Format for The Mary Tyler Moore Show
The text you see here appears in the same form as it appears in the original pressbook issued to the network execs in early 1970. No
alterations have been made, in whole or part.
Title Page
Format for "The Mary Tyler Moore Show"
by James L. Brooks and Allan Burns
January 21, 1970
Page 2
A room. Actually, an entire apartment, but a single large room. There are some—mostly
of the working-girl variety—who would consider this place a "great find": ten-foot ceilings, pegged wood floors, a wood-burning fireplace, and, most important, a fantastic ceiling-height corner window. Right now the room is totally empty, but it won't be for long. It will be the main setting for
THE MARY TYLER MOORE SHOW
So God Bless It.
Page 3
Mary hasn't seen the apartment yet. We have the first look—and our attention is arrested by the sight of a figure in sweatshirt and jeans perched atop a twelve-foot ladder outside in the cold. RHODA MORGENSTERN is washing windows with a vengeance and, we fear, frostbite, for our setting is Minneapolis, Minnesota—the only city in America whose major industry is snow-removal. Rhoda, for reasons which we will learn later, is an ex-New Yorker. She is thirty-two years old and formidable. She will provide none of the sex—but most of the violence—in this series. She pauses in her window-washing to press her nose against the glass and gaze lovingly at the interior of the apartment, then descends out of sight down the ladder.
After a beat, we hear voices in the hallway, then the sound of a key in he lock and the door swings open and Marna Lindstrom enters, speaking to someone in the hall.
MARNA
You're going to just love it! Literally!
Wait a sec while I make sure everything's
perfect.
MARNA SWEEPS BRISKLY INTO THE ROOM, QUICKLY CLOSING DOORS, FLICKING DUST OFF COUNTER-TOPS AND DRAWING THE DRAPES ON THE BIG CORNER WINDOW.
MARY'S VOICE
(FROM HALL) It's not my apartment yet.
Page 4
MARNA
(MATTER-OF-FACT) Yes, it is. This awful girl wanted it,
so I took
a year's lease for you.
Let us say right here that Marna is the type of person who takes year's leases for people without first consulting them. She is an organizer of other people's lives—and in the area she is not without talent. For example, she has shaped her daughter, MARNA JR., into the kind of nine-year-old who Doctor Spock and Hair Ginott would like to work over in a dark alley. Marna and Marna Jr. live in the only three-bedroom apartment in
this building with their husband and father, DR. LARS LINDSTROM, the dermatologist.
At this moment Marna is in her element, running things, insisting that Mary close her eyes before entering the apartment.
MARNA
Come on, I want to put you in the perfect
spot to see it for the first time.
MARNA LEADS MARY IN BY THE HAND. MARY IS WEARING A "FUN FUR" AND A LOOK OF TOLERANT EXASPERATION,
HER EYES TIGHTLY CLENCHED.
MARY
It's not that I don't like it…but how much is the rent?
A hundred and thirty a month.
Page 5
Mary looks uncertain. She looks uncertain a lot these days and for good reason.
For four years there has been a man in her life—a medical student, then intern,
then resident—who said they'd be married as soon as he set up his practice. One thousand, for hundred and sixty days later—as she helped him hang up his shingle,
he handed back the hammer and said, "Look, why should we rush into things?"
Wisely, she left.
The change of scene is already working—she's not even thinking about him
right now—she's wondering how she's going to afford a hundred and thirty dollars
a month rent.
MARY
I was hoping to find something for under a
hundred.
MARNA
I heard of a fantastic place for ninety-
five.
MARY
Why didn't you rent that one for me?
MARNA
I was in Peru.
MARNA POSITIONS MARY ABOUT FIVE FEET IN FRONT OF THE HUGE WINDOW, GRASPS THE FULL-CORD OF THE DRAPES, AND TURNS TO WATCH MARY'S REACTION WHEN SHE OPENS THEM.
MARNA
Okay, on three—open your eyes. One…Two…(YANKS CORD)…Three!
Page 6
THE DRAPES AND MARY'S EYES OPEN SIMULTANEOUSLY, REVEALING A SCOWLING, SPONGE-WIELDING RHODA MORGENSTERN FRAMED JUST OUTSIDE THE WINDOW. MARY REACTS.
MARNA
(EYES STILL FIXED ON MARY)
Isn't that the most incredible view?
MARY
(UNCERTAIN) I guess so. Does she stay out
there all the time?
MARNA TURNS, SEES RHODA AND QUICKLY DRAWS THE DRAPES.
MARNA
Don't pay any attention to her. I'm going to get the manager.
MARY
(SLIGHTLY ALARMED)
Who is that?
MARNA
That's the only drawback to living in this
building.
