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American Tobacco

Television Continuity, Lucky Strike, Jack Benny, Sept. - Dec. 1955

Date: Sep 1955
Length: 274 pages
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"AS BROADCAST" SUNDAY. AMERICAN TOBACCO COMPANY THE JACK BENNY ~LEVISION PROGRAM SEPTemBER 25. 1955 CBS 3:30 - 4:00 PM PST CAST: Jsc~ Benny Dennis Dsy ~ Rochester Don Wilson Lois Corbett Roy Glenn Dennisv Mother....Verne Fslton Dennis ' Fsther .... Dick Rysn Quiz Manls voice .... Herb vigren 4 IN ~&L__-- FIT~O 1 0336396
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TH~ AMERICAN TOBACCO CO. LUCKY STRIKE JACK BENNY TV PROGRAM OPENING COMMERCIAL CUT TO TITLE CARD: "THE JACK BENNY PROGRAM" d CUT TO TITLE CARD: "FRE~NTSD BY LUCKY STRIKE" CUT TO TITLE CARD: "BE HAPPY ~- GO LUCKY LUCKIES TASTE BETTER. OPEN -1- (MJSIC: LUCKY STRIKE THE~ UP AND U~---) ANNCR From Television City in Holl~ood, the Jsck Benny Progrsm with his specisl guest...Dennis [my. .... presented by Imoky Strike' (~SIC: VAMP AND BE HAPPY -- GO LUCKy -- S~ORT VERSION) CUT TO (3 #1o3 scoop AI'HO 1 033639?
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~Jp! T~E AMERICAN TOBACCO CO. LUCKY STRIKE TV FILM COF~ROIAL #103' scoop - BROUGHAM sc~ (i:oo) CLOSE ~OT OF CLOCK RESEMBLING TIFFANY CLOCK OF FIFTH AVENUE. CAMERA TRUCKS BACK AS HOE SE-I~RAWN BROUGHAM ~NT~RS SCENE. HORSE LOOKS AT CLOCK IN PASSING. CAMERA TRUCKS INTO CLOSER ~OT OF HORS~ AS HE SINGS OP~NING LINES (SOUND: (SOUND: (SOUND: CAmeRA PANS BACK TO CLOSE SHOT OF DRIVER CAMERA PANS BACK AS TOP COLLARS. SCOOP OFFERS ~I~ I V~R LUCKIES AS TOP COLLApSEs, GIRL IS SHfMN ~_ATED NEXT TO SCOOP. C,~M~HA P~NS TO ~ CLOCK ON STREET DOLLY IN TO CLOSE SHOT OF CLOCK. FACE OF CLOCK DISSOLVES TO BULLSEYE. LUCKY STRIKE PACKAGE FA~S IN. FACHA8~ STARTS IN/O DISSOLVE OPEN -2- TICK TOCK - TICK TOCK) CLIP CLOP - CLIP CLOP) CLIP CLOP - CLIP CLOP) HORSE (S S) Light up e Lucky ItTs Light Up Tire. mzwn (SIMS) Be Hsppy GO laoky It ls Light Up Time. SCOOP (siNGs) For tb~ teste that you like, Light up s Lucky Strike. GIRL ~ SINGS) Relsx GROUT (SINGS) It'S Light Up Time. ANNCR There,s s time end piece for everything. And the right time for s Lucky is any tin~ ..... .... you ~nt to enjoy 8 greet cigsrette. LW AINOI 0336398
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CA~RA DOLLIRS BACK, RETAINING SUN IN UPPER RIGHT FIELD. FA~ IN SCOOP IN FOR~GROUND IN FLORIDA LOCATION. GIRL POSED ON DMN} BOARD. GIRL DIVES INTO POOL. EVERYTHING DISSOLVES OUT EXCEPT HUGE SPLASH. SPLASH HOLDS ON SCREEN SCENE BEC0~S "OLD FAITHFUL" GEYSER AT Y~LLOWST0~ PAF~K CLOSER SHOT OF SCOOP AND GIRL WATCHING GEYSER SCOOP LIGHTS HIS AND GIRLtS CIGARETTES. SCOOP AND GIRL BLOW SMOKE TO UPPER HALF OF SCREEN. SMOKE FORMS INTO LETTERING ON TOP OF SCREEN AS SCOOP AND GIRL LOOK UP AT LEq'fE~ING. PACKAGE COMES TO ~t-LL SCREEN AS REST OF SCENE FANES OFF. LETTERING "ITTS ThAST~D" COMES OFF PACK£GE TO FULL SCREEN LETY~RING "ITTS TOAS~D" CONTINUES OFF SCREEN LETTERING "CLEAN~" ZOOMS UP TOWARD CAMERA. LETTERING "FRES~R" ZOOMS UP TOWARD CAMERA. LETTERING "SMOOTH~" ZOOMS UP TOWARD CAMERA. ONE '0" IN "SMOOTh~R" REMAINS ON SCREEN. REST OF SCENE FA~S OFF. "0" NECOMES MOON OVER ARIZONA DESERT SCENE. FADE SCOOP AND GIRL INT0 FOREGROUND OF ARIZONA SET UP. ENTIRE BACKGROUND FAI~S OUT LEAVING MOON WHICH NOW DIS80LVES INT0 CLOCK. 0P~N -3- ANNCR And the right place for s Lucky -- •.. is wherever..,. ...you happen to be et the time... (SOUND: SP SH ) (SOUND: WHOOSH) ANNCR Youfll always enjoy Luckies -- -- because -- Inckies tests better. Lucky Strike is made of fine, naturally good testing tobacco .... Thet,s toasted to taste better. Ole sner - Fresher - SCOOP And thst,s why Luckies taste better.. ...every ti~. (MONE) d AI~OI 0336399
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~coOPEN -4- NT'D) FROM SA~ POSITION INT0 SEAT IN BROUGHAM. CAMERA TRUCKS TO CLOSER SHOT OF GIRL AND SCOOP SCOOP PUSHES PACK OF CIGARETTES UP TO FULL SCREEN AS SCENE FA~S OFF. HOLD ON CLOSE SHOT OF PACKAG~. SO mske your oext pack of ciga re t te s... ...Lucky Strike. You'll find... .... it's the best-tsstit~g clgsrette you ever smoked.~ LW ATe01 0336400
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/ (AFTER OPENIngS CO~ERCIAL) JACK COMUS OUT TO "I~~' GH AND APPlaUSE. JACK Thank you, thank you, thank you..and welcome to the Lucky Strike Program...Well..vacation is over and hero I am doing my first program of the new season. And, ladies and gentlemen I'm particularly happy shout being on television this year because they've made so many new discoveries in make-up. Don't you think I look good? (POSES) I do. Well, l'm going to tell you a secret. I 'm wearing Living.., (M~SIC). , .Lipstick ! (MUSIC) New I've got to tell you something. In order to get the correct musical effect for that joke I had to pat two harps in the orchestrao..just for that one joke. Now that seems simple enough, doesn't it, but with my musicians, who don~t know one instrument from another, it Blmost started a riot. When I brought in the harps, they thought I was building a fence around them...But getting back to what I started to say..this Is my first program of the season..and if someone hadn't reminded me about the change in time, I would're missed the whole thing. You see, California went off Daylight Savings Time, so right new instead of being 4:30 It's only 3:30. (MORE) BTX01 0336401
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• i -B- JACK (C0~'O) ~ow I ~a~ow to a lot of people ~n hour doesn't make any difference, but when you're ~ kind of 39, every miaute counts ....... Now there's something else I want to tell yoa, and I hope you wonft think I'm bragglng....but l'm really proud of it. You see, after being on television for five Seasons, this is the first year that my program has been selected to be seen by our ermed forces in TdaJuana... It was supposed to go as far as Argentina, but I stopped it. I figured if they didn't think Perch was funny, what chance have I got ..... GH RTX01 0336~02
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~L (AFTER MONOLOGUE) JACK Well, so much for my monologue... ...New to get en with the show, ladies end gentlemen, I'd li~ to present a young fellow who has been associated with me, both on radio aM telev~slon...and here he is, Dennis Day. ( APPLAUSE ) JACK LOCKS TO STAGE RIGHT EXPECTING DENNIS TO COME OUT FROM THE WINGS. HE LOOKS AGA/N WHEN HE DOESNIT APPEAR FROM THAT SIDE. MEA~gHELE, ~IS MAKES HES ENTRANCE FROM STAGE LEFT AND WALK8 HIGHT UP TO JACK, STANDING B~IND HIM. JAUE (CALLING OFF RIG~) Dennis...Dennis...The andience is applauding...come out here .... (~n~ING ~o AUDIENCE) Well, I guess he --- (~ COMES FACE TO FACE WITH om~zs) Dennis, I didn't hear yeu walk o~. DENNIS That's because my applause was loude~ than yours. J AW ~TMOI 0336~O3
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/ \ -2- JACK ~e'De not counting applause... Now Dennis, let me ssk you something. All morning during our z~hearsads you made your entrance from this side of the stage. NOW why did you suddenly come out from that side? Dm~NIS Well, if I came out from over there... (INDICATING STAGE RIGHT) I would have had to ~tep over Don Wilson. JACK Step over Don Wilson? DENNIS He fell asleep during your monologue. JACK What? DENNIS l'm a little drowsy myself. JACK Look, Dennis, this is the begging of a new season so let's get a few things straight so we,ll all know wherewe stand...Now first of all you're the singer on the show.. Just the singe~, right? 611" ,'~ 01 0336404.
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Ji ( DENNIS Right. JACK Now who's the announcer? DE~[NIS Don Wilson. JACK That's rlght...I Just want to get things straight, that's all. Now i£ Don Wilson is the snnouncer and you're the singer, who is the comedian? DENNIS STANDS AND DOESN'T ANSWER. JAOX (tOn'D) Well...who's the comedian? D~NIS For a question like that I ought to get three books and a week to think it over. DENNIS RETURNS. JACK (CONT'D) (FATalLY) Dennis, look, you know how much it means to me to have & nioej smooth opening show, and yet you come out hers end in two minutes you've got ms aggravated and upset. AW A'I- HO 1 0336405
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k DENNIS I'm sorry~ Mr. Benny. JACK All right, I forgive you. Now are you ready to sing your song? DENNIS Yes, Mr. Benny. JACK That's another thing, Dennis.,. yootve been with me a long time so you don't have to be so formal. From now on you can call me by my first name. DENNIS 0keT.. What is it? JACK It' s Quincy.. ,Qu£ncy Benny. DENNIS Then why does everybody call you "Jack"? JACK I don't know' Dennis, do me a fa~or and s~g your song. JACK W~ OFF D~NIS Bey, is he getting crotchety. DENNIS SINGS HIS SONG: "YELLOW ROSE OF TEXASr' APPLAUSE JACK COMES BACK ON. -4- AW RT,'~01 03364-06
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c i -5- • / JACK Dennis, that was great..just wonderful. D~INIS Thank ynu, Quincy, you all. JACK Cell me anything you want. When yOU sing like that, I just can't stey msd at you. DENNIS Well, I'm glad, MP. Benny, because we~ve been togethe? a long time and I ~ouldn~t want yOU to eve~ be mad aZ me. JACK Of course not. And you're ~ight. We have been together a loDg time. Let's see, bow long have you been with me. DENNIS Seventeen years. JACK Gosh...seventeen years...It doesn't seem possible. DENNIS When I stsmted you only pald me twenty dollars a week. AW 81"~01 0336~07
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/ -6- AW ATe01 0336~08 JACK Yes, but that's when you first joined me..Now tell the audience when you started getting the big money. D~NI8 When I joined the Navy. JACK Wait a minute, Dennis, I know exaotly what you got paid in the Navy. Remember I ~as in the N~vy, too. D~TNIS I know...we~e you t~ one who said, "Don't give up the shiF?" JACK Don,t be ridiculous, it was my Captain..Now, Dennis, you sang your song, so why don,t you go home and leave me alone. D~qNIS Okay, Quince. DENNIS TIPTOES OFF I~. JACK That kid drives me nuts...You know ladies and gentlemen, the critics have o~ten said that before a show I'm a nervous ~eak...and it's true... I am...but believe me, it isn't my fault. (MORE)
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L .7- JACK (C0 ,O) I'd be perfeetly calm if all the people smound m~ would dust leave me alone. Fellows llke Rochester, Dennis, Den Wilson a~d Dennis' mother with that voice of hers, Well, to show you what I mean, let's go back to yesterday. I was out taking came of some last-minute ~eteils and Rochester was polIshlnE my ca~ at home. DISSOLVE TO: JACK' S LIVING ROOM WE DISCOVER ROOBEST~R SI~ING IN A COMFORTABLE CHAIR READING A BOOK. IAPpLAUSEI AS HE TURNS A PAGE, THE PHONE RINGS ON A TABLE RIGHT NEXT TO HIS CHAIR. ROOHEBTER~ING AND LOOKS AT THE PHONE CURIOUSLY. THE PHONE RINGS AGAIN. THIS TIME ROCHESTER CLOSES HIS BDDET-II~VI~ DOWN, AND BTARTS RUNNING AROUND T~ ROOM. AS THE PNONE CONTINUES TO RING, ROCHESTER CONT~NUEB TO RUN ABOUND THE ROOM. AFTER LAPPING THE ROOM SEVerAL TI~BS, ~ FINALLY PICKS UP THE REOE~. ROC~STER (INT0 PHONE: PANTn FaAVILY) Hello, Mm. Benny. ROY' S VOICE This isn't M~. Denny, Rochester, This is Roy. ROCHESTER (pA r ) Oh....Hello, Roy. AW RT~01 03364-09
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ROY'S VOICE (FILTER) Rnchester you'~e so out of breath you sound llke, you hsd to run a long way to answer the phone. ROC~BTER That's what I wanted it to snuDd like. I'm supposed to be out in the garage Dolishlng the ca~... What did ~ou ~all about? ROY'3 VOIOE (FILTER) Well, I ~ot the rest nf the day off and I tb@ug~ maybe we could do s nme t b_t~g. Oh, no...I couldn't leave the house today. M~,. Benny does his opening televimios show tomorrow end it'll take m~ ~e~ three hnurs just to mix h2m ~k~-up, ROY' ~ VOICE (FILTER) Oh, P~ohester, You're kldding~ Why d~es Mr. Benny need that much make-up? ROCHESTER Roy, did you ever heem that song, "It'I a long, long way from May to DeeeDiher "? -8- AW v •r ~.T ~ ~ , . ...... • ..... FI'I ,-~ 0 ? 0336~?0
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J ROY'S VOICE (FILTER) Uh huh. NOOHEST~q Well, it's even longer when you,re trying to get back. ROY'S VOICE (FILTER) (lAUGHS) I see What you mean... Well, I'll call you tomorrow, ROCHESTER 0kay...So long, Roy. ROCHESTER HANGS UP, AND AS HE RETURNS TO HIS COMFORTABLE CHAIR, KE SINGS... EOOHEST~ It's a long long time From May to December... And the days g~ow sho~t When you reach 8eptomber... HE PICKS UP HIS BOOK, TURNS TO THE PAGE HE LEFT OFF, AND RESUMES RFADING. AFT~ A MOM/~IT THE PHONE RINGS. ROCHEGT~R STOPS R~ADING AND ONOm AGAIN L0~KS AT 'l'~i~ PHONE uJRIOHELY. %~ TH~ PHONE RINGS AGAIN, HE SLAMS THE BOOK SHIIT, JUMPS UP AND START~0UND THE ROOM AS THE PHONE CONTINUES TO RING. AFTER THE SECOND TIME AROI~D, JACK E~T~. auuna~1'~, U~0U5 TO JACK'S PRES~OE, CONTINUE~ TO RACE AROUND THE ROOM. FOR A MOMF~Ff, JACK STANDS TH~E TRYING TO ~IGUR~ OUT V£.dAT'S GOING ON. THE PNDNE, OF COURSE, CONTINU~ RINGING. JACK Rochester --- Rooheste~ --- Roohester~ ROCHESTER (STOPS RUNNING) Huh?..,0h.,.0h...Oh...hello, boss! DS ~L C AIHOI 03364-11
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JACK Rochester, wh~t in the world are you doing? ROCHESTER I was.,.er,..l was... JACK You were what? ROCHEST~ I was chasing a Tse Tse fly. JACK Chasing a .... THE PHONE RINGS AGAIN. ROCHEST~R Oh-oh, the phone is ringing. JACK It'a been Tinging for t~o minutes. ROCHEST~ STARTS TOWARD THE PHONE. JACK (CONT'D) I'll get it. JACK STEPS OV~R TO THE PHONE AND PICKS UP THE RECEIVER. JACK (INTO PHONE) Hello? -10- DS RT~O'I 0336412
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DE MAN'S VOCIE (FIL ) How do you do. This is '~our Mid-Afternoon Quiz Program". By answering your phone, you have become eligible to win a two weeks expense-free vacation in fabulous Las Vegas. JACK d Gee, I got home just in time. MAN'S VOICE (FILTER) Now, listen closely to the question. JACK I'm listening, I'm listening. MAN,S VOICE (FILTER) In whet part of the world can be found the Dipterous Genus Glossina. JACK L00KSAT T}~AUDI~CE, BEWILDERED. JACK (INT0 PHONE) The..°dlpterous...genus...glosslna? MAN'S VOICE (FILTER) Or more commonly kno~m as the Tee Tee fly. JACK (HIS FACE LIGHTINGUP) Oh...oh...the Tse Tee fly. (CONFID,~TLY) The Tse Tee fly can be found in Beverly HIlls. -ii - 8"[~01 03364-13
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-12 - q f IJ MA~'S VOICE (FILTER) I'm sorry, but that answer is JACK MAN~S VOICE (FILTER) The Tse Tse fly can only be found in Tropical Africa. Better luck next time. WE HEAR THE CLICK OF THE ~F~L~EIVER. JACK SLOWLy HANGS UP HIS RECEIV]~q AND TURNS TOWARD ROCHEST~. JACK Rochester... ROCHEST~ Uh huh. JACK Rochester, did you say you were chasing a Tse Tse fly? ROCHEST~q Yes sir. JACK Well, for your information, the Tse Tse fly can only be found in Tropical Africa...so when I came in that door, you were chesimg a common house fly. DS £l],HO 1 03364-14-
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ROCHEST~q BOSS, since the element of chasing is accepted, the object is inm~aterlal, JACK For someone who do~s~rt know a Tse Tse fly from a house fly, your phr~slng is suDerb. ROC~EST~ Thank you. JACK Youths welcome. ROCHESTER Say, Boss, would you llke to go up to your room now and take nap? JACK I don't want to take a A nap? nap. ROC~ST~ Well, I thought that s~nce you're doing your opening show tomorrow, you might be a little nerv~s. -13- ~J AT~OI OL~ 36~ 15
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~ ~ ~,± ~ ~,~ _~ ~ ill , ii i,, r DS ,. nf i -14- JACK ~,~ny should I be ne~ou~? Eve~ythin~ has been taken care of...the commercials, the sets...all I have to de is go over and talk to Dennis about his son~. Outside of that there's nothing for me to do but sit here and relax until sho~ time. h~ ROCHESTI~ Yesj sii% JACK SITS DOWN AND NOTIC~ RCCH~T~R'B BOOK. JACK F~mm~m~m. A new book? "Love Is A Many Splendeu~ed Thing" by Tommy M~nville ..... I think I'll read this. WE HFAR THE DOOR BUZZ~. JACK Rochester, I'll answer the door. You go fix me a s&udwich. ROCHEST~ E~T8 INT0 THE KITCHEn, A~ JACK GOF~5 TO THE FR0~ DOOR. IT IB DON ~LSON AND ~S WIFE~ LOIS. DON & LOIS Helle, Jack. JACK Well, Don..Lols..Come en in. Don, it sure is nice of you and you~ wife te drop in. Did you happen to be pas sing by? ATN01 0336416
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LOIS Oh, no, Jack. you see...well.. since tomorrow is your opening show, Don and I thought it would be nice if we came over and helped you break the tension. JACK The tension? DON you know, try to calm you down a little. Give you more co~fldence. JACK Confidence! I couldn't be more confident if I were Rock7 Marclano stepping into the ring with Fred Allen. Now that I thought of it, I wish I could arrange that fight. -15- 2 DS ATXO] 03364- I P
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!• ~ -16- AW JACK (CONT,O) And, Don, don't worry about me Just make sure that your commercials are okay. DON Oh, I know my co~ercials, Jack. That's all I've b~en thinking about since we started rehearsing. That's all that's been on my mind. L01S That's all that's been on his mind. E~ery mo~ning he comes into the kitchen, takes me in his arms, gives me a big kiss~ then says, "Luokles Taste better." JACK No! LOIS Day and night that's all he talks about. LS/MST..Lucky strike means fine tobacco..Lucky Strikes a~e toasted..It's Light Up Time. JACK Don, I had no idea yo~ were so conscientious. LOIS Conscientious! Jack, yesterday was my birthday and I want you to see this ring he gave me' (HANDS JACK RING) ~T~OI 0336~18
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-17- ~J JACK Well I think it's beautiful. LOIS Yes, but read the inscription. JACK (PUTS ON GLASSES, TURNS RING "To my adorable wife, Lois, from your devoted husbsnd, Don, who works for L~eky Strike, the cigarette that's so round so flrm, so fully packed, so free and easy on the draw. (GIVE8 RING BACK) Well, that's a beautiful gift. DON I had it wrapped in ~ tobacco leaf. JACK It's a very fine thought, Don. LOIS Donald, as long as we're here, I wish you'd tell Jack what we were talkLng about. DON Oh, not now, darling. Jack is nervous enough as it is. JACK ~['m ~ot nervous! NOW what is it you were ~l~ng about? AI'X01 033 ~,,$19
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~mm -18- i LOIS Well, Jack, I don't mean to interfere with you~ program, but for years youkve been making Jokes about Don ' s weight • And...well... as long e8 you'~e startlng a new season, I donlt think it's right to poke fun at a man Just because he happens to be slightly obese. JACK Slightly obese' DON Now wait a minute, dear, don't you think it's my place to -- LOIS You shut you~ big fat mouth, I'll handle this. JACK You see, you see?,,.You dld it yourself, Let's face it, Mrs. Wilson, you didn't marry a Peter Pan. Believe me. DON Jack, I'm sorrT, but I have to take exception to that rememk. AS a matter of fact, my size is all your fault. AW RTM0"I 0336420
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JACK My fault' DON I wanted go on a diet y~ars ago .... bot I knew that if I got thin, it would Spoil all your jokes about me. so I stayed this ws~ for the good of the show. Do you think I enjoy being fat? JACK .... Well, Don..We all have to make sacrifices for the good of the show. Look at me...Do you think I llke being cheap? DON AVOIDS JAGK'S GAZE UNCOMFORTABL . JACK Well, I asked you somethlng. Do you think I like being chea~? LOIS Jack, has anybody sver answered that question? JAOK Certainly. LOIS Who? ROC~STER Kenny Baker, Frank Pa~ker, and phll Harris. -19 - ROCHESTER ENTERS. AW I~'1" HO 1 03364-21
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-20. R00}~ST~ Say, boss, what wOuld you like to drink with your sandwich? JACK I don't want anything to drink..I don't want enything to eat, either. I'm going upstairs and take a nap. (STARTS OFF STOPS) 0h-oh. DON What's the matter? JACK Nobody asked you. And, Don, I was feeling great before you and Lois csme ove~. Now I h~ve to go ove~ to DennisI house. DON DO you nk~nd if I have yo~ sa~dwloh? JACK Have it, have it. It's good fo~ the show. JACK EXITS. MUSIC: DISSOLVE TO: LIVING ROOM OF D~TNIS DAY'S HOUSE DmVNIS' FATHER 18 SITTING IN A CHAIR READING A NEWSPAPER. HE PUTS DOWN THE PAPER, POURS SOME L~0NADE INT0 A GIJ~SS. THEN WITH GLASS IN KAND CALLS OFF. AW 8[H01 0336422
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MR. DAY Oh, darling--- MRS. DAy,S VOICE Yes~ THE GLASS BREAKS IN HIS HAND. N~. DAY Ah, what a gentle voice. HE GOES BACK TO HIS pAPER, THE DOOR BUZZER RINGS, DOWN PAFER AND ANSWERS THE DOOR. MR. DAY Well...Mr. Benny. JACK Hello, Mr. Day. MR. DAy Come on In. Come right in. Sit down. JACK Thank you. MR. DAY Would you like some lemonade? JACK Don,t mind if I do. MR. DAY POURS JACK A GLASS FULL. MR. DAY I'll tell Mrs. Da~ you're here. ( CALUS ) Oh, Darling, we have company. MRS. DAY MAE~S A HURRIED ENTRANCE, PRIMPING. HE PUTS ATe01 0336423
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-22 - /! AW MRS. DAY I do hope you'll fo~,'Ive the way I... Oh, it's you! JACK Yes, I Just dropped by to tell Denni~ thet because of the way I have the show routined, he won' t be cble to do the song he selected. You see, He picked an l~ish cong. MRS. DAY And what's w~ong with en Irish song? JACK Nothing..nothing. I love Irish songs. My mother used to sing them to me all the time. But after I finish my jokes I don't think it's good routlnlng for Dennis to come out and sing "Clancy Lowered The Boom," ~S. DAY After you finish your Jokes, what's the difference who lowers it? JACK MRS. DAY And another thing, if you tnink you can come over here end dicate to my boy, yon've got anothe~ g~ecs coming. AINO 1 0336~2~
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MR. DAY Nov, now, Mama, don't get youself all heated up. Yo~ know how easily you c&tch cold when your purees are open. JACK Mrs. Day. I dldn't come ovem here looking for trouble. And you have no right to upset me. MRS. DAY Well, I don't want yon ploking on my boy, Dennis. JACK l~ve got & ~iEht to plok on him. That kid has made a nervous wreck out of me. The~e isn't a Sunday that he doesn't drive me Huts° MRS. DAY What a?e you complaining about, we've got him the rest of the week. JACK Well, congratuletions...now look, M~S. Day, if D~nnis isn't at home, I'll call him l~ter. MR. DAY Oh, DO Do,,,he'e home. Ma~a, Mr° Benny has busines~ with Dennis. Why don't you call ~b2m? -23- AW A ]" ~,~01 033£,425
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-24 - i~ IIL MRS. DAY Well, all right. (OAU~) Dennis.. Dennls THE GLASS IN JACK'S HAND BREAKS JACK MRS. DAY (CALLS) Dennis...would you come in here, son9 DI~NIS'S VOICE (O.S.) Comlng: D~NIS ENTERS. ~ IS WEARING BATHING TRUNKS, SWIM FINS, SKIN-DIV]~qS MASK. DENNIS Hello, Mr. Benny. JACK Oh, I'm sorry Dennis. I didn't mesm to get you out of the pool. D~VNIS Oh, wo dontt have ~ pool. I was in the bath tub. JACK The bath tub? Why are you wea~ing a diving mask? D~VNIS Oh, this isn't ordinary gl~ss, i got it out of a telescope. AW ATe0"1 0336~26
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JACK A telescoDe? DENNIs When I look down the d~ain, I con see slea~ to the beech. JACK Dennis .... DENNIS The bathing suits those girls a~e wearlng this yee~. JACK Dennlsp when you cam~ in here wearing that silly outfit and told me you were in the bathtub, I wasn't too surprised, but looking down a d~ainplpe and watching girls in bathing suits Is absolutely ridiculous. DENNIS At your age, yes. JACK Take off those silly things and sit down. I want to talk to you. DENNIS Yes, sir. HE TAKES OFF T~ MASK AND FINS ~ HANDS THeM TO H~S FATHER, W~0 TA~S THEM OUT OF THE ROOM. -25- AW ATH01 03364-2?
