Name: Betty White on Late Late Show with Tom Snyder, July 1, 1997
Uploaded: 2022-01-03T04:13:52.000Z
Description: Watch the stand-up comedy video 'Betty White on Late Late Show with Tom Snyder, July 1, 1997' from Don Giller on Comedy Buff. Published 2022-01-03. Transcript available.

Watch the stand-up comedy video 'Betty White on Late Late Show with Tom Snyder, July 1, 1997' from Don Giller on Comedy Buff. Published 2022-01-03. Transcript available.

Betty White is an award-winning actress. She's won the Emmy. She's appeared on
such programs like
The Mary Tyler Moore Show, Mama's Family, and the immensely popular and
legendary Golden Girls.
She's also been a panelist on countless game shows. She's hosted her own talk
shows and several
incarnations, and she talks about it all in her book Here We Go Again, which is
out now for the
first time in paperback. Welcome back, dear Betty, and thanks for coming over
to CBS today.
Well, and thank you, and you've covered the whole thing, and I appreciate it
very much, Tom,
and I'll see you the next time. You know, I believe tomorrow ABC will announce
that Lisa McCree,
who is an anchorwoman on the local ABC station, will become the new host on,
the co-host on Good
Morning America, and there's been speculation about that. Well, and she didn't
want to leave
California. Right. Well, the same was true I read with Betty White back in the
1950s when the Today
Show came courting at your door. What happened there? Well, it was, people
think I was out of my
mind. They still think I was out of my mind, but I was flying back and forth,
and I would do the Jack
Parr show, and I would do one of the Goodson Todman game shows, so they asked
me if I would be the
girl on the show, the Today Show, and I said, well, no, I live in California,
and I just don't think
you got up at three o'clock in the morning or something to be on the set. Well,
I had done
that out here for four years, but that didn't bother me. I mean, that was easy.
It was the moving
to the east, to the right coast. Sure, your whole life was here in California,
your family, your friends,
and everything. Sure. Well, I went to a meeting, a couple of meetings with them,
and did you ever see
a grown agent cry? I mean, my agent kept saying, nobody really, here, well,
they offered to put me up
at the St. Regis Hotel, and that I could fly home on weekends, fly back to
California on weekends,
and that sounded pretty good for a minute, and I realized that doesn't get very
practical after a while.
No, it doesn't. No, it doesn't. So, I said, no. So, the poor guys, I didn't
mean to walk out on them.
They had to, they were stuck with Barbara Walters. Yeah, all those years with
Barbara Walters.
It was a shame, but I, you know, I just couldn't help it. Let me ask you about
your talk show days,
and we've talked about this before. You've done so many incarnations of the
Betty White show or something
like it, and have you ever had a guest from hell where you just, you couldn't
make anything happen
no matter how hard you would try? Well, you know yourself from doing this, so
you get guests that are
somewhere easier than others. Sure. So, you keep trying things, and all of a
sudden, something breaks
through, and you can loosen them up. Only once did I have somebody that nothing,
no matter what gambit I
would try for openers. Yeah, huh. He'd shrug. Sometimes I'd get a yup or a nope
out of him,
and that was it. He was a, he was a very nice young man, nice young, but I
shouldn't mention names.
Oh, it's been so long ago. Well, it was Guy Madison. Oh, sure, the actor.
He asked a nice, nice young man, very polite, very quiet, and he, yep, long pauses
before he'd say anything,
and then, no. It was as much as I could. Oh, I know. I've been there. I've been
there.
I've interviewed them. Who was the one? And the beads of sweat come up. Yeah,
no, right here, huh?
Oh, right there. Oh, yes. Right there, yeah. You know, we all learned from
Nixon, didn't we?
Yeah. I remember one when, I can't even recall her name, but she had, oh, she'd
been back and forth
across Europe with a famous Spanish director, and I think it was Charlie Chaplin's
daughter,
and every question was answered yes or no, and you know when that's all you get,
you ask 4,000
questions in 20 minutes. It just, it wears you out. It's just so charming.
