SNL Transcripts: 10/03/81: The Khaddaffi Look



 Saturday Night Live Transcripts


  Season 7: Episode 1





81a: (none) / Rod Stewart

The Khaddaffi Look

Rod…..Tim Kazurinsky
Ruth…..Robin Duke

[Libyan leader Muammar Khaddafi is shown performing various tasks in the style of a Jordache Jeans commercial]

Singer:
“He’s a liberated Libyan with an independent mind.
He’s a dominating leader who is working overtime.
He’s got the look the Third World is after.
He wants to be the OPEC master.
Drillin’ (woo-ooo), killin’ (woo-ooo)
Invadin’ Chad, Khaddaffi has the look that’s bad!
The Khaddaffi look, the Khaddaffi look.”

Announcer: Whether you’re extending your territorial waters or just chopping off a criminal’s hand, do it in clothes by Colonel Muammar Khaddaffi.

Singer: “The Khaddaffi look, the Khaddaffi look…”

Submitted by: John Ravetti

SNL Transcripts

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SNL Transcripts: 10/03/81: Goodnights



 Saturday Night Live Transcripts


  Season 7: Episode 1



81a: (none) / Rod Stewart

Goodnights

…..Joe Piscopo
…..Eddie Murphy

[FADE IN on the cast standing around home base. Michael Davis is in the center of the group.]

Joe Piscopo: We’d like to thank Michael Davis and Rod Stewart very much.

Eddie Murphy: [at far right] And Tina Turner!! Tina Turner…

[ZOOM OUT as everyone applauds. SUPERIMPOSE “costumes provided by EAVES-BROOKS COSTUME COMPANY” as the band goes full-tilt into the closing music. CUT to a side angle and ROLL credits as everyone claps and waves. Michael O’Donoghue is listed as both a supervising producer and alphabetically among the writers.]

Announcer: Be sure to be with us next week for “Saturday Night Live” with Susan Saint James and Rickie Lee Jones. This is Mel Brant saying… good night!

[Tim Kazurinsky makes his way into the group, grabs Robin Duke, and kisses her passionately while bending her over. ZOOM OUT to a wide shot of the studio as the credits finish. FADE to black.]

Submitted by: Sean

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SNL Transcripts: 10/03/81: The Funeral



 Saturday Night Live Transcripts


  Season 7: Episode 1












81a: (none) / Rod Stewart

The Funeral

Aunt Edie…..Mary Gross
Ruth…..Robin Duke
Uncle Ed…..Tony Rosato
Ruth’s Mother…..Christine Ebersole
Father Riley…..Joe Piscopo
Rod…..Tim Kazurinsky

[FADE IN on a funeral home as soft, mournful music plays. Ruth is dressed in black and standing in front of a closed casket while a huge weath is being carried across the room. Another woman in black walks up slowly behind Ruth.]

Aunt Edie: [gently] I suppose you expect me to bite my tongue and say, “It’s all right.” Well, it’s not all right, it’s all wrong.

Ruth: Well, I’m sorry you don’t like it, Aunt Edie.

Aunt Edie: Don’t like it? I hate it. That’s my brother inside a closed casket. He didn’t believe in closed caskets. And what kind of color is that, that’s a sissy color.

Ruth: I picked it out, Aunt Edie.

Aunt Edie: Oh, Ruth. Why didn’t ya ask me? I’ve been through this a million times. Honest to God, nobody asks Aunt Edie about anything, and nobody says “thank you.” You know, I got your mother a discount on the obituary notice ’cause the neighbor’s nephew works at the Tribune-Democrat.

Ruth: [forcing politeness] Thank you, Aunt Edie.

Aunt Edie: Did you get the casserole?

Ruth: Yes, thank you.

Aunt Edie: You’ll thank me for it later. And don’t forget to return the casserole pan, I lose more pans at these things.

Ruth: Well… I’ll wash it and return it personally.

[Ruth turns to walk away, but Aunt Edie touches her arm.]

Aunt Edie: Honest to God, your father’d turn over in his grave if he knew he was in a closed casket.

Ruth: Aunt Edie–

Aunt Edie: But you kids nowadays do things your own way; I guess that’s the way it goes. [sighs deeply]

Ruth: [angrily] Aunt Edie, they couldn’t get the chicken bone out of his neck, okay?

[soft laughter]

Aunt Edie: Oh. Well… that’s a different story, then.

Ruth: Yes.

Aunt Edie: Well, I guess it’s not so bad.

Ruth: Thank you.

Aunt Edie: Course, he could’ve wore a scarf, but people would ask, “Why is he wearing a scarf at this time of year,” y’know? [laughter] I woulda wore one, I dunno…

Ruth: Excuse me, Aunt Edie, I just have to talk to Mom for a second, all right?

Aunt Edie: Okay.

[Ruth walks away, but a man in a conservative blue suit and an ugly brown tie calls out to her.]

Uncle Ed: [loudly] Hey, RUTHIE! Heyyy, so, Ruth, hey.

Ruth: Hi, Uncle Ed.

Uncle Ed: How are ya, dear?

Ruth: Oh, I’m fine.

Uncle Ed: Hey, I want ya to know your old man–or, your father, there, he was a wonderful man!

Ruth: [softly] Thank you.

Uncle Ed: Wonderful man, y’know that? I–y’know remember him, last month, there, at that, uh, wedding party for your brother!

Ruth: [whispers] Yeah.

Uncle Ed: Hey, y’know, your brother got that girl in trouble, huh? [guffaws obnoxiously] Like father, like son, I guess. Y’know, he just brought a brand new pair of shoes that day, too. He comes up to me, says, “Hey: why don’t you try these on, I betya we got the same foot size!” So I try them on, and what the hell… son of a gun, they FIT! [guffaws] A PERFECT FIT–heh heh heh heh heh heh heh! You don’t know if he still got ’em on, do ya?

