what it's been like here without you.
I'm one girl in a sea of men.
Julia, we have so much work to do.
- Yes, it's a common theme.
- Yes, well, it turns out I'm a little under the gun.
And since we haven't really spoken at all in the 72 days
since you've been gone, any tiny hints you can give me
about what you're thinking for season two.
[soft music]
- Alas, I have no hints.
But I do promise to return home very soon,
refreshed and ready to dive in.
- Okay, no pressure.
I'd just like some hints as soon as possible.
- I'm sorry I can't help you, Paul,
but even after two cognacs, my back continues to spasm.
- Nonsense.
This is my gift to you and Simca.
I wouldn't dream of asking for a hand.
How did it happen, by the way?
- It was very French.
- You were writing poetry? - In a way--
making love.
- Oh.
- So humiliating.
And Adele had no compassion.
- Adele? - My lover.
What's worse?
After it happened, she ended it.
Can you imagine?
- Just terrible, with the injustice of it.
- Isn't it?
My mistress is a cruel mistress.
Do you know, to be old like us,
it is a God I don't believe exists because joke.
- Speak for yourself.
I do judo three times a week.
- Oh.
- I do lots of things three times a week.
[gentle musette music]
♪ ♪
- What is it, ma chérie?
More salt?
- If only it were that simple, Simca.
I need to share something rather controversial with you.
Now, my beautiful sister,
I think it would be wise to substitute chicken for goose,
as I fear American women just won't buy it.
- Then it wouldn't be cassoulet.
- Well, that's a rather narrow-minded stance.
- I will not publish a lie.
- Yes, but this is lunacy, my darling.
We have to make compromises.
Judith gives extensive notes in the best of times,
but in the worst of times, ugh.
She'll be here before we know it.
- You want chicken, my chérie, chicken it is.
But I have a tiny suggestion,
which is not to call it cassoulet
but to call it, uh, French beans with chicken.
- [laughs]
- [speaking French]
[pensive music]
- [speaking French]
- She doesn't understand American women.
She doesn't know her audience.
And I'm so tired of making compromises
to appease her, but...
[sighs]
We are her guests.
- I thought you'd made some progress.
- Ugh, barely.
The truth is, in her bones, she's not a teacher.
- Speaking of bones, Julia, you'll never guess
how Jean threw out his back.
Sex injury. - Ooh.
Well, I can only imagine how he and Simca
pretzel themselves behind closed doors.
- [chuckles]
Not Simca.
- You see, this is exactly what I'm talking about--
[sighs]
The French!
- Well, it's Gatsby, isn't it, Russ?
Jamison as the poor boy obsessed
with the unattainable woman.
- You found me out, Blanche.
- Which makes Virginia Daisy Buchanan.
When Lou Archer first sees her, he describes her
as having the, um--
the beauty--the, um-- the beauty--
- Dead beauty of marble.
- For me, the question is, why?
Making clear why.
Is it out of, um--
now, what did I write? Um.
You say she traveled.
Um...
where--where is it?
- She traveled too far too fast.
- Didn't you explain to me, Blanche, that we needed
to understand what Archer understands,
which is that Virginia's aloofness
is the result of trauma and not of privilege?
- Yes, exactly.
- Her beauty makes us misjudge her.
I mean, she's not a statue, a goddess in marble.
She's not cold. She's been burnt.
- Well, that's good.
I'll, uh--I'll make that clear.
Thank you, Blanche.
- It'll be great having Julia back.
I can't believe how much I miss her.
- Oh, you're telling me.
I went and got myself a job last month for goodness' sake.
- What's it like being around all that Harvard?
- Oh, yes, it can be a lot.
I have a number of men in my life now.
Some of them are brilliant.
A few are insufferable.
One is adorable.
And they're all 40 years younger than I am.
- [chuckles]
Well, the men here are just insufferable.
- I'd say on a scale of 1 to 10,
it's going very well.
Extremely well.
It's just--it's just-- it's a big responsibility.
Taking on subjects of this magnitude?
I want to get it right.
- I'm counting on it.