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JACK Now, Dennis, I want to talk to you about the song you're going to sing on my opening show. You see, I feel that if I start the show with a monologue the song you sing should be a .... T}~ PHONE RINGS. D~VNIS Excuse me. D~NIS (TICKING UP RECEIVER) (i o PHONE) Hello? .... who did you say was calling? The Mid-afternoon ~iz P~ogram. (EXCITEDLY, TO MOT}~) Mother, it's a quiz program. They're going to ask me a question and if I give them the right auswe~, I'll win a two week vacation in fabulous Las Vegas. (INT0 PHONE) Yes, yes, I'm ready for the question. JACK Dennls~ Africa. the answer Is Tropical D~NIS Are you sure? -26- AW RI~01 03364-28
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AW JACK Yes, yes, they called me this afternoon. The answer is Tropical Africa. D~NIS It' s Tropical Africa...What? .... That's th~ wrong answer? G (HANGS UP) JACK But Dennis, that was the right answ~. Tropical Africa is the right answer. (POINTING TO PHONE) Call 'era back. Call 'era back. MRS. DAY Dennis, what ~as the question? DENNIS In whst country is Toledo, Ohio? JACK Holy smoke i MRS. DAY So that's why my boy Is so stupid. He's been getting hl8 information from you. DENNIS Yeah, I was going to say Australia. -27~ ATH01 0336429
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-28- JACK Mrs. Day..I was only trying to -- MRS. DAY If you'd Just stay away from hi~, he'd be all Tight. Believe me, my boy knows what ho'8 doing every minute. JACK Look, the only reason I oame over here was to talk to Dennis about changing his song. All I want ~s a smooth show. I don't want anything to go wrong. It's my opening program. I Just want cooperation... and this whole thing is you~ fault, M~s. Day. YOU keep interferrlng, inte~ferring. After all, I'm the star of the ~aow and --- MRS. DAY Ehh~ shut up~ PICTURE FALLS TO FLOOR, VASE BREAKS, ETC. JACK LOOKS AT THE AUD~NCE AS THE CURTAIN FALLS. DON Jack will be back in just a moment, but first here's a word to cigarette smokers. CUT TO CLOSING COM/~ERCIAL, ATH01 O336~30
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THE AMERICAN TOBACCO CO. LUCKY STRIKE TV FII~M COMMH~CIAL #107 (l:OO) OPEN ON WIDE SHOT OF THE FRONT OF A NEIGHBORHOOD MOVIE HOUSE. A F~J~ PEOPLE WAlK BY ON THE SIDWALK. SOME COME OUT OF THE MOVIE. NONE OF THEM ARE RECOGNIZABLE. WE MOVE SWIFI'LY IN AS GRACE AND RUSS COME OUT CHATTING A~D SMILING. GRACE WEARS A TOPCOAT. THEY ST~ OUT UNDER THE MARQUEE AND UP TO A WAIST SHOT AND STOP. H~E THE SONG IS HEARD "0V~" AND RUSS TAKES OUT A PACK OF LUCKIES AND THEY FACH TAKE ONE AND LIGHT UP AND SMOKE WITH RICH ~JOYMENT. DURING THE PAUSE IN THE SONG BETWEE~ "RELAX" A~D "IT'S LIGHT-UP TIME" THE CLOCK DEVICE IS SUP}~ED 0V~ THE SC~TE. IT READS ABOUT ll:20 P.M. GRACE AND RUBS WALK OFF SCR~ AS ANDRE COMES OUT OF MOVIE AND ST~S UP TO CAMel<. HE LIGHTS A LUCKY. CUT TO CLOSEUP OF ANDRE PIE TA~ A DE~ PUFF AND ]D(HAL~ WITH GREAT SATISFACTION. HOLDS UP LUCICfPACK. CLOSE -I- (SOUND: PRESENCE OUTSIDE THEATRE, STREET NOISES, ETC. ) (MUSIC: TICK TOCK INTRO) SINGES (0 m) Light Up a Lucky, It's light'up time. Be Happy -- Go Lucky...It's a light '-up time. For the taste that you llke, Light up a Lucky Strike. Relax .... ( MUSIC : GIZSS ) ...it's light-up ~ime. ANDRE BAEUCH (ON CAMERA) Man, that's smoking enjoyment -- to come out of a good movie and light up a Lucky. Mmm~ -- does that taste good. Especially when it's a Lucky. Because .... Luckies taste better. And for good reasons. DS R 1)'(01 0336431
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CLOSE -2- CUT TO INSIghT CLOSEUP OF PACK IN HIS HAND. "LS/MFT" IS FFATUR~. ~v TURNS PACK FULL FACE AND WE SUP~ "IT'S TOAST~ TO TASTE B~" EFACTLY AS IN MAGAZINE ADS. CUT BACK TO M~DIUM S}~OT OF ANDRE. DISSOLVE BACK TO GRACE AND RUSS. THEY ARE WALKING DOWN THE STREET, WE TRUCK WITH THeM PAST A 5TORE FEO~T. THERE IS A LUCKY CARTON POST~ IN WINDOW. CAM~ STOPS AND GRACE AND RUSS WAIK OFF SCRE~ AND WE ZOOM IN TO TIGHT SHOT OF CARTON POST~R IN WIDOW, SUP~q "THE BEST-TASTING CIGAREITE YOU EV~ SMOK~" JUST AS IN MAGAZINE ADS. ANDRE (Now VOICE OWE) First, lJloky Strike means fln_~e tobacco. Then, this fine, good-tasting tobacco is toasted to taste even better. Cleaner, fresher, smoother, ANDRE (oN CAMmA) That's why when the show lets out, so many folks light up -- a Lucky Strike. SINGmS (OVm) For the taste that you llke, Light up a Lucky Strike. Right now .... (SPOK~ OVa) Light up a Lucky. (SINGES AGAIN) It's light-up time~ DS 8]'MO I 0336~32
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~ ~ii~¢. 7. ~ L b /] l.l -29- TAG : (AFT~q CLOSING COMMerCIAL, JACK COMES OUT TO MUSIC & APPLAUSE) JACK Thank you very much, ladies and gentlemen• We haven't too much time...Ann Sothern will be back next Sunday and I'll be back two weeks from tonight....But I would llke to announce that on this T~msday -- October 6th -- I'm going to do an hour play on the Chrysler Shower of Bta~s. The play is called "Time Out for Ginger" and itts a football story....It's a natural for me. Before leaving, I laqow, ladies and gentlemen, that all of us are hoping for a very speedy recovery of our President. Good night. MUSIC: CUT TO CREDITS D~ I t~]XO 1 03364,33
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( CR~ITS ) CARD #4 JACK BENNY PROGRAM d~ CARD 7#5 DIRECT[D BY PAI2H LEVY CARD #6 PRODUC~D BY HILLIARD MARKS CARD #7 WRITT~ BY C,t,~D #8 MUSIC & ASSOCIATE PRODUC~ CARD #9 ART DIRECTOR, TECHNICAL DIRECTOR, & SET D~0RATOR CARD #i0 PRODLDTION SUPH~?VlSOR CARD #11 JACK B~C/ PROGRAM CARD #12 , ANN SOTH~qN M~0 CARD cARD #13 JACK B~NNY pROGRAM TO TAREYTON HITCHHIKE -30- DON (VOICE OVER) Appearing on tonight's program were Lois Corbet, Verna Felton, Roy Glenn Dick Ryanand Herb Vigran. Remember - one week from toD/ght, on this same station, be sure and ~tch Ann Sothern in "Private Secretary". Jack Benny's next television show will be in two weeks. (MUSIC: COT) DS v~ ;-'l l" XO 1 0336434-
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Tr~ AM~dICAN TOBACCO C0. FILTHR TIP TAREYTON HT 310F - :30 DRUM MAJORETTE THROWS UP CIGARETTE SHE CATCHE~ TWIRLING CIGARETTE GIRL T~IRLS CIGARETTE AS BATON GIRL POINTS TO F~LT~q TIP OF HER CIGAREI'fE-BATON GIRL RESUMES TWIRLING CIGAREI~E-BATON CUT TO SOLDI~S MARCHING, BANNHR5 WAVING IN BACEBROU~D CU ~S WAVING CU BANN~ WRAPPING AROUND LOW~ LE~T EDGE OF TAREYTON PACK TO FORM STRIPES ON PACK - KOLD ON LOW~ HALF OF PACK CUT BACK TO MAJORETI~ T~/RLI NG CIGAREI~fE OUT TO FILTER TIP OF CIGARETTE FLYING HORIZONTALLY IN MIDDLE OF SCReeN TITLE "ACTIVATES CHARCOAL" POPB ON IN FORM OF CIRCLE AROUND TIP DS -31- MUSICAL INTRODUCTION MUSIC Get t~ue tobacco taste in a filter tip cigarette The easy-drawlng Filter Tip Tareyten Cigarette The pearl-gray chsrcoal filter tip cigarette Smoke Filter Tip Tareyton Take your cue from the red, white and blue on the p~ckage Smoke Filter Tip .... Tare~ton ANNCR (VOICE OVER) yes, Filter Tip Tareyton with the activated charcoal filter gives you t~ue tobacco taste. Try Tilter Tip Tareyton. (Mo ) A 1",~0 1 0336435
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DISSOLVE TO CARD: POW~ATTAN ~'~TH '~THE AMERICAN TOBAC00 C0~ANY" ABOVE AND "AMERICA I S LEADING MANUFAOTUR~ OF CIGARETTES" BH~OW. ANNO (V.O.) The Jack Benny Prog%~am l~s b~en p~esented by The American Tobacco Company -- America~ s l~ading manufacttu, e~ of cigarettes. The Jack Benny Pl~ogram has been seleeted for viewing by our A~med Forces Overseas. 2ortions of the preceeding program were p~e-resorded. This is the CBS Television Network. L DS
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f) I".~0 I 0336,1-3 i'
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~ ,_.~--.~ 4, ~ .~ ..... ev~., ~ -.,, -~, ........... ( J'AS TELECA3T" PROGHAM # 2 AMERICAN TOBACCO cOMPANY LUCKY STRIEE T~ JACK ~NNY TELEVISION PROGRAM (~3sege & Dete w±thGertrude) d Telecest: 10/9/55 Filmed: Revue Productions Production#853 - July, 1955 JACK BENNY ROCF~STER DON WILSON BEA BENADAHET SARA BERNER MEL BLANC LOUIE CA~ENON DICK CURTIS PAT D~NNIS HALI~NE HILL FRANK NEL~0N RICHARD BEEVES ROLF2 SEDAN THE ~PORTS~N QUARTET Rr x01 0336438
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FADE IN from Blsck Csrd #i. (sm ll) DISSOLVE: Card #2 DISSOL~8~: Card #3. TNT JACK NTNNY PROGRAM (with carlcsture) c 1955 by J & M PRODUCTIONS, INC. All Rights Reserved Presented by LUCEYSTRIEE (peck & bull's-eye) "Be Hsppy, Go Lucky" (pack & bull's-eye) -1- FADE TO Bleck INTO OPENING COMMERCIAL df¸ f~T~O'l 0336~39
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-2- THE AHERICAN TOBACCO COMPANY LUCKY STNI]fl~ TV FILM C0~MMERCIAL ~3B SCOOP - CLOCE (I:OO) OPEN ON A CU OF A SWISS CHALET WALL CLOCK PENDULUM SWINGING BENEATH IT. TRUCK INTO PENDULUM. CUT TO CU OF PENDULUM AND PAN UP PAN STOPS AS DOOR OPENS. (DOORS ARE PACKS OF LUCKY STRIKE) MALE FIGURE MOVES MECHANICALLy OUT OF DOOR TO FOREGROUND AND SINGS. GIRL FIGURE MOVES MECHANICALLY OUT OF OT~ D00R TO FOREGROUND AND SINGS. CAMERA PANS UP TO CLOCK FACE AT TOP OF SWISS CHALET. CAMERA STOPS AS BIRD POPS OUT. PAN WITH BIRD TO SCOOP CHARACTER. BIND SELECTS A LUCKY FROM PACK SCOOP IS HOLDING. BIND pLACES LUCKY IN SC00P'S MOUTH. BIRD LIGHTS SCOOPS LUCKY. (SOUND: TICKING OF CLOCK TO ESTABLISH RHY~I OF SONG) (SOUND: TICK-TOCK-TICK-TOQE) (SOUND: TICK-TOCK-TICK-TOCK) MAN (SINGING) Light up a Lucky. It's light-up time. GIRL (SINGING) Be Happy -- Go Lucky. GIRL (SINGING) It's light-up time. DUET (SINGING--0V~ For the taste... DUET (SINGING--0VER ...that you like --- DUET (SINGING--OVER ... light up a Lucky Strike. DUET (SINGING--0VER Relax ... (CON 'D) AW AI"XO | 03364.,~-0
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SCOOP - CLOOK CUT TO FULL SHOT, SCOOP IN CHAIR. 51ATCH DISSOLVE TO SCOOP IN CAR -- SUN SHXNING, MATCH DISSOLVE TO SCOOP IN CANOE. DISSOLVE SUN TO MOON. MATCH DISSOLVE TO SCOOP IN WEZTERN SCENE ON HORSEBACK. MATCH DISSOLVE TO ZCOOP IN SKI TOW. SKI TOW DUMPS SC00F AT TOP OF HILL. KE STARTS DOWN 0TNEN SIDE. SCOOP CONTINb~S DOWN HILL. CAMERA pAN S WITH HIM. MATCH DISSOLVE TO SCOOP ON BICYCLE. CUT TO BILLBOARD, SCOOP ENTERS SCENE AND MAKES FANCY TURN. CAMERA TRUOF~5 IN AS SCOOP PANS TO PACKAGE. -3- DUET (SINGING--OVER) ... it's light-up time. ~CR (OVER) Theme's a time and a place for everything. A~CR (OVER) And the right time for a Lucky A UN. (OVER) .... is shy time you want to enjoy a g~est cigarette. A OR (OWR) And the right la~ for a Lucky .,. A OR (0WR) ... is --- wherever you happen to be st the time. A~CR (OVER) you'll always enjoy L~ckies because... A~CR (OWa) ...Luckies tsste better. A CR (ovER) Lucky Strike is made of flee tobacco, neturally ... A~CR (OVER) ... good-tsstlng. (CONT'D) AW A'F :401 0336441
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SCOOP -- CLOCK (COh'T~D) CAMERA TRUCKS TO CLOSEUP OF BULLSEYE AS SCOOP POINTS TO "IT'S TOASTED'~ CAMERA PANS WITH SCOOP TO LETTERING "LUCKIES TASTE BETTER~' CUI' TO FULL SHOT BILLBOARD. SC00F TURNS AND POINTS TO CLOCK, FAST ZOOM TO CLOCK. DISSOLVE CLOCK TO BULLSEYE AGAINST NEUTRAL BACKGROUND WITH LEGEND ABOVE AND BELOW: 'fLIGHT UP A LUCKY" IT'S LIGHT UP TIME" TAKE OUT TITLES AND POP ON NEST OF PACK ABOUND BULLGEYE. -4- Am~OR (O~R) (COHT,=) And ... IT'S TOASTED to taste better. Olesner, fresher, smoother, SCOOP (ON CASABA) Yeesir, Luckles taste better ... ..,anytime, scoop (o~ CAt~BA) anywhere. SCOOP (ON CAMERA) So right now ... .... light up a Lucky. up time. scoop (voice owm) It's light- scoop <oVER) Enjoy th~ best tastin~ cigarette you ever smoked~ AW RT~01 0336~2
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L -5- (OPENING MONOLOGUE) GOLD CURTAIN . Jack comes out in front of curtain to LOVE IN BLOOM and APPI~USE JACK Thank. you, thank you very much, end good evening ladies sn~ gentlemen...Well, here I am doing another television show...and I must tell you that tonight I had a big surprise for you. You see this afternoon I decided to get a crew hair cut ... and I did, but wouldn't you know it...I left it on the bus...So, on your wey home if you get on 8 bus end the d~ive~ has 8 crew haircut, it's mlne...811 right, I told the joke, you lsughed, end now my writers 8re ha~py...5~t I went to cleam something up o~ce end for ell. I do not wear c toupe...ThIs is my own hair. By "my own" I don't mean itls pald for... I mean Itt8 really growing the~e...Now~ o~ tonlght's show, we are golng to --~ oh, before I forget, I got e fan letter the other day, Ird llke to ~ad to you. (takes out glasses) I don't reslly need these glasses...l "ust weer them to keep m contact lenses ~po~ falling out...I wll[ sdmlt that my contact lenses are a little tb~ck...One day I left them in the kitchen and Rochester used one for a percolato~ cap... But getting bask to the lette~ f~om this w~aan, she says~ '1~a~ Mr. ~ny, I have been e fan of yours for years. I can't tell you how much I've enjoyed your pro~sms, but I have often wonder~d, after one of ~our programs,.., what do you do to relax?...~lease wmite and tell me...Yours ver~ sincerely --"..,G e% thetls funn~...I can't Teed the signature,. (puts on 8 second psIP of ~lasses) Mrs. ~udie Gordon. (takes glasses off) Now~ wb~t she means i8...after doing a show, whet do I do to ~elax...well, we might do many things...we might go to a show..gebo~ling.,.or even,..~ell, look, let's go beck to my last television show and I'll show you what I did. AW f:lT :~01 03364-4-3
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• / -6- INT. JACK'S DRESSING ROOM - WIDE SHOT - ROCHESTER enters, carrying a suit on a hanger. MED. CLOSE UP - ROCRESTER AT TRUNK PAN WITH HIM TO ~L%~UP TABLE. He hums "There's no Business Like Show Business" as he puts the sult in the trunk. Then as he starts to put makeup jaPs into a makeup kit: Knock on door. ROCHESTER Come in. MED. WIDE SHOT - INCLUDING DOOR - ROCHESTER AND BOY The door opens end e seven year old boy enters. BOY Rochester, where's Mr. Benny? ROCHESTER He's still out there taking bows. BOY Well, I have to go. Will you tell him hew much I enjoyed working on the show? ROC~STER I certainly will. Boy exits, closing door. MED, SHOT - ROCHESTER ROCHESTER The boss is sure hiring young writers lately...Let's see.., I better get this stuff put away. WIDE SHOT - INCIDDING DOOR - JACK AND ROC~STER AS Rochester puts things into the makeup kit, Jack enters. ROCHESTER Hello, boss. Here, let me hang your coat up. JACK (taking off suit coat) Thank you. ROCHESTER ( takinE cost) Yes, Si~. RED. TWO-SHOT - JACK AND ROCHESTER AW ......... :~3~:T .-~ . ~:" "'~ '~ ..... ~TH01 033644-4
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JACK (tsking off shirt) Did you call for s masseur llke I asked you to? ROCHESTER Yes, sir...and t~'a coming right over. JACK (stretching) Good, I can sure use a massage... Jack sits down at table and starts to remove his ~akeup. JACK (cont'd) You know, Rochester, these television shows are hard work. ROCHESTER Yeah, it's been tough on both of us. JACK Whet do you mean...both o~ us? ROC~STER Boss, you only tell the jokes I have to sit ou~-~here snd lSug~ st lem, Rochester starts to hang up the coat then changes his mind and tgkes a whisk broom and starts to brush it. -7- Ar H01 0336445
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,,,,,, .,r , , , ,, ,, ,,, ,,,,,,,,,i M~. ~TDE SPDT - EOC~ST~, DON A~D JACK Rochester opens the deer to leave and Don Wilson comes in. ROC}~ST~ Oh, hello, M~. Wilson. DON }~llo, Rochester. RochesteP exits. DON Am I interruptlng anything? JACK no, no, come on in, Don....How did you like the show? TW0-SHOT - DON AND JACK DON I thought it Was very good .... and, Jack, youm performanoe was excellent. JACK ~nanks... ;~at did you think of the orchestra tonight? DON Well .... the trumpet section was flat .... the trombones ar~ saxophones seemed to be playing two different numbers at the same time ..... and the rhythm section w~s off-beat. JACK Yeah, I thot~Kht they were better than usuml, too .... All except Remley. What's the matter with him Don? His &~]itar playing ~ts ~orse every week. DON Well, that' s not his fault. About three Weeks ago he burned his hand t~ylng to save a f~iend. JACK No klddlngI. DON yeah....imagine him trylng to pull someone off the electric chair. G~ -8- RT~01 0336~5
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U~ JACK Hmmm .... That's Remley for you~.. always doing things for his friends. As Jack turns back and looks in the mirror, removing some makeup, we HEAR a knock on the door. JACK Yes? MED. LONG SHOT - INCLUDING DOOR - JACK, USHER, OLD LADy The door opens and an usher enters. 0B~ER Mr. Benny, there's a lady Waiting outside. She Says she's a fan of yours and she'd like very much to have your autograph. JACK Oh, certainly, send her in. The usher motions do~ the hall~ay. USHER This way~ Madam. The usher exits from view and an old lady enters a second later. G~ OLD LADY Mr. Benny? JACK Yes, yes. TWO SHOT - OLD LADY AND JACK 01d L~dy extends autograph book and her pen. OLD LADY I hope l'm not puttlng you to any trouble, but I would so appreciate yoUr si~Ing this for me. JAOK (taking book and pen) Oh, it's a pleasure. He 8tartB to write in her book. OLD LADY YOU k~ow, lira from W~ukega~l, too. Live the~e all my life. -9- RT~01 0336,~4-p
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~ 2¸ : i¸ - h -/0- ) JACK Really? • OLD LADY Wait till I show this to the folks back home. We're all So proud of you in Waukegan. JACK Well, I know practically everyone there .... but it's funny, I don't seem to remember you. OLD LADY ~ll, no...no...you were a ~ittle before my time. JACK Hnm~. Well, here,s my autogTeepb. Jack is putting pen in his pocket and handing the book back to her. OLD LADy Thank you. JACK By the way, did you see our show tonight? OLD LADY Oh~ yes. I was in the audience and Z enjoyed it very much. She stands the~e for a second looking at Jack. JACK Yes? OLD LADY (extending her bend) My pen, please. JACK Pen .~ OLD LADY Yes, you put it in your pocket. JACK (embemrassed) Oh, oh, of course .... Here you 8~e. He gives her the pen. G~ f~TXO I 0336Z~A8
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d OLD LADY Well, goodbye. JACK Goodbye. She exits, closing the deer. MED. WIDE 5HOT - DON WILSON AND JACK JACK (to Don) For an old lady she's got eyes like a hawk...Gee, I wonder when that massetu~ is coming. DON Oh, are you getting a massage, Jack? JACK Yeah. you ought to try one sometime, Don. They're great. DON I had one three weeks a~o, JACK Didn't it make you feel good? DON I don't know, he hasn't finished yet. JACK Oh oh....well, ..... Don, if you'd on~y lose a little weight,.. We HEAR a knock on the door. ~. WIDE SHOT - INCLUDING DOOR - FRANK NELSON A~D JACK JACK Come in. Nelson enters wearing a smock and carrying a duffle bag and folded table. %~0 SHOT - NELSON AND JACK NELSON How do you do. JACK Oh, are you the masseur? -ii- ON