Not only that, but you begin to breathe a little faster, and you begin to press,
shall we say,
but they know. Don't they know what they're doing to us? Do they do it
deliberately, or is it just
one of those things? What about the early days of television, and you write
about this, and here we
go again. The shows were five and a half hours long. They were filled with live
commercials. You
had no scripts. You didn't use cue cards. They didn't have cue cards then. Well,
this was kind of
unique. Al Jarvis moved his radio show, his disc jockey show, onto television.
So, first week,
he played the records, and I was just the girl on the set. And like Al Jarvis
was? He was a major
disc jockey in Los Angeles. He had the Make Believe Ballroom, and in New York,
the Make Believe Ballroom
that Martin Block had, he had to pay Al royalties, because it was Al's show. So,
after the first week,
the audience said, no, no, no, no, we see you talking to each other. We want to
hear what
you're saying. So, the second week, they threw out the records. So, here we are
with five and a
a half hours a day, six days a week, Saturday. And it was, but we were always
running late. We were, no matter how, we'd get to five o'clock, we went off the
air at 5:30, we'd get to five o'clock, oh my, we'd still have seven commercials
to do. We've just got to get going here.
And what were some of the commercials? Oh, well, that was back in the days, you
couldn't just shove a cassette in, you know, and play a tape.
No, no, you did it right how you held up the product, or? Well, and we had a
pack, you couldn't read, copy, I mean, that was cheating. So, you'd glance at
it while he was talking, I'd be glancing, and what the thing, and then I'd ad-lib
it, and you'd hope you got most of it right. And in ad-libbing, it would
stretch a little, so the commercials, instead of being, you know, one-minute
commercials, they went two, three minutes. Sure, and the sponsors didn't
complain at all, did they? Oh, they did. Oh, they did. Oh.
Oh, they loved it. Then we graduated into where the pitch men would come around,
and they'd go around at the various stations during the day. There was, Martin
Gilbert would come in with his magically-priced sewing machine for $19.95. Well,
you had about as much chance of buying that machine for $19.95 as a snowballing,
because you'd just, oh, well, that was $19.95.
$19.95 as a snowballing, because you just, oh, well, we do have a good one at $69.95,
which you'll like even better. Well, we had one back in Atlanta when I worked
there called the Columbia Sewing Machine, and you're right, it was $19.95 for
the sewing machine. Then the bobbin was $29.95, and the stitcher was $39.95,
but by the time you got through, you sold $199.95 with the sewing machine.
Absolutely. And they didn't complain, they bought it. Not at all. Then we had
this other nice man who would come in and throw dirt all over our carpets, and
then his vacuum.
Oh, well, we had to buy it. We had to buy the more expensive one. Oh, and then
was it Lou Slicer. He even changed his name. Lou Slicer. You know, one of these,
the magic slicers.
Like a mandolin. Oh, you cut cucumbers, and they move so fast. Well, of course,
the people would buy it, and they'd just massacre their fingers.
I mean, they'd say, we're going to sue, you know. Those were the days, huh?
They were fun, though. We are with dear Betty White. Her book is out in paperback.
It's called Here We Go Again. The Toll Free is up and running at 800-952-2788.
Back with Betty and you, as time permits, after this short time out.
We are back with Betty White. Here's Scott on The Toll Free in Welland, Ontario.
Hi, Scott. Welcome to CBS Late Night.
Hi, Tom. Hi, Scott. Hi, Betty. Hi, Scott.
Yeah, if the Mary Tyler Moore show was aired today, do you think it would have
great success?
Well, it seems to be doing that, Scott. It's on the late night, you know, the
reruns.
Nick at night or whatever. Yeah, Nick at night.
But I think what Scott means is if it came on the air for the first time today,
with the way television has changed and how they've, you know, kicked
everything up a notch in terms of graphics, in terms of violence, in terms of
action, how would the Mary Tyler Moore show do if it came on for its first
season this coming September?
