SNL Transcripts: Louise Lasser: 07/24/76: Mary Mary



 Saturday Night Live Transcripts


  Season 1: Episode 23



75w: Louise Lasser / Preservation Hall Jazz Band

Mary Mary

…..Louise Lasser

[FADE IN on an empty stage. In the far background, Louise Lasser can be seen walking down the stairs and across to home base while the audience applauds. She is in her trademark braids, with a blue shirt and red bell-bottoms. Barefoot, she carries a pair of stocky, thick-heeled shoes in her right hand and sits cross-legged in the middle of home base. Live piano music plays softly in the background.]

Louise Lasser: I know… I’m, um… [panting] …kind of late. But I had a few things to rinse out, so… I’m gonna just, uh, sit here and put my shoes on, on the wrong foot… So here I am, I’m putting my shoes on in front of twenty-two million people at about 1:30 in the morning. Something you see every day. I’m exhausted. But, you know… Ow.

[She pulls one shoe off her right foot and lets lt lie next to her.]

Louise Lasser: But it’s funny, you know. It’s not like I’m exhausted–I mean, I don’t mean I’m exhuasted from tonight, I’m just exhausted from this year, I mean, God. What a year, huh? I mean, this has been like the most incredible year for me, I mean, so many things have happened to me, y’know, great and awful, and… How it started–Norman Lear called me up a year ago and he said to me, “I got this part for you, you know you’re gonna hate,” he said, “You want it?” So I said “No,” I mean, I’m not that stupid, y’know… So then he sent me flowers, and I said “Okay.” I said, “What’s the part?” He said, “Mary.”

[starts singing hoarsely]

Louise Lasser: “Mary… plain as any name can be…”

[Louise looks lost for a moment.]

So we started into production, and… people seemed to like the show, y’know? People would see me on the street, and they would come over and they would like kiss me, and they would hug me, and then they began to come to my house, and then they began to come to my house in cars, and they began to come to my house in buses that parked on my lawn, and, and this wasn’t quite as nice as the kissing and hugging part, so… Finally, y’know, I called this friend that I hired to guard and live in my house, because there were just so many people visiting me that… Not that I wasn’t grateful… But, so anyway, I called him and I said, “Listen, I’m really tired of people asking where they can get orangeade and then getting it for them.” So, he said fine, and then the next day, not only did he move out of my house, but he moved my house. I mean, the man stole everything in my house, I mean everything. I mean, he stole the furniture, the washer, the dryer. In one room, he actually stole the wallpaper off the wall. Which, actually, I thought showed some good taste on his part. [giggling] This “friend,” by the way, uh, is a very big fan of the shows. And I thought, “Doesn’t he realize he’s not robbing from me? He’s… he’s robbing Mary.”

[sings] “Mary… plain as any name can be…”

[soft laughter]

Louise Lasser: Oh! And then one day, I’m in Beverly Hills. I went to Beverly Hills–it was my friend’s birthday, and I decided to have a surprise party for her–and I… I just wanted to buy a great birthday present for her, so I went to this great toy store in Beverly Hills, and…

[laughter]

What a fabulous doll’s house.

[laughter and applause]

I mean, I mean, there was a room for me in there, y’know? It was just great. And then, I dunno, I think I didn’t have any of the… I didn’t have any of the right credit cards, I had credit cards, I just didn’t have any of the right credit cards. So they wouldn’t take a blank check, and then the next thing I remember there were a lot of policemen. And then I wasn’t in the toy store, I was in another building. The Municipal Building. It’s a very nice building, actually, very Thirties. [laughter] And they booked me. They booked Mary.

[sings] “Mary… plain as any name can be…”

[laughter and applause]

“But with propriety… society…”

[Louise rubs her lip and looks bewildered again.]

Louise Lasser: Okay, um, so, the next thing I know, I’m in this jail, and they’re questioning me. They took pictures of me–not great pictures, not terrible, though. I mean, not great, but I wouldn’t send them out as Christmas cards, let’s put it that way. And I found that they were less interested in autographs than they were in fingerprints. But I was very good at fingerprints, I mean really good–and there is a trick to how you do fingerprints. [demonstrates with right hand] What you have to do is, you just have to lop your finger into that ink, and you just follow through. [makes windmill motion] And I thought to myself… “What a minute. These are my fingerprints, but… they also belong to Mary.”

[piano cue]

[singing] “Mary… long before the fashion came…”

[Louise looks bewildered once again.]

Louise Lasser: [painfully] So then they threw me into this jail… cell. And I got, ah, real scared then. And I said, “Please don’t let me be in this cell all alone, don’t let me be in this cell all alone.” So what they did was, they stuck me, y’know, into a different cell, which I thought was real nice of them, y’know, that was real nice of ’em, they didn’t have to do that. They stuck me in a different kind of cell. This one had killers and hookers and rapists: y’know, my kind of people, your kind of people. Our kind of people. So I spoke to one of the hookers, who got arrested for hooking at the Hilton. And I said to her, y’know, “When you get out of here, you ever gonna do it again?” And she said, “Not at the Hilton.”