[laughter]

Ruth: [outraged] Uncle Ed! LOOK!!

Uncle Ed: Oh no, I couldn’t, it’s a closed casket, maybe a little later, when everyone’s gone, yeah. Don’t worry about it.

Ruth: [covering her face] Well, uh, just talk to Mom, okay, later?

[She goes to leave, but he stops her.]

Uncle Ed: Oh, sure! I will, Ruthie, because I’ll tell ya, I think we’re both a 15 1/2-inch neck.

[Ruth gasps and steps over to her mother, who is standing next to a priest.]

Ruth: Mum…

Ruth’s Mother: Ruth? This is Father Riley. Father Riley, my daughter Ruth.

Father Riley: [shaking Ruth’s hand] Ruth, I’m so sorry.

Ruth: Oh, well, thank you, Father. Father, could I just have a few moments alone with Mum?

Father Riley: Oh, I understand.

[He pats both women’s shoulders gently. Ruth pulls her mother aside.]

Ruth: Mom, I can’t take much more of this.

Ruth’s Mother: Oh, I’m sorry, honey, it’s almost all over. Nothing more wrong is going to happen, I promise.

[As she comforts Ruth, a young man in a bright blue leisure suit with a light blue flowered shirt appears. With a wardrobe bag over his shoulder, he turns to them.]

Man: Ruth!

Ruth: Chuck!

Man: Rod!

Ruth: What are you DOING here?!

Rod: Hey, no probs! I knew you were upset, so I flew into Pittsburgh. I didn’t know how I was gonna find ya, but I just knew I had to!

Ruth: Rod–

Rod: Then it HIT me. You’d probably forget you and your father have the same surname!

Ruth: Rod–

Ruth’s Mother: [politely] I don’t believe we’ve met.

Rod: Rod Schapps. [shakes her hand] Ruth’s lover.

[laughter]

Ruth: No! [She looks frantically around at everybody, including Father Riley.] No! [losing her composure] He isn’t!

Rod: YES! Yes, he is! [points to casket] He’s DEAD! And the sooner you understand that, the sooner you can move–LOOK!! He’s DEAD, Ruth, he’s dead!! Ruth– [hands bag to priest] Excuse me. Your Holiness, I can handle this. [grabs Ruth’s arms] C’mon, sweetheart, it’s okay.

[The others clear away as Ruth struggles in Rob’s grasp.]

Ruth: LET ME GO!! YOU TWIT! I HATE YOU!!

Rod: Let it go!

Ruth: Why don’t you just go away? Lemme go!

Rod: [pulling her closer] Let it go! Let it go! Get it out of your system! Have a good cry!

[She finally collapses on his shouder and sobs.]

Ruth: [muffled] Noooooo…

Rod: [cranes neck toward others] What’re ya staring at, huh? Have you ever seen anyone have a nervous breakdown before? Go on about your business! [turns back] No, honey, it’s all right, it’s okay. [tries to kiss her]

Ruth: Rod, Rod, Rod, Rod, listen to me!

Rod: What’s the matter?

Ruth: [grabs his arms] Listen to me close!

Rod: I’m listening, I’m listening.

Ruth: You have got to understand this!

Rod: Yeah…

Ruth: I am normal, Rod. I’m normal. And you’re not!

[laughter]

Rod: I KNOW that! I know–remember when I told ya about that famous guy that died? What’s his name, BIG guy! I wanted to cry. I wanted to cry but I couldn’t. And that’s what I love about you.

Ruth: What?!

Rod: You just don’t understand, do you? You’re so innocent. [caresses her face]

Ruth: Rod. You are such a tool. [laughter] You are never gonna believe that I don’t like you the least little bit, are you? [waves hand in his face] Just doesn’t register! Rod, you are amazing!

[Rod grins sheepishly and looks at the floor.]

Ruth: [grabs his shoulders] Rod, I, I’m tired. I’m exhausted. Yes, I am, and right now I just need to be alone with my family.

Rod: [softly] Oh, sure. I understand.

Ruth: Okay? And I was just–I was FINE until you got here!

Rod: You cried on account of me?

Ruth: Technically speaking, yes.

Rod: Ahhhh, GEEEEEEZ!

Ruth: Rod, shut up, shut up and let me finish, all right?

Rod: Yeah.

Ruth: Now, I, I, I don’t have much strength left–I want you to go to your van.

Rod: No, I flew in.

Ruth: Well, then go to your hotel.

Rod: Okay.

Ruth: Okay? And wait for me there, and I promise I’ll come by later, and I’ll–

Rod: Promise?

Ruth: I–yes. Hope to die.

Rod: Okay.

Ruth: Okay? Okay.

Rod: [pulls out a matchbook] I’m staying at the Monongahela Arms, out on Route 54 out by the airport! See, there’s directions on the matches.

Ruth: Okay.

Rod: There’s a little map there.

[Rod turns from her and steps over to the mourners.]

Rod: Can I have my bag–thank you, Father. [takes wardrobe bag from priest]

Uncle Ed: You’ll like that hotel. I’ve been there myself.

[laughter]

Rod: [turning back to Ruth] Listen… you… you better not keep me waiting too long. I think the maid’s kinda sweet on me. She pulled the covers down on my bed, and she put a chocolate mint on my pillow.

[laughter]

Ruth: [hopefully] Great.

Rod: Naw, I was just kiddin’, c’mon, I don’t go for girls that throw themselves at ya.

[Out of nowhere, Ruth is overcome by passion.]