You have peanut butter...
- Hey, pal. Avis? - Hi.
- Just curious if you had any names for me yet.
- It's been four hours, Russ.
And I do have a few other things on my plate.
- What's this about?
- My docuseries.
Got a bunch of choices to make--who should host,
what I should start with.
- A professor I met at Lowell House
invited me to an antiwar gathering tonight.
Would that be any help?
- Are you kidding?
Vietnam, that's in my top five.
You don't mind?
- Well, I wasn't going to go alone,
but would you like to be my date?
[curious plucky music]
[rooster crows]
- Oh, good afternoon.
Sleep well?
- I have a headache.
- Again?
You should get that checked.
- It happens when I go to bed upset.
- Oh, so I'm your headache.
- Julia, I don't want to do this again.
I don't want to waste whatever time we have left.
- Yes, I agree.
Fresh start.
- You started to cook without me.
- Chicken and beans, née cassoulet.
And it happens to be delicious.
♪ ♪
Well?
- I'm adjusting my expectations.
It will do.
- Well, I'll take that.
Now, get dressed.
We have lunch at the restaurant of Monsieur Paul Bocuse.
- I haven't had breakfast yet.
- Ah, Simca, allow yourself to be dazzled
by this wunderkind's cuisine.
We'll use it as inspiration to fall back in love
with our little project.
And also, I'm starving.
[light cheery music]
♪ ♪
- Et voilà.
- Merci.
- Welcome to Siberia. - Oh. [chuckles]
- Paper tablecloths?
What are we, children?
Should we ask for crayons?
- [chuckles] Oh, Simca.
- [speaking French]
- [exclaiming]
Oh, fabulous!
Oh, Simca, I think it's looking at you.
♪ ♪
Oh, my crust.
Oh. Oh, no.
[chuckles] No.
♪ ♪
Oh, merci.
- All that theater for a piece of steamed fish.
Julia?
Julia, what is it?
Julia, what?
- Oh!
I don't have the words.
- Really?
For me, no cream, no butter, no flavor.
- Oh, it's delicate, light as a balloon,
and entirely new.
[chuckles]
I feel like I'm a virgin all over again.
Well, I was until a moment ago.
I've never tasted anything like it.
- This is smoke and mirror disguised as flavor.
- Well, I love it.
- Oh, la, la, love.
If this is the future, Julia, count me out.
- They call me the Lion for my strength,
the way I protected the men who served under me.
The Germans knew it too.
They couldn't break me.
- In our youth, our hearts were touched with fire.
- You felt it too?
- Well, I have periodic bouts of heartburn.
Yes, yes, I know what you mean.
I wish I'd known you then.
Julia?
- Gone to lunch already, both of them.
- Right.
Rock.
And I'll be a lion.
[back cracks] Oh!
Merde!
Wa--
- Parlez-vous anglais?
- Un peu.
- Oh, dear little old me,
I don't seem to be able to find the loo.
- It's, um--how you say, through the door,
down the stairs, and to the right.
- Yes, now, that is a loup too.
[speaking French]
- Well, we ordered it too. It was a showstopper.
- Chef Bocuse is an artist.
Chef Bocuse always says that the shallot
is so much kinder than the onion.
- Gosh, that's remarkable.
[knock at door]
- Just thought I'd check in before I call it a night.
Better?
- This isn't working.
- No?
I thought we did great today.
- You did.
- It's not always easy, I know.
I'm doing my best.
- Well, do better.
- Okay.
- You need to write your notes so I can read them.
You embarrassed me in front of one of our most
important writers-- a genre writer, maybe--
but you did it on purpose.
You wanted to humiliate me.
- Now, you know that's not true.
- I don't know anything of the kind.
- Well, maybe a few days apart will do us some good then.
- What are you talking about?
- France.
I've told you several times.
It's in your calendar.
- Well, nice of you to take a holiday in my hour of need.
- It's not a holiday.
Again, you know this.
I'm visiting with Julia Child and Simone Beck
to see what progress has been made on "Mastering" Part 2.