[laughter]

So then she looked me up and down and said, “Well, why you? Don’t you make enough money playing Mary?”

[piano cue]

[singing] “Mary…”

[She chuckles and grins.]

Louise Lasser: So then I got sprung, and… as we say in the “underworld…” I found I had gotten a huge amount of publicity, but I mean huge. I mean, I don’t just mean magazine covers. I mean Channels 2 through 13, at six o’clock, eleven o’clock, and right before they played the National Anthem. This is the way it went, this is the way it went. It was murders, wars, me, “O say can you see…” every night. So what happened was, to protect me, the show rented a house for me. And also to protect me, what I had to do is, I had to go to work, lying in the backseat of a station wagon under a blanket for a month straight. Just like Barbra Streisand, Jack Nicholson, y’know, all the big stars do it that way.

[ripples of laughter]

But at least I had my new house. [pause] Till I got robbed in a new way. This time… he stole everything but the TV. So that night I could watch exactly how he robbed me. I watched it on the late news, followed of course by “The Star-Spangled Banner,” one of the few things I still have to look forward to. And of course, I could watch… Mary.

[piano cue]

[singing] “Mary… plain as any name can be…”

[She drops her head and appears on the verge of tears.]

[singing] “But with…” [long pause] “…propriety…”

[pause]

Louise Lasser: So that was my year pretty much, y’know? It’s just your random robberies, arrests, and stardom. And I think, “Why?” I mean, why did all this happen? And then I remember, it’s… it’s because of Mary. I mean, that’s Mary… who made me rich, famous, and a known criminal. [subdued laughter] Who put my face on the cover of “Rolling Stone,” “Ms.,” “People,” “Newsweek,” and “Crime Gazette.” Listen… she hasn’t been easy to live with, but… she’s okay. Because the truth is, if it wasn’t for Mary… you never would’ve watched Louise put her shoes on.

[ZOOM OUT as she grins and tugs on her left shoe.]

I like her.

[Audience breaks into applause as Louise remains cross-legged at home base. FADE to a long shot of her, PAN across the audience into the balcony, then FADE to black.]

Submitted by: Sean

SNL Transcripts

SNL Transcripts: Louise Lasser: 07/24/76: Louise Lasser’s Monologue




 Saturday Night Live Transcripts


  Season 1: Episode 23
















75w: Louise Lasser / Preservation Hall Jazz Band

Louise Lasser’s Monologue

…..Louise Lasser
…..Joe Dicso
…..Gilda Radner
…..Dan Aykroyd
Land Shark/himself…..Chevy Chase

Announcer: Ladies and gentlemen — Louise Lasser!

[ the audience cheers enthusiastically for nearly a minute ]

Lousie Lasser: Well, that’s nice! Listen, uh — this is a litle strange for me, because this is the first show I’ve done since my own show, and, uh — it’s the ONLY show I’ve done since my show. It’s the only show I’ve SEEN since my own show! [ she laughs ] And one of the reasons why I really do love this show — I mean, I loved it the first time I saw it, because it deals with stuff I like and it just sort of makes new entrees into comedy that I approve of. And it’s just, uh — also, I’ll tell you, it’s a relief to be here. Because right now, on my show, I’m having a nervous breakdown — [ the audience laughs ] Some of you may watch it. I’ve just been committed to an institution. So, tonight, I’m here, committed to you. [ she laughs ]

Now… I wish I could tell you we had a great show for you, but I can’t! [ she laughs ] Uh — no! It’s not because of the show! I mean… the staff, everyone’s great. It’s just that I’m real… tired… [ she laughs ] And they wonder why. And I’m a little scared. And, um… you’re… uh… LIVE! You know what I mean? A LIVE audience! I mean, it’s not — I mean, we don’t work in front of a live audience. [ she looks around uncomfortably ] Our audience is DEAD! [ the audience laughs ] No, it’s not that they’re dead, it’s just that they’re not there! I mean, they’re somewhere. But they’re not… there!

Uh, let me tell you how… how all this happened. Uh, how I got involved with the show is that… [ she rubs her hand over her face ] Lorne Michaels… [ she mutters something unintelligible ] So… Lorne Michaels, who’s the, uh, producer of this show, uh… called me up one day and asked if I, uh… would do the show. He called me, and he said, “I just want you to know it’s not because of, uh, “Mary Hartman” they want you to do it. I’ve always felt that you should do the show.” Evidently, he’d seen me in something on Cable TV, I don’t know… [ the audience laughs ] But, uh, I did say to him, “Listen, you know… what am I gonna do, you know? I’m not a novelist, I don’t have an act, I mean I don’t do that kind of… you know, I don’t do JOKE jokes.” And he said, “Don’t worry about it, you’re naturally funny.” So he looked down at — no! [ she laughs ] No. He said, “You’re naturally funny.” He said you just go out there and you be yourself, and you… quote… “Wing it.”