It didn't do too well its first season then. Yeah. It didn't take off running,
but now it would be canceled in the first four or five weeks.
Yeah, I think that's what you mean, isn't it, Scott? Exactly. Yeah.
But don't forget, art imitates life. Life doesn't imitate art. And it's not the
shows that have changed as much as the audience that's changed.
And they're giving us what we seem to thrive on. The medium itself hasn't
changed that much.
You and Alan were great friends with Grant Tinker and Mary Tyler Moore when
they were married.
No, Alan, not Alan and Grant. Grant and Mary and Alan and I were married.
What did I say?
No, you, I, it came out like Alan and Grant were married.
No, no, no, no, no, no, no, no, no. You and Alan were married and Grant Tinker
was married to Mary Tyler Moore.
I'm not trying to start any kind of trouble here tonight, believe me.
What was Mary's feeling when the show went on the air? How did she see it going?
She loved it, but they knew something was wrong in the beginning. It just didn't
quite gel.
And oddly enough, it was little Lisa Gerritsen was the young girl on it.
And the wonderful script woman, Marge Mullen, who is now a wonderful television
director,
she said, well, if the Rhoda character wasn't working because she was abrasive
and she was...
And it was Marge's idea. She said, if Lisa Gerritsen, who was Phyllis's, played
Phyllis's daughter,
if Lisa digs Rhoda, it would, you know, it would take the edge off that
character and it would make it work.
Well, it did. Well, four years later, when Sue Ann came on,
Mary Tyler Moore, as an actress, took the choice that Mary Richards got a kick
out of laughing at Sue Ann.
Not with her, but at her. And it gave the audience a license to laugh at her.
Had she been annoyed, had Mary Richards been annoyed by her or irritated or
disgusted by her,
I would have been on one time and that would have been it.
Yeah, that was great chemistry. And it was a great twist in the evolution of
that show when Sue Ann came on.
Because Mary chose to make her funny.
Yeah, exactly.
So I'm eternally grateful.
Scott, I'm glad you called. Thank you, sir.
Thank you, Scott.
Betty, keep on going strong.
Thank you, honey.
Bye.
Bye.
Good night, Scott.
Let me ask you here about Dear Ted Knight, huh?
Ted Baxter, the anchorman.
In fact, there probably will never be a reunion of Mary Tyler Moore because he
can't be...
Well, everybody says, you know, they do reunions and then the comebacks,
they're doing one of the odd couple, I believe now.
And, but it's just without, with that missing tooth in there,
it just wasn't the same because he was, in his stuffed shirt way, he was just
such a part of that original unit.
That's long before Sue Ann came aboard.
Came on, right.
Yes.
And then the girlfriend, what was it, Georgette?
Georgette.
Georgia Angle came on the third year.
I came on the fourth year.
What about the last episode?
I've read so much about it when, I mean, they kept from you the last scene,
didn't they?
Well, the writers couldn't write it, first of all.
And finally they got it together.
And we didn't see it till, we'd see the script for the first time on Monday,
but we didn't see it till Wednesday.
And we blocked it once.
Never went back to it, didn't rehearse it.
And finally, when we got up to the point on show that we had to do it, we were
all right.
We were pulled together by that time.
And then it came up to the point where Lou Grant said, I treasure you people.
And it was just, the audience went, we went, the crew went.
So did we, kid.
It was just a mess.
I still haven't seen, from that point on, I still haven't seen it except
underwater.
I mean, it gets me every time.
All of us, kid.
All of us.
And Mary's last look in, destroyed.
And what did you think, you know, TV Guide, what was it, last week had their
cover story
on the 100 Greatest Episodes in TV, and Chuckles the Clown was the number one
choice of Nick
at Night and TV Guide.
Oh, it was so exciting to see that.
And the odd couple that Alan and I did with Tony and Jack was number five.