Ruth: [whispers] Rod.

[He mashes his lips against hers and bends her over almost to the floor. She grabs him to keep from falling. He pulls her up and breaks the kiss.]

Rod: [hushed] Okay, babe, take care…

[He dashes out of the room, but stops cold in the doorway and turns back.]

Rod: Dan Blocker!

Ruth: What?

Rod: “Bonanza”! Remember I talked about that famous guy died? Big guy? Dan Blocker!

Ruth: Rod, go. [She pushes him out through the doorway as he blows her a kiss.] Good, Rod. Go.

[She turns back in and walks straight into Uncle Ed.]

Uncle Ed: Hey, Ruth, was that guy one of your, uh, y’know…

Ruth: [stalks off] Drop dead, Uncle Ed!

Uncle Ed: Sure, no problem, sorry.

Ruth: [clasping her mother’s hands] Mom, listen. Mom, listen. I, I, I, I’ll explain this all later.

Ruth’s Mother: Look, you don’t have to, I’m a woman, I understand.

Ruth: No, you don’t understand. Mom, I’ve gotta get to Rod before the Humane Society picks him up, all right? [turns to leave] I’ll be home in a couple of hours.

[Ruth dashes away as the mourners gather again.]

Aunt Edie: You get the casserole?

Ruth’s Mother: Yes, thank you.

Aunt Edie: You’ll thank me for it later.

[Audience applauds as Uncle Ed steps in with a pair of brown shoes in his hand and starts to take off his own shoes. ZOOM OUT.]

Submitted by: Sean

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SNL Transcripts: 10/03/81: Michael Davis



 Saturday Night Live Transcripts


  Season 7: Episode 1














81a: (none) / Rod Stewart

Michael Davis

…..Eddie Murphy
…..Michael Davis

Eddie Murphy: Here, direct from Broadway’s “Sugar Babies”, is Michael Davis, the untapped source of dynamic energy. Let’s hear it for Michael! Michael Davis!

[ the audience applauds, as the meekish juggler steps out carrying his bag of props ]

Michael Davis: Hello, I’m Michael Davis!

Audience Member: Yeah!

Michael Davis: Thank you. There’s an old show business expression: A comic is a person who says funny things; A comedian says things funny.” That makes me a juggler. DEvery performer has to find his own way to establish rapport with the audience. [ he pulls an object out of his pocket and holds it toward the audinece ] You want soem gum? [ he throws a couple of sticks into the audience ] Don’t be shy.

I have my own personal philosophy about the art of juggling. [ he grabs a single ball and tosses it through the air ] I don’t think it’s important how many you juggle… as long as you’ve mastered it. The important thing is style. [ he tosses the ball high into the air, then bends down to one knee to catch it flamboyantly ] People don’t take you seriously if you only have one ball. That’s why… [ he pulls a large knife out of his bag ] I’m going to attempt… to juggle… this.

[ he drops the large knife to the floor, then reveals a floppy rubber knife in his other hand. The audience applauds as he flips the knife in his hand, then comically tries to swallow it ]

Don’t give it away, if you can tell. This is a joke. [ he picks up the large knife ] No joke. Razor sharp. [ he flicks a finger against the blade ] Ping! [ he holds the knife withtwo hands, then jumps over it ] Hi-ya! [ he jumps again and swings the knife around ]

[ he casually picks up an axe in his other hand, then performs a double-take at the sight of it ]

[ he uses the knife to pound the head of the axe against the handle ]

I want to make sure that doesn’t fly off again. [ the audience laughs ] I hate it when that happens. This is an antique; it belonged to George Washington. I had to replace the handle… and the head. But it occipies the same space… intrinsically. George the axe. [ he holds up the knife ] Mack the knife! [ he bends down and picks up a cleaver ] Beaver the cleaver! [ the audience cheers and applauds ]

I’m going to attempt… to juggle these three razor-sharp implements… [ he begins to swing all three back and forth ] simply for the amusement… of the people in the back. Don’t be afraid. I’ve done this… [ he thinks about it ] twice. All it takes is intense concen– [ he fumbles the axe and lets it slam into his genitals ] Oh! Sorry, I broke the tension. The tension was building. I think I’m the only one who felt it. [ the audience laughs ] It’s very important to have… dramatic effect.

[ he drops the various blades to the ground, then takes out a hot dog and begins to whip it toward the cleaver, making slices of hot dog ]

Razor sharp!

[ he repeats this process with the large knife ]

[ he then flings the hot dog at the axe ]

[ he returns all the blades to the floor, then begins to flip them over one another at ground-level ]

The red one wins!

[ he picks up the large knife in one hand and the cleaver in the other hand, and tries to lift the axe with his foot ]

Sometimes I have a problem getting this started. I have to kick the axe up into the air. Throw the knife! Throw the cleaver! Run like hell! Here we — here we go, here we go, herewego…

[ he sets this chain in motion and begins to juddle the three sharp instruments to great applause ]

Thank you! Thank you very much! Thank you! Thank you very much! You’re too kind! Thank you. Thank you very much. Stopping is a problem. [ he takes a step closer to the audience ] If I could have you grab one of these for me… I don’t care which one. [ he waits ] Oh, you don’t want to get involved? You must be from New York. You’re waiting for danger! [ he juggles the blades around his lifted leg ] DANGER! [ he lifts another leg across ] Warning! [ he juggles the blades behind his back ] Whoo-woo-whoo!

[ the audience applauds wildly ]

Okay! I’ll show you a trick I’m working on — juggling with my eyes closed. Something I’m working on. [ he blinks his eyes rapidly, never keeping them closed for more than a fraction of a second at a time ]

[ finally, he tosses the blades high into the air and catches them one, two, three ]

[ the audience applauds wildly, as he drops the blades and bows ]

Thank you.