[ she pauses and looks around uncomfortably ]

So I’m winging it! [ she laughs, then looks off-camera ] What? Oh. Okay. Oh! I’m sorry. Um… So, anyway — So what I decided to do was, I decided that… uh… what I’d like to do is… I-I-I didn’t want the writers to write a story, because I don’t like, you know, contrived stuff very much. So I wanted to tell a personal story that happened to me, that I thought you might find interesting and, you know… you know… YOU KNOW! So anyway, I picked a personal story that I personally think is hilarious. Okay? [ the audience laughs ]

Now… I’m in Beverly Hills — right? [ the audience laughs ] Uh, sorry — it’s not what you think it’s gonna be! I’m in Beverly Hills… and, uh… I’m getting into a cab. I’m going to meet, um, my good friend Jack Nicholson for lunch. [ she stops, points toward the cue card ] I’m sorry, that should be “new” friend. “My new friend…” Let me explain something to you. They use cue cards. I’m not used to cue cards, okay? So they have on the cue card — it says right here, you can see it. It says, uh… “My good friend Jack Nicholson…” when it should be “My new friend…” And it’s not Jack Nicholson, I don’t know Jack Nicholson. Anyway, uh… here is my personal story on cue cards, and Jack Nicholson is in it. So, I-I-I don’t know… [ she stops ] I am tired. [ she laughs ] Right now, I really am tired. [ she stops, drifting off to soem unknown place ] I’m sorry… [ she looks around the stage ] I’m sorry… um… what? [ she looks toward the camera ] Oh! Listen. Let me explain something to you. This is, uh, live TV, which I’m not really used to. Um… um… I’m scared of that. [ the audience laughs ] I don’t think that’s funny. No, I really don’t. And I know, like you — I-I-I — really, honestly, I am scared. I mean, I think you’d be scared if you were standing up here. And i’m really scared, and I know you’re probably a little… scared for me right now. I mean, I — I — [ she turns around ] Oh. [ she looks around confused ] Uh — let me tell you something. Uh — they did tell me that this might happen, and, um… [ she looks around, more confused ] They said that it — that when — [ she keeps looking around ] this kind of thing happens, that it will all come — it WILL all come together! You know?

[ Lasser looks around, more and more confused, then runs off Home Base and across the studio ]

Joe Dicso: Louise! Louise, we’re on the air!

[ Lasser runs into the hall and begins crying ]

Gilda Radner: Louise? What’s the matter?

[ Lasser runs past Gilda, crying, then rushes into her dressing room while mumbling incoherently ]

Gilda Radner: Louise! Louise, it’s me — Gilda!

Lousie Lasser: Oh, Gilda, what am I gonna do! I messed up the whole show! I didn’t know what to do! I couldn’t help it!

Gilda Radner: No, you didn’t — you didn’t mess it up yet! You —

Lousie Lasser: I messed it up and I just can’t DO it right! I mean, I just can’t

Gilda Radner: Yeah, we’ll help you! You know, we’ve done a whole bunch of shows, we can — What’s the matter, you have cramps? We’ll help you, Louise.

[ Dan Aykroyd approaches from the hall ]

Lousie Lasser: Just leave me alone! If you just leave me alone for a few minutes, I think I’ll be fine, I’ll be out, okay?

[ Gilda steps away, as Dan dons sunglasses and takes over ]

Dan Aykroyd: Miss Lasser? Louie P. Stylo, probation officer, County of Los Angeles, State of California! You, uh — you left the sight of a private desert in Los Angeles, Louise, and I gotta come up to you right now, okay? We’ll just clear it up right now, and then you can go on with the show and everything else.

Lousie Lasser: DAN! Could you just stop it, I know your voice!

Dan Aykroyd: LOUISE, I CAN GIVE YOU AUTOMOTIVE PARTS!! I have TIRES… I have all kinds of things at BARGAIN PRICES!

Lousie Lasser: Dan, this is NOT funny! This is very DANGEROUS for me at this moment in time, okay?

Dan Aykroyd: [ stepping away ] Alright, she’s not gonna come out of there… Hey! I gotta go up through the roof.

[ “Jaws” music begins to play, as the Land Shark’s head appears in the frame ]

[ Chevy Chase’s hand emerges from the shark’s mouth and knocks on the door ]

Lousie Lasser: Who is it?

Land Shark: Mrs. Laff — Laff — Mrs. Lasser?