And The Lars Affair, which was the first Sue Ann, was 27.
So, oh, it was such a thrill.
Yeah, Chuckles the Clown, elephant.
Chuckles is dead.
A little song, a little dance, a little seltzer.
It's on your pants.
It's on your pants.
If my jokes don't tickle you, I'll do a little shtickle.
We will continue with Dear Betty White.
Here We Go Again is out now in paperback, and we'll be right back in Living
Color after this break.
We're back with Betty White.
We talked about Alan.
I've never asked you about Alan Ludden, because I don't know if you talk about
Alan.
I'm sure you still celebrate his life.
He was your hobby and good guy for a lot of years.
I wish people must wish that I'd shut up about him, but I might just deal him
into the conversation.
Good.
We had such a good time together.
And did you meet on Password?
And for those young folks in the audience who don't recall, Alan Ludden hosted
one of the most popular programs in all of television called Password some
years back.
It was the third week the Password was on the air in 1961, and I would go to
New York and put a game show together and a shot on the Jack Parr show, which
would pay my freight and my hotel.
Right.
And so I didn't make any money, but it paid for the trip, and it was good
exposure.
And to tell the truth, it's fun to go to New York now and again, huh?
Yeah, but as long as you have that round trip ticket, you're in a hot little
fist.
And so I did the show, and it was a great show.
I just loved it.
And we liked it.
He'd seen me on the Parr show, and I had seen him on the GE College Bowl, so we
felt like we knew each other.
But I just never even thought of him being anything but a married man.
I found out months later his wife died the week that I did that first show.
So later that summer, our agents booked us into summer stock, much later that
summer, with Critics' Choice, up in Cape Cod and on up in Skowhegan, Maine.
Well, your grandmother would look pretty attractive up there, you know, in that
kind of country and stuff.
So pretty soon it was, you know.
Don't put yourself down.
You're a good-looking babe.
But he went up there, and he brought the three kids and the two poodle puppies.
And I wasted a whole year saying no.
He kept asking me to marry him, and I said no, because I didn't want to move
back east.
Finally, when I said yes, he said it was the poodle puppies.
I know it was the poodle puppies that did it.
What was the program you did?
I read about this in your book, where you're in a booth with a guy at a
restaurant, and he's got to leave.
Oh, he doesn't have to leave, except to save our necks.
It was Life with Elizabeth.
We were on live.
Oh, the live situation comedy.
Live situation comedy.
And we were doing it at the theater in Beverly Hills, the Music Hall Theater.
And we were on stage, and we had a live audience in the studios, in the theater,
as well as at home.
And I was still doing this five-and-a-half-hour, six-day-a-week show.
So we'd drive over, and we'd rehearse it one evening, and then the next evening
we'd shoot it.
So we didn't really, we weren't what you might call solid on our lines.
Gotcha.
And sometimes you'd see the other one's eyes waver, so one or the other would
pull us back to the thing.
Well, this one night we were doing this restaurant.
This was a one-minute queue to you.
One restaurant in the little booth, and I looked up, and nobody was home on
either side.
So Del got up, and he said, excuse me, I'll be right back.
And he ran off stage to look at the script.
And I'm left alone in America.
All by yourself, yeah.
I build walls of the sugar cubes and get the salt and peppers dancing.
I was kind of sorry to see him come back.
I had my own little thing going.
It's been a joy to see you again.
Thanks for everything that you've done to make us happy and make us laugh and
make us cry, kid.
Oh, Tom, I always enjoy being with you.
Okay, I hope to see you soon, and thanks for coming over.
Thank you.
My pleasure.
Betty White is the guest.
Her book is out in paperback, and if you want to hear the story of a trooper
and one of the great broadcasters of our time, take a look at Here We Go Again.
Damn, I wish I'd have thought of that title.
We'll be right back after this break to tell you about tomorrow night.
Thank you for being a friend.
Travel down the road and back again.
You know how you can tell that Betty White is a pro.