MARNA EXITS, LEAVING MARY ALONE AND UNEASY. FROM BEHIND THE DRAPES, "THE-ONLY-DRAWBACK-TO-LIVING-IN-THIS-
BUILDING" STARTS BEATING AND ANGRY TATTOO ON THE WINDOW. MARY STARES AT THE DRAWN DRAPES, TRYING TO FOLLOW MARNA'S ADVICE AND NOT PAY ANY ATTENTION. SHE STANDS THE LOUD RAPPING AS LONG AS SHE CAN, THEN CROSSES AND TENTATIVELY OPENS THE DRAPES. SEEING THAT MARY ISN'T ABOUT TO OPEN THE WINDOW FOR HER, RHODA QUICKLY CHANGES HER EXPRESSION—THE LOOK THAT COULD KILL BECOMES A LOOK THAT CAN TAN. FACED WITH SUCH BENIGN WARMTH, MARY OPENS THE WINDOW.
RHODA
Get out of my apartment!
Page 7
Let's freeze-frame for a moment on this confrontation, for it marks the beginning of a relationship which will become one of the most important elements of our series. Unlikely as it may seem, theses two young women, with their wildly diverse backgrounds,
will become inseparable friends. And a strange and wonderful relationship it will be: this
fiercely self-sufficient, suspicious Jewish girl from Columbus Avenue will grudgingly begin to dig this open, trusting, WASP chick from Maple Street. Rhoda will be amazed to discover that if you push Mary too far you'll find yourself confronted by one of the world's few Presbyterian militants. Mary has a sense of justice—and therefore a sense of outrage. But, since she's essentially feminine, push her one step beyond anger and you'll find quivering fear.
Rhoda has never known—let alone liked—anyone from Mary's background, and therefore has a lot of preconceived prejudices about her that drive Mary right up the wall. (For example, Rhoda's speculation
That Mary wasn't born, but drawn—by Norman Rockwell.) However, the girls do have
a few key areas of common experience. Girls like Mary leave small towns because they've
Met all the available men. Rhoda met all the available men in her home town too. But in her case the town was New York City. Rhoda has a different explanation for fleeing
New York: the crime rate. ("Men were always breaking into my apartment. I wouldn't have minded so much if they'd been after me!")
Page 8
Despite the fact that Rhoda is about to fight tooth-and-nail to get this apartment away from Mary (she claims squatter's rights on it) she'll surprise herself by learning
to feel protective towards this girl she'll never quite understand. She'll always be
vaguely distrustful of people who get what they want by being open and nice.
Mary is open and nice. That's why she's in trouble. It's also why she's still single. If she had been less open she could've maneuvered that doctor into marrying
Her. In the world of the seventies, openness is for national parks; niceness is for Betty White, who can turn a buck with it; and trust is something the President asks for and
doesn't get. Lest you be left with the picture of Mary with warm apple pies cooling on her windowsill, singing duets with her pet squirrel, that's not our girl. It's just that
she seems especially wholesome when contrasted with those around her. (We'll let you in on a secret that's for our eyes only. Mary is not a virgin. This becomes a very wholesome quality when you realize that Rhoda is not a virgin many times over.)
All right, then. Here's Mary...newly arrived in town…confronted with an enemy she didn't even know five minutes ago…already committed to pay more rent than
she can afford on an apartment she's not sure is hers. And before she can sort it all
out, she has to go on a job interview.
* * * *
Page 9
The newsroom of a local TV new operation. Two NEWSWRITERS are typing feverishly against a deadline. Their desks littered with reams of copy, ashtrays overflowing with half-smoked cigarette butts and gum-wrappers. (The janitor here dusts the floor and vacuums the desks.) A third newswriter, RICHARD SLAUGHTER, is serenely reading a newspaper, folding it carefully
As he does so, his desktop immaculate, his copy neatly stacked as always at the northeastern most corner of his desk. Via a TV monitor whose back is to us we HEAR the start of WJM-TV's SIX O'CLOCK REPORT WITH TED BAXTER. Standing in the middle of the room watching the monitor is LOU. Lou is one of that disappearing breed of skilled newsmen who never finished high school. He still in uncomfortable with such innovations of electronic journalism as hatless reporters…and the person who is now approaching him…a makeup man named FREDDIE.
Despite Lou's intense desire to watch the news, he is forced to listen to Freddie's appraisal
of the way Ted Baxter is made up. Lou endures this for as long as he can, then TURNS UP THE VOLUME to drown him out.
BAXTER'S VOICE
(HEADLINING THE DAY'S TOP NEWS STORIES)
MIDEAST CRISIS WORSENS AS BORDER ATTACKS CONTINUE…THOUSANDS LEFT HOMELESS AS EARTHQUAKES
ROCK PHILLIPINES…SCIENTIST PREDICTS AIR POLLUTION WILL REACH
LETHAL PROPORTIONS IN FIVE YEARS…
RICHARD
(CASUALLY, TO THE ROOM IN GENERAL)
I heard the worst news today…
Page 10
LOU TURNS AND LOOKS AT THIS PERSON WHO THINKS HIS NEWS IS
WORSE THAN WHAT'S COMING OVER THE AIR. HE TURNS THE VOLUME BACK DOWN.