Lousie Lasser: What?

Land Shark: Telegram!

Lousie Lasser: From whom?

Land Shark: [ he clears his throat ] Candy — Candygram, Ma’am!

Lousie Lasser: Who is this?

Land Shark: Half a gram.

Lousie Lasser: What?

Land Shark: Uh — Braidmaker, Ma’am. Uh, here to do your braids.

Lousie Lasser: I really don’t need any braids. Could you please leave me alone? I just need to REST here for a few minutes. That’s all!

Land Shark: Cover of Time Magazine?

Lousie Lasser: What?

Land Shark: Cover of Time!

Lousie Lasser: I’ll be right out.

[ the Land Shark backs out of frame, as Lasser slowly opens the door and emerges ]

Lousie Lasser: Did someone say the cover of Time?

[ Chevy Chase appears as himself ]

Chevy Chase: Yeah.

Lousie Lasser: What do I have to do to get the cover of Time?

Chevy Chase: Uhhh — read this. [ he holds up a cue card ]

Lousie Lasser: [ reading ] “We’ll be right back.” [ confused ] That’s what I have to do to get the cover of Time?

Chevy Chase: That’s it.

[ fade ]

SNL Transcripts

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SNL Transcripts: Louise Lasser: 07/24/76: Teen Talk



 Saturday Night Live Transcripts


  Season 1: Episode 23





75w: Louise Lasser / Preservation Hall Jazz Band

Teen Talk

Gilda … Gilda Radner
Jane … Jane Curtin

[Teenaged Jane sits lengthwise on a living room sofa,eating crackers and peanut butter. Her teen friendGilda enters, struggling to carry a huge tray of foodwhich she sets awkwardly on the coffee table in frontof the sofa. Jane picks at the food throughout thesketch.]

Gilda: Okay, Jane, that’s all my mom had left in thefridge.

Jane: That’s it?

Gilda: Yeah, well, the whole family’s on a diet.[joins Jane on the sofa] Move yer feet over. So, uh,what’d you let him, uh, get last night? A three or afour?

Jane: I can’t remember which is which. How’s it go?

Gilda: A three is over your shirt. A four is underyour shirt, over the bra. So which was it, a three ora four?

Jane: Five.

Gilda: Five? On the third date? You mean you let himhave a five? Oh, God.

Jane: I had to! Otherwise, he would have known I waswearing a padded bra.

Gilda: Oh, God.

Jane: Well, look, it’s embarrassing enough that youknow. You know what’s worse? Gym class. Do you knowhow long it takes to change underneath your slip? Andthat’s in front of girls.

Gilda: Why don’t you just stuff cotton in your bra andthen when – when he starts gettin’ romantic, you couldjust excuse yourself and go to the ladies’ room andtake it out?

Jane: How am I going to go to the ladies’ room in acemetery?

Gilda: Cemetery?

Jane: You know! He likes to park in a cemetery. It’squiet there. Nobody bothers us.

Gilda: Cemetery? Oh, God.

Jane: I wish you’d stop saying “God” — [mimics her]”Oh, God.” ‘Specially in front of my mother. Shethinks you’re a bad influence.

Gilda: Aw, well, that’s a laugh. Especially when yaget the highest marks in school.

Jane: That’s not what I mean.

Gilda: Jane?

Jane: Yeah?

Gilda: Have you seen it?

Jane: What?

Gilda: You know … It.

Jane: No, I don’t know. What?

Gilda: You know … his, uh … Him. It. You know.

Jane: [gives her a withering look] That’s sodisgusting.

Gilda: I just want to know did you get a look at it.

Jane: I don’t want to talk about it. It’s toodisgusting.

Gilda: Come on, now. We’re supposed to be bestfriends. I – I just want to know what it’s like.

Jane: Okay, okay. … It’s not like anything.

Gilda: What do you mean it’s not like anything?

Jane: It’s just not like anything.

Gilda: How can it be not like any–? I don’t thinkyou’ve seen it.

Jane: Okay. It’s like a … It’s like a person.

Gilda: A fireman?

Jane: [can’t believe she’s so stupid] God.

Gilda: Oh, I don’t think you’ve seen anything.

Jane: You don’t have to see it.

Gilda: I thought he’d want you to.

Jane: I wouldn’t even if he wanted me to.

Gilda: You mean, you wouldn’t if he wanted you to?

Jane: No.

Gilda: Even if you were going steady?

Jane: [thinks about it] No.

Gilda: Even if he wouldn’t go steady with you anymore?

Jane: No, I wouldn’t.

Gilda: Even if he wouldn’t go steady with you any moreand he asked you to give his ring back, you stillwouldn’t?

Jane: Nope. I would– Well, maybe if– No.

Gilda: Well, I would. I’d look at it if he wanted meto.