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-12- NELSON No, I'm just carrying this folding table in case I run into three people who want to play brld~. JACK A/1 right, all right. Nelson puts his bag down and starts setting up the table. JACK Need any help? NELSON No, no, you just take off 7our ~obe. Jack takBs off his eobe .... then takes off his undershirt and Stemds stripped to the waist beside Nelson, who is bending down adjusting a leg of the table. NELSON (satisfied with the table) ~*lere we are. ( straightening up) Now we can .... (noticing Jack' s physique ) Say, tellme sometblng. Have you ever been in Tarzan pictures? JACK Well, no. NE~50N Oh, that's right. It was Maureen O' Sullivan. JACK NOW look ... NELSON Get on the table, please. Jaek gets on the table. JACK Shall I lie down?? NELSON No, no, not yet. I want to work on your neck first. Nelson steps behind Jack, takes Jack's head and turns it from side to side three or four tln~e, with each turn accompanied by a ratchet SOUND ~CT. ON ~T~O! 03364.50
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~15~¸ G~ u%ON (CO 'D) Say, l'd hate to sit next to you at a tennis ~tch....Lie down, please. WIDE T}~-SHOT - JACK, DON AND NELSON Jack lies down. NELSON Now let's see. (to Don) Would you take hold of this leg so he can't move it. d Don holds Jack's left leg....Nelson takes Jack's ~ight leg and pushes it way arotuqd to the side. JACK Ooh... Ouch ..... Ooooooooh, Nelson keeps PUshing. JACK Hey, my leg doesn't go that way~ NELSON It does no__Ww. JACK (sitting up angrily) Oh, fo~ heaven's sak~ .... Look I don't want to be torn to pieces... I just want a nice pleasant rub-down, that's all. NELBON All right, don't get excited, I'll get the oil out. Nelson takes a bottle of oil from the bag and pours it liberally on Jack's back. TWO-SHOT - JACK ON TABLE & NELSON Then he starts to rub it in, Jm regular masseur fashion. JACK Well, now that feels better. NELSON (still rubbing) Hey, you must be a good swinm~r. JACK ;~nat makes you sat that? ATX(,1 -13- 0336451
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-14- NELSON According to my anatomy book you have the backbone of a halibut. JACK ~ralsing up slightly) Wh~t? NELSON Please, you're moving your fins. JACK Now out that out....Just massage, Do you mind if I sing? JACK (disgusted) Sing, sing. NELSON ( sings ) The stars at night .... Are big and bright .... He slaps Jack hard four times ..... Jack glsmes at him. NELSON ( sings ) Deep in the heart of Texas .... The p~airle sk-E .... Is wi~e and high.. ~four more slaps) Deep in the heart of Texas. The stars at night .... Are big and b~ight .... CLOSEUP - JACK }~ raises himself up slightly. JACK Wait a minute .... Wait a minute... WIDE SHOT - DON, JACK, NE~ON, THEN ROC}~ST~ The doo~ opens and Rochester co~es in carrying Jack's seat. ROCHEST~ I got the sDot out, boss. JACK Ths.nkB, Rochester. Rochester puts the coat on a hanger. G~ f~T~01 0336~52
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1 ..... DON ~ell, I've got to be running along, Jack .... the little woman will be waiting for me... Say, by the ~ay, hew would you like to play some cemds tonight? JACK Cards? Well, thanks, Don, but I can't make it tonight. I've got a date. DON A date? Well; ~ots the glrl? ROCHESTER yeah, boss, who is she? JACK Uh uh, I'm not goin~ to tell. DON Aw, come on, Jack. JACK Oh no, not this time, I'm not talking. NELSON (eagerly) Want me ~o twiet his arm? JACK You s~y out of this. Now Don, you're wasting your time. I'd llke to tell you, but I just oanlt. DON (going to door) Well, all right, have 8 good time, Jack. I1ve got to be going. JA~ Goodbye, Don. And± Rochester, you can go, too .... I Won't need you any more. ROCI~ST~ Okay, boss, see you when you get home. Den and Rochester exit. sl -15- • 8",rHO "1 033645~
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TW0-SHOT - NELSON AND JACK JACK (to Nelson) Well, now that they're gone, I can call my date... Hand me the phone, will you? NELSON (ha~ding him the phone) Hel~e. Jack lifts the receiver, and jiggles the hook. ,~ MED. TWO-SHOT (MAS~) MABEL & ~TRUDE At switchboard, It is BUZZING. MABEL Say, Gertrude. (~TRDDE What is it, Mabel? APPLAUSE -16- GN A1"~01 0336454
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~A SCENE TO BE SHOT IN REVERSE ANGLE, MATCHING CLOSEUPS MABEL Your switchboard is flashing. GEBTI~/DE I'll get it. Gertrude plugs in. GERTRUDE Hello...0h, hello Mr. Benny.. I ~now we've got a date and I'll be ready in twenty minutes...You're taking me to a French restaurant? Well, c'est si ben and chateau my briand...Okay, I'll be meady as soon as possible. She pulls plug out. MABEL Well...so Mr. Benny is taking you to a French restaurant? GERTRUDE Yeah...I guess he's iu a romantic mood. MABEL Eithe~ that or he's found another place that gives Green Stamps. GERTRUDE Two more books and Z get my teeth fixed. MABEL Look, Gertrude, if you'me in such a rush with your date, I'll take over for you, GERTRUDE Gee, thanks, you're a living doll. Gertrude gets up and takes off her headphones. -17- TR RT)~O 1 0336455
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J~ INT. JACK'S DRESSING ROOM ~ ~D. TWO-SHOT - JACK & NELSON Jack is still on the massage table. NELSON }[old stall, I'm almost through. JACK Well, it's about time,..Wait a minute... (s=iffs) NELSON What's the matter? d JACK That oil you've been putting on me smells rancid. NELSON Well, don't blame me, blame the the butcher. JACK Butcher? NELSON Yes, I use chicken fat. JACK (jumping up anally) You mean all this time you've been rubbing chicken fat on me? NELSON What did you expect for three dollars an hour, My Sin? JACK Well, that does it...You twisted my neck, practically broke my leg, and now you've got me cove~ed witk chicken fat... (h~nding him money) Here's your three dollars. (pointing to the door) Now get out of here.r NELSON No tip? JACK Get out~ Nelson exits. ATMOI 0336~56
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r M~D. SHOT JACK JACK Wise uy... The smells his arm) I'll et eve~ with hlm... ~plcking up ~birt) I'll tell everyone he's got cold hands. FADE OIP3~ -19-" i AI"~01 033645P
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J -20- FADE IN: INT. FRONT VIEW OF NICE CAR (CONVERTIBLE) - (PROCESS) - CITY STREET - NIGHT Gertrude is driving and Jack is seated next to her. It is early evening..Sustain SOUND of oar moto~ for a few seconds... then fade under. E~GHT TWO-SHOT - G~TBUDE & JACK JACK It ~as nlcs of you to take your own car, Gertrude. It sure rides smooth, G~TRUDE Yeah..I'm crazy about it. The only trouble is when I have to make those payments..Fifty dollars a month is murder. JACK So you111 cut them to forty-five and extend the loan, I'm not tough to do business with. They drive in silence for a few seconds. JACK Gee, it's s beautiful night .... You know Gert~,de, it.s fun going out llke this, just the two of us. (aoyly) Gertrude... ? GERTRUDE Hah? I JACK DO you mind if I put my head on your shoulder? GERTRUDE No, go ahead. Jack snuggles over and as he turns his head to put it down on her shoulder, we HEAR the sound of s ratchet. JACK Darn it. He puts his head on her shoulder. GH RINO I 03364-5B
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!i¸ -21- JACK Gee, this is a romantic night, GERTRUDE Yeah. They ride a few seconds in silence. GERTRUDE Say, did you notice a little bump a minute ego? JACK No. G~TURDE Nelther did I, but it smells like we ~an over a ckicken. FADE OUT ON LAUGH. FADE IN LONG SHOT OAR DRIVES INTo ALLEY, NIGHT SHOT OF TOUGH GUY. Jack and Gsrt~,ude get out of car. Jack gets on safe side of Gertrude as they pass tough guy. MEDIUM TWO-SHOT - GERTRUDE & JACK G~TRUDE I still don't see why we couldn't have gone to Ci~o's or the Mocambo. JACK Oh, everybody goes there. This is a little different. PAN WITH THEM. They start down the stairs end dlsappaer. MEDIUM SHOT - INTERIOR BAB~NT, THE OPENING AT THE BOTTOM OF A FLIGHT OF STAIRS, LEADING TO A DOOR. Ve ;[EAR descending footsteps on echo for quite avhile .... JACK' g VOICE You know, Gertrude, I wish I owned this plaoe..they've got a gold mine here. GERTRUDE' S VOICE I figured it was som___~e kind of a GH R1-H01 0336459
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W • -22- INTERIOR OF F~CH RESTAURANT. Jack and Gertrude enter• Mel Bl~nc, d~essed in a tuxedo, greets them. (French acoent Welcome to Musty Michele's. JACK Bonjour, Michele. MICHELE BOnJour, Monsieur Benny .... Entrez vous. As they start in: LONG SHOT - ESTABLISHING INTERIOR OF RESTAURANT, AS THEY E~TER. GERTRUDE, JACK, MEL- PEOPLE. It is S dilepldated-look~ng little place, jan~ed to capacity with a nosy, motley, foreign-looking bunch of customers...There is hardly room ta move. Beyond the tables is a tiny dance floor and a place for a three-piece combo• THB~E SHOT - JACK, MEL & GERTRLUgE JACK Michele..it always used to be So nice and quiet here. Why is is So crowded? MICHELE Ah, tonight i~ is a Special occasion• It is the reunion of the Societie de L'egout Travailleur de Paris. JACK What society is that? MEL The Sewer Workers of Paris. GERTRUDE Boy, did they pick the Tight place~ JACE Quiet, Gertrude. MKL I will see if I cen find you a table. GH R "1",'~01 03364-60
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ii • ~i¸ He pushes his way into the crowd. Jack and Gertrude stand there wsitlng. Theya~e b~ffeted around by the milling throng. One big bruiser bumps into Gertrude. G~TRUDE Watch it, you blg lug. The man turns around. MAN (threateningly to Jack) Did you say that? d JACK (pointing to Gertrude) No, she did. The men glares at Gertrude end walks away. Gertrude looks st Jack. JACK One more word out of him and I'da let him have it. G}~TRUDE You went me to call him back? JACK Never mind. ANGLE ON MEL Mel, standing by a table near the de=ca area, waves to Jack, trying to get his attention. MEL Monsieur Benny, Monsieur Benny. TWO SHOT - JACK & G~TRUDE JACK Come on, Gertrude, we got a table. (p~shlngGert~ude through the crowd) Berdone, psrdone..Excusez moi. CAMERA DOLLIES FOLLOWING THEM THROUGH THE CROWD. They get to Michele. MEDIUM T~-SHOT - JACK, MEL, & GERTRUDE Mel indicates a ~idiculously smell table. AI"N01 0336461
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.24_ MEL Here we are...a nice table for two. JACK Wait a minute...you're not giving us this..this little table. MEL But, Monsieur..we're crowded... The Society -- JACK I don't care about the Society... I'm a steady c~stomer..I'm entitled to a little comfort. GERTRUDE Yeah, who would eat at a tlny table like this...I'd hardly be able to order anything. CLOSE UP - JACK JACK That's right, on this small a space how much could she -- sit down, Gertrude. THR~ SHOT - JACK, MEL e GERTRUDE MEL But if Mademoiselle is unhappy, parheps I could find -- JACK Michele~ this is fine. They draw up chairs and sit down, crowded in by the people a?ound them. Michele hands them menus. MEL While you are deciding about dinner, may I suggest to drink. . some champagne..or sparkling burgundy? JACK I don't know. ° .~rnat would you like, Gertwude? G~qTRUDE I'll have two fingers of bourbon in a glass of sauerkraut juice. GH AleX01 0336462
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-~5- JACK Sounds good..I'll have the same. MEL Very well. I shall be back in a minute. }[e walks out of shot. Jack 8nd Gertrude start to look over their msnus. We HEAR drum ROLL. Into SPOETSMEN SONG, COMmeRCIAL MEL And now, ledles and gentlemen, it is my pleasure to intruduce Le ~ Quattuor Sportsmen. SPORTSMEN COME IN. r FIT~01 0336~-63
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COMMERCIAL LYRICS to "VALENTINA" ON 8E RAPELLE T0U jOURB SONP~LF~IER MAITRESSE JAI GARDE D'LA M/ENNE UN 80UVENYER PLEIN D ' I-VRES- SE UN ~OUE QU'LL AVAIT FLU d TOU8 DEDI ON SE-FAIT FLU EN SUITE ON SE FLUT DE FLUS EN PLUS ELLE A VAYT DE TOUT PETITS PETONS VALENTINA, VALE~JINA ELLE AVAIT DE T0b~ PETITS TE-TON8 QUE JE TATAIS A TA TOUB TON TON TORE TAINE ELLE AVAIT UN TOUT PETIT MENTON VALENTINA, VALENTINA ENTRE SE8 PETITS PETON8 SE8 PETIT8 PETONB SON PETIT MENTON L S M~.YES, L S MF T SMOKE A LUCKY, SMOKE A LUCKY OUT, OUT, OUT, ZE LUCKIES ARE FOR ME, TRES BIEN, JE SUI8 pAREE BE HAPPY AND GO LUCKY 8T~ IT HA8 THE BETT~ TASTE, VALENTINA, VALRNT INA -26- ATH01 0336464-
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COMMERCIAL (CONT'D) FOR THE CLEAN~R, FRESHER, SMOOTHER SMOE~ IT'S THE ONLY ONE TO GET LUCKY STRIKE, THE TOAST~ CIGARETTE IN PAREE, IT'8 L 8 M F T. -27- GH 8TX01 0336~65
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-28- The~e is food on the table. Jack and Gertrude are eating. The orchestra is playing APACHE MUSIC. People are dancing. TWO-SHOT - JACK & GERTRUDE JACK Say, Gertrude, this is good food, isn't it? GERTRUDE (with mouth full) Yeah. JACK (notlelng how Gerturde ~ is eating) Gertrude, put away that Boy Scout knife and use the one they gave you. GERTRUDE Okay. WIDE SHOT - TO ~STE~ ROUTINE THEN MAKE INSERTS, CLOSE SHOTS OF T~ VARIOUS hITS, JACK AND GERTRUDE'S REACTIONS, ETC. Gertrude and Jack contlnue eating. APACHE MUSIC continues 8nd a couple dressed 8s Apache dancers start throwing each other around the dance floor. Jack tries to ignore them and eat, but their aotlvlty keeps Coming back to him, like the man throwing her to the foot of Jack's table, twirling her just over Jack's head. He shoves a stalk of celery down Jack's throat. The glrl's skirt goes over Jack's plate.. One of the denoePs hits Gertrude in the head. Finally he ends up trying to strangle the woman right on Jack's table between the plates. With a last fling, he throws her across the dance floor and they leave. Following dialogue over above ectlon. JACK Gertrude, I went to tell you something. G~TRU~ Yah! JACK And believe m~, Irve never told this to any other girl. ~RTRUDE Psss the salt. JACK Here you are ... what I mean is .... well, we~ve know each other for a long time, end I thought maybe -- CONTINUED A]- ~0"1 0336~66
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-29- ~£RUDE Look, if you're going to msise those osr payments again, foPget it. JACK It's ~ot thst...You see, I've been living alone for s long time and I've been tbinklng seriously about -- Well, I don't know how to sa~ it but -- GERTRUDE Could I have the oatsuD, please. JACK Yes...hePe you 8re...I've be~n giving e lot of serious thought to -- well, Gertrude, whet do you reell~ think of me? That is, could you think of me as more then 8 friend? ... Oh, I can't talk here...I'll talk to you later, Gertrude.. Jack is grabbed by glrl and spun 8round. 6~RTRUDE Jack! Stop showing off! Jack is tb_rown into women's lap. He recovers and returns to his table. G~qTRUDE Reslly, Jack. JACK This is embarrassing. As many times as I've come here this is the first time this ever heppened. GERTRUDE You made a spectacle of yourself. JACK I couldn't help it. Mel comes ove~ to thei~ tabl~ with a Frenchman. AI~O1 0336~67
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~::i¸ MEL I'm sure they will not mind. I ~e~et to impose, but 8s you see, we are not prepared to 8ccomodate such s big reunion, 8o if you do not mind, Monsieum Pierrot would llke to Sit with you. He indicates the dIstingulshed-looking Frenchman he brought to the table, as man sits down, orowdlng himself in between Gertrude end Jack. Mel waves to waiter who puts salad in front of Frenchman. JAOK But, Michele, we haven't room. F}~CHMAN Bonjou~, monsieur...Look, Miohele ... FRENC}~AN ge compli~nte cat heroine. I1 a uue belle jeune fille. JACK Wht'd h8 say, whst'd he say? ~L He says ~ou are to be complimented on having such a beautiful young companion. GERTRUDE (does her silly giggle) FRENCPg~AN Ella n'est pss qua belle, male all enbsume de lilas at rose. JACK What'd he say, what'd he say? MEL He says not only i8 she beautifulj but she has the fragrance of lilacs and roses. JACK Well~ FRENCHMAN I1 sent la graisse de poulet. JACK What did he say? 8T,~O 1 03364-68
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-31- MEL He says you smell like chicken fat. TWO-SHOT - JACK AND M~L JACK (getting up angrily) NOW wait e minute ... Look, Michele, I came here with my girl because I thought we could have s nice, quiet dinner to ourselves. Now if you haven't g~t anything with s little m~re privacy, we're leaving. MEL Let me think ... Ah, but of (pointing to one side of the room) The booth behind the curtain. JACK Well, now you're talking Come on, Gertrude, we'll go'in that booth• MED. SHOT - JACK, (~RTRUDE AND MEL GERTRUDE All right, PAN WITH TP~M as they follow Miohele across the room to a curtained booth. JACK You see, Gertrude, if you want anythLng, you've gotta speak up. ~L Wait, I'll pull aside the curtain for you. GROUP SHOT - NELSON AND JA~[ AND MAN ON TABLE Mel draws back the curtain end we see Nelson, who is giving a man a massage on the table. NELSON Welllllll, look who's here. JACK You? ATe01 0336469
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~D. S~T NELSON Sit dowu, he'll be off the table in a minute. JACK (pulling curtain shut) Oh. for heaven's sake ... - JACK, ~. AND~RTRUDE JACK Michele, give me my Green Stamps, we're going home. -32- FADE OUT FADE IN: ~D. WAIST SHOT - DON Don Wilson in front of gold curtain. DON Jack will be back in just a moment, but first ... CLOSING C05~4ERCIAL JG PIT~O 1 03364-?0
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THE AM~qlCAN TOBACCO COMPANY LUCKY STRIE~ TV FIIM COMMerCIAL ~ ii0 (DRESSING FOR PAR~ (i:00) -33- v 0P~N ON ~IUM SHOT OF GRACE IN LIVING ROOM...SHE IS DRESSED IN A BFAUTIFUL DINNER GOWN AND IS OBVIOUSLY WAITING IMPATIENTLy (LOOKING AT }~q WATCH, LIGHTING A LUCKY). SUDDenLY SHE TURNS AND LOOKS AOROSS T~E ROOM, SMILING. SHE LALDE~ AT WHAT SHE SEES SEEMING TO SAy IN A HAPPy W~Y "WHAT NEXT?" WE CUT TO SEE WHAT IT IS SHE HAg OBS~V~D. IT IS A ~IUM SHOT OF RUSS. HE HAS COME DOWNSTAIRS IN HIS DRESS SHIRT SLEEVES. HE IS CARRYING HTg COAT. HIS BOW TrE HAEG3 LIMP AND STraGGLY FROM HIS COLLAR H~5 LOOK IS ONE OF SHE~ ANGUISH. HE INDICAT~ TO GRACE THAT THE TIE IS POSITIVELY TOO MUCH FUR ONE MAN TO COPE WITH. CUT TO 2-SMOT AS GRACE CAI/~ING RUSS DOWN, PUSHES HIM ONTO THE ARM OF A CHAIR AND PRODUCES A PACK OF LUCKI~E$. SEE HANDS IT TO RUSS AND LIGHTS A CIGARHTTE FOR HIM, AND RUSS SMILE~ AND R~XES AS T~-Y ~JOY T}~SIR LUCKIE$. CUT TO CLOSED? OF ROBS AS HE TAKES A D~ pUFF AND IDC#~S HAPPILY. DURING THE PAUSE IN THE SONG BETW~N "RELAX" AND "IT'S LIGHT-US TIME" GBACE'S HANDS COME ON AND START TO TIE HIS TIE AND WE SUS~ TNE CLOCK DEVICE. IT READS AROUND 7:30. (MUSIC: TICK-TOCK INTRO) CHORUS (ovm) LIght up a lucky. It's light-up time. Be Happy -- Go Lucky It's light up time. For the taste that you llke Light up a I)acky Strike R~lax .... (MUSIC: GLINS) ... it's llght-up time. 8l~01 0336,:I-,'1