LOU
(CHALLENGINGLY) Tell us your news, Slaughter.
RICHARD LOOKS LIKE HE WISHES HE HADN'T BROUGHT IT UP.
RICHARD
(FEEBLY) They're making Phillips Avenue one-way.
LOU
(VOICE DRIPPING WITH SARCASM)
When you have a honey like that, don't
waste it on this room—write it up and
we'll put it on the Eleven O'Clock News!
SHAKING HIS HEAD, HE CROSSES BACK TO THE TV MONITOR AND TURNS THE VOLUME UP AGAIN.
BAXTER'S VOICE
(FROM MONITOR) Phillips Avenue goes one way...that story in a moment.
AS LOU SLOWLY TURNS AND LOOKS THREATENINGLY AT RICHARD, MARY ENTERS, LOOKING NERVOUS.
MARY
(ANXIOUSLY) Is this the newsroom?
LOU
I was just asking myself the same question.
Page 11
MARY
(TO RICHARD) I'm supposed to see a Mr.
Grant about the secretarial job...
RICHARD
(Briskly) It's allready been filled.
LOU
(ANNOYED, TURNS DOWN TV VOLUME AGAIN)
I think since this young lady came to see
Mr. Grant, you ought to let Mr. Grant
handle it. (TO MARY) Right in there.
HE POINTS TO AN INNER OFFICE, THEN OPENS THE DOOR AND LEADS MARY IN.
MARY
Do you have any idea when Mr. Grant will be back?
LOU
I'm Mr. Grant.
MARY
(REACTS) You're back!
SHE FOLLOWS THIS BON MOT WITH A WINNING SMILE. LOU TAKES HER COAT AND HANGS IT UP, MOTIONS FOR HER TO PUT
HER PURSE DOWN, SEATS HER IN A CHAIR, THEN OPENS HIS BOTTOM DESK DRAWER AND REACHES IN.
LOU
Would you like a drink?
MARY
(PLEASED) Thank you. I'll have a Tom Collins
Page 12
LOU, WHOSE IDEA OF A DRINK IS A STRAIGHT SHOT, IS ABOUT TO TAKE TWO SHOT GLASSES AND A BOTTLE OF WHISKEY OUT OF THE DESK.
HE PUTS THEM BACK IN THE DRAWER AND CLOSES IT.
LOU
Maybe some coffee.
MARY
That would be fine.
LOU POURS TWO MUGS FROM A POT.
MARY
Has the job been filled?
LOU
Look, that guy out there is a newswriter.
He doesn't have anything to do with what's
been filled or what hasn't been filled. He just enjoys telling people who look like
they need
work that jobs have been filled.
MARY
(RELIEVED) I guess you want to see my application form.
SHE HANDS HIM A SHEET OF PAPER.
LOU
I'm sorry. The job's been filled.
Page 13
Mary's expression reveals her disappointment and Lou sees it and feels badly about
raising her hopes and then dropping them. Mary stammers her thanks for the interview and
tries to leave, but unfortunately Lou has gone to such pains to make her comfortable that
leaving gracefully is not easy. She has to put down her coffee, pick up her purse and application
form, and get her coat out of the closet.
MARY
(QUAVERY) If the job was filled, did you
have to make me quite so comfortable?
SHE MANAGES TO STRUGGLE INTO HER COAT.
LOU
Look, there's another job. I mean, I was
thinking of a man for it, but we could talk
about it if you want to.
MARY
(ONCE-BURNED, CAUTIOUS) Can I leave my
coat on?
LOU
(NODS) We'll have a nice, normal
interview.
HE HOLDS OUT HIS HAND AND NODS TOWARD THE APPLICATION IN HER HAND
AND SHE HANDS IT TO HIM TENTATIVELY. HE SCANS THE PAGE PERFUNCTORILY, THEN DROPS
IT ON HIS DESK.
Page 14
LOU
How old are you?
MARY
(NOT BATTING AN EYE) Thirty.
LOU
(SURPRISED) No hedging? No "How old do I look?"?
MARY
Why hedge about it? (BEAT) How old do I look?
LOU
Thirty. What religion are you?
MARY
(UNCERTAINLY) Mr. Grant, I don't know
quite how to say this, but you're not allowed to ask that
when
somebody's applying for a job. It's against the law.
LOU
You wanna call a cop?
MARY
(SMILES NERVOUSLY) No.
LOU
Good. Would you think I was violating your
civil rights if I asked if you're married?