Jane: Let me set you straight. I don’t think they wantyou to. Besides, it’s dark in a cemetery.

Gilda: Well, then you have nothing to worry about.

Jane: Why?

Gilda: [pulls a cake off the tray and picks at itthroughout the rest of the sketch] Because, um, thenhe won’t be able to, uh, to see your chest and hewon’t know how flat you really are.

Jane: What does that mean?

Gilda: It means, stupid, that things happen to feelbigger than they look, you know, like when you have apimple on your face and you keep feelin’ it andfeelin’ it and it feels like it’s really big and thenyou look in the mirror and it’s not so bad after all -just like your breasts.

Jane: It is?

Gilda: Yeah, and another thing, you better, uh, youbetter not let him see you, uh, lyin’ down on yourback.

Jane: Why?

Gilda: Eh, ’cause they slip over to the sides intoyour armpits.

Jane: Oh, Gilda.

Gilda: [as Jane tears a piece off of Gilda’s cake] Asa matter of fact, uh, you better only let him see youwhen you’re up at the lake swimming.

Jane: Why?

Gilda: ‘Cause things look bigger under water, stupid.

Jane: Don’t call me stupid, stupid.

Gilda: Stupid yourself! [Jane bops Gilda in the nosewith a piece of cake] Oh, God. … I wish I had aboyfriend.

[The two girls sit silently, glumly chewing their foodas we dissolve to a wider view of the set surroundedby the cameras and the applauding audience, with SUPER: “Coming Up Next… Pre-Natal Root Canal Therapy”.]

Submitted Anonymously

SNL Transcripts

SNL Transcripts: Kris Kristofferson: 07/31/76




 Saturday Night Live Transcripts


  Season 1: Episode 24


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





Air Date:

Host:

Musical Guest:

Special Guests:

Cameos:

Bit Players:

July 31st, 1976

Kris Kristofferson

Rita Coolidge

None

None

None



Season 1: Order Now!free website hit counter Help Me Make It Through The NightSummary: Kris Kristofferson sings “Help Me Make It Through the Night, while Chevy Chase makes it through the night with his wife, Rita Coolidge.

Montage

Kris Kristofferson’s Monologue

I Was Not A Sucker For Saturday NightSummary: Sherry (Laraine Newman) has written a tell-all book about her experiences serving as intern to SNL’s writing staff.

Recurring Characters: Sherry.

Transcript

Samurai General PractitionerSummary: Futaba (John Belushi) administers a physical to Kris Kristofferson.

Recurring Characters: Futaba.

Rita Coolidge performs “Hula Hoop”

The Great White AthleteSummary: Jesse Owens (Garrett Morris) is selling medals that formerly belonged to white athletes.

Transcript

Mississippi DelegateSummary: Mississippi delegate Frank Wade (Kris Kristofferson) asks President Gerald R. Ford (Chevy Chase) to side with him on a bill.

Recurring Characters: President Gerald Ford, Betty Ford.

Police StateSummary: A pair of police officers (Chevy Chase, Dan Aykroyd) go after criminals with a no-holds-barred style.

Transcript

Weekend Update with Chevy ChaseSummary: Laraine Newman accidentally reports live from Nassau instead of from NASA.

Transcript

Talk CountrySummary: Kris Kristofferson plugs the book that taught him how to talk like a good ol’ boy.

Transcript

Bobbi McGeeSummary: Kris Kristofferson sings a few bars of Me and Bobby McGee”, then brings out the young woman (Gilda Radner) who inspired the tune and learns that she has since married a man named Larry Farber (John Belushi).

Recurring Characters: Bobbi Farber, Larry Farber.

Transcript

Gynecologist Blind DateSummary: Judy (Jane Curtin) is uncomfortable when she finds out her friend has set her up on a blind date with her own gynecologist (Kris Kristofferson).

Transcript

Kris Kristofferson & Rita Coolidge perform “Eddie the Eunuch”

Praising CarterSummary: Andrew Young (Garrett Morris) speaks highly of presidential candidate Jimmy Carter (Dan Aykroyd), in the hopes of being asked to join his administration.

Recurring Characters: Andrew Yuong, Jimmy Carter.

Waiting For PardoSummary: Bob (Chevy Chase) and Bill (Kris Kristofferson) await the arrival of the mythic Don Pardo.