[ fade ]

SNL Transcripts

SNL Transcripts: 10/03/81: NBC: Our Age Is Showing



 Saturday Night Live Transcripts


  Season 7: Episode 1



81a: (none) / Rod Stewart

NBC: Our Age Is Showing

(Fade in on a deteriorated NBC peacock logo with its colored feathers deteriorated/peeled off on a blue/purple/red striped gradient background. The 1981-82 NBC “Our Pride Is Showing” music plays)

Female Chorus: NBC, our age is showing!

(fade)

Submitted by: Kyleman88

SNL Transcripts

SNL Transcripts: (None): 10/03/81



 Saturday Night Live Transcripts


  Season 7: Episode 1


This free script provided by http://javascriptkit.com]]>

Air Date:

Host:

Musical Guest:

Special Guests:

Cameos:





Bit Players:


October 3rd, 1981

None

Rod Stewart

Michael Davis

Swifty Lazar

Tina Turner

Andy Warhol

Andy Murphy
NBC: “Our Age Is Showing”Transcript

MontageNote: James Caan was scheduled to host this episode, but he dropped out because his sister was in the hospital being treated for bone marrow cancer.

The Little Richard Simmons ShowTranscript

The ClamsSummary: Brian DePalma’s latest cinematic rip-off features clams attacking the town folk of Bodega Bay, California,

Nuns On The Beach

A Few Minutes with Andy RooneyRecurring Characters: Andy Rooney.

Transcript

Prose & ConsSummary: America’s hottest new writers are coming straight out of prison. Tyrone Green (Eddie Murphy) is but one example.

Recurring Characters: Tyrone Green.

Transcript

Rod Stewart performs “Dance With Me”

Rod Stewart & Tina Turner perform “Hot Legs”

SNL Newsbreak with Brian Doyle-Murray & Mary GrossSummary: A preview of Tom Snyder (Joe Piscopo) hosting the “Tomorrow” show in Spanish. Raheem Abdul Mohammed (Eddie Murphy) wants to know why there aren’t any black people in the movies.

Recurring Characters: Tom Snyder, Raheem Abdul Mohammed.

Transcript

The Khaddaffi LookTranscript

Rod’s One-Night StandTranscript

The FuneralTranscript

Andy Warhol’s TVTranscript

Michael DavisSummary: Michael Davis collectively juggles a knife, an axe, and a cleaver.

Transcript

“Season Of Glass”Summary: Christine Ebersole invites viewers to submit their own home videos, then introduces a film by Yoko Ono about John Lennon.

Rod Stewart performs “Young Turks”

GoodnightsTranscript

SNL Transcripts

Saturday Night Live: 1981-1982


 Saturday Night Live Transcripts


  Season 7: 1981-1982


This free script provided by http://javascriptkit.com]]>

Starring:

  • Robin Duke
  • Christine Ebersole
  • Mary Gross
  • Tim Kazurinsky
  • Eddie Murphy
  • Joe Piscopo
  • Tony Rosato
  • Featuring:

  • Brian Doyle-Murray
  • Episodes

  • 10/03/81: (none) / Rod Stewart
  • 10/10/81: Susan Saint James / The Kinks
  • 10/17/81: George Kennedy / Miles Davis
  • 10/31/81: Donald Pleasence / Fear
  • 11/07/81: Lauren Hutton / Rick James & The Stone City Band
  • 11/14/81: Bernadette Peters / The Go-Go’s, Billy Joel
  • 12/05/81: Tim Curry / Meat Loaf & The Neverland Express
  • 12/12/81: Bill Murray / The Spinners, Yale Whiffenpoofs
  • 01/23/82: Robert Conrad / The Allman Brothers Band
  • 01/30/82: John Madden / Jennifer Holliday
  • 02/06/82: James Coburn / Lindsey Buckingham
  • 02/20/82: Bruce Dern / Luther Vandross
  • 02/27/82: Elizabeth Ashley / Hall & Oates
  • 03/20/82: Robert Urich / Mink DeVille
  • 03/27/82: Blythe Danner / Rickie Lee Jones
  • 04/10/82: Daniel J. Travanti / John Cougar
  • 04/17/82: Johnny Cash / Elton John
  • 04/24/82: Robert Culp / Charlie Daniels Band
  • 05/15/82: Danny DeVito / Sparks
  • 05/22/82: Olivia Newton-John
  • SummaryWhere’s the cast? Joe Piscopo and Eddie Murphy are still there, but what happened to everyone else? The “new” cast wasn’t working out, nor was the new producer, so NBC placed Dick Ebersol in charge of production, and he gave the show a brand new face-lift. Ebersol produced the very last episode of the 1980 season (just before the writer’s strike), brought in a few new players, and they’ve carried over into the new season. Joining Piscopo and Murphy this season are part-time “SCTV” players Robin Duke and Tony Rosato, Christine Ebersole, Mary Gross, Tim Kazurinsky and former writer/featured SNL performer Brian Doyle-Murray.

       This season did things a little differently. The cold openings didn’t end with the shouting of “Live from New York, it’s Saturday Night!”, and in fact were often replaced by a fake commercial bumper. Missing, also, was the monologue. Instead, the cast was introduced as a group on the front stage, then they would run into their places for the first sketch.

       However, older fans of the show received a treat (on Halloween night, no less), when former cast member John Belushi made a cameo appearance in the men’s room on an episode hosted by Donald Pleasance. Belushi had promised to make the cameo appearance if Fear was booked as a musical guest. Even though he had no lines in the skit, there he was, the original “Bad Boy” of “SNL”.