You want that manuscript, remember?
- So what will I do?
- It's just a few days.
- Just a few days.
Why don't you just go then?
Get out of here.
Clearly, abandoning me is the goal,
so why don't you start now, hmm?
I know you think I'm some sort of invalid, but...
I did perfectly well
before you came into my life, Judith,
and I have every intention
of doing perfectly well without you.
- I'll be back in a few days.
And you have all my information.
Just holler if you need me.
- We are sliding into a war in Vietnam.
- Thank you.
- We have to say no before the war machine tells us
they have no choice but to send another boy to die tomorrow
to give meaning to the sacrifice of the boy
they sent to die yesterday.
No, I don't want a plaque in Memorial Hall
with names of my students on it.
I want them to live extraordinary lives,
not die unnecessary deaths.
[applause]
- He needs to be on my show.
- Well, then go get him.
Look at me, I'm a producer.
- I'll give you full credit.
- Just meet me back here in half an hour.
- Public television? Brilliant.
The movement has a message but no way to reach people.
- I can help with that.
- The man who made "The French Chef"?
I should say so.
I'd love to be on your program.
- I'm honored.
I'm a little overwhelmed, to be honest.
[chuckles] This is my first Harvard party.
[soft jazzy music]
- Stanley Lipschitz.
- No, actually, Avis DeVoto.
And you are?
- Stanley Lipschitz.
- I've got somebody lined up
from Students for a Democratic Society, Todd Gitlin.
- You've done your homework.
- Says the professor.
[both chuckle]
- Special coffee?
- Lovely.
- Guess nothing about Harvard is ordinary.
- You, uh, sure you want that?
- Caffeine has no effect on me.
- To Tim.
both: To Tim.
Who's Tim?
- I stayed away from Harvard for years
after my husband died.
And then a few months ago, I took a job at Lowell House
just to be around all these brilliant young people.
- They keep me on my toes too.
- In which department?
- Physics.
- Oh, a smarty pants among smarty pants.
- Mm.
- And you, uh, still have time for antiwar protests?
- Years ago, I worked under a man
named Hans Bethe at Los Alamos.
- You were on the Manhattan Project.
- We were assigned to create a formula
for the explosive yield of an atomic bomb.
I've been a pacifist since August 6, 1945.
- That's, uh--
[exhales shakily]
My sons narrowly avoided the draft for World War II.
So. - So.
I'm here out of guilt, and you're here out of love.
- Mm.
- Do you know that guy?
- Oh, no.
I've never seen him before in my life.
- Here.
Blow.
- Mmm.
- It's rogan josh.
- It's heaven, Evan.
- It's because you love food, Jude.
- [chuckles]
- I'm expressing my very good day through this dish.
- Tell me.
- Finished the article for "The New Yorker."
Hoping you'll read it over tonight.
- Of course.
- How was your day?
- If I had to express it through food,
it would be gruel.
- For grueling?
- It was a little sad.
A little overwhelming.
A little too much Blanche.
Nothing I can't handle.
How long till dinner?
- 20 minutes.
- I'll go change.
Maybe start thinking about what to pack.
- Oh, shit.
I give up!
- Judith? - [sobs]
[crying] I dropped my hat box on my head.
- Are you okay?
- My head is fine.
It's a pretty light hat box.
- Okay, then--then what?
- I have so much to do.
And I'm just one little person.
- Oh, well, forget about reading my article.
It doesn't matter. - Are you kidding?
It's the one thing I want to read!
No, no, I can-- I can handle it--
all of my work and all of Blanche's.
I can press another cookbook out of Julia.
- Yes, you can. - Yes, I can.
I can do it all, and I will.
[sobbing] Let's have dinner.
[soft inquisitive music]
♪ ♪
- How'd it go with Prof?
- Shh, listen.
[laughing]
Isn't it amazing?
- On--on Julia's set, yes,
but this is a real sink.
- No, Avis, you're missing it.
Oh, the beauty.
- Your friend is on a trip.
- One way or round?
- I'm a great guide. He'll be okay.