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J J~ -34- TF~ AMerICAN TOBACCO COMPANY TV FI~M C0~M~CIAL #llO ARNDUNGER (ON 0AMERA) CUT TO ANNOUNC~q DRESSED IN Why is it when folks are EVENING CLOT}~B AND SEATED COMFORTABLY IN LIVING ROOM. Stepping out, you so often see HE IS SMOKING A LUCKY -- E~G~ALTNG. Luckies going along? It's just that Luckies always taste bette~. ANNOUNCES (VOICE 0VHR) CUT TO CIDSEUP OF PACK IN That's because Luckles are made of HIS BAND. IT FEATURES "LS/MFT." fine tobacco. Naturally mild good-tasting tobacco that's toasted. HE TURNS PACK FULL FACE AND WE SUF~ "IT'S TOASTED TO TASTE BEITES", EIACTLYAS IN ADS. That's right. "IT'S TOASTED" to taste even better. Cleaner, fresher, smoother. ANNOUNCES (ON CAMESA) CUT BACK TO ~IUM SHOT OF Next time you go out -- take Luckles OF ANNOUNCES. along with you. SUP~ "THE B~T TASTING TheyIPe the best- CIGAR~PPE YOU EV~ SMOKED" EXACTLY AS IN MAGAZINE ADS. Tasting cigarette you ever smoked. CHORUS (OVm) CUT BACK TO GRACE AND RUSS. For the t~ste that you llke, THEY ARE STANDING. SHE HAS JUST FINISHED TYING HIS TIE. Light up a Lucky Strike. SHE ST~S BACK TAKES HIS COAT AND HELPS HIM ON WITH IT. (SPOmm) HE TURNS AROUND AND TAKES A D~ PUFF ON HIS LUCKY AND Light up a Luclcy. EXHALES SMILING AS SHE PATS HIM ON THE C~T AND LOOKS AT HIM WITH WIF~y APPROVAL. ~,~i¸ ~ • ••~ ~!~: .... , . ~ ~. ~4 ....... •~ • •~. •~ RI"XO 1 03364?2
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THE AMERICAN TOBACCO COMPANY TV FIIM COMN~CIAL #ii0 MOVE IN SWIFTLy TO A CLOSEUP OF THE ~O 0F THI~4 AS SHE TAKES HIS ARM AND THEY LOOK AT FACH 0TH~ (BOTH SMOKING) SHE WITH A LOOK OF "READY?" AND HE WITH A NODDING ANSW~q OF "BEADY! " 8UP~ PACK OF LUCKIES 0~ SC~E. (CHORUS AGAIN) It's llght-up time. /; < h A1-X01 0:-~ L~ 64 73
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/i L (~) FRENCH RESTAURANT Gertrude comes in with tough guy. ~L Ah, ~ood evening, mademoiselle.. monsieur. Welcome to Musty Mlchele ' s. G~TRUDE Michele, I'm sorry about last night...Mr. Benny causing so much trouble and leaving vithout even paying his bill. ME5 That is all right, we have taken care of thsfi. Why don't you dance and I will have a table for you in a moment. G~TRUDE Merci. ORCHESTRA STAND Jack is playing his violin with the trio. Michele enters shot. MEL Mesdames and monsieures, Monsieur Benny will be here for two weeks but in the meantime, be sure to watch Ann Southern. INTO CLOSING C~ITS. GH A]~O 1 0336~74
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-37- • ~ i= CLOSING CREDITS CUT TO: c~ #i DISSOLVE: CARD #2 DISSOLVE: DISSOLVE: CAMD #4 DISSOLVE: DISSOLVE: CARD #6 DISSOLVE: C~9,D #'7 THE JACK BENNY PROGRAM (with carricature) Copyright c 1955 by J & M PRODUCT~0NS, All rights reserved Executive Producer and Director RALPKLEVY Producer HILLIAED MARKS Written by SAM P~RIN GEORGE BALZER AL GORDON HAL GOLDM~/g Musical Director MAHLONMERRICK Associate Producer RICHARD FIS}~R Cast Bea Benadaret Sara Berner Mel Blanc Lo~le Cameron Dick Curtis Pat Dennis Hellene Hill Frank Nelson Richard Reeves Rolfe Sedan The Sportsmen Quartet Production Supervision SAM PERRIN DISSOLVE: INC. GK F~YH01 0336475
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DISSOLVE: CARD #9 DISSOLVE: CARD#10 DISSOLVE: CARD#il FADE TO BLACK: Director of Photography -- John McBurnie Art Director --Martin 0bzlna Editorial Supervisor -- Richard G, Wray A,C.E. Film Editor -- Daniel A. Nathan, A.C Set Decorator -- Gene Redd Sound -- Roy Meadows Assistant Director -- Jack Corrick Wardrobe Supervisor -- Vincent Dee Make-Up -- Jack Barron RCA Sound Recording Emblem - IATSE Seat A.T.F.P. (The characters and events depicted in this photoplay are fictional. Any similarity to actual persons, living or dead, is purely coincidental.) THE JACK BENNY PROGRAM (Caricature of Jack) was filmed in Holl~ood at Revue Productions, Inc. J & M PRODUCTIONS, INC. C 1955Ali Rights Reserved ReVue Insignia MCA Insignia Ann Sothern PRIVATE SECRETARY CARD ARNCE Remember - one week from tonight, on this same station, be sure and watch Ann Sothern in "Private Secretary'~...Jack Benny's next television show will be in two weeks. INTO HETCHEL~KE. GH A I" .'.W 0 1 03364-76
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"AS TELECAST" PROG~ #3 HEVISE~ SCRIPT A~RICAN TOBACCO COMPANY LUCKY STRIKE THE JACK BENNY TELEVISION PROGRAM SUNDAY~ OCTOB~R 2~, 1955 CB~ ~0 - 4~00 PM PST CAST: JACK BENNY ROCHESTEE DON WILSON PEGGY KING ART LINK[ZTTER MR. FINK .............. M~I Blsnc USP~R ................. Michael Bsyhill CHILDREN P~I'HO 1 03364-PP
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OPENING COM~RCIAL CUT TO TITLE CARD: "THE JACK RSNNY PROGRAM." CUT TO TITLE CARD: "PRESENTED BY LUCKY STRIKE," CUT TO TITLE CARD: "BE HAPPY -- GO LUCKY, I~CKIES TASTE BETTER. ~' CUT TO: #111 - HAPPY JOE LUCKY OPEN ON STREET CORNER. LUCKY BILLBOARD CAN BE SEEN IN PERSPECTIVE. ZIP PAN TO HAPPY-JOE-LUCKY JAUNTILY DANCING AROUND CORNER. HAPPY-JOE EEACRSS INTO HIS POCKET AND WHIPS OUT A PACK OF LUCKIES. HE THROWS IAROE WOOD~N MATCH DOWN ON PAVEMENT, IT IGNITES AND BOUNCES UP IN FRONT OF KIM. BE cATCHES IT AND LIG~S Ills LUCKY. HAPPY JOE-LUCKY LEANS AGAINST BILLBOARD AND PUFF~ HAPPILY. MG OPEN -i- (MUSIC: LUCKY STRIKE TEE~ UP AND UNDER--- ) ANNCR FrOm Television City in Hollywood, the Jack B~n~ program with his sPecial guests ...... Art LinMletter an~ Peggy King...presented by Lucky Strike ! (MUSIC: VAMP AND BE HAPPY -- GO LUCKY -- SHORT VERSION) SOUND: TICK-TOOK-TICK-TOOK ( MUSIC: FIRST FIVE NOTES OF "LIGHT-UP TIME" SONG WHISTLED), (THIS IS HAPPY-JOE-LUCKY WHISTLING. HE IS JUST AROUND TEE CORNER AND WE HEAR THE WHISTLYNG IN SLIGHT ECHO). (SINGING) Light up a Lucky .., it's light-up time. Be Happy -- Go Lucky ... it's light-up time For Zhe taste that you llke -- Light up a laok~ StPike. Relax ... ... it's lishh-up tlme~ 81"~01 0336428
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T~ AMERZCAN TOBACCO COMPANY LUCKY STRIKE JACK BENNY TV FIIM COMMERCIAL #Ill "HAPPY-JOE-LUCKY" (ONE MINUTE) CUT TO ANDRE BARUGH BITTING ON AN OUTDOOR TERRACE. t'~'$ HOLDING A PACK AND JUST FINISHING A PUFF ON A LUCKY. HE EXHALES AND SPEAKS, CAMBRA MOVES OUT FOR A MEDIUM CLOSEUP OF ANDBE RAISING HIS PACK OF LUCKIES. CUT TO ONE PACK OF LUCKIES IN LIMBO: THEN T~EE, FIVE, TEN: EDGE OF CARTON ENCLOSING PACKS: 00VH~ OF CARTON OPEN: COVER CLOSES (ALL IN TIME WITH MUSIC. ) POP ON ABOVE CARTON "LIGRT UP ... A LUCKY~', POP ON ~ CARTON "IT'S LIGHT UP TI#~." OPEN ~2- ANNCR Our friend Happy-Joe-Lucky has the right idea. Relax ... and light up a bettem tasting Lucky Strike. (~ LEANS RA0X) You111 find tha~ Luokies do taste better. And for good reaeons. First, L~/MFT -- Lucky Strike moans fine tobasco. Then, that fine, !good-testing .tobacco 18 toasted ... ~"IT'B TOASTED" to taste even better. Cleaner, fresher, smoother. So, light up B Luck~. (MOTIONS WITH PACK. SMILES) You'll say it's the best-testlng cigarette you ever ~moked: SINC~.RB (OVER) For the tsste that ~ou like Light up a Lucky Strike, Right now .., GIRL (S~_J~:NG OVER GL~SSA~O OF ~szc) Light up a Lucky~ SINNERS AGAIN ,.. it's light up time. } 7! MG ,,, ,, nY~01 0336&?9
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..... i (APTER OPENING cOMMERCIAL) JACK COMRS OUT TO ~'LOV~ IN BLOOM'T AND APPLAUSE. JACK Thank you, thank you, ladies and gentlemen, thank you very much, mad welcome to the Lucky Strike program. This is my third program of the season and -~ you know I was just thinking. I don't know why I come odt here ever~ show and say "th~k you, thank you" .. I don't know what I'm thanking you for...you get in here for nothing...And believe me, it wasn't my idea. I've always felt it would be fair to cha~ge a nominal fee - say a dollar for grownupe, fifty cents for cb-%ldren...a quarter fo~ animals - but I~d let seals in free - they applaud a lot ..... Well, anyway, On tonight,s show, -- Oh, b~ the way, I want to ask you, did you see the Noel Coward and Mary Martin show yesterday. Wasn't that the most wonderful television show. How two people, with no one else - all alone - just two people for an hour and a half, and they were sensational. Of course, I had that same idea, but if I was alone with only one other person for an hour and a half, theyld say I was cheap. That Noel Coward.-.- . he'e such a charming, suave, noehalant comedian. ( oPE) Fl'r,~ 01 O335A80
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.... -- ....... ~ .......... ,,m .,~u, J JACK (CONTID) But I must say that I've been compared to him myself, People have said that I was a bo~n oowsmd. Of course, that was when I was in the navy. But when I was in London I was invited to Noel Coward's house. He has the bluest swimming pool .... -2- JG £~'F MO 1 03364-81
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4 -3- P JACK L00E~ DOWN..CAM~ GOES ON FIN](. ~INK P~rdon me, Pardon me..Lady, would you move you~ big feet, I'm trying to get through... pardon me..parden me.. USHER ST~PS UP TO FINK ~I USHER Mister, you'll have to be qulet.,there's a show going on. FINK Okay, okay, I'm just trying to get a better seat. FINK SITS IN AN EMPTY A~SLE SEAT. JACK Well...now that everybody's comfortable, let's get on with the show...You ar__~e comfortabl~, aren,t you, Mister? FINK Yeah, from here I can see everything, JACK Good, good...You see, that's what happens when you let people in for nothing... And now ladies and gentlemen, with your pez~nisslon, I'd hike to get on with the show. As you know, I never use a guest star unless the script calls fo~ a certain personality...and tonight I'm very happy to say that we have with us -- AT~OI O336~82
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/% .... DON COFf~B ON. (APPLAUSE) DON Oh, Jack.. Jack.. JACK Oh, for heavenm sake, Don, what do Fou want? DON Jack, I Just had to come out. On the way to the studio I stopped at the drug store a~d picked up the latest issue of Look Magazine and, Ja0k, gues~ whose picture Im on the cove~. JACK Don, I haven't the mllghtest idea. DON It's you, Jack..you~ picture. JACK No~ JACK TAKE8 MAGAZINE AND HOLDB IT UP TO CAMERA. DON Yes, and ~ou want to hesm something else? There's a big stor~ about you written by William Saroyan. JACK A whole sto~y abo~t me? I can,t believe it. BB f f~ T :qO'l O336483
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(~AKINQ ~ASAZI~) Yes, Jack, Itls right here on page ... page ... page o.. JACK Fifty-one ,.. Pictures and everything. DON Jack, you ~ew about it all the time. JACK Of course I Icnew about it. I have 9000 copies. DON Well, anyway, I think it,s a wonderful article and I ~ar~ioularly llke the paragraph where he mentions that you've bee~ sponsored by Luck~ Strikes for twelve years• JACK I ~new you'd llke Shat. DON (A LITTLE ANGRY) I'd have liked it even better if he had mentioned that Lucky Strikes ~e round and firm end fully packed, end free and easy on the draw. -5- JG ~T~O9 O3364B~
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-6- JACK But, Don, the article was ... DON Not one word about ~ UP Time. JACK But, Don, ths article was about me, not Lucky Strike. Don't get yourself worked up. DON I'm not worked up. I just don't see why he couldn't have made room for five more words ... Just five words. Better. It's Toasted to Taste JACK Don, there's notbzLug you can do about it. The article is written, he got his three thousand dollars, I got my two weeks rent, so forget it ... Now do me a favor and let me get on with the show. DON Well .°. all right. (STARTS OFF) Just five more words ... that's all I wanted. DON GIVES A PETULANT KICK AND EXITS. JG ;~T ~0'I 0B364-85
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JACK His five chins are shaking. You know, I must say Don is a loyal guy. But that's the nice thing shout our show ... everybody tends to their own business. Don represents the sponso~ ... Dennis sings the songs. I take care of the laughs ... And speaking of laughs, I've get to tell you what happened to me this morning. I was walking down Falrfax Avenue and a fellow stepped me on the street -- JG H RTH01 0336486
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WE }~AR FINK'S VOICE FROM THE AUDIENCE. F ~4¢¸ Louder. FINK'S VOICE JACK (L00EB IN FINK'S DIRECTION BUT TRIES TO IGNORE HIM) A fellow stopped me on the street and asked me if I could give him five thousand dollars So he could buy himself some dinner. So I said, ."Why do you need five thousand dollars for dinner?" FIE' S VOICE Louder! JACK BB (vm UD) And he said, "I want to eat at a drlve-in and I haven't got a car." (LOOHINGDOWNAT FINK) Was that loud enough for you? FINK Yeah, now make it funole#. JACK Oh, for heaven's sakes... (s0 Fl- K) Say, fellow..would you mind coming up here on the stage for a minute? FINK Who, me? JACK Yes, you...come up here. f~l"~O 1 033648?
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BB nr~ PINK Okay. (STARTS OUT WAY HE CAME) Pardon me, pardon me. JACK Not that way, thl8 w~y.. MEL TURNS AND COMES UP AISLE TO STAGE. AND STANDS NEXT TO JACK. JACK Now look, Mister., .MisteP... PINK Pink. JACK Pink? FINK -9- FINE WALKS UF ON THF<~AGE ~T~O'I 0336488 F-I-N-Q-U-E,. Fink. JACK Oh..oh..Well, M~. Pink, I didn't bring you up here to embarPass you...but I'm trying to do a show and if you've got a chip on your shoulder, why did you come in here in th~ first pla~e? Who wanted to come in?...I was standing in line fore the Lassie show and some guy come over a~d told me they were giving away ~efrigerator8 in here. JACK Giving away refrigerators?
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-IO- FINK In television a program's either gotta give you entertainment or a r~frigerator, now where's m~xice box? JACK NOW look, ~. Fink. FINK F-I-N-Q-U-E. JACK I know, I know. FINK That's French. JACK FINK French? In Paris it's Fizkay. JACK I don't care what it Is...And you're not getting an Joe box, so go sit do~n~. FINK Okay, okay. (STARTS TO LEAVE STAGE ~UMBLING) Twelve programs this week and Y still ain't gob a stick of furniture. }~DESCENDS ~TAIRSAND CONTINUES TO HIS SEAT. BB f:T~O 1 033648~
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-ll- JAOK These ar~ the problems you have wb~n you're doing a live show...And now, ladies a~d gentlemen, to get on with the program..I've reserved this spot for a very special treat. I'd like to present a yo~g glrl who practically over-night has become One of television's most popular entertainers...the singir~ ~ca~, or ~he George Gobe~ anew...~iss Peggy K~,,g. PEGGY KING COMES ON STAGE. (APPLAUSE) JACK Isn't she cute?...Peggy, I want you to know that I'm very happy having you aB a guest on my p~og~am. PEGGY Thank you, Jack...And I just can't believe all these nice things have happened to me. It seems just a short time ago I was only " singing commercials...and now here I am tonight on the same program with America rs Second favorite comedian. JACK ~ecood? Peggy that's not exactly the way it was written. PEGGY I know, but last night I shewed the script to George Gebel and he changed it ~ little. AleX01 0336~$90
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J~ i GH -12- JACK Oh... oh. PEGGY He thought it would be funnier this way, JACK Well, when ~ want help from a dirty birdj I'll ask for it...But don't get me w~ong, Peggy.. I think that George is very clever. Naturally, he,s young, and when he gets older and has had mo2e experience he'll undoubtedly improvg. PEGGY Well, that's true, but in my opinion, I think that even now George is tops. JACK Well, as you say, that's your opinion... Fortunately, ~e're living in & co~tr~ where we can express ou~ feelings either way .... And I'm just about to. pEGGY But, Jack,I thought surely you'd ~gree with me because laBt yea~ when George received the Ea~uy Award, you wer~ the one who made the presentation. JACK I...Oh, yes, now T remember... I did hand him the E~my Award. PEGGY George said ~ou tbmew it at him. A1~O1 O336~91
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L JACK GOES OFF. PEGGY DOES SONG, (APn E) JACK George said, George said. This is a tough business he's in and he might as well find it out no~ ... Now, Peggy, if you don,t mindj let's get On with m~ show. What are ~ou goln~ to sing? PEGGY I'd like to do "This is Where Love Walks Out, B~other". JACK That's the title, huh. Well, take it, sister, and I'll se~ you later. LJG AT~qO 1 033 ~,.~.~ 2
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" : ~" -14~(r~v) JACK COM~B OUT JACK That was beautiful, Feggy .,. just wonderful. PEGGY Thank you, Jack. MEL She sounded good out hers, too. JACK You keep out of this. ..... ~ - JG 8T:401 0336493
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PFGGY Some guy named F~k. Fl~K (m0M AUDIF CE) JACK Look, ~, Fink, vc~ld you please ~top yelling hike that? Everybody watching the shog can hea~ you. FINK They can? Certeloly. JACK FINE (STAWOn Zm S) Hey~ Martha~ kee_p the cold water runnin~ on the butter~ I ain't ~ot the ~oe box yet. JACK Well, you're not going to get one..so sit down and be quiet. (TO PEGGy) ~'m terribly sorry, Peggy, thanks again very much, and I'll see you later. PEGGY All right, Jack...goodbye. SHE GOES OFF. (APPLAUSE) / ,~ ,r ..... - sf Yi T,~O 1 0336494
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JACK You know, ladies and gentlemen, I've had a lot of letters from people telling me how much they enjoy the show, but many of them add thst my programs seem to be directed toward the adults. People that I k~pw in town who have children say, "Jack, why don't you do something that the kids will be interested in." ~nerefore, tonight we thought we'd do just that...And to help us out, I've called on someone who really loves wor~g with and being with children...Art Ld~letter. LINEI~T~ COMES OUT I~ROM WINGS A~D STraNDS NEXT TO JACK, JACK ~t, it Was very nice of you to give up your Sunday and come over here like this. ART Anythlng to get out of the house, my kids were driving me nuts. JACK Oh...Now, Art, when I called you on the phone and asked you to come down here, did I meke it clear what I wanted to do? ART I think so. You want me to duplicate a se@~ent of n~ own daytime prepare, "~use Party"...that portion where I interview ohild#en, t.So I brought some children with me. 0336~95
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-17- JACK ...Art, if you and the children are ready, the stage is yours. JACK L~r~S. ART EXPLAINS HOW HE DOES IT ON HIS DAYTIME PROGRAM. THE CURTAIN OPENS ON ~RT'S CHILDRF~ SET. AT THE ~D OF THE INTERVIEWING OF THE T~ITIMATE CHILDREN, ART DIBMISSES THe. ART (CALLING TO THE WINGS) May I have the next gPoup of children, please? PEGGY KING, DON WILBON, ROCHESTER, AND JACK ALL COME OUT TOGETPS~R DRESSED AS CHILDREN WITH ROC}~STER WEARING A DAVY OROCKET 0UTFIT. -! GH I~I '~ MO 1 0 ~ -:16 4-B' 6
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~ ~ ART Well, what s nlce-looklng bunch of youngsters...Aren't they precious?... All right, kids, let's all sit.do,m, shall we? THEY SIT DOWN...ROCHESTER ON ONE END, T~ JACK, PEGGY AND DON. ART That's fine...New let's see, Who'll we start with? JACK Me first, me first..me me me..I want to be first...he me me. ART Now take it easy, you'll get your chance...Let's start at this end over hero... (ooEs DON) What's youm nan~, Sonny? DON (HICa VO~ CE) I'm Donald Wilson and I'm nine years old. ART I see., .and what do they call you:at school...Don or Donald? DON My re,them calls me Yatso, ART Your teacher, eh .. what about the other kids in t~ class? ATe01 033649?