I've sat in a chair like this for, what, 20, 25 years on radio and television
nationwide,
and most women who come to a TV studio or radio studio bring their purse with
them
and put it on the table next to their chair.
When Betty White walked in the studio, she threw her purse with whatever's in
there, money, credit,
just threw it on the floor behind a chair, came up here, did the show, walked
out,
because she knows in a TV studio your purse is safe.
You know, this is the one place in the world where nothing is stolen except bad
lines and crummy jokes,
which I think I'm a master at.
What does that mean?
Fifteen.
Fifteen.
Tomorrow night, Charlton Heston promises to be here.
Never look for bargains in health care or parachutes.
Back tomorrow night, same time, same station.
Good night, everybody.
Good night.
Good night.

Betty White on Late Late Show with Tom Snyder, July 1, 1997

Betty White is an award-winning actress. She's won the Emmy. She's appeared on
such programs like
The Mary Tyler Moore Show, Mama's Family, and the immensely popular and
legendary Golden Girls.
She's also been a panelist on countless game shows. She's hosted her own talk
shows and several
incarnations, and she talks about it all in her book Here We Go Again, which is
out now for the
first time in paperback. Welcome back, dear Betty, and thanks for coming over
to CBS today.
Well, and thank you, and you've covered the whole thing, and I appreciate it
very much, Tom,
and I'll see you the next time. You know, I believe tomorrow ABC will announce
that Lisa McCree,
who is an anchorwoman on the local ABC station, will become the new host on,
the co-host on Good
Morning America, and there's been speculation about that. Well, and she didn't
want to leave
California. Right. Well, the same was true I read with Betty White back in the
1950s when the Today
Show came courting at your door. What happened there? Well, it was, people
think I was out of my
mind. They still think I was out of my mind, but I was flying back and forth,
and I would do the Jack
Parr show, and I would do one of the Goodson Todman game shows, so they asked
me if I would be the
girl on the show, the Today Show, and I said, well, no, I live in California,
and I just don't think
you got up at three o'clock in the morning or something to be on the set. Well,
I had done
that out here for four years, but that didn't bother me. I mean, that was easy.
It was the moving
to the east, to the right coast. Sure, your whole life was here in California,
your family, your friends,
and everything. Sure. Well, I went to a meeting, a couple of meetings with them,
and did you ever see
a grown agent cry? I mean, my agent kept saying, nobody really, here, well,
they offered to put me up
at the St. Regis Hotel, and that I could fly home on weekends, fly back to
California on weekends,
and that sounded pretty good for a minute, and I realized that doesn't get very
practical after a while.
No, it doesn't. No, it doesn't. So, I said, no. So, the poor guys, I didn't
mean to walk out on them.
They had to, they were stuck with Barbara Walters. Yeah, all those years with
Barbara Walters.
It was a shame, but I, you know, I just couldn't help it. Let me ask you about
your talk show days,
and we've talked about this before. You've done so many incarnations of the
Betty White show or something
like it, and have you ever had a guest from hell where you just, you couldn't
make anything happen
no matter how hard you would try? Well, you know yourself from doing this, so
you get guests that are
somewhere easier than others. Sure. So, you keep trying things, and all of a
sudden, something breaks
through, and you can loosen them up. Only once did I have somebody that nothing,
no matter what gambit I
would try for openers. Yeah, huh. He'd shrug. Sometimes I'd get a yup or a nope
out of him,
and that was it. He was a, he was a very nice young man, nice young, but I
shouldn't mention names.
Oh, it's been so long ago. Well, it was Guy Madison. Oh, sure, the actor.
He asked a nice, nice young man, very polite, very quiet, and he, yep, long pauses
before he'd say anything,
and then, no. It was as much as I could. Oh, I know. I've been there. I've been
there.
I've interviewed them. Who was the one? And the beads of sweat come up. Yeah,
no, right here, huh?
Oh, right there. Oh, yes. Right there, yeah. You know, we all learned from
Nixon, didn't we?