Transcript

Kris Kristofferson performs “I’ve Got a Life of My Own”

GoodnightsTranscript

SNL Transcripts

SNL Transcripts: Kris Kristofferson: 07/31/76: The Great White Athlete



 Saturday Night Live Transcripts


  Season 1: Episode 24



75x: Kris Kristofferson / Rita Coolidge

The Great White Athlete

Jesse Owens…..Garrett Morris
Announcer…..Don Pardo

[Gray-haired Jesse Owens, the legendaryAfrican-American track athlete who dominated the 1936Olympics, sits in a chair, wearing a suit and tie andaddresses the camera]

Jesse Owens: Hello, I’m Jesse Owens, here to make youan offer of lasting value. For a limited time only,the American Olympic Committee together with thegovernment of Canada are offering these beautifulOlympic medallions, [holds up the medallions]commemorating some of the last of a dying breed: theGreat White Athlete. For only forty-five dollars, youcan own the entire set with white heroes of hockey,swimming and spear-chucking– umm… I mean, javelinthrow. Hurry and send in now while they last, honky.

[A superimposition reads: Great White Athletes Box1976 Johannesburg, S. Africa]

Announcer: That’s “Great White Athlete” — Box 1976Johannesburg, South Africa.

Submitted Anonymously

SNL Transcripts

SNL Transcripts: Kris Kristofferson: 07/31/76: Talk Country



 Saturday Night Live Transcripts


  Season 1: Episode 24



75x: Kris Kristofferson / Rita Coolidge

Talk Country

…..Kris Kristofferson

[FADE IN on Kris Kristofferson on the set of a country barn with his guitar on his lap.]

Kris: Howdy! I’m Kris Kristofferson. I guess you’re wonderin’ what a good ol’ boy from Nashville is doin’ talkin’ to you on some tutti-fruitti TV stage. Well, fact is, I make a pretty good livin’ doin’ just ‘bout all the way I wanna do. I may not be no Bobby Dylan, but I don’t have to go to work in the morning neither. And I’m fixin’ to tell you all out there how to do the same thing. See, it wasn’t always so easy for me, like a lot of you out there, I had a handicap that was fast ruinin’ my life. It was called education. I was a Rhodes scholar, damn… name was too damned good. To be honest with ya, I was becoming a burden to my family, and an embarrassment to my friends, and I was turnin’ out songs like, uh, “Please, help me endure the angst of this lonely evening,” and “Bobby McGee and I,” and… [pauses] To be sure, I couldn’t get arrested. Right now you’re probably asking yourself, “Well, what turned it all around for him? How’d he write all those great songs and made him, well, kind of a… legend in his own time?” The answer is in this book, “Talk Country.”

[He holds up a skinny coffee-table book with a photo of a shirtless Kristofferson with a guitar.]

Kris: It took me ten years of dues-paying to learn what’s in this book, and you can read the damn thing in an hour, in the comfort of your own home. There’s a whole chapter devoted to nothing but droppin’ your “g’s” at the end of words, like believin’, feelin, comin’, children… Another on double negatives, and a special section on, uh, colorful country sayins, like, uh, “as much chance as a one-legged man in an ass kickin’ contest,” and “feelin’ like a jackass between two haystacks.” Point is, you don’t need to have a prison record to be an outlaw. Or do any time in a drunk tank to be funky, it’s all right in here. Don’t let your education stand in the way of stardom, and don’t throw away a promising career just ‘cause you can’t say “ain’t.” Send $5.95 today to Talk Country, Station No. 38, New York City, New York.

[SUPERIMPOSE address at bottom of screen.]

Kris: It worked for Merle Haggard… it’ll work for you. Well, I’ve got to get back to makin’ music. [strums guitar once and sings rapidly] “I’m a loser, I’m a learner, and I’m filthy on the phone, I ran a buster to the bone, and I’m a problem when I’m home…”

[FADE to black over applause.]

Submitted by: Sean

SNL Transcripts

SNL Transcripts: Kris Kristofferson: 07/31/76: Goodnights



 Saturday Night Live Transcripts


  Season 1: Episode 24




75x: Kris Kristofferson / Rita Coolidge

Goodnights

…..Kris Kristofferson

Kris Kristofferson: Hi! I just want to thank all the people who let us be on this show, with all the crazy people that work on it. They got one of the greatest studio bands there probably is anywhere — and I got one of the best bands, too! [ the audience cheers and applauds ] Hey! It’s such a DAMN pleasure to work any place where you got any real imagination working, and I got a great band and some great girls back there working with me, too. God bless, y’all! Thank you very much!

[ as the credits begin to roll, the cast climbs up to join Kristogfferson on Home Base ]

Announcer: Hi, this is Dan Aykroyd, one of the Not Ready For Prime Time Players, inviting you to watch the Beach Boys Special on NBC on Thursday, August 5th. Some of us from “Saturday Night” were involved in the production, and you’ll be neatly surprised. “Sam-son, Sam-son, Sam-son…” and more! Watch The Beach Boys — Thursday, August 5th on NBC. Thanks a lot. Good night.

SNL Transcripts

SNL Transcripts: Kris Kristofferson: 07/31/76: Gynecologist Blind Date



 Saturday Night Live Transcripts


  Season 1: Episode 24




75x: Kris Kristofferson / Rita Coolidge

Gynecologist Blind Date

Judy…..Jane Curtin
Gynecologist…..Kris Kristofferson

[In her apartment, Judy sits on the sofa and talks onthe phone.]