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4 i: DON In my class there's no room for other kids. ART Oh, I see. JACK I'm next, I'm next. Me me me me. ART No, no, you'll have to wait you~ turn... Be careful with your kicking, this is my set, you know. I went to talk to this cute little glrl here..Now, honey, what's. you~ name? PEGGy (SUCKING H~R THUMB) Peggy King. ART That's a nice name. Are there any more st home llke you? pEGGy I have two little brothers. ART I see. Let me ask you something. Do you always suck your thumb? PEOGY Uh huh. ART What about your two b~otheps? PEGGy They have their own thumbs. JACK I'm next, I'm next. It's my turn new... RTX01 0336498
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J / 20- ART I'll get to you in a minute. Peggy, do you like to read? PEGGY Oh, yes. ART Tell me~ What's youm favorite sto~y. ~: PEGGY Well, I like the story about the mother who wanted her daughters to have pretty clothes and jewsl~y so they could go to the palace and dance with the rich men and maybe marr~ a prlnee~ ART That's your favorite story. PEGGY Yes. Cinderella. ART You could have fooled n~, I thought you were talking about the Gabor sisters... I'll get hack to you, honey...I want to talk to this little boy over here. HE PASSES JACK A~DBE~DS OV~ROC}~ST~. JACK (S~A~D~G UP) I was supposed to be next...you skipped ART Don't Worry, I'll get to you. BA I~I-~0 1 0336499
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JACK But it isn't fair, that's cheating, you're cheating~ I'Ii c~ll my Mother. ART JACK AN Y) I don't eax.e if your mother is a lsWye~, and I think there's something We ought to get straight right now. I'm running this aud'7ou'll have to wait till your turn., .If you're not happy, you can just pick yourself up and get out. JACK (WITH A BIG TOBS OF HIS C~) ,,. Well~ Om SITS DOWN) ART (TO ROOh~STEa) NoW, young ~8.~, what's yo%h~ n~? ROCHEST~ Rochester Van Jones. ART Uh huh....That's & very cute Davy Crockett outfit you have on. ROO}~STER Thaukyou. ART Tell me,.. where were you born? -21- P~I~O 1 0336500
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J • 4: .~ ROC~STER On a mountain-top in Tennessee. ART You kno% D~vy Orocket~ was an outdoo~ man...Are ~ou fond of anlmals a~ wii~ llfe, too? ROC~TE~ Oh, I am...l am. ART What~ s ~our favorite a~im~l? ROCHEBTER F~ied ohicken. JAOK I'm next, I~m next, r~m next, I'm next. ART All right, all right...I'm g~tting to you...Now tell me, What,s ~oum nsm~? JACK Jackie Benny, and I'm eight yesms old. ART Eight years old, eh?,..And wh~t wou/d you li~ to be when you gro~ up? JACK A violinist. Every day I praotice my violin...all d~y long I practice my violin. D~ Flr HO "1 0338501
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-~3- ART Well, that's wonderful...what do you want to be when you grow up, the world's greatest violinist? JACK [~ ,~ No, the rlohe~t. AUDnmCE) You know..I've got a feeling he'll make It...Tell me, Jackie, where do you llve? JACK ~i 366 North Camden Drive. ART Oh, I know where that is. JACK And I'm elght yaa~a old. ART z You told me that already. JACK know, but it,s 8o much fun saylng it. ART Such a littla boy with hairy knees. Now, children, I'm going to give you each a chance to show off yc~ talents, and first we'll start with Jackle-- FINE (RU~ INT0 SCENE) This has gone far enough..What kind of a cheap operation is this, anyway?. NT~01 0336502
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MG JACK Oh fo~ heavens sakes...itts him again.. Art, this fellow has been interrupting my whole pro~8m. Now look here, Mr. Fink -- F-I-N-Q-U-E. I know, I know. FINK JACK FINE Where' s my refri~rator? JACK You're not getting one. ART Jae~, why den'S you give him one and get him out of here. FIN]( Hey, ~ou~e a nice Buy. You can 0811 me by my first name.. Frank. JACK FINE JACK Now cut that out ... And let me tell ~ou something, Frenk pink, if you think you can come in h~re and Create disturbance, you*re c~azy. A1)~01 0336503
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:i! ] FINK Well, if I don't get m(f refrigerator, I'm going to go to the head office and really cause a stink. JACK What? FINK JACK I know. I know. (taking off wig) Come on, Art, let's get out of here. CURTAIN GOES DOWN DON' S VOICE Jack will be back in just a moment, but first a word to cigarette smokers. CUT TO COM~RCIAL. -28- SL ~TH01 0336504-
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THE AMERICAN TOBACCO COMPANY CLONE " LUCEY STRIKE !£ ~ i TV FILM COMM~RCIAL #105 IALL NIGHT DINE, R) i:00) OPEN ON A MEDIUM CLOSEUP OF A SMALL TABLE MODEL RADIO SITTING ON THE END OF THE COUNTER TOP OF A DINER, THERE A~ SALT AND PEPPER S~RS AND A SUGAR BOWL IN EVIDENCE. FEKHATS THE HANDS OF THE SHORT ORDER COOK ARE ARHANGING TEEM OR WIFING THE COUNTER TOP, AS ANNOUNCER 5PEARS WE PULL BACK AND PAN UP TRUCKING ALONG THE COUNTER LOOKING ACROSS IT WITH A MEDIUM V3A/~ ANGLE SHOT. WE SEE THE MIOUS CHARACTERS %~O ARE SEATED AT TEE COUNTER. A T~UCEDRIVER, A OOP, AN OLDER MARRIED COUPLE, SO~ BATING, SOME SMOKING. AND FINALLy WE HECOGNINE RUSS AND GRACE. WE PULL AROUND TO A FULL FRONT MEDIUM CLONEUP OF THE PAIR OF THEM AND HOLD IT AS RUSS OFFERS GRACE A LUCKY AND SHE TAKES IT AND THEY BOTH LIGHT UP. < THEY CONTINUE SMOKING WITH DEEp ENJOYABLE PUFFS AS TEE SONG IS HEARD OVER THE ACTION. -if (SOUND: PRESENCE IN THE DIRER-- SIZZLE OF SONETHING ON THE GRIDDLE OFF SCReeN ) RADIO ANNCR (AS THOUGH COMING PROM THE RADIO IN THE DINER) (CHATTY, ALL-NIGHT DISC-JOCKEY DELIVERy) 2 A.M. -- it's light-up tlma~ SINGERS (OVER) Light Up a Lucky. It's llght-up time. B~ Happy -- Go LUClC~, ~t'S llght-up time. SINGERS (OVER) For the taste that you llke, Light up a Lucky Strike. COU~RMAN COMES ON BP~Y AND SETS DOWN 2 CUPS OF COFFEE IN FRONT OF GRACE Relax... AND RESt. (WE REVER S~ THE COUNTERMAN'S FACE) (MORE) MG R'FH01 0336505
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T}~ AKERICAN TOBACCO CO. LUCKY STRIKE ,~105 (CONT 'D) i:00) DOLLY SWIFTLY IN TO A TIGHT }~AD AND SHOULDER 2-SHOT OF GRACE AND RUSS AS THEY EXHALE WITH GREAT ENJOYMENT. AND WE SUPER THE CLOCK DEVICE. CLOCK DEVICE READS ABOUT A HALF-MINU'gE PAST TWO. CUT TO AL HELFER SEATED IN BOOTH IN DINER. }~ IS ALONE. TKEHE IS A CUP OF COFFEE ON T~ TABLE BEFORE HIM. AND BESIDE IT AN OPEN PACK OF LUCKIES AND A PACK OF MATCKES. AL IS SMOKING A LUCKY. PICKS UP PACK OF LUCKIES AND GESTURES WITH IT. CUT TO INSERT: CLOSEUP OF PACK IN AL'S HAND. KESIE~ IT SUPER: "IT'S TOASTED TO TASTE BETTER" EXACTLY AS IN T}~ MAGAZINE ADS. CUT BACK TO M~DIDM CLOSEUP OF GRACE AND RUSS AT COUNTER. THEY RAVE FINISKED THEIR ¸COFFEE AND THEY ARE SMOKING. MG CLOSE -2- BINCS~RS (CONT'D) (MUSIC: GLISS) It.s llght-up time! (MUSIC: HUMMING OF LIGHT-UP TIKE THE~ SOFTLy ~-BIND: ) HEU R (ON CAMERA) (SMILES AND NOD~ OFF SCaN TOWARD GRACE AND RUSS) The end of a perfect date~ -- When you st~for a light snack and l~wlth your Luokles. Why Luckles? Easy. Luckies taste better. Naturally they do. Lucky Strike means fln_~e tobacco. Then, this fine good-tasting tobacco is toasted. "IT'S TOASTED" to taste even better. Cleaner, fresher, smoothe~.. (NOW VOICE OVER) So . .. next time you want to linger ... light up a Lucky. (MUHE)
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L THE AMERICAN TOBACCO 00, LUCKY STRIKE ~i05 I:00) (CONT'D) THEY EXHALE LUXURIANTLY. PAN DOWN AND MOVE SWIFTLY IN TO CLOSEUP OF FACK OF LUCKIES ~SIDE RUSS'B COFFEE CUP AND RUSS'S HAND RESTING ON COUNTER TOP BESIDE THEM, A LIGHTED LUCKY IN T}~ HAND. CLOSE -3- SINC R lOVER) For the taste that you llke, Light up a Lucky Strike, Right now... (SPOKeN--VOICE OVER) Li~h~ up a L~icky. (SINGERS AGAIN) It's llght-up time. MG ....... , ~,~,-- .... AI'~O 1 033650?
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~r -29- (ABTER C~D8ING COM~RCIAL, JACK COMES OUT TO MUSIC & APPLAUSE) H~ IS STILL DRESSED AS A CHILD. JACK Thank you, theok you, very, very much, ladies and gentlemen. It was fun wearing this kld's~. outfit, although it was quite exDensive. But I'll get it back next week when I play trick or treat. Be sure and watch Ann Southern next week and I'll be back in two weeks. Mary's going to be on the show, and for my guest I b~ve that world famous concert violinist, Mr. Isaac Stem. We'll probsbly play a duet together..That is if we can agree on a number. You see, he would llke to do Zls~enerweisen by Saresste and I lean towsrd the Yello~ Rose of Texas...Oh well, I guess we'll work something out .... On Nobomber 3rd I'll be back for the auto show on the Showe~ of Stars. Goodnight, folks. CUT TO CREDITS. GH ~T~OI 033650~
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• -- L. !!U~'-k [L ( 0REDITS ) CARD #4 JACK BENNY PROGRAM CARD #5 DIRECTED BY RALPH LEVY CARD #6 PRODUCED BY BILLIARD MARKS CARD #7 WRITTEN BY CARD #8 ~JSIC & ASSOCIATE PRODU~R CARD #9 ART DIRECTOR, TECHNICAL DIRECTOR, & SET ~CORATOR CARD #lO PRODUCTION SUP~RVI SOR CARD #Ii JACK BENNY PROGRAM _30~_- non (voice owR) Appeerlng on tonight's progrsm were Mml Blanc end Michael Rsyhill. CARD #12 ANN SOTHERN MEMO CARD CARD #13 JACK BENNY PROGRAM Remember - one week from tonight, on this same ststlon, be sure en~ wstch Ann Zothern in "Privste Secr~ t 81~y". Jack Benuy's next television show will be in two weeks. (Music: OUT) TO TARPON HITCH~ AB 8TM01 0336509
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THE AMERICAN TOBACCO COMPANY LUCKY STRIKE DISSOLVE TO CARD: POWHATTAN WITH "THE AMERICAN TOBAOCO COMPANY" ABOVE AND "AMERICA'S LEADING MANUFACTURER OF CIGARETTES" HELOW. SYST~ ANNCR (VO) The Jack Benny Frogram has been brought to yo~ by The American Tobscco Company -- America's leading mm]ofactu~er of cigarettes. The Jack Benny program has been selected for viewing by our Ar~ed Forces Overseas, GH PII"XO 1 0336510
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I L~91:~IRO lO~++:+t+i t~ ,++
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"AS ~LECA ST" PROGRAM#~ AMERICAN TOBACCO COMPANY LUCKY STRIE~ "THE JACK BENNY TEI~SION PROGRAM" (Isaac Stern Show) Telecast: 11/6/55, Filmed: August, 1955 Productlon#857 Revue Productions, Inc. JACK ~NNZ MARY LIVINGSTONE ROCHESTER DON WILSON ISAAC ST~N MEL BLANC GRANDON RHODES ROBERT BETERSON MG ~1"M01 0336512
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FADE IN from Blaok: CARD#1 THE JACK~NNY PROGRAM (with caricature) (small) c 1955 by J. & M PRODUCTIONS, INC. All Rights Reserved DISSOLVE: CA~O #2 DISSOLVE: CARD#3 "Be Happy, Go Lucky" d FADE TO Black: INT0 OPENING COMMERCIAL P~esented by LUCKY STRIE~ (peck & bull's-eye) (pack & bull's-eye) MG RTH01 0336513
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t THE AMERICAN TOBACCO COMPANY LUGEY STRIKE TV FILM COMMERCIAL #103 SCOOP - BROUGHAM SCENE (I:00) CLOSE SHOT OF CLOCK RESEMBLING TIFFANY CLOCK OF FIFTH AVENUE. CAMERA TRUCKS BACK AS HORSE -DPA ~ BROUGHAM ENTERS SCENE. HORSE L00E5 AT CLOCK IN PASSING. CAMERA TRUCKS INT0 CLOSER SHOT OF HORSE AS ME SINGS OPENING LINES CAMERA PANS BACK TO CLOSE SHOT OF DRIVER CAMERA PANS BACK AS TOP COLLAPSES. SCOOP OFFERS DRIVER LUCKIES AS TOP COLLAPSES, GIRL IS SHOWN SEATED NEXT TO SCOOP CAMERA PANS TO OTHER CLOCK ON ST~T DOLLY IN TO CLOSE SHOT OF CLOCK. FACE OF CLOCK DISSOLVES TO BULLSEYE. LUCKY STRIKE PACKAGE FADES IN PACKAGE STARTS INT0 DISSOLVE MG -2- (SOUND: TICK TOCE - TICK TOCK) (SOUND: CLIP CLOP - CLIP CLOP) (SOUND: CLIP CLOP - CLIP CLOP) HORSE (SI~GE) Light up a Lucky It's Light Up Time. ERROR (SINGE) Be Happy Go Lucky It's Light Up Time. SCOOP (SINGS) For the taste that you like, Light up a Lucky Strike. GIRL (SINGS) Relax GROUP (SINGS) It's Light Up Time. ANNCR There's a time and place for everything. And the right time for a Lucky is any time ... ...you want to enjoy a great cigarette. (MO~) ~TM01 0336514
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THE AMERICAN TOBACCO CO. LUCKZ 3TEI~ TV FILM COMMERCIAL #103 SCOOP - BROUGHAM SCENE (l:O0) LUCKY STRIKE BUI~EYE DISSOLVES INTO SUN CAKERA DOLLIES BACK, RETAINING SUN IN UPPER RIGHT FIELD. FADE IN SCOOP IN FOREGROUND IN FLORIDA LOCATION. GIRL POSED ON DMNG BOARD. GIEL DIVES INT0 pOOL, EVERYTHING DISSOLVES OUT EXCEPT HUGE SPLASH. SPLASH HOLDS ON SCEEEN SCENE BECOMES "OLD FAITHFUL" GEYSER AT YELLOWSTONE PARK CLOSER SHOT OF SCOOP AND GI~L WATCHING GEYSER SCOOP LIGHTS HIS AND GIRL'S CIGARETTES. SCOOP AND GIRL BLOW SMOKE TO UPPER HALF OF SCH~N. SMOKE FORMS INTO LETTING ON TOP OF SCREEN AS SCOOP AND GIRL LOOK UP AT LETTERING. PACKAGE COKES TO FULL SCREEN AS NEST OF SCE~ FADES OFF. LETTERING "IT'S TOASTED" COMES OFF PACKAGE TO FULL SCREEN LETTERING "IT'S TOASTED" CONTINUES OFF SCaN LETTERING "CLEANER" ZOOMS UP TOWARD CASABA. LETTERING "FRES~R" ZOOMS UP TOWAKO CAMERA. LETTERING "SMOOTHER" ZOOMS UP TOWARD CAmeRA. ORE "0" IN "SMO~R" REMAINS ON SCK~"N. REST OF SCENE FADES OFF. "0'~ ~COMES MOON OVER ARIZONA DESERT SCE~. FADE SCOOP AND GIRL INTO FOREGROUND OFARIZONA SET UP. ENTIRE BACKGROUND FAD~S OUT LEAVING MOON WHICH NOW DISSOLVES INT0 CLOCK. -3- ARECR (co~'o) And the right 'place fo~ a Lucky -- ...is wherever .... ...you happen to be st the time.,. (SOUND: sPLASH)a (SOUND: WHOOSH) ANNCR You'll always enjoy Luokles -- -- because -- Luckies taste better. Lucky Strike is made of fine, natu~elly good tasting tobacco... That's toasted to taste better. Clesner- Fresher - SCOOP And that's why Luckies taste better.. ...every time. (MORE) ~T)401 0336515
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'-;. THE A~RIOAN TOBAC00 00. .... LUCKY STRIKE TV FILM COMMERCIAL #103 • SCOOP -BROUGHAM SCENE (l:00) DISSOLVE SCOOP AND GIRL FROM SAME POSITION INT0 SEAT IN BROUGHAM. CAMERA TRUCKS TO CLOSER SHOT OF GIRL AND SCOOP SCOOP PUS}~S PACK OF CIGARETTES UP TO FULL SCREEN AS SCENE FADES OFF, HO~D ON CLOSE SHOT OF PACKAC@,. -4- SCooP (C0NT'D) SO make your next p8ok of cigarettes,,. ...Luok~ Strike. You'll find.,. ...it's the best-tasting cigarette you eve~ smoked! MG RT~01 0336516
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-5- "THE JACK ~ENNY TELEVISION PROGRAM" (ISAAC STERN SHOW) AB~fER OPENING COMMERCIAL: FADE IN; INT. JACK'S LIVING ROOM - DAy - FULL SHOT ROD~STER comes into living room from kitchen with a dust rag end starts dusting, humming to himself. APPLAUSE. We HEAR the DOOR~LL. Rochester goes to the door and opens it. PROFESSOR L~BLANC is theee. ~D. SHOT - AT FRONT DOOR - ROCHESTER, LeBIANC ROCHESTER Well, Professor laBlanc! Come right in. The Professor comes in. ROD~STER (CONT'D) (ceiling up steirs) Mr. Benny, your violin teeoho~ is here. JACK'S VOICE (o.s.) Send him right up. ROCHESTER Follow me, Professor. INT. JACK'S ~DROOM - DAY - MED. SHOT - JACK WITH DOOR IN B.G. Jeek takes the bow OUt of his violin case. APFLA~SE. Rochester and Professor LeNient enter through open door. JACK Good morning, Professor LeBlsnc. M~L (do n) Good morning, good morning, JACK Rochester, set up my music stand, will you? ... And then fix me some lunch. Professor, would you like something to eat? MG J AI-HO I 033651?
