>>Regis Philbin: Johnny
Carson tomorrow at 9 So, here's Johnny right now, see? Comes to work, no limo,
no chauffeur, no big deal coming to work like any other American
citizen, you know what I mean? Just coming in, driving on the lot Hi Johnny! Johnny, it's me, Regis! >>Johnny Carson: You've been
reduced to this? >>[laughs] It's nice to see you! >>Catching people in parking lots? >>Come on in Look at that, your own parking space Well, how are you doing? >>This is the way you know your show
is still on the air, your sign is still there. >>If the sign is there, you'll park in >>How are you feeling? >>I'm feeling pretty good, Johnny We just want to spend
a little time with Johnny and show you exactly what he does
as he comes to work every day and that's, please Johnny, please,
just a few seconds! [laughs] Johnny having fun with Rege,
you know what I mean? >>What are you doing out here?
I thought you were in New York >>We want to show everybody what,
you know, what your day is like >>It's pretty thrilling so far
>>just the beginning of it >>Right and look at you now. You
dress up and I come to work like this. >>This is how you come to work.
>>And this is it. >>and everything of course, and so on,
with the Gucci belt! [indistinct] [laughter] >>We had a good week last week >>Now Johnny, as I recall in the old days you used to come with a
brown bag and the lunch >>Yeah, I'm eating out
a lot more now [laughter] Everybody would make those
little lunches >>I see >>have a little hot plate and a can of Sterno
you know, and I'd whip up something >>Yeah. I'd jump in the car
>>I used to brown bag it >>Sure, I know you did >>Anything to stay out of
that place over there >>Yeah, and that's the commissary over
there that we hear so much about, huh? >>What are you doing out in California? >>I'm out in California to
do a few interviews and we're kind of excited about
spending a few minutes with you I don't want to take a lot of time
>>[laughing] Alright >>but I really want to know what
the beginning of your day is like. It's around 2 o'clock in the
afternoon >>That's right >>What'd you do this morning? >>I got up at 6
>>You're kidding me, really? >>No, I got up at 6
>>Yeah? >>went out on the beach, got the paper, read the paper, made some notes, uh went up to Pepperdine college, played three sets of tennis
>>Yeah? >>came back to the house, talked with Peter LaSalle,
who's lurking over there >>your producer >>uh checked on the, talked with the
writers about a sketch we're doing checked on the monologue see if anybody got sick, who's
not going to show up tonight >>a lot of preparation
>>[indistinct] yeah, you know >>Now here comes one of these
NBC tours >>Yeah, what a rip off three-fifty and they bring you out
here and show you yellow lines >>but they also show you the, and when
the car isn't here, what a disappointment >>Actually they will show you
also, Tritia Toyota's Subaru or else it's Tritia Subaru's Toyota I never got it straight
>>Never got it straight >> It's one of the two >>Alright, shall we grab your little purse
and uh? >>I beg your pardon? [laughter] >>And in we go Now, first thing you do
is go to wardrobe, huh? >>We call this mo-sack.
>>mo-sack? >>No, it's not a purse. It's a sack. >>Well, it looked like a purse to me Johnny.
In New York it's a purse. [laughter] >>In New York, you can
get away with that. >>Look how you locked
the car, even on the lot. Atta boy Alright so from here
>>What a thrill this is for me >>Woman: We know >> He's back with Regis
where he belongs [laughter] >>Man: Good luck, Rege >>Philbin: Tell Ed he's finished.
It's Regis and Johnny from now on. >>Carson: Man lurks in
parking lots, grabbing people, desperation time >>Now, you're like the king.
You know what I mean? >>Uh-huh You are the king. Let's
face it, you're the king! >>Come on now, let's
don't overdo it now. >>You walk in. Look how
people part the ways. Look, look how [indistinct] This guy's taking out his... >>Isn't this an exciting display
here for the people to see? >>Johnny's lunch right here Doesn't this guy know
that you're the king? He walked right by you
without bowing once. So where do you go? You go to the wardrobe
and pick out your wardrobe for tonight? >>Yeah, I pick out something to wear.
>>Mh-hmm >>and uh, we can get anything
we need. >>Yeah, I'd like... >>We can pick you something out.