       This season played out in an unusual manner, but the show was saved from cancellation by the performances of the new cast – Eddie Murphy, especially, with his huge assortment of characters, including Ho Entrepreneur Velvet Jones and Mr. Robinson’s Neighborhood. Still not the greatest season in SNL history, but 1981 picked up the pieces that had been scattered rampantly at the beginning of the decade.

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    SNL Transcripts: (None): 04/11/81: Weekend Update with Chevy Chase


     Saturday Night Live Transcripts


      Season 6: Episode 12


















    80m: (None) / Jr. Walker & The All-Stars

    Weekend Update with Chevy Chase

    …..Chevy Chase
    Raheem Abdul Monhammed…..Eddie Murphy
    …..Laurie Metcalf
    …..Al Franken

    Announcer: [ snooty ] This edition of “Weekend Update” is brought to you by… Smitt-Burney. Where we make money the old-fashioned way — WE STEAL IT!

    [ dissolve to Chevy Chase on the phone at the news desk ]

    Announcer: And now, “Weekend Update”, with Chevy Chase.

    Chevy Chase: No, no… I think just a firm and gentle tug on the string, and… [ he snaps his fingers, then sees the camera ] Gotta go! [ he hangs up ] Good evening. I’m Chevy Chase, and… you still aren’t.

    In the top of the news tonight… [ he flips a sheet over ] The war in El Salvador ended today, apparently, when the last villager in the entire country was shot in the head.

    Well, actress MacKenzie Phillips and her father John Phillips said today that they have been offered all forms of drugs for one full year, but have finally gotten their heads together. Here they are seen celebrating having just announced their wedding plans.

    As you all know, there has been a controversy over the so-called missing jokes of President Reagan, told between a Hilton Hotel and George Washington University Hospital. We at “Weekend Update” have located the missing jokes. The first, told between Avenue M and 19th Street, was: “Are we in Philadelphia, or are you just glad to see me?” The second, told as the limosine passed a red light on Avenue P, was: “I feel like a hundred dollars.” Secret Servicemen next chuckled when President Reagan said: “Who’s on first?” There will be more jokes upcoming, we’re sure!

    This, uh — [ Chevy attempts to say “This just in”, but trips on his tongue and playfully sputters gibberish to the audience’s delight ]

    This just in from Israel, where Talmudic scholars claim to have unearthed startling evidence that God may be Black. According to the report, the original Hebrew of the Old Testement, which is mistranslated, and the passage was: “I am that I am” should read: “I is what I is.” More on this story as it develops.

    Alexander Haig, on his trip to the Mideast, stopped off at the Vatican to visit Pope John Paul, where he discovered that the Pope was away. Haig immediately announced: “I’m in control here.” [ points to the Pope’s photo ] The Pope!

    Chevy Chase: Well, with a look at what’s going on in cinema, here’s “Weekend Update” film critic Raheem Abdul Mohammed.

    Raheem Abdul Mohammed: Thank you, Chevy Chase! Look here — last week I went to see “Stir Crazy” over at the Twin Theater on 42nd at Broadway. Now, I like Twin Theater — I see all my movies at Twin Theater. But I wish I hadn’t seen “Stir Crazy”, ’cause, see, I was confused. Now, I don’t know why people are saying “Stir Crazy” is so funny. First of all, they had Gene Wilder in this isolation tank for half the movie, with these wires and whatnot all over him, right? Then, later on, his arms start swelling up and he turns into a caveman! I didn’t think that part was funny. Then, when he was in the hour, Gene Wilder’s feet turned into MONKEY feet! And the most ridiculous part about it was, later on, Gene Wilder turned into Richard Pryor… and was running around the city buck-naked with some dogs chasing him. I had to feel bad for him. They must have filmed that part after he got burnt or something, I didn’t think that was him. Then he went to the zoo and threw soem rocks at a deer — I didn’t understand that, either. And then all of a sudden, Gene Wilder was laying on the rock buck-naked again. That was too deep for me. Don’t take your kids. And another thing — people you see on the commercials, they be talking about: “We bad, that’s right.” I didn’t see that in the WHOLE movie! So if somebody walk up to you and say, “Hey, man, you see ‘Stir Crazy’?” You tell them Raheem Abdul Mohammed told you it wasn’t very damn funny! Back to you, Chevy Chase.

    Chevy Chase: Thank you, Raheem.

    Raheem Abdul Mohammed: You welcome!

    [ Chevy holds out his hand for a shake ]

    Raheem Abdul Mohammed: You want to buy some reefer?

    [ Chevy glances off-camera ]

    Raheem Abdul Mohammed: We talk about that later, Chevy.

    Chevy Chase: At a press conference in Moscow this week, Soviet Premier Leonid Breznev proclaimed that he would give the Polish Communist Party more time to work out its problems. Putting his hands over his eyes, the president then said: [ puts his hands over his eyes ] “One-thousand one… one-thousand two…one-thousand three…” [ he lowers his hands ] Then he did this: [ he rips a sheet in paper in half ] I don’t know why!

    [ image: train wreck ] Well, it was a bad day for the Little Engine That Could. It couldn’t, and it didn’t.

    Chevy Chase: Actor Jimmy Stewart said last week that he’d take a bullet for the President. We sent “Weekend Update” reporter Laurie Metcalf to ask New Yorkers if they, like Jimmy Stewart, would take a bullet for the President, and if so, where?

    [ cut to New York street scenes ]

    Laurie Metcalf V/O: Would you take a bullet for the President?

    Random New Yorker: Uh — no, ma’am. No.

    Laurie Metcalf V/O: Is there someone you would take a bullet for?