Yeah. I remember one when, I can't even recall her name, but she had, oh, she'd
been back and forth
across Europe with a famous Spanish director, and I think it was Charlie Chaplin's
daughter,
and every question was answered yes or no, and you know when that's all you get,
you ask 4,000
questions in 20 minutes. It just, it wears you out. It's just so charming.
Not only that, but you begin to breathe a little faster, and you begin to press,
shall we say,
but they know. Don't they know what they're doing to us? Do they do it
deliberately, or is it just
one of those things? What about the early days of television, and you write
about this, and here we
go again. The shows were five and a half hours long. They were filled with live
commercials. You
had no scripts. You didn't use cue cards. They didn't have cue cards then. Well,
this was kind of
unique. Al Jarvis moved his radio show, his disc jockey show, onto television.
So, first week,
he played the records, and I was just the girl on the set. And like Al Jarvis
was? He was a major
disc jockey in Los Angeles. He had the Make Believe Ballroom, and in New York,
the Make Believe Ballroom
that Martin Block had, he had to pay Al royalties, because it was Al's show. So,
after the first week,
the audience said, no, no, no, no, we see you talking to each other. We want to
hear what
you're saying. So, the second week, they threw out the records. So, here we are
with five and a
a half hours a day, six days a week, Saturday. And it was, but we were always
running late. We were, no matter how, we'd get to five o'clock, we went off the
air at 5:30, we'd get to five o'clock, oh my, we'd still have seven commercials
to do. We've just got to get going here.
And what were some of the commercials? Oh, well, that was back in the days, you
couldn't just shove a cassette in, you know, and play a tape.
No, no, you did it right how you held up the product, or? Well, and we had a
pack, you couldn't read, copy, I mean, that was cheating. So, you'd glance at
it while he was talking, I'd be glancing, and what the thing, and then I'd ad-lib
it, and you'd hope you got most of it right. And in ad-libbing, it would
stretch a little, so the commercials, instead of being, you know, one-minute
commercials, they went two, three minutes. Sure, and the sponsors didn't
complain at all, did they? Oh, they did. Oh, they did. Oh.
Oh, they loved it. Then we graduated into where the pitch men would come around,
and they'd go around at the various stations during the day. There was, Martin
Gilbert would come in with his magically-priced sewing machine for $19.95. Well,
you had about as much chance of buying that machine for $19.95 as a snowballing,
because you'd just, oh, well, that was $19.95.
$19.95 as a snowballing, because you just, oh, well, we do have a good one at $69.95,
which you'll like even better. Well, we had one back in Atlanta when I worked
there called the Columbia Sewing Machine, and you're right, it was $19.95 for
the sewing machine. Then the bobbin was $29.95, and the stitcher was $39.95,
but by the time you got through, you sold $199.95 with the sewing machine.
Absolutely. And they didn't complain, they bought it. Not at all. Then we had
this other nice man who would come in and throw dirt all over our carpets, and
then his vacuum.
Oh, well, we had to buy it. We had to buy the more expensive one. Oh, and then
was it Lou Slicer. He even changed his name. Lou Slicer. You know, one of these,
the magic slicers.
Like a mandolin. Oh, you cut cucumbers, and they move so fast. Well, of course,
the people would buy it, and they'd just massacre their fingers.
I mean, they'd say, we're going to sue, you know. Those were the days, huh?
They were fun, though. We are with dear Betty White. Her book is out in paperback.
It's called Here We Go Again. The Toll Free is up and running at 800-952-2788.
Back with Betty and you, as time permits, after this short time out.
We are back with Betty White. Here's Scott on The Toll Free in Welland, Ontario.
Hi, Scott. Welcome to CBS Late Night.
Hi, Tom. Hi, Scott. Hi, Betty. Hi, Scott.
Yeah, if the Mary Tyler Moore show was aired today, do you think it would have
great success?