Page 15
MARY
(THINKS IT OVER) Presbyterian.
LOU
(REACTS) Huh?
MARY
I decided I'd rather answer your first question.
LOU
Oh, you're divorced.
MARY
(QUICKLY) No.
LOU
Separated?
MARY
No!
LOU
Never married?
MARY
(EMPHATICALLY) No.
LOU
(STRAIGHT-OUT) Why?
MARY
Why? How am I supposed to answer that?
LOU
(DISMISSES IT, BRUSQUE) I guess I know the answer. Do you type?
Page 16
MARY
(FEISTY) There's no simple answer to that.
LOU
Yes, there is. You can either say, 'No, I
can't type' or 'Yes, I can.'
MARY
(POINTING OVER HER SHOULDER TO THE QUESTION
BEFORE THAT) There's no simple answer to why a person isn't married.
LOU
(DISINTERESTED) There can't be that many reasons.
MARY
(CLIPPED) Sixty-five.
LOU
Sixty-five reasons?
MARY
Let me guess. (POINTS AT HER)
My typing question.
MARY NODS.
Page 17
LOU
Look, Miss...just so you're not the first person to get
overtime for a job interview,
why don't you try
answering the questions as I ask 'em.
MARY
It's not easy when you ask questions like,
'Why aren't you married?'
LOU
Okay, so you want to be married.
MARY
Who doesn't?
LOU
Me.
MARY
Are you married?
LOU
Of course I'm married. Would I say I didn't
want to be married if I wasn't married?
Page 18
MARY
(INCREDULOUS WAIL) Jokes! I'm not married and he's making jokes! Boy, that's typical!
Why is it in the minute you're over twenty-five and unmarried people think they
can ask you the most
personal questions? Here I am on a job interview and you want
to know why I'm not married!
(A BEAT, THEN: ) I hope you don't take this the
wrong way, Mr. Grant, but that question was
really dumb.
SHE SITS THERE PERCOLATING. LOU'S SILENCE BEGINS TO MAKE HER UNEASY: SHE BEGINS TO WISH SHE
HADN'T BEEN QUITE SO VOCAL.
LOU
(FINALLY) You know what? You've got spunk.
MARY
(STILL ANGRY, BUT MODEST) Well...
LOU
I hate spunk.
Lou may hate spunk, but he likes Mary. He offers her the job, cautioning her not to be misled by its title.
MARY
What is it?
LOU
It doesn't pay very well.
Page 19
MARY
What's the job?
LOU
The job is that of Associate Producer.
MARY
Associate Producer?
LOU
Something wrong?
MARY
(QUICKLY) No, I like it! (TRIES IT ON HERSELF)
Associate Producer! (SMILES)
LOU
The job pays ten dollars less a week than the sectretarial job.
MARY
(HER SMILE FADES A LITTLE AS SHE DOES
SOME QUICK FINANCIAL FIGURING)
I think that'll
be okay.
LOU
If you can get by on fifteen less a week, we'll make you Producer.
Page 20
MARY
(QUICKLY CONSIDERS IT, THEN SHAKES HER HEAD)
I'm afraid all I can afford is Associate Producer.
* * * *
If Mary is awed by her newly-acquired title of Associate Producer, she awes alone. For everyone in the office knows that
the glitter will come off the title within forty-five minutes of her first day on the job. Her chief duty will be to act as a buffer
between Lou Grant and everyone/and/everything that bugs him--which takes in ninety-nie percent of the planet Earth
(and he's eginning to show his first pangs of annoyance with what's happening on the moon.) Among her other official duties will
be to endure lunches with Ted Baxter: the prima donna anchorman, who can't decide whether his destiny calls for him to
displace Walter Cronkite or Warren Beatty...to secure visiting dignitaries for the station management's demand to find
an audience-grabbing format for the weather news...and to look for Lou's cigar, which is always burning and always lost.
* * * *
Page 21
In an attempt to conclude what is now in danger of becoming the world's longest thumbnail sketch, let us review:
The key elements in our series are Mary's relationship with Rhoda, which is composed of love and conflict--not necessarily
in equal parts...and her relationship with Lou, wherein, in radically different ways, they protect one another.
This series will, as we hope you have noted, be comedically populated. But it is clearly about one person living
in and coping with the world of the 1970's...tough enough in itself...even tougher when you're thirty, single, and female...
when despite the fact that you're the antithesis of the career-woman, you find yourself as the only female in an all-male newsroom.
LOU
(AS MARY IS ABOUT TO GO) Hey, Mary--
there's something I oughtta tell you. Some
people's language gets a little rough around here...I hope that doesn't bother you.
MARY
(IT DOES BOTHER HER A LITTLE) Well...I'll
try not to listen to them.
LOU
It won't be easy.
MARY
Why not?
LOU
It's mainly me.
* * * *
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