Judy: Margie, listen, he’s in the bathroom so I’ve gotto talk fast. Okay, remember how Eileen said that thiswould be the greatest blind date of my life — he’scute, he’s fun, he’s a doctor? He’s my gynecologist…. Because she never told me his last name, that’swhy! … Well, nothing’s happened so far except hesaid my pap test came out okay. … Well, I don’tknow, it’s just so awkward. I mean, the last time Isaw his face, it was coming up between my knees. …It’s embarrassing. I just don’t know if I can gothrough– [a door opens] I gotta get off — he’scoming. [quickly hangs up, pretends to read amagazine]

Gynecologist: [enters] Well, “Silent Movie” comes onat eight o’clock and, uh, “The Omen” — it might bea–

Judy: I-I-I-I, um, I don’t think I can go through withthis.

Gynecologist: What?

Judy: Going out with you. Going out with mygynecologist.

Gynecologist: Why? [joins Judy on sofa]

Judy: Well … because … I don’t even know whatmovie we’re seeing yet and you’ve already gotten tothird base.

Gynecologist: Hey, uh, Judy, all I did was perform aprofessional service for ya, just like an accountant.It’s like, it’s like if you were datin’ youraccountant.

Judy: Hey, I wouldn’t mind if you’d seen the inside ofmy checkbook.

Gynecologist: Look, let’s talk about somethin’ else,change the subject. That’s a great lookin’ shirt yagot on.

Judy: Well, are you sure? You’ve never seen me inanything but white paper. Hey, doesn’t it ever get toyou? I mean, knowing that you’ve seen the inside of my…

Gynecologist: Judy, I see these things all the time.

Judy: Well, that’s the difference. To you, they’re”these things.” To me, they’re MY things.

Gynecologist: Now, I didn’t mean it that way. It’sjust like if– I mean, imagine lookin’ at thirty orforty “things” a day, you know? Uh, if you can’t– Ifyou’re worryin’ about what I remember about yours, youknow, I can’t even remember which one it was.

Judy: You can’t?

Gynecologist: Promise.

Judy: That is a relief.

Gynecologist: Whew. [Judy sighs] Well, if you want tosee “Silent Movie,” we ought to go right now.

Judy: You really can’t remember … one thing?

Gynecologist: Uh uh. Uh uh.

Judy: Not even about the, uh, other half?

Gynecologist: Well, who could forget those, darlin’?Ha ha! Jokin’, of course, I’m only kidding, you see.

Judy: Oh.

Gynecologist: Hey, wait a minute. Are you mad becauseI DON’T remember, now?

Judy: Oh! No-ho-ho-ho! It’s wonderful to know that theman who probably has the most intimate contact withyour body can’t remember one thing.

Gynecologist: Good God, Judy, I’m a doctor. I can’tthink of my patients sexually. I have to think of ’emobjectively.

Judy: Sure.

Gynecologist: Well, you know what? You know what youare? You’re thinkin’ like everybody else thinks. Youthink it was a choice for me of either bein’ agynecologist or some dirty old man in an all-nightmovie with a newspaper on my lap. It was not thatchoice. Do you know what it was like for me in school?All my friends made me write down everything I saw sothey could read it in the bathroom later. And theother residents, man, they thought THEY were workin’but I was gettin’ a little.

Judy: Well?

Gynecologist: Well, every time I went out on a date,any woman that I was ever out with eventually gotaround to asking why I was ever interested in bein’ agynecologist and, uh, did I think about it a lot whenI was a little boy? Did I want to be one then? Did Ihave bad thoughts? You know, DO I have bad thoughts,you know?

Judy: [perhaps a little hopeful] Do ya?

Gynecologist: Doesn’t everybody? You do, admit it.

Judy: Well, I don’t think that I necessarily–

Gynecologist: All the time you have bad thoughts! Comeon, you could be havin’ ’em right now. Look at the wayyou cross your legs.

Judy: Well, no, I–

Gynecologist: In fact, that’s probably why you startedthis whole damn thing — you’re tryin’ to get in myknickers. I’m teasin’.

Judy: It’s not that I haven’t noticed you. I – I haveoccasionally peeked over the sheet — once.

Gynecologist: [laughs] Aha! You see, we’re gettin’down to the nitty gritty. [decides to confess] Hey,you wanna– If it’ll make you feel better, you know–Nobody ever got fixed up with their gynecologist byaccident. I felt funny about this thing and somebodyfixed us up — for me. That’s all.

Judy: Do you mean that?

Gynecologist: Yeah. When you was peekin’ over thesheet, I was peekin’ under it. [takes her hand] Hey,can we be friends about it?