    Random New Yorker: Yes, I would, uh, I would take a bullet for, uh, my family or my children or my wife or my loved ones, something like that.

    [ cut to another New Yorker ]

    Random New Yorker: I would take any particular part of my body to protect the President from any assault or any harm to himself.

    [ cut to Metcalf and a New Yorker ]

    Laurie Metcalf V/O: Jimmy Stewart said, when President Reagan was wounded, that he would have taken the bullet. Would you take a bullet for a president?

    Random New Yorker: [ leaning into the microphone ] Why not? It’s our patriotic duty to defend our president.

    [ cut to Metcalf with another New Yorker ]

    Laurie Metcalf V/O: Would you take a bullet for a president?

    Random New Yorker: Nope.

    [ cut to another New Yorker ]

    Random New Yorker: No.

    Laurie Metcalf V/O: Who would you take a bullet for?

    Random New Yorker: I’d take it for my mother, that’s it.

    [ cut to another New Yorker ]

    Random New Yorker: Honestly speaking? Uh — I would.

    [ cut to another New Yorker ]

    Random New Yorker: Not on the tri-system of justice, no way! Unfortunately for us, what would be the point?

    Laurie Metcalf V/O: Who would you take a bullet for?

    Random New Yorker: When this country gets back to law-and-order, THAT’S when I think about taking a bullet the president!

    [ cut to another New Yorker ]

    Random New Yorker: I wouldn’t take it for the president, if he wouldn’t take it for me.

    [ cut to another New Yorker ]

    Laurie Metcalf V/O: Would you take a bullet for the President?

    Random New Yorker: Sure.

    Laurie Metcalf V/O: Uh — where would you take the bullet?

    Random New Yorker: Anywhere it was coming — head, chest, stomach…

    Laurie Metcalf V/O: If you could choose?

    Random New Yorker: If I could choose? Yeah, I’d rather take it in the arm.

    [ cut to another New Yorker ]

    Random New Yorker: I would take it in the brain.

    [ cut to another New Yorker ]

    Random New Yorker: Probably, I would try to take it in my arm or my leg.

    [ cut to another New Yorker ]

    Random New Yorker: Well, I’m not gonna take it in the head.

    [ cut to another New Yorker ]

    Random New Yorker: I never gave it a thought.

    [ cut to another New Yorker ]

    Random New Yorker: I’d probably jump up high — that way, if the bullet came, it would probably hit in the chest or something… or maybe in the back. It wouldn’t be enough to kill, but enough to cripple, and at the same time, my thought, being a friend of the president, would block him.

    [ cut to another New Yorker ]

    Random New Yorker: That’s a tough question to ask, would I take it for someone else. No one could answer that. To be honest with you, I really don’t know.

    [ cut to Laurie Metcalf ]

    Laurie Metcalf: That’s how New Yorkers feel. This is Laurie Metcalf, “Weekend Update”.

    [ dissolve to Weekend Update slide ]

    [ dissolve back to Chevy at the news desk, trying to flick a booger off of his fingers ]

    [ Chevy looks up, surprised to see the camera on him ]

    Chevy Chase: Thank you!

    Secretary of State Alexander Haig is also visiting the Middle East and Spain. While in Spain, the Secretary got a case of the Touristas. Haig held a news conference and said, “I’m in control.”

    Speaking of Spain, Generalissimo FRancisco Franco remains deceased at this time. For up-to-the-minute news concerning any change in his condition, please stay tuned to this station.

    A sad piece of news came in today from the Bedford Hills Prison, where Jean Harris is serving a sentence of fifteen years. At noon yesterday, she made her second suicide attempt. Two cellmates, three wardens, and a priest were killed.

    Well, Las Vegas psychic Tamara Rand announced today that she is changing her name to “Yesterday”. She gave no reason for her decision. [ glancing at news sheet ] The writer’s strike continues…

    In a comprehensive report released by the White House to the Senate Foreign Relations Committee today, the administration announced that, heretofore, the nations of South Africa, Zaire, Angola, Chad, Ethiopia, and Liberia.

    In an attempt to modernize its services, the Catholic Church has introduced something new into Communion. In addition to dispensing the host, priests will now, also, dispense a co-host, which symbolizes the body of Mike Douglas.

    [ Chevy pushes his news sheet off the side of the desk ]

    Despite the recent attack on his father, it’s business-as-usual for Ronald Reagan, Jr., shown here dancing in the ballet: “The Flaming Dip.”

    In people today, Erik Estrada, the actor, severely lacerated the inside portion of his ankle recently, while merely attempting to start his motorycle during the filming of a “CHiPs” episode. The 1000 CC bike then fell on his hair and hand, causing inexplicable publicity. Sources close to Estrada said they laughed and laughed.

    Chevy Chase: [ holding up news sheet ] Hey, look at this!

    [ image: two Sammy Davis, Jrs. on a stamp ] This just in, again: Here’s a mint issue of Zimbabwe’s first Air Mail stamp. [ Chevy appears confused ]

    More really bad news for the Columbia space shuttle. Not only has a take-off been delayed for over two years, but at two o’clock today, Lt. Strickland of the Canaveral Police issued the shuttle a parking ticket, with fines exceeding $3 million. [ he chuckles ] “We tried to be lenient,” the lieutenant said, “but they’ve been here two years, and it is a six-hour zone.”

    Chevy Chase: And now, to talk about the new “Saturday Night Live” staf and, of course, himself, is former “Weekend Update” correspondent, Mr. Al Franken. Al?