[car doors closing]
[static crackles]
- We got a male, mid-to-late 30s, Caucasian.
Said he was walking across the Charles River to Boston.
Yeah, another one of these Harvard walk-on-water types.
We're gonna bring him to the station to sober up.
- [shivers]
- I'm good at abstract things.
Finding my keys, not so much.
I sometimes forget to appreciate
things that are visible.
Hence, a bachelor.
- Well, thank you for walking me home, Professor Lipschitz.
This was very nice.
- I thought so too.
Maybe we could do it again?
- You sly dog.
Did you have an agenda for this stroll?
- Would anyone blame me?
Oh.
[soft music]
♪ ♪
I saved you.
- [chuckles]
[phone rings] Oh.
- Good night, Avis.
- I--[stammers] Oh.
♪ ♪
- Get in.
- Thank you. I'm sorry.
- I brought you to the party,
I'll take you home from the party.
That's how I was raised.
- No charges.
It was an accident.
LSD.
- No kidding.
- Huh.
Not a word to anyone, please?
- I'm a producer and a spy.
- I had a good time.
You?
- I did, yes.
[lively jazzy music]
- That waiter was putty in my hands.
Now it's up to us to manifest the proper proportions,
to meticulously recreate something from memory.
Very Proustian, I might add.
- Translated Proust is not Proust.
- It is recipes like this that will make the book relevant.
- Now you lost your mind.
- Yes, well, what if I have?
Ah, let's take the time to close our eyes
and remember as we embark on this great
but potentially perilous adventure.
- I'd rather take a moment to forget.
- I stand by everything I said yesterday.
- But this is ridiculous.
Even for you.
- I see that hand-holding isn't in the cards today.
Should we just get on with it and start with the brioche?
- [speaking French]
- Did I tell you about when I liberated Paris?
- Oh, was that you?
- Oh, I have so many stories--
a lifetime of stories.
You were in the Far East during the war.
Your turn.
- You know I'm not allowed to talk about that.
- What about the Foreign Service after the war?
- That was nothing compared to your stories.
- That cannot be a reply.
We are in our twilight years.
What do you have to show for your life?
- I'd like to think it's too soon to say.
- [laughs]
[groaning]
- [laughs] Oh!
- You've missed a spot.
- Hello, Albert.
I've named him Albert.
And now into the oven he goes.
[chuckles] Poor thing.
And now...
We wait.
- I'm getting hungry.
We could starve out here.
- All the lemonade is gone.
- You drank it all and knocked over the bell in the process.
- Julia! - Simca!
Simca! - Julia!
Julia! - Simca!
- They'll be sorry when they come out and find us dead.
- That's your fault.
You should pull yourself up and go save us.
- [singing in French]
- Okay.
- Voilà. Voilà.
Some lion you are.
- Oh.
Ah!
[groaning]
- Wait, wait, wait.
Lean on me.
And we'll be each other's crutches.
I can smell the food.
- It's good to have industrious wives.
- Yes.
And are we not still the men they fell in love with?
- Hmm.
Well, that's disappointing.
- More blob than fish.
- Hopefully the flavor is there.
- Don't look at me.
- Well, I'll call the-- the boys.
Oh, my fabulous invalid.
How are you, my love?
- Starving. - Well, you're in luck.
Ta-da!
- Ooh.
Well, it doesn't look quite as you described it.
- It's a first attempt. - Ah.
- Now, who would like to go first?
- You're our guest. - But you're infirm.
- You can both taste it together.
- It wasn't my idea.
[quirky music]
♪ ♪
- Mm. Hmm. - Mm.
- Making music?
- Trying to.
- How was your night with Avis? Was it fun?
- Fun?
Fun's not the right word, pal.
I learned something last night.
I am deeply connected to the universe.
- Oh, that sounds fun to me.
- No, not fun.
Vigorous.
It was vigorous.
Yeah, very enlightening.
- Well, I stayed late.
I made a list of some people for you.
I think any of them would be really exciting.
- No. No need. No need.
- Oh?
- Yeah, I found the perfect host.