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TWO SHOT - PROFESSOR, JACK MEL NO, Monsieur, I would rather not give you a lesson with anything In my stomsch. JACK I know how you feel. After I eat I get sleepy, too. MEL Please, Monsieur, let us commence with the lesson. 4 JACK Oh, professor, there's something I wanted to ask you...do you really think you can make a greet violinist out of me? MEL Well, I think I can do so~thing, but it will take time. How old 8re you? JACK Why? MEL How much time have we got left? CLOSE -JACK Jack looks at the Professor. MED. SHOT MEL Please, Monsieur Benny, let us commence with the lesson. JACK Okay, okay. We }~AR the D00R~LL, o.s. JACK There,s somebody at the door. ~L (eagerly starting toward the door with his hat) I'll get it. MG 6 ~I'HO I 0336518
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JACK You stay here~ Rochester'll get it. And close the door. ROC}~ST~R Yes, sir. Rochester goes out, closing door. MEL All right, let us oon~nence with the lesson. INT. }L~LLWAy - NEAR FRONT DOOR - MED. SHOT. Jack starts topley ss Rochester comes down the stairs and opens the door, MARY is there. MARY Hello, Rochester. ROCBESTER Oh, hello, Miss Livingstone. Come on in. M8ry oomes in and they go into the living room. INT. LIVING ROOM - MED. SHOT ss Mary and Rochester oome in from hall. MARY Is Mr. Benny in? ROCHESTER He' s upstairs. Professor LeBlanc is giving hlm a violin lesson. TWO SHOT - MARY, ROCHESTER MARY Oh, for heaven's sakes. I thought after all these years Mr. Benny would give up violin lessons, That's like throwing good money after bad. ROCHESTER The professor hasn't gotten the bed money yet .... MARY (laughs) Rochester, will you run upstairs end tell Mr. Benny Irm here? ROCHESTER Yes~ m8 lem. MG 8]~01 0336519
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-8- FULLER sHoT Rochester goes out living room door, into hall end up stslrs. INT. HALLWAY OUTSIDE JACKf$ BEDROOM - MED. SHOT We HEAR Jack play a as Rochester comes to door end opens it. few bsrs of Hors Staccato. CLOSE - ROCHESTER listening. MEL'S VOICE Wait: No, no, no, Monsieur Benny....You ere doing it w~ong again. The wrist must bs limp.. limp...llmp. Remember...this is s violin., ,that is e bow, • ,You sme not casting for trout. JACK'S VOICE (o.s.) Hut Professor... MEL Now try it again...Sacra H18u~ How many times do I have to tell you.., smooth .... smooth... JACK Yes, sir. Rochester shakes his head and closes the door. MED. SHOT Rochester turns and goes down the stairs. INT. LIVING ROOM - MED. SHOT as Rochester enters from hallway. MARY Did you tell Mr. Benny I was heme ? TWO SHOT - ROCHESTER, MARY ROCHESTER Miss Livingstone. I wouldn't go in that room if I had a whip and a chair. MARY I don't k-sow what you're talking about, Rochester, but I wish that-- ATH01 0336520 l i
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/ j -9- We HEAR from o.s. the SOUND of lamps crashing, chai~s breaking, etc., ending with glass crash. MARY Oh, my goodness~ What's happening up there '~ MED. LONG SHOT Mary and Rochester rt~u upstairs. HALLWAY OUT~IDE JAOK'S BEDROOM - MED. SHOT Rochester and Mary rush up to the door, The NOISE has MARy. Hmmmm..It'e quiet new. ROCHEBTI~ Mr. Benny...Mr. Benny .... Mary opens the door and they go in. INT. JACk'S B~RSSM - FULL SHOT as Mary and Rochester enter. The room is a complete shambles. Chairs and tables are toppled over, lamps are broken and sitting on t~ floor in the middle of the debrls is ~ack, his head sticking out through the canvas of a large picture ...but still clutched in his hand is his violin and bow. ~0UP SHOT - MARy, JACK, ROCHEST~ MARY Jack..Jack: Jack just sits there in a daze. RSC~ST~ Mr, Benny? JACK Huh?...Oh, hello, Mary. MARy Jack, what happened. ~ACK Professor LeBlanc..what a temper. ROCHESTER Where is the professor? GH 81"X01 0336521
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- 7 L¸ -i0- JACK }~TS gone. MARY We didn't see him come out. JACK He didn't use the doo~. MARY What? Jack points o.s. Mary's eyes follow J~k's finger and CAMERA PANS to a paneled window where We see a jagged hole in the shape of a man. MED. SHOT - MARY, ROC~ST~, JACK MARY But, Jack, this is the second floor.. the professor could have sprained his ankle. JACK Mary after e man cuts his wrists, whet' s an ankle? ROCBEST~q Come on, boss, I'll help you up. Rochester helps Jack to his feet. ROCBEST~ (cun tlnued ) I'll go downstalrs and fix you some lunch. Maybe you'll feel better. JACK (crossly) I don't w~t any l~oh. MARy Go ahead and fix it, Rochester. Rochester leaves. TWO SHOT - JACK, MARY (MASTER) JACK Memy, I said, I don't want an Y lunch. I Just want to be left alone, that's ell. GH 8THO'I O3L~6S22
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EEVE~SE ANGI~E -- CLOSE BIGOTS MARY NOW~ J~ck~ calm do~q. yo~r8 upset. JACK You're ~a~ned right, I'm upset. And why wouldn't I be? All my life I've drean~d about being ~ great violinist. But I'm nothing, no tec~mlque, no tone, no talent. you - - MARY Donlt a~rde With ~s 11~ on yOLl~ 8~e. JACK Don ~ t be funny. (he starts off) MARY Jack, where are you going? JACK I don~t ~ow..but I've got to think this thing out. M~D. FULL SHOT Jack hurtles out the door, with Mary behind him. Jack do~q the hall. Mary calls after him. MARY Jack..Jack..wait a minute. Jack, don' t be silly..Jack..Jack... FADE MUSIC h~L~r~e s GH A 1",~01 0336523
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i DY FADE IN: INT. JACK'S LIVING ROOM - DAY - WIDE We HEAR the door bell, Rochester enters from kitchen, goes to door and opens it. Mary is there. MARy Hello, Roohestem. ROCHEST~ Oh, hello, Miss Livln~stone. Come on in. MARy ,I Helle, Rochester, is M~. Benny feeling any better today? ROCHEST~ No, it's the same thing. Every mo~ning he gets up...won't eat his breakfast...end leaves the house. He goes out to the park and sits on a bench all day brooding. That's where he is now. TWO SHOT - MARY & ROOHk~T~q MARy Well, thatfs good. Th~t'll give us time to do that idea you thought of. And you know, Rochester, we've got to convince him that he's a gre~t violinist. R00HEST~ Well, I've got the recording machlne. Did you find someone who will cooperate? MANY I got Just the man...Mr. Isaac Stern...you know.he's one of the worldts greatest vlollnlste, and a good friend of Mr. Bermy's. He'll do anything to help. I called him so he should be here any minute. ROCHEST~ Good, then I'll set up the recording machine. Rochester gets out the recording machine and starts setting it up. ATe01 033652~
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4 , ,r - . . -13- NARY I hope everything works. ROCHE3T~ I hope sos too. Mr. Benny isn't even tending to business. (picking up script) A producer sent this play over and he won't even look at it. We HEAR the DOORBELL. MARY I'ii get it. I hope it's not Jack. It'll ruin everything. HALL As Mary goes to the door and opens it. STUN. BT~qN Hello. MARY Oh, hello, Mr. Stern...Come right in. APPLAUSE LIVING ROOM as Mary and Stern enter. MARY You know Rochester. ~ERN Yes, hello, Rochester. ROCHEST~ Hello, Mr, Stern. STE~N Mary when you called me on the phone and aak~ me to hurry over with my violin, it sounded urgent. 3-SHOT-ROCF~ST~, ISAAC ~LN, MARy MARY Well, it really is. You see, three days ago Jack found out that he is not a great violinist. DY It is ISAAC FIT,~O 1 0336525 I I
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STUN Only three days ago? WARY Yes, and bels taking it awfully hard...but with your help I'm sure we can snap him out of it. Well, M~ry...you know how I feel about Jack...if there is anything I can do to bring a twinkle back into those big blue eyes, I'~ll be glad to do it. MARY Thanks a lot. But you better hurry. Re might be back any minute. STERN So Jack's really in a bad mood, eh? ROCHEST~ Yes sir.. ,and all because he thinks heI s a lousy violinist. STERN Rochester, lousy is a very harsh word. Appropriate, but harsh. Now, what is this plan you have in mind? ROCHESTI~ Well, it's quite simple. (pointing to tape recorder on table) You see this is a recording n!achine. STERN I know, I know. Stern goes over to the machine and turns a knob. ROCHEST~ (cont'd) No, no, Mr. Stern...That's the volume. This is the switch. Rochester flips a switch and we HFAR the sound of a click. INSET - TAPE MACHZNE RUNNING ROCHEBT~ AND STERN AI'~O 1 0336526
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-15- ii¸ ~ DY HOCHEST~ Now, Mr. SteM, if you'll get your violin out and play a solo, I'll record it...and whe~1 Mr. Benny comes home, I'll coax him into playlug the same number and tell him that I'm making a record of it. STUN Oh...and then when you play it back to him, it'll really be playing. MARY Tbatls ~ight, and Jack'll think he' s terrific. STUN That~s very clever. If you're ready, Mr. Stern, We can start recording. ST~N Okay. M~D. SHOT - ROCH~T~,ST~qN AND MARY (AT WINDOW) MARY (looking out the window) 0h-oh! ROCHEST~ ~hatt s the matter? M~RY It's Mr. Benny, he's coming up the walk. STUN But, we didn't get a chance to make the record...What'll we do? ROC~T~ I got an idea, Mr. Btern, and it'll work just as well. You hide in the closet, I'll get Mr. Benny to play something and make believe I'm recording it... and when you hear me say, "Play back"...you play the same thing that Mr. Benny played. ATN01 033652P
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-16- DY MARY Good luck, fellows. I'm going out the back Way. STERN Goodbye, M~ry. M~?y exits to kitchen. MKD. SHOT - AT CLOS~T - R00HESTER A~D STERN ROCHEST~ Right in here, Mr. Stern, and if you get ~Augry, there's a candy machine behind the vacuum cleaner. Stern gets into closet. ~. SHOT - ROCHEBT~ Rochester. closes the closet door, and as he steps away he notices Stem's violin case. He quickly picks it up and shoves it into the closet, then rushes over to the recording machine and closes the lid, just as Jack opens the front door and enters. JACK Hello, Rochester. ROC}~STHR 0h...oh hello, boss...you're home earlier than usual. TW0-SHOT - JACK A~D ROCH~T~ (MAST~) JACK Yeah. ROCHEST~ How do you feel? R~-~SE - CLOSE - SHOTS JACK How do you expect me to feel?., A man spends his whole llfe dreaming, planning, hoping that someday he'll be a great musician.. and suddenly, everything crashes before him. ROCHEST~ But, Boss, you can't go on like this. ATe01 0336528
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)_ id DY ANOTHER ANGLE JACK I can if I --- (netlcin~ the recording machine) Rochester, what's that? ROCHEST~R (opening it up) That ' s a recording machine. I borrowed it from a friend of mine so I could prove to you what a great violinist you are. JACK Me?... I know what I sound like. ROCHEST~R But that's just it, Boss, you don't know what you sound like. JACK What? ROCHEST~ When you play your violin, you're too close to it. You're concentrating on your fingering and your bowing...you're too occupied to really hear the beautiful music that comes out. JACK (uncertain) Really? ROCHEST~ Get your violin and play something. This ~ohine will make a record of it...and you'll be able to hear for yourself how beautiful it sounds. JACK Gee...I don't know. Rochester takes Jack's violin and bow off the music stand. ROCHEST~ Here, boss, play something... anything. JACK Well. AI",~O 1 0336529
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DY Jack takee the violin, tucks it under his chin and faces the recording machine, EOCHEST~q NO, no, boss, it'll pick it up better if you face the other way. He turns Jack around So that his back is to the machine. JACK Okay. Rochester snaps his fingers to simul~te sound of click. ROCHESTER Ready. CLOSE - JACK Jack plays "Meditation" and really scratches the Nell out of it. Jack stops in the middle and frowns unhappily. CLOSE - ROCHEST~q RE-ACTING. JACKt S VOICE Rochester, this is awful. TWO-SHOT - JACK AND ROC~ST~ ROCHEST~R No it isn't boss. I told you, you were too close to it. (practically pushlng Jack into a chai~) You just sit down and listen to it. JACK This is ridiculous .... ROCEEST~ (stepping over to the machine; to Jack) Now, close youm eyes and listen ,t to the PLAy BACK~ " Rochester pretends to start the tape...and f~om the closet we ~ Isaac Stem's version of what Jack had just played. CLOSE - JACK As Jack listens to the beautiful music, his eyes pop open and his face begins to brighten up as he listens unbelievably. ATM01 0336530
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j JACK Rochester... that ' ~ wonderful. I...I can't believe it's mo. INT. OF CLOSET Stern is playing his violin. ~0-SHOT - JACK AND ROCHEST~ Jack by now is beaming. ROCHESTER Beautiful, isn't it7 JACK Yeah. The fingering is perfect, but I'll have to work on my bowing, it sounds a trifle cramped. ROCH~BT ~ Could be...could be: Stem's version comes to a conclusion. JACK (dreamily) That last passage...what tone... wh~t resonance...Rochester, did you really like it? -19- DY RIMO 1 0336531
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L CI~5E -- ROCHESTER TWO SHOT ANO~ ANGLE ROC~STER Boss, I can honestly say that was the work of a great violinist. JACK Thank you. EOOI~S~ Boss, s~n I get you something to eat? JACK I'm too excited to eat. This is the most wonderful thing that's ever happened tome. I'w got my confidence back. You know, Rochester, I had no idea I was that Beat. ROC~ST~R YOU a~ej Bossj you 8~e. (putting violin away ) Now let's put the violin away and I'll fix you a nice dinner. REUSE CLOSE SHOTS JACK I'm too excited to (putting his violin in the case~ eat. I'm going down to the recording company and make records. ROC}~STPR But, boss -- JACK Rochester, a record of me playing the violin will sell ove~ a million. My royalty will be three cents a copy...I'll make a fortune. ROC~STER But boss .... GH -20- CONTINUED. ~T NO'| 0336532
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~k -51- JACK (puts on his hat and takes hie violin) I'll see you later, Jack goes out the door. CLOSE SHOT - ROC}~STE~ Unhappily reacting. ~ SHOT - INCLUDING DOOR Jack comes back in. Jack goes toward the doorj then stops and comes b~ck. ROC~STE~ What's the matter? JACK I just thought of Something. On my way to the recoPding company I pass the producer's house. (picking up the m~muscrlpt) As fa~ as I'm concerned he can have his play back, On the word "Play Back" wo ~ Stern play the second number that Jack played. Jack looks at Rochester puzzled, JACK Rochester, what is that? ROCHEST~ It's..er.. itls the recording machine. (rushes over to it and beings on it) Hold it..hold it..stop it,..play off..play off, .play off] Stern stops playing. JACK (suspiciously) Rochester, how could that machine stemt by itself? GH 19)'2401 0336533
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ROCHES~ Well..er..oh, here it is, boss. It has a loose switch. JACK Oh, well, I'm not going to waste any more time. I'm going down to the recording company right nOW. He picks up his violin and makes a hurried exit. MED. SHOT - CLOSET DOOR Stern cautiously comes out of the closet. STERN Well, thank heaven, that's over. HOCHEST~q Yes, Mr. Stern, but I think we over-dld it. Mr. Benny just left for a recording studio to make l~eOOPdS. STF~N Oh, no..Well, I don't want to be here when be gets back, so I better go. ROCFJ~STER Wait a minute, I'll walk part of the way with you. STERN Why, where are you going? CLOSE - ROCHESTER ROC~STER To the Unemployment Bureau, I might as well get friendly with the~ right now. DISSOLVE: -22 - IBTXO 1 0336534
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-23- TRAVELING SHOT - EXT. STREET - DAY - CLOSE SHO~ - JACKIS LEGS AND 9q0LIN CASE We see Jack's le~s and violin ease as Jack walks happily down the. street, slng[ng. He does a hop at the end. JAC~ S VOICE ( sings ) Li~t up a Lucky It s Light up Time. Be Happy go Lucky It's Light Up Time. For the taste that you like Light up a Lucky Strike. Relax It's Light Up Time, DISSOLVE: AT XO'I 0336535
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I ::5'¸!¸! -2~ - M~. SHOT - ESTABI~S}IENG -- A RECORDING STUDIO - JACK A~D MANAGER. INSERT - A WAiL LIGHT WHICH SAYS "RECORDING" The light goes on, and the Manager gives Jack signal to start. MED. SHOT - JACK JACK (into mlcrophone) Jack Benny and his magic violin, take one. CLOSE - JACK Playing. Jack plays "Meditation" and raaily plays it lousy. CLOSE OF GUA(~ SMO~NG ~/RIOUSLY. JACK (while playing) They tb-ink I'm lousy but wait till they hear the playback. CLOSE- MANAGE~ REACTING Jack scratches a little more and the manager stops him. ~0 SHOT - JACK AND MANA(~ MANAG]~ That's enough..hold it... JACK (stops playing) What's the matter? MANAG~ What's the matter~..I never heard anything so awful in all my life. JACK Oh yeah?...Well, I got news for you, you Were so busy concentrating on my fingering and bowing that you didn't hear what was coming out. Just wait till you hear the playback. MANAG~q What? JACK (into mike) Playback. GH ATX01 0336536
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INSERT SHOT - SPEA~/~ ON WALL STEVE' S VOICE Yes, slr. We then HEiR the playback starting with: TWO SHOT - JACK AND MANA~ JACK'S VOICE (on record) Jack Benny and his magic violin... take one. REVERSE -- CLOSE - JACK AND MANA~ We then HEAR the playback of Jack's recording..and it is just as bad as when he played it...Speaker shakes. JACK Stop it, stop it...hold it. The ~ecordlng stops. TWO BHOT MANAGER Pretty bad, eh, Benny? JACK You're demn right it's bad. I don't know where you got that engineer, but ha's awful. He doen't even ~now how to make a recording. MANAGER (humoring him and at the same time putting Jack's violin and bow in case. ) Yes, yes. I gutess you're right, Mr, Benny, but he s the best we cau get with what we've got..and..well, you know how it is. JACK Yes, yes, it's a shame, but I guess you're stuck. MANACER (handing Jack his violin in the case) Well, goodbye, Mr. Benny. Thanks for coming in. 7 • GH 8T~01 033653?
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! , Jack leaves. JACK Youlre Welao~. DI880LVE: INT. LIVING ROOM - JACK'S HOUSE - ~D, SHOT Jack Comes into tDJs houoe o~rying his violin..puts it do~aq. CLOSE SHOT - JACK JACK I .~ust can't understand it .... How agood oomRany like that can ?~ve ouch an Inconsistent engineer, I'll never know. It must're been t~ englnee~..When I made the ran~rd on this machine, it was beautlful..just ~-6-~tiful..I'm going to hea~ it again. INS~ - MACHINE He turns on the recording m~o~Line. And we HEAR the following. ROC}~TER' S VOICE NoW Mr. Stern, if you'll get your violin out and pl&y a violin solo, I'll ~ecord it .... STY' S VOICE And when you play it back to Mr. Benny, it'll really be ~ playlng. CLOSE - JACK Jack turns off MARY's V01CE Oh-oh...Jack'o coming up the Walk. ROC~'B VOICE I've got an idea...you hide in the closet. I'ii get Mr. Benny to play somethln~ ar~ when you hear me say "Playbac~", you play the same thing Mr, Benny playe~. the m~ohine. AT~O'I 0336538
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JACK So that was it..They tricked me. (calls-sing-song) Oh, Rochester .... ROC}~STER'S VOlO~(O.S. ) (81ng-song) Yes, boss. JACK (sing-song) Come in here, I ~ant to talk to you. ROOE~STER'S VOICE (O.S.) (slng-song) What about? JACK ( s traig~t ) You know what about..Come in here. ROCKEST~'S VOICE (0.S.) Okay. ~. SHOT Rochester comes in dressed in a suit of armor and carrying a 81~ar • REVERSE - CLOSE Jack goes over to Rochester and lifts visor revealing Rochest~rI s face. JACK Now take off that silly thing and get my dinner. ROC~ST~R Boss• .you iL~an youlre not m~d? JACK No..I guess not...after ~ii, you did it for my own good..and anyway, it serves me right for being such a big ham. If I hadn't gone down to the recording company, I'd have kept on thinking I Was a great violinist. GH ~]'~01 0336539
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...... ~ -28- i:i HOCI~STE~ But~ Boss~ you are a ~eat ~iolinist. JACK Oh~ shut up. MUSIC: M~). SHOT - DON WILSON IN FRONT OF GOLD CURTAIN DON Jack and hls guo~t star M~. Issac Stern will be back in a minute, but first, heroTs a word f~om OUr sponsor. (INT0 CLOSING O0~OIAL) FADE OUT OH ;'~.~v~..~i~-' " -.~ ~• i• Rl~0l 03365~0
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.......,, THE AMERICAN TOBACCO COMPANY LUCKY STRIKE TV FILM COM~N~qCIAL (Working on Family Budget) (l:od) :ii i: p. ', OPEN ON A LOW ANGLE SHOT ACROSS A SMALL PERIOD DESK OF RUSS WORKING INTENTLY WITH A PENCIL AND PAPER. HE IS HOLDING UP IN FRONT OF HIM PROMINENTLY IN THE FOREGROUND A BOOK TI~: "BUDGET BOOK". THE LIGHTING~IS SOFT TO INDICATE THE MIDDLE OF THE EVENING. AS LIGHT-UP TIME SGNG BEGINS, GRACE COMES UP BEHIND RUSS AND PUTS HER ARMS AROUND HIM. IN ONE HAND SE~ HAS A PACK OF LUCKIEN, SHE PUTS A LUCKY IN HIS MOUTH. HE PAYS NO ATTENTION, HE IS LUST IN HIS FIGURES. SHE LIGHTS HIS LUCKY. HE INHALES AND HIS INTERTLY SERIOUS FACE SUEDENLY BREAKS INTO A HEIGHT SMILE. WE PULL BACK TO TAKE IN THE ACTION AS HE TAKES GRACE'S HAND AND HER DOWN INTO A SEAT BESIDE HIM. HE DROPS THE PENCIL AND LIGHTS HER LUCKY AND THNY BOTH BACK AND PUFF AWAY HAPPILY. DURING THE PAUSE IN THE SONG BETWEEN "RELAX" AND IT'S LIGHT UP TIME" THE CLOCK DEVICE IS SUPERED OVER THE SCENE. IT READG A FEW MINUTES PAST TEN. -29 - (SOUND: PRESENCE IN ROOM, RUSTLE OF PAPERS AS RUSS WRITES AND TURNS RAGES IN BUDGET HOOK, UNDER ...... ) MUSIC: TICK TOCK INTRO snm~s (OVER) Light Up a L~oky, It's Light- up time. Be Happy -~ Go Lucky. It's light-up time. For the taste that you like, Light up a Lucky Strike. Relax ... ... it's light-up time. :/! 03365~1
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~FILE COMMERCIAL (CONT'D) -3o- MATCH DISSOLVE CLOCK DEVICE TO CLOCK ON F/~D TABLE AND BULL BACK TO REVEAL BARUCH SEATED BESIDE IT. STRIKES MATCH. HOLDS UP A LUCKY LIGHTS UP AND EXHALES GRANDLY. PICKS UP LUCKY PACK CUT TO INSERT: CU OF PACK IN HIS HAND. IT FEATURES "LS/MFT". HAND TURNS BACK FULL FACE AND WE SUPER "IT'S TOASTED TO TASTE BETTY" EXACTLY AS IN MAGAZINE ADS. ANDRE EA/qUC H There's a happy way to make ends meet: put the end of a match to ... ... the end of a Lucky and -- puff. That always adds up to real smoking enjoyment. Why? First, because ... Lucky Strike meads fine tobacco. Then thl8 fine good-tastlng tobacco is toasted to taste even better. Cleanem~ fresher, smoother. OUT BACK TO ~DIUM CU OF BARUCH DISSOLVE BACK TO RUSS AND GRACE WORKING AND SMOKING HAPPILY. GRACE SHOWS HIM SOME FIGURES THAT SHE HAS, HE LOOKS AND SMILES AS THOUGH TO gAY: "THAT ' S THE ANSWER -- IT'S SOLVe/)1" AND TH3~ HE STARTS HAPPILY MAKING ENTRIES IN THE EUEGET BOOK. THE CAMERA MOVES HA(Z< AND DOWN TO THE ORIGINAL ACROSS THE DESK SHOT OF RUSS WORKING. ONLY THIS TIME HE IS SMOKING HAPpILy AND WITH GREAT RELISH. AND IN THE PROMINENT FOREGROUND ON THE DESK THERE gTANDg A PACK OF LUCKIES. SUP~ "THE BEST-TASTING CIGARETTE YOU ~ SMOKED" JUST AS IN MAGAZINE ADS. So ... any time you want to lighten a problem, light up a Lucky~ SIN~mS (OVER) For the taste that you llke, Light up s Lucky Strike. Right now ... (SPOKEa) Light up a Lucky. (gINGERS AgAZN) It's light-up time. BARUOH ( OVER ) You'll say it's the best-tasting cigarette you ever smoked. J 81"H01 03365,!-2
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-31- ,% . (TAG) (AFTER CLOSING C0~ERCIAL) OPEN ON GOLD CURTAIN TWO SHOT - JACK Ah-D ST~qN JACK Well, Isaac, I want to thank you very much for ~eing on my pl, ogram tonight. REVERSE - CLOSE UPS STERN It was my pleasure, Jack ... And now I have the distinction of beln the only violinist in the wom~d who has played in the Hollywood Bowl ... the philharmonic Auditorium, Carnegie Hall, and Jack Benny's closet. JACK Yes, yes ... Now, Isaac, may I see you~ violin? STERN Certainly ... Be careful of it, Jack. JACK Oh yes ... It has a beeutlful tone ... STERN It's a wonderful instrument .... It's 8 great help to me. JACK (looking inside violin) It's cheep isn't it? STE~N 0heap! JACK Yes, inside it says 1737. STERN That's ~he year. JG PI]'XO 1 033654-3
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-32 - JACK Oh, oh. (banding Stern the violin) Well, Isaac, you go ahead and play and I'll just stand over there and listen. FU~ SHOT as Jack leaves and Stern walks over to the plane where his accompanist is seated, and plays "PoLanaise Brilliant" by Weiniowosky. TIGHT MASTER AND INSERTS OF ST~N'S NUMB~ APPLAUSE FULL SHOT Jack comes beck on. TWO- SHOT JACK Isaac, that was wonderful Thanks again for being on ~" show. Isaac takes a bow and leaves. CLOSE SHOT - JACK JACK Ladies and Gentlemen, I'll be with you again in two weeks, and in the meantime be sure to watch Ann Sotbarn. F/bDE OUT (INTO CP~DITS) JG ~7 ~TX01 03365~4
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. :i?¸ (CLOSING CREDITS) CARD #1 DISSOLVE: 0ARO #2 DISSOLVE: CARD #3 DISSOLVE: CARD #4 DISSOLVE: CARD #5 DISSOLVE : CA~o #6 DISSOLVE: CAEO #7 DISSOLVE: CARD #8 THE JACK BENNY PROGRAM (with caricature) Copyright c 1955 by J & M PRODUCTIONS, INC. All rights reserved• Executive Producer end Directo~ RALPH LEVY P~oducer HILLIAI~ F~2,K S Written by S~M PERRIN GEORGE BALZEH AL GORDON HAL GOLDMAN Musical Director MAHLONM~RRICK ASSOCIATE PRODUC~ RICHARD FISHER CAST Mel Blanc Grandon Rhodes P~oduction Supervision SAM PKRRIN Director of Photography --- Art Director --- Editorial Supervisor --- John McBurnie Martin Obzina Richard G. Wray, ACE Daniel A. Nathan, ACE DISSOLVE: i;¸ ~TX01 03365~5
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r #9 DISSOLVE: CARD #10 DISSOLVE: CARD #11 Set Decorator --- Gene Redd Sound --- Roy Meadows Assistant Director --- Jack Corrick Wardrobe Supervisor --- Vincent Dee Make-Up --- Leo Lotito, J~. RCA Sound Recordlng Emblem - IATSE Seal A.T.F.P. (The characters and events depicted in this photoplay are fictional. Any similarity to actual persons, living or dead, is purely coincidental. ) T}~ JACK BENNY PROGRAM (ca~icsture was filmed in Hollywood at Revue Productions, Inc. c 1955 J & M PRODUCTIONS, INC. All Rights Reserved Revue Insignia of Jack) MCA INSIGNIA Ann Sothern PRIVATE SECRETARY CARD ANNCR Remember - one week from tonight on tbls same station be sure and wstch Ann Sothern in "Private Secretary". Jack Benny's next television show will be in two weeks. FADE TO BLACK: INTO KITCHHZKE IclT XO 1 033654.6
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i:f 7 T~ AMERICAN TOBACCO COMPANY FILTER TIP TAREYTON HT 315F - 30 SECOND8 IN SYNC WITH VOICE, A C}~CK SIGN DRAWS ITSELF ON SCREEN ANOT}~R CHECK SIGN APPEARS UND~ THE FIRST. THE TWO CHECKS FORM A CIGARETTE WITH SMOHE COMING OUT LIGHTED END. CIGARETTE STAYS ON SORF2~N. "ALL THE PLEASURE COMES THRU" POPS ON AB0~E IT IN SYNC WITH VOICE. "THE TASTE IS GREAT" COMES OUT OF CIGARETTE AND RESTS BELOW IT IN SYNC WITH VOICE. DISSOLVE TO PACK OUT TO OUTLINE PACK SHOWING STRIPES ONLY A MAN'S HEAD, SMOKING HAPPILY APPEARS IN OENT~ OF PACK SAME ACTION. DISSOLVE TO CLOSED PACK L CUT TO CARTON. TITLE "ALL THE PLEASURE COMES THEU POPS ON IN SYNC 0VI~R CARTON, TITLE "THE TASTE IS GREAT" POPE ON IN SYNC UND~ CARTON. DISSOLVE TO CARD: POWHATTAN WITH "THE ~IOAN TOBACCO COMPANY" ABOVE AND "A~RICA ' S LEADING MANUFACTURER OF CIGARETTES" BELOW. -35- ANNCN CheckZ and double check! In Filter Tip Tareyton all the pleasure obmes thru ... the taste is great! Filter Tip Tareyton is the cigarette you'll really enjoy! The cigarette that smokes milder, smokes smoothe~, dPaws easier ... That's so sensible to smoke because it's the only one that gives you Activated Charcoal filtration. That's why, wh~the~ you buy Filter Tip Tsreyton ... by the pack ... or by the carton ... all the pleasure the pleasure comes tbmu .., the taste is great! The Jack Benny program has been presented by The American Tobacco Company -- America's leading manufacture~ of cigarettes. • j~1¸ ~ ~.~ ..... ~~,,.~ ~ • ~ ~ • 8T~01 O3365~?