    Al Franken: Thanks, Chevy. It’s nice to see someone else from the old show. [ he smiles impishly ] You know, most of you probably know me, Al Franken… [ SUPER: “Al Franken” ] from the Al Franken Decade reports I did last year. Or from the Franken & Davis shows that my partner, Tom Davis, and I did over the five years of the original “Saturday Night Live”. Now, during the past six months, I have suffered countless instances of personal embarrassment, from people coming up to me, Al Franken… [ SUPER: “Al Franken” ] and saying, “Hey, Al! Al Franken! Are you still writing for the show?” Or, “Al! Al Franken! How’s the show going?” Well, I’m here tonight to set the record straight. I am not involved, in any way, with the new “Saturday Night Live”.

    [ the audience applauds ]

    Now, there’s been a lot of articles on how “Saturday Night” fell apart. [ he holds up a TV Guide ] Now, here’s one in this week’s TV Guide. It’s a pretty good one, it’s okay. [ he opens to an inner page, headlined: “The Debacle of the Year” ] I don’t know if you can see that, but… the real story has never been told… ’til tonight. And you can believe it, because it’s coming from me, Al Franken. [ SUPER: “Al Franken” ]

    You see, Lorne Michaels, the producer of “Saturday Night”, decided after last season that it was time to go on to different things. [ pull back to bring Chevy Chase into the shot ] Now, he figured the first season had been great. Then, Chevy left. And the show, of course, got even better. Then — then after the fourth year, Danny and John left. Now, them — them, we missed. [ return to close-up of Al ] So, after five golden years, Lorne decided to leave. And so did those close to him, including me, Al Franken. [ SUPER: “Al Franken” ]

    So, NBC had to pick a new producer. Now, most knowledgeable people, as you might imagine, hoped it would be me, Al Franken. [ SUPER: “Al Franken” ] But instead, without consulting the show’s staff or cast, NBC picked Jean Doumanian, an associate producer on the show. Now, I don’t want to be cruel to Jean — because it might make you think less of me, Al Franken. [ SUPER: “Al Franken” ] Anyway, it took NBC twelve shows to figure out their horrendous mistake. And a month ago, they fired Jean. Okay, now, who do they pick to rectify the original error? Someone who knows what he’s doing? Someone like me, Al Franken? [ SUPER: “Al Franken” ] No, they picked Dick Ebersol. Now, I know Dick because he was a network executive in charge of late-night programming when “Saturday Night” started, and, as such, was the first person to steal credit for the success of “Saturday Night”, credit which should rightfully go to Lorne Michaels and me, Al Franken. [ SUPER: “Al Franken” ]

    Now, let me give you some background on Dick “Mr. Humor” Ebersol. His credits include “The Waverly Wonders” starring Joe Namath, “Rollergirls”, and a show called “Valerie” about a kid from Brooklyn who dances every night at a disco. Now, to this day, Dick claims that he never saw “Saturday Night Fever”, and that it was all an amazing coincidence. Anyway, I know Dick, and I can tell you that he doesn’t know dick. [ laughter and applause ]

    Okay. Now, the show is going to be a little better. No English-speaking person could do a worse job than Jean. But it’s clearly time to yank this tired old format off the air. So if you’re wondering what you can do for me, Al Franken… [ SUPER: “Al Franken” ] please write a card or letter to:

    Put SNL To Sleep
    30 Rockefeller Plaza
    New York, New York 10020

    Let’s put this show out of its misery! You’ll be doing a great favor for yourselves, and for me, Al Franken. [ SUPER: “Al Franken” ] Thank you!

    Chevy Chase: Thank you, Al. Al, you’re actually going to be hosting the show next week, is that right?

    Al Franken: Yeah. It’ll be, uh — my partner Tom Davis, and, uh, and me, Al Franken. [ SUPER: “Al Franken” ] We’ll be hosting, and our special guest will be The Grateful Dead.

    Chevy Chase: Well, thanks, Al.

    Al Franken: Yeah. So watch next week, but not after that.

    Chevy Chase: Thank you, Al.

    [ they stare one another down for a moment ]

    Chevy Chase: This just in. [ Chevy glances at the page, then puts it down ]

    Well, how long does it take to cook a baby in a microwave oven? Exactly 55 seconds per pound, claims Mrs. Nelson Lynde of Glancing Blow, Michigan, who turned this smally fry into a small roast in just eight minutes and fifteen seconds. And to that, let me add: Well done! [ he laughs ]

    Chevy Chase: And that’s the news on this, the 81st day of the freedom for the hostages from Iran. Good night, and have a pleasant tomorrow.

    [ the camera holds on Chevy for an extended period, as he sips from a glass of water while waiting for the scene to fade ]

    SNL Transcripts

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    SNL Transcripts: (None): 04/11/81: Frank Sinatra


     Saturday Night Live Transcripts


      Season 6: Episode 12






    80m: (None) / Jr. Walker & The All-Stars

    Frank Sinatra

    Frank Sinatra … Joe Piscopo
    Jerry Hemphill … Tony Rosato
    Melissa … Gail Matthius
    Harold Duffy … Tim Kazurinsky

    Don Pardo: Ladies and gentlemen, Mr. Frank Sinatra!

    (Frank comes down the stairs and takes center stage. An American flag backdrop unfurls behind him.)

    Frank Sinatra: (sings)
    It’s time for you
    It’s time for you
    I’m tellin’ you that dreams come true
    Come on baby, it’s time, time, time
    It’s time for youuuuu!

    (Applause)

    Frank Sinatra: Thank you very much. You’re marvelous. Thank you so much, ladies and gentlemen. This is Francis Albert reminding you that it is time, it’s time that — for all of us to start buying and driving American cars. Recently I visited the Motor City, and I have to be quite honest with you, that I did not like what I saw. Capisce? Thousands, thousands and thousands of beautiful guys and chicks out of work because you are not buying American cars. Now I’d like you to meet one of the guys America forgot, if you’d be so kind, please welcome, from the United Auto Workers of America, Jerry Hemphill, ladies and gentlemen!