Judy: Yeah.

Gynecologist: Can we go to the movies?

Judy: Yeah.

Gynecologist: Let’s get out.

[Holding hands, they rise and go to the door. He opensit for her. Halfway out the door, Judy stops and turnsto him, very pleased.]

Judy: You DID notice.

[She turns, head held high, and exits. He follows herout, shutting the door behind him. We pan across theempty room and off the set to the applauding audience.A superimposition reads: COMING UP NEXT… PIGGY BANKSFOR SWINE FLU VACCINE.]

Submitted Anonymously

SNL Transcripts

SNL Transcripts: Madeline Kahn: 05/08/76: Not For Ladies Only



 Saturday Night Live Transcripts


  Season 1: Episode 19



75s: Madeline Kahn / Carly Simon

Not For Ladies Only

Barbra Walters…..Gilda Radner
Marlene Dietrich…..Madeline Kahn

Barbra Walters: Good evening, and welcome to “Not For Wadies Only”. I’m Baba Wawa, and tonight we’ll be talking to an actual wiving wegend – the incwedible Mawene Dietrich.

Marlene Dietrich: Thank you. It’s gweat to be heah.

Barbra Walters: Mawene, what is it wike to be wiving wegend?

Marlene Dietrich: Wet me just say, it’s been a weawy wich expewience.

Barbra Walters: I’m so impwessed. Mawene.. you are so with and swender. How do you stay so swim?

Marlene Dietrich: Swimming keeps me swim. My daily wegimen incwudes swimming twelve waps in my pool. It’s wonderful for my wegs.

Barbra Walters: Mawene, tell us the secwet of your perpetual youth.

Marlene Dietrich: I only eat healthy foods. I get massaged weguwally, and.. I’ve had evewything wifted.

Barbra Walters: [ incredulous ] You mean you’ve had your wegs wifted?!

Marlene Dietrich: Evewything, even my weah.

Barbra Walters: Your what?

Marlene Dietrich: My weah.

Barbra Walters: Your wear?

Marlene Dietrich: What?

Barbra Walters: Dwop it.

Marlene Dietrich: You bwought it up. [ laughing in ] Of course, wooking gwamowous on film isn’t all beauty secwets. A wot of it is wighting. I do all my own wighting.

Barbra Walters: I didn’t weawize you wote.

Marlene Dietrich: I don’t. I wight.

Barbra Walters: You’re weferring to.. [ moves her fingers as though typing ] ..typewriter witing, wight?

Marlene Dietrich: [ pointing to lights ] I’m weferring to ewectwic wighting. You see, in pictures, bwight wighting can be vewy unfwattering, particuwawy if it makes my wegs wook white. Baba, am I wong to want to appear wadiant?

Barbra Walters: No, that’s very weasonable.. [ to herself ] Hawy Weasonuh.. Hawy Weasonuh.. five million dollars.. I’m wich! [ to camera ] Well, we’ve wun out of time. Before we go, I wanted to mention what a beautiful fur you have on. Is it mink?

Marlene Dietrich: No, it’s just a silly wabbit.

Barbra Walters: Well, Mawene, it’s been a weal pweasure. I thank you. [ into camera ] Don’t forget to dwop in next week when our guest will be Elmer Fudd. Good night.

SNL Transcripts

SNL Transcripts: Madeline Kahn: 05/08/76: Madeline Kahn’s Monologue



 Saturday Night Live Transcripts


  Season 1: Episode 19




75s: Madeline Kahn / Carly Simon

Madeline Kahn’s Monologue

…..Madeline Kahn

Announcer: Ladies and gentlemen — Madeline Kahn!

Madeline Kahn: Oh, my my, my, my! Hello! And thank you, and, to get right to the point, what are we going to do, um — it’s Mother’s Day very soon — in a half-hour or so, it’ll be Mother’s Day — and what can we do? I mean, you know, there doesn’t seem to be any way to repay, you know, what a person’s mother gives. I mean, you know, my mother gave me birth — I don’t know about yous. And then, you know, I gave her a scarf. And sometimes she gives me strength, and I give her nothing. And it’s just very upsetting. And I didn’t do ANYTHING this time, because I’ve been so busy, so, um… I do have this wonderful opportunity, and perhaps I could speak for all of you — [ she smiles ] in singing a little something… to Mother. And, here it is:

[ singing ]
“M is for the many things she gave me.
O is for the other things she gave me.
T is for the thousand things she gave me.
H is for the hundred things she gave me.
E is for everything she gave me.
R is for the rest of the things she gave me.
P is for the presents that she gave me.
Put them all together, they spell “MOTHERP.”
The one who means the world to me.”

[ she shrugs and smiles, as the audience applauds ]

We’ll be right back!

SNL Transcripts

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