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ii. / PROGRAM #5 . "AS ~LECAST \ AMERICAN TOBACCO COMPANY LUCKY STRIKE THE JACK BENNY TELEVISION pROGRAM UNDAy, NOVEMB~ 20, i~5~ CBS 4:30-5:00 PM PST CAS___IT JACK BEN~ ROCHESTER DON WILSON DENNIS DAY JOHNNY CARSON POLICE SERGEANT,,. ,Kern Dibbs OPERATOR' S VOICE...Chuckle Bradley FOLI~ .......... Thomas Wade Bl, ic k Sullivan AIHOI O3 3 6 5~18
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THE AMERICAN TOBACCO COMPANY LUCKY STE~ ,! . JAOK BENNY TV PROGRAM OPENING COMMEECIAL CUT TO TITLE CARD: "TK~ JACK BENNY PROGRAM". OPEN - 1 LIVE (MUSIC: LUCKY STRIKE THEM UP AND - - ) ANNOUNCER From Television City in Holl~ood, the Jack Benny Program with his special geG~t... Johnny Carson.., CUT TO TITLE CARD: "PRESENTED BY LUCK~ STRINg". CUT TO TITLE CARD: ~'BE HAPPY -- GO LUCKY, LUCKIES TASTE BETT~R". CUT TO: ... presented by Lucky Strike! (MUSIC: VAMP AND BE KAFPY -- .GO LUCKY-- SHORTVERSION) #93 SCOOP GN ~ ,%, ~ ~ t~11" NO 1 0336549
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THE AMERICAN ~3BACCO COMPANY LUCKY STRIKE TV FILM COMMERCIAL #93R SCOOP - CLOCK (1:OO) OPEN ON A CU OF A ~ISS CHALET WALL CLO0;£, PENDULUM SWINGING BENEATH IT. TRUCK IN TO PENDULUM. CUT TO CU OF P~ANDULUM AND PAN UP, PAN; STOPS AS DOOR OPEns. (DOORS ~E P%CKS OF LUCKY STRIKE) FIGURE MOVES F~O~n~ICAI~Y OOT OF DOOR TO FORI~R0b-ND f~D SINGg. GIRL FIGURE MOVES ~C~R~IOALLY OUT OF OT~JE DOOR TO FOP~NOU]~D A~ SINCe. CANEP~ PANS UP TO CLOCK FACE AT TOP OF 8WIg8 CHALET. CAM~A STOPS AS BIRD FO~ CUT. PAN WITH BIRD TO SCOOP CHARACTER. BIRD SELECTS A LUCKY FROM PAOK SCOOP IS HOLDING. BIRD PI~CES LUCKY IN SCOOP' S MOOTS, Irm i i 11 OPEN - (SOL~: TICKING OF CLOCK TO ESTABLISH R}XTHM OF SONG) ( SOL~D: TICK-TOCK-TICK-TOCK) (SOUNDr TIUK-TOCK-T:0K-TOOK ) (SINGn G) Light up a Lucky, It's llght-up time. GIRt Be Happy -- Go Lucky. GIRL (sn*Ee) It's Light-up time, (sn n G - ovsR) Fo# the taste .... DUET (sINGING - OVUm) ... that you like -- (sxNGn - OVER) ... light up a Lucky Strike. GN . ~ • -- ., . ~C . ~:~,~ • ~i ,~'ii~;• ~,~• ,.~ ~; ~ ~ . • •
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!~i¸ THE AMERICAN TOBACCO COMPANY LUCKY STHIK~ Scoop - CLOCK (CONT,D) CUT TO FULL SHOT, SCOOP IN CHAIR. MATCH DISSOLVE TO SCOOP IN CAR -- SUN SHINING. MATCH DISSOLVE TO SCOOP IN CANOE. DISSOLVE SUN TO MOON. MATCH DISSOLVE TO SCOOP IN WESTERN SCENE ON HORSEBACK MATCH DISSOLVE TO SCOOP IN sKI TOW. SKI TOW DUMPS SCOOP AT TOP OF HILL. ~ STARTS DOWN OTHEE SIDE. SCOOP CONTINUES DOWN HILL. CAMERA PANS WITH HIM. Relax ,.. .,. it's light-up time, .,~vao~c~ (ovER) There's 8 time and a place for ~verythin6. Am~OtU~C~ (OVlEB) And the right time for a Lucky.,, ~om~o~ (ovum) ... is any time you want to enjoy a g#eat clga#ette. ~.~-~o~cm (OVER) And the ~ight place fo~ a Lucky.., ~r~oowc~ (OVER) .,. is -- wherever you happen to be at the time. You'll always enjoy Luckies because ,.. ON r~ IHO 1 03365s1
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• ~ -i LUCKY STRZE~ SCOOP - CLOCK (CONT'D) MATCH DISSOLVE TO SCOOP ON B/CyCLE, CUT TO BILLBOARD. SCOOP ENTERS SCENE AND MAKES FANCY TURN, CAMERA TRUCKS IN AS SCOOP PANS TO PACKAGE. CAMERA TRUCKS TO OLOSEU9 OF BULLSEYE AS SCOOP POINTS TO "IT'S TOASTED". CAMF2A PANS W~TH SCOOP TO LETTERING: "LUOK/F~ TASTE BETTER" OPEN - A~O~Cm (OV~) .,. L~ckles tsste better. A~OU~Cm (OVm) Lucky Strike is made of fine, natu?slly . . . g~o~om (ovm) ... good-taating tobacco. ~ou~cm (OVER) And ... IT'S TOASTED to taste better. Olesner, fresheT, smoother. scoop (ON CAM~A) Yessir, Luckies taste better .., OUT TO FULL SHOT BILLBOARD. SO00PTURNB AND POINTS TO CLOCK. FAST ZOOM TO CLOCK. DISSOLVE CLOOK TO ~L~,~LS~IE AGAINST NEUTRI~L BACKGROUND WITH LEGEND ABOVE AND BEL~;: "LIGHT UP A LUCKY IT'S LIGHT UP TIME" TAKES OUT TITLES AND POP ON REST OF TACK AROUND BULLSEYE. scoop (ON CA~:P~) ... anytime, an~here. scoop (c~ c~) SO right now ,.. SCOOP (VOICE OVER) ... light up a Lucky. It's light-up time. scoop (o~) E~joy th~ best tastin~oigar~tte ~ou ever smoked~ ~;~;'~W'~.~r~r ~ ~e,~ •~"~<~'r~'r~P:~"~a"~ ~ ~ ~" '~ •'"''~"~"--:;~ Ffl" ,~01 0336552
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(AFTER OPENING COMMERCIAL) JACK COMES OUT TO MUSIC & AFFLAUSE. JACK Thank you, thank you, thank you... and welcome to the Lucky Strike Progcam...Ladies and gentlemen, if my voice gives out during the program, it's because yesterday I went to the Coliseum to see the USO-UCLA football game. What excitement~ /und such a crowd~ And all the bettlng that was going on. I lost three dollars myself. -~aere was a pickpocket in the crowd. It got me as I was going through the tunnel. But not only that..I must tell you what else happened to me. The usher took me to my seat and out of 102,000 people who do you think I'm sitting next to -- Dennis Day. That,s all I needed. And I want to tell you that kid really d~Ives me nuts. You know, he was supposed to be on my show today, but after what hE did to me yesterday, I just couldn't stand him for another half hour. Let me tell you what he did to me...You won't believe it. The game had just got started...Dennis hands me a hot dog, so I said, '~Thank you, Dennis", took a bite of it... (MORE) P3"l" ~:01 0336553
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L • CARSON COMES JACK (CONT'D) And the fellow on the otheP side of me poached me in the nose. Dennis didn't tell me I was suppose to p~ss it...Finally the gun went off, Dennis said, "Well, goodbye, Mr. Benny..I'll see you t~morrow and be very oemeful of the t~afflc On the way home." So I rushed out to beat the crowd, Jumped in n~f car, and I was almost ' into Beverly Hills before I realized that the gun was only the end of the first half .... Now ynu know why I can't have hfun around me .... Ladies and gentlemen, coming into the studio one dey this week, I bumped into a fellow who is doing his own show for C.B.S. His name is Johnny Carson. Now I don't usually wave about othem come--arts, but this fellow Carson...he' s got everything it takes to be a success...and he~s So young, too...It's frlghtening...A~yway, I asked him if he'd llke to drop over here for a minute, just to say h811o..so here he is, ladies and gentlemeno.JOhnny Carson. OUT TO JACK AND ACKNOWLEDGES APPLAUSE. -6- .:'![ GH ATe01 0336554
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GR JACK Johnny, I was just telling my audience how much I enjoy your work and that in my opinion you are going to be one of the great comedians in show business. @ARS0N Well, thank yon, M~-. Benny..that's a wonderful compliment. And it means so much to me coming from you..because, well, for years you've been my idol. JACK Really? CARSON Gosh, yes. I remember when you were in vaudeville, I used to save my pennies just so Z could watch you work. lid sit for hours up there in the gallery admiring the way you had that audience in the palm of you~ hand..and then at night, I'd lie awake wishing I could grow up to be just like you, Mr. Benny. JACK Oh, you ca~ call me Jack. CARSON Thank you. And even today when I see you on television, T'm watching a maste~ at work..a genius. Rl'~01 0336555
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JACK Oh, Johnny, now of course you,re ~mbar~assing me. CARSON Well, then, I wnn~t go on. JACK No no no..You're my guest. Say what you want. CARSON Well, I'll tell you -~hen v~re alone latem. JACK Okay. Johnny, why I was w~tohing you rehearse the other day I la,~ant to ask you something..Tell m~, Johnny, how long have you been in show business? CARSON T~o years. JACK 0nly two years..Amazing..Gosh I've been in show busines~ practically all my life..And I want to tell you, Johnny, I've been watching your shows and you've been doing a wonderful job~ CARSO~ Thank you Jack. And I want you to know that I haven,t missed a single one of your shows since you've been on television. % • GH A]'~O I O336556
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"/ II I II JACK You watch all of them? CARSON Every one. Er..Jack..Jack .... JADK Ye~? CARSON Would you mind if I made a few little suggestions? JACK Suggestions? CARSON You k~o~..constructive criticism... You dontt mind, do you? JACK No no...I think constructive criticism is good for eve~ybody,..How long did you say you've been in show business. CARSON Two years, JACK I see. New what were the suggestions you had about my show? CARSON Well, for one thing, Jaek..and I'm sure this can eaBily be corrected,., your paQe is all ~r~ong.,It's much too slow. -9- I=~¸ GH 8T)401 03365~?
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JACK ~..You.. er..You don't like my timing? CARSON Well..let me put it thls way...It's all right to be slow, but you're sort of a...lazy Perry Como. JACK Oh. Well, I want you to know that I appreciate any comments that could further my career...How long did you S~y you've been in show business? CARSON Two years. JACK TwO years, huh..Not two years and... six months..or three months., just--- C.~SON Two years. AY~O'I 0336558
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JACK Un huh...Well, I -- CARSON Now another criticism -- JACK Oh, you have more? CARSON Yes, Jack. It's about that..that long take you always do. JACK Oh, you mean after I tell a joke? The way I stare at the audlence? CARSON Yes..l always have the feeling that you're su~prined that they're still there. JACK Sae. CARSON Fortunately, that, also, can be easily corrected. JACK Now, young man, if you're through-- CARSON Well, there ~_~ one more thing. LW A l',~O 1 0336559
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E~ JACK LOOEB OUT -12- JACK Then say it, Bay Itl Let's be frank! I mean, donlt hold anything back from ybur idol! ...... Out ~Ith it. CARSON Well, this is one thing I have to mention, Jack, as lo~g as I'm being constructive. You may not ~eallze it...but every move you make -- Four delivery, your inflectlon..Is exactly the way I work and I don't think thst,s quite fair to me. AT TF~ AUDIENOE. CARSON (CO~T'D) (ADMONISHING JACK WITH HIS FING~) Uh-uh-uh. Yo~'~e staring again. JACK Nov look here. Mr. Carson -- CARSON You can call me Johnny. JACK l,ll cell you whatever I ~nt t o~ and you've go$ a lot of nerve accusinE me oD stealing ye.u2 style. Everything I do I've been doln~ since I started in sho~ buslnes8 fort~-two--I mean t~ent~- t_we yea~s a6o, and if I were going to copy anyone,lt woaldnlt be AN UNT~ UNFUNNY UpSTAF~ ~ YOU. ATe01 0336560
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J t /;i¸ CARSON Well! : ! JACK No~ cut that ou~! Johnny Carson, I came out here at the start of the show and told the audience what a wonde2,ful, g~eat -- CARBON Wait a minute, Jack ~ait a minute. When you asked me to come on you~ show, you were the one who suggested that I do this kind of a ~outine so ~e could get laughs. JACK I... CARSON Yes, you called me two ~eeks ago. JACK Oh yes, .. of co~rse.,. But you did it So yell I thought you meant it. Wasn't he good. Well, Johnny, as long as you were nice enough to come on my sho~ today I wish you would do some~hlng all by yourself. CARSON ThaDks, Jack, IId llke to very much because I have e joke that I'd love to tell the audience. LW Al~01 0336561
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JACK Oh, well go l, lght ahead .... (ST~/~TS OFF, OOM~S ~CX) Oh, by the way, Johnny, there's another thing ! went to tell you.. If you keep on the way you are... improving all the time...you'll wind up someday havln$~ your picture on the cover of T.V. Guide like I did this week. OAESON I had mine on ei~t weeks ago. JACK Oh..Well, tell the ~oke. JACK GOES OFFSTAGE. CARSON You know, ladies and gentlemen, I'm very happy that Jack asked me to be on his show tonight., but, actually, we were Just kidding, because, even though l~ve followed him fe~ yea~s, we don't work anything alike.. (lAUGHS LIKE JACK) His eyes are a little bluer than mine...and so is his age... But I really wanted to tell you -- DON WILSON COM~ ON. DON Oh, Jack... Jack .... (APPlAUSE (~0~E) -~4L 8"1"~01 0336562
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~rI ~ .~,:~.~±~ ~: ~ ~,~ ......... ~ I I to death. DON (CO D) (NOTICING THAT IT'S JOHNNY) Oh, excuse me, Johnny, I thought you were Jack Benny. CARSON Well, did I confuse you, too. DGN Yo~ sure did. And you k~o~, Johnny, the most exoltID~ thi~g happensd this And it just thrilled me CARSON Well, for heaven's sakes, Don, tell me ~hat Is it? DON Well, there was a long llne of people standing in front of a olga~otto maohlne..Oh, there must're been forty or fifty people... And ovemy person who put money into that machine bought a package of Lucky Strikes. CARSON (SI~PPI~G HAND LIE~ JACK) No ! DON Yes..And I asked each person individually why they smoked Lucky Strikes and every one of them said it was because they're toasted to taste better... AT~<OI -15 - 0336563
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DON ( CONI' 'D ) and Luokies are cleaner, fresher, smoother. CARSON I know, I know. DON And not only that, theylre round and fi~m and fully packed and free and easy on fihe d~aw. CARSON Good good., .Is that all? DON Yes • CARSON Oh, DOn, befo~,e we go, thePe's something I want to Bsk you. HOW long have you been with Jack? DON Let's see, I started ~orklng for Jack in 1954. CARSON 1934. Then Jack has been paying you for... DON Two years. Oh, oh. TWo yesrs. Don, let's go. THEY EXIT ARM IN ARM. CARSON Come on~ -16 - ;-]T~01 0336564
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....................... lii[i- ...................... ~i :.~ 11 1 ,I,-,, i I -17- 8EGUE INTO RO(~ MUSIC. DISSOLVE TO JACK'S LIVING ROOM. SCENE: JACK'S LIVING ROOM. ROOHEST~R FINISHES SETtING THE TABLE FOR JACK'S DINNER, %~U~N DIPS A LADEL INTO A SOUP TUREEN AND POUBS A PLA~E FULL OF SOUP. OLOOK (~I~S. ROC~ES~ (LOOKS AT CLOCK) Hmm, the sh0w vas over an hour ago. The boss is ~sually home by now. THE ~9~. RO(~[F2~ER STEPS OVER AND ANSWERS IT. ROCHESTER Hello? DON Hello, Rochester, this is Don Wilson. hay I speak to Mr. Benny? RO(~ESTR~ Mr. Benny hasn't come home from the studio yet. DON He hasn't? LW A]'~O I 0336565
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ROCHESTER No, and I've got his dinner ready. DON Well, l'm sure he won't be'long. ROCHESTER I hope not. I don't went his Cheteeu- b~isnd to get too well done. DON (I PRESS D) Well! SO Mr. Benny is going to have steek. ROC~STER No, hemburger. DON But3 Roshester, you said Chateeubrlend. And Brlend means steak. ROCI~STER Not in this Chatesu ...... Is there ezy messsge, Mr. Wilson? DON No, no... I'll see him tomor~ow. Goodbye, Rochester. ROCHESTER Gooooooooooodbye. ROCKESTER HANGS UP, AND AS HE WAI/<S BACK TO T~ TABLE. ROC~STE~ Hnm~... it's nine o'clock. Mr. Benn~'s never been this late before. I better go turn down the oven. GN ~TH01 0336566
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ROOHESTE~ EXITS THROUGH THE NITOI~N DOOR. AFTER A PAUSE .... WE HRAR TSE CLOCK SLOWLY OHY/~ING T~ HOUR... THEN SODDENLY, HE BEAR TIIE DOOR KNOB ON THE FRONT DOOR RATTLE... TI~EN THE DOOR FLIEB~ OFEN. AND JACK MAKES A HURRIED FRIGHTENED ENTRANCE. HE HURRIEDLY CLOSES THE DOOR, TURN~ THE LATCH, SLIDES TEE SAFETY BOLT. HE RUNS IN CLOSES LMNG ROOM DOOR, RUNS OVER AND PULLS DRAPES. ROCI~STER ENTERS. ROCHESTER Oh, toes, I didn't know you were home• I just turned the heat down on tbs --- JACK (SHUSHING HIM NERVOUSLY) Shhh!~ Rochester, turn off those lights. ROCHESTER TURNS OFF LAMP WHILE JACK TURNS OFF LIGHTS AT WALL SWITCH. ROCHESTER Mr. Benny --- What's the matter? ~bat'e wrong? JACK Rochester --- somebody i~ after me. ROCHESTER Oh, toss, you made that picture twelve years ego. JACK This is serious. I decided to w~Ik home from the studio .... it started to get dark, end after s while I happened to glance beck .... end there was a men with his coat • collar turned up, and he was following me. ROCHRBTER How do you know? GN 8T~401 033656,~.