- Really? And who is that?
- Me.
- See you tomorrow, gentlemen.
Remember to get me your budgets by the end of the week.
- Elaine will be here in ten minutes.
- Ah, a new chapter, fellas.
"The French Chef" is only the beginning.
- Of the end.
- I want everyone on their best behavior.
And bring her to my office, will you, Alice?
- Of course, Hunter.
- Why are you smiling?
We're an endangered species, Ralph, old boy.
- We play golf with the boss twice a month.
We're fine.
- The winds of change smell like Chanel No. 5, fellas.
Mark my words.
- Why don't you all grow up?
- What?
- Nothing. Just--watch your backs.
[insects chirping]
- I'm here for a cup of tea.
What are you doing?
- Preparing.
I will not be defeated by a fish.
Once more unto the breach, Simca.
- Oh, no, no, no.
You're not going to make that dish again.
- Simca.
- Enough is enough!
You're leaving in a week!
Judith is here in three days.
We can count on our little fingers
how many recipes we've agreed on.
And you're wasting our time with that dish,
and I don't know why.
- Because, Simca...
[sighs] Things change.
- No.
They don't have to.
Here, for example, look around at this place
you say you love.
Why?
Because it does not change.
What out there is more beautiful than this, ah?
- Well, nothing.
But that's not what we're trying to achieve.
- You're always chasing something, Julia!
Chasing what you say Americans want.
Chasing what that man cooks.
Chasing fame!
Stop chasing.
We are who we are.
This is not us.
It's not even French.
Enough with that dish.
We start cooking real food in the morning!
- Are we dinosaurs?
- Well, don't mock dinosaurs.
They're in all the best museums.
- For the first time in my life,
I feel like I might be getting old.
- [scoffs]
Not you.
Simca's afraid.
She and Jean both are.
But you and I have never been afraid.
- No, we haven't.
- The only way to stop the world from passing you by
is to do what you've always done.
- What's that?
- Walk two steps ahead of it.
So that's what we'll do.
In the book, on the show, with the fish.
- [chuckles] Gosh.
Oh, Paul, it's so nice working with you.
You always agree with me.
- Well, you're always right.
[chuckles]
Jean asked me earlier what I had to show
for my life in its twilight.
And I didn't give him the right answer.
- And what's that?
- My marriage.
- Oh, Paul.
Oh, Paul.
- Mm! Mm, sorry.
Mm, mm. Careful, careful.
Come on.
Oh, come here.
Oh, oh, oh, oh. [back cracks]
Ooh! Ooh!
Ooh.
Ooh!
Ooh, good as new.
- [chuckles] Oh, how fabulous.
[Bob Dylan's "The Times They Are A-Changin'"]
- ♪ Come gather 'round, people wherever you roam ♪
♪ And admit that the waters around you have grown ♪
♪ And accept it that soon ♪
♪ You'll be drenched to the bone ♪
[soft folk music]
♪ If your time to you is worth saving ♪
♪ Then you better start swimming ♪
♪ Or you'll sink like a stone ♪
♪ For the times, they are a-changin' ♪
♪ ♪
♪ Come writers and critics who prophesize with your pen ♪
♪ And keep your eyes wide, the chance won't come again ♪
♪ And don't speak too soon ♪
♪ For the wheel's still in spin ♪
♪ And there's no telling who that it's naming ♪
♪ For the loser now will be later to win ♪
♪ For the times, they are a-changin' ♪
♪ ♪
♪ Come senators, congressmen, please heed the call ♪
♪ Don't stand in the doorway, don't block up the hall ♪
♪ For he that gets hurt will be he who has stalled ♪
♪ The battle outside ragin' ♪
♪ Will soon shake your windows and rattle your walls ♪
♪ For the times, they are a-changin' ♪
♪ The line, it is drawn ♪
♪ The curse, it is cast ♪
♪ The slow one now will later be fast ♪
♪ As the present now will later be past ♪
♪ The order is rapidly fading ♪
♪ And the first one now will later be last ♪
♪ For the times, they are a-changin' ♪