[laughter] >>I could use it. >>A nice blue blazer, very nice,
very New York-ish. >>You do dress very well, Johnny.
>>Very New York-ish If I had my druthers I'd
dress like this all the time. >>Really?
>>Sure >>But I want to tell you, you look terrific when you come out from those
multi-colored curtains, you know and you stand out, I don't
know what my life would be without you at night to look
forward to, I'm not kidding. >>Things not going that
well huh? [laughter] Let's duck in here
>>Alright >>This is Guardo. Hello Sharon
>>Sharon: Hi >>Carson: You know Regis, don't ya?
>>Sharon: Yes hi, nice to [indistinct] >>Now, we're going to give
this away tonight, right? >>Sharon: Right >>Carson: I wore this
last night and the thing >>The thing jumped out,
a lot of complaints, yeah >>I'm getting it exchanged with
somebody in the audience tonight. We're working out a deal.
I'm going to give this away >>That's funny. That's a funny idea. as long as that fellow agrees
to never appear on television. >>Ed McMahon: Excuse me, I've got
a very hungry Alpo dog I gotta go feed. >>Philbin: Oh my gosh. Look
who's sneaking in here. >>Excuse me, I'm awfully sorry >>Carson: This is where
the big bucks are [laughter] >>Philbin: Ed is wearing
that kind of a shirt? >>That's right [laughter] And this is the wardrobe >>What do you think we
should wear tonight, Regis? >>I've always been partial to this one. >>You like that?
>>I like that, yeah! >>You like a little plumb color?
>>Very handsome! >>We have that made up in Regis's size?
>>Sharon: Sure >>Philbin: Would be nice, Johnny, if you gave
me a coat to bring back to New York [laughter] but that's the, that's the entire
Johnny Carson wardrobe? >>Carson: Most of them, yeah >>So, then you pick out what you
want to wear and there it is >>That's it, and Sharon and Charles bring
it up and put it all together >>uh-huh >>and this one, we're
giving away tonight >>and what will you do all afternoon? >>Some time going over the jokes and >>I whimper for about an hour [laughter] I have a whimpering room
right next to my office then I go into the sulking room [laughter] then I build up to the show [laughter] I'll sit up there. I'll get the monologue. The guys'll come in with the
material for the monologue, go over the notes for the guests tonight. We have a sketch we're
doing tomorrow night, a tea time movie
>>Oh yeah >>Art Fern with Carol Wayne so, we'll run that over, make some cuts you know, just generally look uh
down the road and see what's >>Tonight, as I understand it, you got
William F. Buckley on the show. >>William F. Buckley, yes
>>Oh yes, Johnny >>Buckley will discuss the many
things of the [indistinct] [laughter] We're doing him.
>>That's pretty good >>And we got Itzhak Perlman tonight >>Oh, can you do him too?
>>No [laughter] >>You know what'd be
the thrill of my life? If I could just walk out
with you on the set and just stand near
the star on the floor Can we just walk out there, Johnny? >>Gee I don't...
>>We'll just stand there. I won't stand on it. I just
want to stand near it. >>You know something I don't know? Am I being cancelled?
>>No no no! >>Sure come on out
>>Yeah Sure, you wanna see
Johnny's star? Come on. Got Johnny here, the king! >>Cameraman: Hold it right there >>Philbin: Johnny and I are busy >>Cameraman: Anytime >>Carson: Is this a scale show?
Am I going to get paid today? >>Philbin: Incidentally,
as a matter of fact >>No no no no, don't give
me the money on camera. Give it to me in the parking
lot behind my car [laughter] >>Maybe you can use a few bucks
[indistinct] [laughter] This is backstage here, huh?
>>What a thrill >>It is kind of dark back here in the >>It's kind of like being in a
nightclub in the daytime >>Yeah
>>not too glamorous >>alright
>>not too glamorous >>and you go around here and look I'm always surprised at the way the seats
go right up to almost to the roof. >>This is the theater.