    (Jerry emerges wearing a mechanic’s uniform and carrying a tool box. He sets down the tool box.)

    Frank Sinatra: It’s, it’s very nice to have you here, Jerry. Speak. (points the microphone towards Jerry)

    Jerry: Thank you, tha – good to be here, Frank. Well Frank, I-I used to work for Chrysler, and uh, I was installing power seat assemblies, until I got laid off, uh … well it’s bad enough for me and my old lady, you know, but uh, it’s hard to see the kids staying at home, just uh, starving.

    Frank Sinatra: (points to the camera) You hear that, America? Because you do not care enough to drive and buy American cars.

    Jerry: That’s right, Frank, I’ll tell ya, these people, they just build their cars, out of cheap, thin aluminum! Now I’ve got something to show you here, Frank …

    (He opens his tool box and takes out a beer can)

    Frank Sinatra: We’re talkin’ foreign labor here. We’re talkin’ Japs, ladies and gentlemen.

    Jerry: This is a Japanese beer can, right here, Fred. Now you see how they’re cheap, thin aluminum.

    (He picks up a bowling ball, also from the tool box.)

    Jerry: Now your, your American cars, your American cars are built solid, like a J.C. Higgins bowling ball! You follow me, Frank? Huh?

    Frank Sinatra: I got you, Jerry.

    (Jerry smashes the beer can against the bowling ball, then says to the audience)

    Jerry: You just thank God your family wasn’t in HERE. (indicates the crushed beer can)

    Frank Sinatra: Thank you very much. Jerry Hemphill, ladies and gentlemen. Thank you very much, Jerry.

    (Applause)

    Frank Sinatra: Thank you so much. And now I’d like uh, viewers to meet someone that wasn’t so lucky, ladies and gentlemen.

    (A nurse brings out a little girl, Melissa, in a wheelchair.)

    Frank Sinatra: Tell us your name, sweetheart.

    Melissa: Melissa.

    Frank Sinatra: Melissa, tell the people your story.

    Melissa: (speaking quickly) Well, my dad got one of those cheap, Japanese cars, you know, and we were going to my grandmother’s house you know for dinner, and um, and my dad ran into this cow, and he hurt the cow real bad, and I had to go to the hospital — (sobs) — and now I can’t play with the other children.

    Frank Sinatra: God bless you, sweetheart.

    Melissa: (cries) … and now I can’t even do that …

    Frank Sinatra: Okay America, you wanna know the reason to stop buyin’ Jap cars? Huh? I got a thousand reasons …

    (SUPER: photo of a cemetery)

    Frank Sinatra: … like the rows upon rows of simple white crosses that mark the graves at Arlington National Cemetery.

    (SUPER: photo of Pearl Harbor being blown up)

    Frank Sinatra: I take you back to December 7th, 1941. And the story of a young gunner aboard the USS Arizona.

    (Back to Frank.)

    Frank Sinatra: Ladies and gentlemen, it is indeed my honor to introduce to you, Harold Duffy, US Navy, retired.

    (Applause as Harold emerges, giving a salute with his right arm – his only arm.)

    Frank Sinatra: (points to the stump) Okay chief, tell ’em how it happened.

    Harold: Oh, I remember, I was playin’ the harmonica and laughin’ it up with some of my buddies ‘board the USS Arizona n’ then … from outta nowhere came them Jap planes … them machine guns spittin’ death … I lost my best buddy that day, Frank.

    Frank Sinatra: I know what you mean. When we were shooting “From Here to Eternity,” I had to leave the set every day because of the tears in my eyes.

    Harold: Frank … when you think of that, the next time you see a friend or neighbor drivin’ one of them Jap mobiles, you tell them that the same tuna-heads, that put together the assembly of that, that durn thing are, probably the same people who’re responsible for jammin’ bamboo chutes under these — (holds up his stump, then holds up his right hand) — THESE fingernails.

    Frank Sinatra: Ouch.

    Harold: Well who can understand the Oriental mind, Frank? I tell ya, the … you-you’re talkin’ about a people who build their houses out of paper. People who, who build their uh, who — they call their planes Zeroes … they call their boats JUNKS!

    Frank Sinatra: Wait, wait — for the record, chief, I think the Junks are Chinese, not Japanese.

    Harold: (becoming more hostile) What’s the difference?! You ‘member on Bonanza, whenever there was a range war, where the hell was Hop Sing anyway, huh? And you’re buyin’ cars from, from people that — they eat raw fish! Think of that! How would you like to open the glove compartment of, of your Honda, and find …

    (He pulls a large trout out of his suit and wiggles it around.)

    Harold: … one of THESE in here?!

    Frank Sinatra: Thank you very much. Harold Duffy, ladies and gentlemen, US Navy, retired, from the USS Arizona.

    (Applause.)

    Frank Sinatra: Thank you, Harold Duffy … After, after hearing all these beautiful people speak tonight, there is only one thing I can say … (music swells up)

    (sings)
    Let’s strive for America
    Strive for America
    Each time I see those Datsun Z’s
    I wanna punch out a Japanese
    Go to hell, Toyota
    Drop dead, Subaru
    Let’s ride for America
    Take pride in Americaaa …
    Let’s drive for America
    Old Red, I’m talkin, White,
    And a-Bluuuuuuuuue!

    (Applause as music continues)

    (SUPER: “DRIVE FOR AMERICA”)

    Submitted by: The G Man

    SNL Transcripts