Well, it seems to be doing that, Scott. It's on the late night, you know, the
reruns.
Nick at night or whatever. Yeah, Nick at night.
But I think what Scott means is if it came on the air for the first time today,
with the way television has changed and how they've, you know, kicked
everything up a notch in terms of graphics, in terms of violence, in terms of
action, how would the Mary Tyler Moore show do if it came on for its first
season this coming September?
It didn't do too well its first season then. Yeah. It didn't take off running,
but now it would be canceled in the first four or five weeks.
Yeah, I think that's what you mean, isn't it, Scott? Exactly. Yeah.
But don't forget, art imitates life. Life doesn't imitate art. And it's not the
shows that have changed as much as the audience that's changed.
And they're giving us what we seem to thrive on. The medium itself hasn't
changed that much.
You and Alan were great friends with Grant Tinker and Mary Tyler Moore when
they were married.
No, Alan, not Alan and Grant. Grant and Mary and Alan and I were married.
What did I say?
No, you, I, it came out like Alan and Grant were married.
No, no, no, no, no, no, no, no, no. You and Alan were married and Grant Tinker
was married to Mary Tyler Moore.
I'm not trying to start any kind of trouble here tonight, believe me.
What was Mary's feeling when the show went on the air? How did she see it going?
She loved it, but they knew something was wrong in the beginning. It just didn't
quite gel.
And oddly enough, it was little Lisa Gerritsen was the young girl on it.
And the wonderful script woman, Marge Mullen, who is now a wonderful television
director,
she said, well, if the Rhoda character wasn't working because she was abrasive
and she was...
And it was Marge's idea. She said, if Lisa Gerritsen, who was Phyllis's, played
Phyllis's daughter,
if Lisa digs Rhoda, it would, you know, it would take the edge off that
character and it would make it work.
Well, it did. Well, four years later, when Sue Ann came on,
Mary Tyler Moore, as an actress, took the choice that Mary Richards got a kick
out of laughing at Sue Ann.
Not with her, but at her. And it gave the audience a license to laugh at her.
Had she been annoyed, had Mary Richards been annoyed by her or irritated or
disgusted by her,
I would have been on one time and that would have been it.
Yeah, that was great chemistry. And it was a great twist in the evolution of
that show when Sue Ann came on.
Because Mary chose to make her funny.
Yeah, exactly.
So I'm eternally grateful.
Scott, I'm glad you called. Thank you, sir.
Thank you, Scott.
Betty, keep on going strong.
Thank you, honey.
Bye.
Bye.
Good night, Scott.
Let me ask you here about Dear Ted Knight, huh?
Ted Baxter, the anchorman.
In fact, there probably will never be a reunion of Mary Tyler Moore because he
can't be...
Well, everybody says, you know, they do reunions and then the comebacks,
they're doing one of the odd couple, I believe now.
And, but it's just without, with that missing tooth in there,
it just wasn't the same because he was, in his stuffed shirt way, he was just
such a part of that original unit.
That's long before Sue Ann came aboard.
Came on, right.
Yes.
And then the girlfriend, what was it, Georgette?
Georgette.
Georgia Angle came on the third year.
I came on the fourth year.
What about the last episode?
I've read so much about it when, I mean, they kept from you the last scene,
didn't they?
Well, the writers couldn't write it, first of all.
And finally they got it together.
And we didn't see it till, we'd see the script for the first time on Monday,
but we didn't see it till Wednesday.
And we blocked it once.
Never went back to it, didn't rehearse it.
And finally, when we got up to the point on show that we had to do it, we were
all right.
We were pulled together by that time.
And then it came up to the point where Lou Grant said, I treasure you people.
And it was just, the audience went, we went, the crew went.
So did we, kid.
It was just a mess.
I still haven't seen, from that point on, I still haven't seen it except
underwater.
I mean, it gets me every time.
All of us, kid.
All of us.
And Mary's last look in, destroyed.
And what did you think, you know, TV Guide, what was i