This is a good studio. >>Johnny, explain one thing
>>Yeah? >>The eye over there The other night I noticed
the eye for the first time but you never said a word about it. >>What's the year? >>The year of the eye? >>No, what's the year this year? >>It's the what? >>What's the year this year? >>This year is 1984 Oh, I gotcha, big brother! >>So we just put it up there
and we haven't said anything. People are writing in saying what and we just don't know anything about it. >>I love the set, the whole
panorama of Los Angeles there. Look at this! Who's
on tonight? Liberace? Is this for William Buckley? >>There goes the budget
[laughter] >>Now, this is for Itzhak,
I would imagine >>I would assume, yeah,
over there, setting something >>Yeah, this is rehearsal Now, Johnny you stand
back here every night. Do you ever get nervous any more? >>Sure, every night
>>No do you really, Johnny? >>Oh sure >>Yeah? >>Yeah >>until you get out and find out how
the audience is going to react and >>Uh-huh, but you know you're going
to get them every night, don't you? >>No?
>>No! >>And that, I guess, is what
the excitement is all about. >>No, I think you have to have that edge.
I think you need that little edge. >>Mm-hmm
>>You know, you stand back and uh Ed'll come back and say whether they're
up tonight or they're down tonight >>Oh, I gotcha [indistinct] But it seems to me when, when
the first joke misses, that's when >>That's, that's when you
like it, isn't it [laughter] >>No, but that's when
you're at your best! That's when you, you know, you give
the savor and you make it all happen. >>Yeah, you try to bail out. You don't
wanna, you don't wanna judge, base your monologue on bailing out
>>No >>But you know, you just,
you have fun with it, that's all >>Sure, now, so you
walk out, now let's see >>Go right down to this little mark here >>Right down here
>>Go right there >>Right there
>>Somewhere about there >>in your nice red suit tonight >>and there you are
>>looking very proud, very regal >>Got any material? You
want to break anything in? >>Good evening, everybody.
It's nice to see you tonight. Ahh, boo! That's about it tonight.
[laughter] Well listen, I wanna tell ya,
it really is a thrill to be, and the band, of course, is right over there oh yeah, I like when you come
out and you give Ed a wave and Ed goes like this and
Doc gives you one of these >>little habits >>yes
>>little habits >>yeah but that makes you feel secure doesn't it to know that
>>yes >>your team is there and
everybody's pulling for you Be nice if you let Regis do
the show once, you know Why don't we cancel
Joan Rivers and just sneak me in for a year or two,
you know what I'm saying? [laughter] Listen, it was a thrill being here >>Good to see you
>>Nice to have you uh >>I understand it's going
great in New York >>It's going very well in
New York, it really is Why don't you come back [indistinct]
>>You go on every single day? >>Every morning from nine
to ten-thirty >>Um-hmm >>You remember those
>>Hour and a half >>Those days in New York
and those cold nights. >>I sure do. I saw you,
matter of fact, out by the uh Rockefeller tree.
>>Oh yeah I did a page reunion. I did some
man on the street stuff out there. >>Yeah, I did that one year and
it was 10 below zero >>Yeah? >>when they lit the tree
>>Yeah Yeah, you don't miss that too much, do ya? >>No, I miss New York
>>Do ya? >>Yeah, it's a great city
>>Good Anyway, thanks a million
>>Thanks, Rege >>Alright, good luck to ya, Johnny
>>Come back and see us again >>Okay, bye bye That's it! Shoot that eye for me? Maybe I should sit behind [indistinct] just show me what's that's like [laughter] >>Come on
>>So near and yet so far! >>Yeah, look how close, that desk!
This is it, huh Johnny? And you just go right behind
there and you sit down like, like the king you are
and we sit right there [sound of barking dog] Why is that dog barking at me?
[laughter] Boy is this nice! And you get the,
sometimes you get the pencil >>Don't, don't touch
anything, Regis [laughter] No no no >>No no no
>>Don't touch anything >>But, but you get that pencil
and you get to whack it and then once in a while you
throw it at Fred, down there >>That's right, that's right >>There's the clock right there >>Okay Regis, time's up [big laughter] Next person! [laughter] >>Okay that's it, great Thanks John, very very
much, really was great >>Producer: Rege, get off the stage
[laughter] >>Regis: Time is up [laughter] [indistinct] Happy New Year >>Thank you
>>Thanks very much Goodbye.