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¸ JACK How do I know~ Once I glanced beck and he hid behind 8 tree. Another time he ducked bshlnd a hush. I even turned down a dePk alley and I still couldn't lose him. ROCHESTER Boss, you got yourself 811 w~mked up over nothing, At night your imaginstlon plays on you. Those were just shadows you saw, JACK Shadows?... Ime~Lnetlon?... Yesh... that's ell it could be... I mean, who would want to hurt me .... after all, I'm such s sweet guy. Don't you think so, Rochester? ROCHESTER Oh ~ee, boss, you're modest and kind end ~ou're considerate. JACK And I'm generous. ROCHESTER There goes your imagination again, JACK Yeeh. ROCHESTER Come on, Mm. Benny, sit down and have you~ dinner. I've got ever~thiug reedy. GN ATN01 0336568
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% <ii -21- JACK Good, good, JACK SITS DOWN AT THE TABLE. TUCKS THE NAPKIN IN HIS SHIRT. JACK You know, Rochester, I don't know why I let myself got ell upset over nothing. ROCHESTER (~URNING LIGHTS ON & OPENING DRApES) Don't worry about it, everything is going to be ell right. Let's brighten things up e bit. While you're finishing your soup du jou~, I'll go get your Chateau-briand. JACK Thank you, Pleyr~. ROC~STER Psx de qus, monsieur. ROCHESTER EXITS THEOUGH THE KITCHEN DOOR. JACK TAKES ANOTHER SIP OF SOUP. THEN STOPS. JACK (HEFL~CTnmLX) I csn't understand how I could let myself get so upset about a few shadows. That's all they were. Shadows. And right sway I think somebody is following me. HE TAKES ANOTHER SIP OF SOUP. THEN HE DIPS HIS SPOON INTO SOUP AGAIN. THE PHONE RINGS. JACK I'll get it Rochester. GN ~,T ~01 0336569
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-22- JACK STEPS OVER TO THE PHONE }~ING "LOVE IN BLOOM", AND ANSWERS IT. JACK Hello?... Hello? ........... hello? THERE IS A LOUD CLICK ON THE OTHER END. JACK STANDS THERE LOOKING AT TK~ RECEIVER AS 9~AR STARTS TO MOUNT. ROCHESTER RE-ENTERS WITH A TRAY, SETS IT ON TNE TABLE, THEN NOTICES JACK. (MUSIC) HEC~SE~R Boss, boss~ whstIs the mstter? JACK Rochester, when I answered the phone, whoever was on the other end hung up. ROCHESTER How do you know they hung up? JACK Because I heard the click. I distinctly heard the sound of a click. ROCRESTER Well... maybe.., maybe they were using a pay phone, end the sound you heard was the dropping of a dims. JACK Dropping of a dime~ I've known that sound since I was two years old... Rochester, I tell you somebody's out to get me... I'm really in trouble. ROC~STER Mr. Benny, Mr. Benny, control ~ourself. Sit down, I'll go get you a sedative. GN FIT~O 1 03365?0
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i ROCHASTER EXITS. JACK SLUMPS INTO A CHAIR. JACK (C~ THE Wa~ OF TEARS) If I only knew why I wee beln~ followed... If I only knew what they wonted... JACK PICE~ UP PAPER AND A ROOK COMES CEAS}IING THROUGH THE WINDOW. JACK Ylpe ! (~SI____qC) JACK JUMPS OUT OF T}~ CHAIR... THEN LOOKS DOWN AT THE ROCK. JACK A rock.., and there,s a note on It! JACK PICEB UP THE ROOK, UNTIES THE NOTE AND UNFOLDS IT. JACK Get out of town before it's too late~ Get out of town~ Just e note - not even s ticket. I'm going to cell the police... That's whet I'll do... I'll cell the police. JACK HURRIES TO THE PH0~, PICKS UP TME RECEIVER AND DIAIS OFERATOR. JACK ( NERVOUSLY ) Why doesn't she hu~zq.., come on, opersfior... hurry.., hurry... GN RI'X01 0336571
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3, OPERATOR'S VOICE N~3mber, please. JACK Operator, this is sn emergency. Quick, get me the police. OPERATOR'S VOICE One moment, please. JACK (MIMICING) One moment please, one ~oment, please... Why do they always... POLICEMAN'S VOICE Beverly Hills Police Department. JACK Officer... Officer, my llfe is in danger. I'm at 366 North Camden Drive. Please hurry ove~. POLICEMAN'S VOICE 366North Csmden Drive... Who is this? JACK Jack Benny. POLICEMAN'S VOICE Gee, you sound just llke Johnny Carson. JACK Never mind thet now: away! EECEIVER DOWN. Get over here right JACK AI~OHANGSUP. ROCHESTER RE-ENTERS. GN ~]'~01 03365?2
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-25- JACK Now I Should worry about Johnny Carson. Rochester, I thought you went to get me a sedative.., what took you so long? ROC~STER When I opened the medicine cebinet I found two boxes without labels on them. So to find out which pill Was which, I took one of them. JACK Well, did you find the sedative? ROCHESTER I must have, I fell asleep. JACK RoohesteT, this is no time for jokes. I'm in danger.., resl danger, believe me. I already called the police.., but why don't they get here... I'm 8 nemvous w~eek. ROCHESTER Bess, It11 ~o fix you 8 drink. JACK No~ no, I'Ii fix it myself. JACK STEPS BEHIND THE BAR AND STARTS TO FIX HIMSELF A DRINK. SUDDENLY ANOTHER HOCK COMES CRASHING THROUGH ANOTHER WINDOW. JACK (FRIGHTENED) Rochester, another roek~ ON
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L~TI~¸ ;~ . ~l~ J ROCHESTER (PIC Na UP) And, boss, there's s note On It! JACK Read it tome. ROC~TER ~S~PP~NG OVER TO T~ SIDE OF THE BAR) Yes, si~. (READING THE NOTE) you have been told to get out of town. You now have thirty seconds to think it over. JACK Thirty seconds to ~hlnk it over? SIMULTANEOUSLY THE LIGHTS GO OUT, A SPOT HITS JACK AND WE HEAR THE ISOLATION BOOTH MUSIC OF THE 64 THOUSAND DOLLAR QUESTION PROGRAM. WE CAN O~AT MUSIC TO FIFTEEN OR TWENTY ~EOONDS, ENDING WITH TH~ FLAIR. JACK NOW cut that out~ Stop it! Stop it! AS THE MUSIC STOPS, ~ LIG~S SUDDF/TLY COME BACK ON AGAIN. ROCHESTER Boss... Boss... what's the matter? JAOlq What's the mstter~ The lights! The muslc~ ROCHESTER ~uat lights... What music~ Boss, ~ou~re really upset. You're imsKiuiug thlu~s again. GN -26- ,,, ,,,, 8]'~O1 O3365p~
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-I , T JAOK I'm not imsglning that note. You resd it yourself. Somebody is after m~, I tell you.,, somebody is trying to --- WE ~EAR A POLICE EIP~N FROM OUTSIDE. JACK Rochester, the pollpe - the police ~re comlngl WE HEAR A BOTCHING OF BRAKES. AFTE~ A PAUSE, WE HEA~ A LOUD KNOCKING ON THE DOOR. POLICEMAN'S VOICE Open up, it's the police: JACK (GETTING UP) Rochester, open the door. ROC~STER Yes, slr. ROCHESTER GOES TO THE DOOR AND OPENS IT, ADMITTING A POLICEMAN. POLICE SERGEANT (TO JAOK) We caught the prowler, Mr. Benny. My men will bring him in so you cen sign e formal complslnt. JACK Tell them to hold on tight, he wants to kill me. POLICE SERGEANT Donlt worry, we've got him under control. ( CAU-,ZRG OUT) Bribg him in, boys: GN F~I'~O I 03355?5
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Un huh. JACK But, Dennis.,. Why?... Why did Fou do this to me? ~S Because you wouldn't put me on your show today, JACK Is that any excuse fo~ folloWing me 8~ound in the dsmk?, .. Hiding behind bushes. Sea~ing the wits out of me. (MORE) GN ATH01 03365?6
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7 JACK (CO~T'D) (THREATENING) Oh boy, if I had onl~ known it was you~ DENNIS I didn.t want you to know it was me, so I always stayed s h~lf e block sway. JACK Half e block sway! I could feel you bresthlng on the beck st my neck. E~NNI8 I know. JACK Dennis, how could you breathe on the beck of my neck if you were hslfe block 8wsy[ D~NIS I had 8 long straw. JACK Oh, shut up~ Well, us? Er... Leave hlmhere? boys. THE POLICE ~N ~X~TI pOLIOE SERGEANT (TAKING DENNIS BY THEARM) Mr. Benny, shell we take him with JACK No .... No, leave him here. POLICE SERGEANT Gee, thanks. Come on GN RT~01 033657P
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-30 - JACK (CALM) Dennis, I've talked to you .... end I've lectured ~ou... but it hasn't done 8ny good. So there's just one thing left. Oh, Rocheste~-- RCCHESTER Coming up. AS JACK SITS DOWN, ROCHESTER OPENS A DRAWER, TAKES OUT A RAIR BRUSH AND HANDS IT TC JACK. JACK Okay, Dennis, take off your cost,. DENNIS ~EMOVES HIS OVERCOAT. JACK And teke off you~ other coat. DENNIS TAKES OFF HIs SUIT COAT. JACK (~CKO~G TO H~M) Come here... Come here... DENNIS TAKES A STEP TOWARD JACK. JACK Come here... DENNIS ~TART~ TO ~EMOVE BOTH SUSPENdeRS. JACK That won,t be neoessa~! AS JACK PUTS DENNIS OVER HIS KNEE AND STARTS TO SPANK DENNIS. DON Jsck and Dennis ~ill be back in e minute, but first here's 8 word to cigarette smokers. CUT TO CLOSING COMMERCIAL. GN F~I" ~0 1 03365?8
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THE AM~ICA~ TOBACCO COMPANY LUCKY STRl~ TV FILM COMMERCIAL #105 IALL NIGHT DINER) I:00) OPEN ON A MEDIUM CLOSEUP OF A SMALL TABLE MODEL RADIO SITTING ON THE END OF T}~ COUNTER TOP OF A DINER. THFgE ARE SALT AND PEPFE~ SHAKERS AND A SUGAR BOWEL IN EV/DENCE. £~J£4£S THE HANDS OF THE SHORT ORDER COOK ARE ARRANGING THEM OR WIPING THE OOUN~ TOP. AS ANNOUNCER SFEA~LS WE PULL BACK AND PAN UP TRUCKING ALONG THE COU~ LOOKING ACROSS IT WITH A MEDIUM 3/4 ANGLE SHOT. WE SEE THE VARIOUS CHARACTERS WHO ARE SEAT~ AT THE COUNT~. A TRU(~DRIVE~, A COP, AN OLDER MARRIED COUPLE SOME EATING, SOME ENAU WE, RECOGNIZE RUSS AND GRACE, WE PULL AROUND TO A FULL FRONT MEDIUM CLOSEUP OF THE PAIN OF THEM AND HOLD IT AS RUSS OFFERS GRACE A LUCKY AND S~ TAE~S IT AND THEY BOTH LIGHT UP. THEY CONTINOE SMOKING WITH DEEP ENJOYABLE PUFFS AS THE SONG IS HEARD OV~THE ACTION. (SOUND: PRESENCE IN THE DINER-- SIZZ~. OF SOMETHIN~ ON TI{E GRZDDL~ OFF SCREEN) RADIO ANNOUNCER (AS THOUGH COMING FROM THE RADIO IN T~ DINER) (CttATrI~", AI~L-NIGNT DI~-JOCK~ DELI~Y ) 2 A.M. -- it's light-up time~ SINGERS (ov ) Light up 8 L~cky. Jt's llght-up time. Be Happy -- Go Lucky. It's light-up time. S~O~s COVER) Fo~ the taste that you llke, Light up a Lucky Strike. ON RI'HO 1 03365?9
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, THE AMERICAN TOBACCO CO. --35" CLOSE ;}• LUCKY STR]~E =,i.1 - @105 . (CON~'D) ~ (I:00) COUNTER~H~ COMES ON BRIEFLY AND SETS DOWN 2 CUPS OF COFFF~ IN FRONT OF GRACE AND RUSS. (WE NEVER SEE THE CO~N'S FACE) Relax ... SZ ERS (0W ) DOLLy SWIFTLY IN TO A TIGHT HEAD AND SHOL"~D~q 2-SHOT OF GRACE ~I~D RUSS AS THEY EXHALE WITH GREAT HEJOkq~NT. AND-WE SUPER THE CLOCK DEVICE. CLOCK DEVICE RE~DS ABOUT A HALF-MINUTE PAST TWO. (MUSIC: GLISS) It's light-up time! CUT TO AL ~ SEATED IN BOOTH IN DINER. HE IS ALONE. THERE IS A CUP OF CO~ ON THE TABLE B~0RE HIM, AND BESIDE IT AN OPEN PACK OF LUCE~ES AND A PACE OF MATCHES. AL IS SMOKING A LUCKY. PICKS UP PACK OF LUCKIES AND GESTURES WITH IT. CUT TO INSERT: CLOSEUP OF PACK IN AL'S HAND, BESIDE IT ~U~R: "IT'S TOASTE~ TO TASTE BE~T~", EXACTLy AS IN THE MAGAZINE ADS. (MUSIC: HUMMING OF LIGHT-UP TIME THEME SOFTLY BEHIND:) aEnV (ON (SMILES AND NODS OFF SCREEN TOWARD GRACE AND RUSS) The end of a perfect date]-- When you st_~ for a light snack and~ with your Luokies. Why L~okie8?ThSt'8 easy. Luokies teste better. Naturally they do. Luoky Strike means fin_.~e tobacco- Then, this fine, good-tasting tobacco is $oasted, "IT'S TOASTED" to taste eve___~n bette~. Clsane~, f~esher, smoother• (MORE) GN ~I'~01 0336580
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q~ THE AMERICAN TOBAOC0 O0. LU~EYSrBIKE ~I05 (CONT' D) I:00) CUT BACK TO MEDIUM CLOSEUP OF GRACE AND RUSS AT COUNTER. THEY HAVE FINISHED TKEIR COFFEE AND THEYARE SMOKING. THEY EXHALE LUXURIANTLy, PAN D0~N AND MOVE SWIFTLY ZN TO CLOSEUP OF PACE OF LUCKIES BESIDE RUSS' S COFFEE CUP AND RUSS'S HAND RESTING ON COUNTER TOP BESIDE TH~, A LIGHT~ LUCKY IN THE HAND. ALHELPF~ (VOICE OVER) So ... next time you want to linger ... light up a L~cky. SINGERS (OVER) For t~ taste that you like, Light up a Lucky Strike, Right now ,,, SPOKEN (VOICE OVER) Light up a Lucky. (SINGERS AGAIN) It's light-up time. !J GN c .... , RT,'~O 1 033658 1
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-34- (TAa) (AFTER CLOSING CO~RCIAL~.. #ACK COMES DUT WITH~NNIS TO APPLAUSE &MUSIC JACK Dennis, I've got somethlng to tsll you. Yo~'re s silly kid, bmt you really put it over on me this time. DENNIS I did? JACK Yes... When you followed me home from the studio in the dark, you did it so well that I here to admit I really got 8n eerie feeling. DENNIS Whet did you say, Mr. Benny? JACK I said I got an eerie feeling. DENNIS Gee... you know, that's where I was born. JACK Oh..Erle, Pennsylvania? DENNIS No, Feeling, West Vi~ginls. JACK Now stop that..Dennis the ~eeson you raised such a devil..I nee~ly seld something else..I get so nervous at the end of the show..Dennis, you said ~ou wanted to be on my show and sing s song.. so go ahead end do s song. ATe01 0336582
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• ? A ROCK IS i : ~ GH DENNIS Okay, Mr. Benny..and I want to do a new popular song by Sammy Cehn called "Love and Marriage"..a~d to show you that my feelings wore'nt hurt I wrote e second chorus, and the lyrics spa 811 about you. JACK All 8bout me?..That's awfully nice of you, Dennis..go ahead. DENNIS Why donlt you sit down right over here. JACK SITS DOWN ON EDGE OF STAGE. DENNIS SINGS "LOVE AND MARRIAGS" AS HE, GETS INTO THE SECOND CHORUS, JACK JOINS HIM AS DENNIS SINGS SPECIAL LYRICS DEDICATED TO JACK. JACK REACTS AS BE REALIZES THE LYRICS ARE DEROGATOHY. ~ HAS ONE LINE HE IS SUPPOSED TO SING. JACK AND DENNIS MAKE EXIT SINGING. JACK RETURNS. JACK I had one llne in the whole song and I forgot it. All it was was "Let me toll you, brother." That comes from doing so much radio. Well, that finishes another show, ladies and gentlemen. I do want to thank Johnny Carson very much for being on my show..Johnny, come out and take a bow, won't you. (JOHNN OES SO) He does his own program on Thrusdey nights.. I'll be back again two weeks from tonight. THROWN ON STAGE WITH A NOTE Tl~D TO IT. A]HO'I 0336583
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JACK Hmmm,. 8110thor rock...There ~s 8 note on it. JACK PICKS UP THE ROCK, AND READS THE NOTE. JACK Oh yes..be sure end watch Ann Sethe~n next Bundsy night..Good night folks. Be sure end have a hsppy Thanksgiving. (MUSIC & APFLA~SE) (ou~ ~o c~z~s) -36- GH ATX01 0336584
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• ! u (c~iTs) CARD #4 JAOK BENNY pROGRAM CARD #5 DIRECTED BY RALPH LEV~ CARD #6 PRODUCED BY HILL2APJD MARKS CARD #7 WRITTEN BY CARD #8 MUSIC & ASSOCIATE PRODUCER CARD ~ ART DIRECTOR, TEOENICAL DIRECTOR & SET DECORATOR CARD #10 JACK BENNY PROGRAM c~ #11 ANN SOT~RN MEMO CARD CARD #12 JACK BENNY pROGRAM TO TARETTON HITCP~IEN DON (VOICE OVER) Appe~rlng on tonight' s program were Kern Dibbs and Chuckle B1,adley. Remember - one week from tonight, on this same station, be sure ~nd watch Ann Sothe~n in "Private S¢o~eta~ ". Jack Benny's next television show will be in two wseks. (MUSIC: OUT) BB ATM01 0336583
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~ THE A~RICAN TOBACCO coMPA~?f -~8- . ~ FILTER TIP TAREYTON ° HT 316F.-30 S~CONDS SO~ EFFECT OF RINGING & BUZZING. i • ANIMATION - BANK OF TELEPHONE OPerATORS. SAME ANIMATE~ ACTION• ANIMATION - GIRL GETS UP FHOM sWITCHBOARD. CUT TO GIRL AT WINDOW, SMOKING. DOLLY IN TOWARD CLOSED?. CLOSEUP OF GIRL SMOKING CUT TO PACK• TITLE "ALL THE PLEASURE COMES TH~ POPS ON IN SYNC OVER PACK TITLE "T}~ TASTE IS GREAT" POPS ON IN BYN~ER PACK. The whole town's talking! About Filter Tip Ta~eyton because al__!l the pleasure comes through... ...the tast___~ee is great! Yes, Filter Tip Tareyton with the pearl-gray Activsted Charcoal filter... • ..smokes milder, smokes smoother, draws easier. Filter Tip Tarsyton is the bBst in filtered smoking. ~emember, al_!l the pleasure comes thru, the taste is @~eat~ . ,,; t AI'NO I 0336586
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T}IE AMERIOAI~ TOBACCO OOMFAh~/ LUCKY STRIKE DISSOLVE TO CARD: POWHATTAN WITH "THE AMERICAN TOBACCO COMPANY" ABOVE AND "AMERICA' S LEADING MANUFACTURER OF C IGA~2TES'' BELOW. SYSTFM -39- A CR (vo) The dack Benny Program has been b~ought to you by The American Tobacco Company -- Americ&'s leading manufacturer of cigarettes. The Jack Benny program has been selected fop viewing by OUr Armsd Forces Overseas. BB / !¸¸¸i 8[~01 0336582
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'~_r
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_ r~. . PROGRAM #6 "AS FIIMED AMERICAN TOBACCO COMPANY LUCKY STRIKE THE JACK EENNY TELEVISION PROGRAM (JACK }NJNT5 FOR URANIUM) Filmed: June 29, 30, 1955 st Revue Productions Production #854 Broadcast: December 4, 1955 • JACK MENNY MARY LIVINGSTONE ROC}~STER DON WILSON Mexican ................... MEL BLANC Clerk in store ............ FRANK NELSON Man in store .............. ~qB VIGRAN ist Man ................... KEM DIBME 2nd Man ....... ~ ........... ROBERT BRAy 3rd Men ................... KEN CLARK MG ~T~01 0336589
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FADE IN from Black: Card #i THE JACK HENNY PROGRAM (with carlceture ) (small) c 1955 by J & M PRODUCTIONS, INC. All Rights Reserved DISSOLVE: Card #2 Prsseuted by LUCKY STRI~ (pack and bull's-eye) DISSOLVE: Card#3 (Be Happy, Go Lucky" (Pack and bull's-eye) FADE TO BLACK: INT0 OPENING COM~RCIAL ANNCR The Jack Benny Program! Presented by Lucky Strike~ L MG Pl'l- ~ 0 "1 0336590
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J THE AMERICAN TOBACCO COMPANY LUCKY STRIKE TV FILM COMMERCIAL #108 CHRISTMAS CARTON (i:00) OPEN ON MEDIUM SHOT OF GRACE AND RUSS AT A TABLE IN SA~ SETTING AS TKS "BUDGET" O0~ERCIAL. NOW HOWEVER, THEY ARE WEARING DIFFERENT CLOTHES. THEY ARE BOTH SMOKING LUCKIng. RUSS IS WRITING THE LAST OF A PILE OF TAGS FOR A STACK OF CHRISTMAS CARTONS. "GRACE TAMES THE TACHS, AFTER RUSS WRITES ON TEEM, AND STICKS TP~M ON T}~ CARTONS. THE GRANDFATRER'S CLOCK STANDS IN SOFT FOCUS IN THE BACKGROUND. IT READS A FEW MINUTES PAST 8. CUT TO GRACE ALONE. S~ PAUSES WITH CARTON IN HER HANDS AND SPEAKS TO US. SHE PUTS STICRER ON T}~ CARTON AND pLACES T}~ CARTON ON THE "FINIS}ED" STACK. SHE PICKS UP ANOTK~R CARTON AND HOLDS IT, REFERRING TO IT AND SHOWING IT TO US AS S~ SPEAKS TO US. -2- (SOUND: PRESENCE IN THE ROOM, TICK OF GBANDFATHER'S CLOCK, ETC. ) SINGIng (OVER) Give lots of Luokles At Cb£~istmss time Be Happy, Go Lucky At Christmas tlm8. Give the folks that ~ou llke A gift of Imoky Strike This year GRACE (SPEAKING) Give cartons of Luckles. (SINGERS AGAIN) At Christmas time. (HUMMING OF "LIGHT-UP TIME" THEME CONTINUES ~RTND: ) ~CE (SHEA~NG) Taose christmas cartons of Luekies make wonderful gifts for every smoker on your list. They're so bright end colorful end they say "Merry Christmas and Hsppy Smoking" two- hundred tlme s ~ (MORE) MG f~ T:~O'I 0336591
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SHE NOW STICKS A TAG ON THIS CARTON WHILE SHE'S TALKING TO US AND PUTS THIS CARTON ON THE "FIHISSED" STACK. AS THE SONG RESUMES "OVER", SHE CONTINUES TAGGING CARTONS. CUT IN TO A TIGHT SHOT OF GRACE AS SHE pLACES THE LAST CARTON ON THE STACK. THIS SHOT FEATURES T~ CAHTONB IN ~ROMINEHT FOREGROUND. GRACE TAmS E~EP PUFF ON LUCKY AND SMILES AT US. -3- GRACE (COHT'D) That's rlgh% each csrton contains lO packs -- 200 of those better- testing Luekies. they're so nice to give .... end so wonderful to get. So this Christmas -- glve csrtons of Luokles~ SIN~HE (own) Give the folks that you like A gift of Lucky Strike Thls yes~ . . (SPOEEN -- OVER) Give cartons of Luckles. (SINGERS AGAIn) At C|~istmss time. t'l l :"I 0 1 03365.92
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% / 4 % L "THE JAOK BENNY TELEVISION PROGRAM" "JACK Hb~TS FOR URANIUM" FADE IN FRONT OF JACK'S HOUSE. JACK COCKS OUT, GETS NLAIL, GOES BACK IN. INT. JACK'S DEN - DAy - MED. SHOT - JACK AND ROC~STER Jack comes in with mail, goes over to table. Parrot cage in b.g. APPIAb~E ROCHESTER Goodmo~ning, boss. Rocheste~ pou~s coffe~ and exits. CLOSE-UP - POLIA~'S CAGE - POLLY POLLY (squawk) Jack Benny--Sta~ of Stage, Screen, Radio end Television. (SQuawk and whistle) TWO-SHOT - JACK AND POLLy JAOK (coyly) No, no, Polly, not in the mo~nlng. That's all right when we have company. MED. SHOT TO INCLUDE KITCHEN DOOR - JACK, ROCHESTER, POLLY As Rochester cones in~ carrying a plste with s cover on it. ROCHESTER (setting the plate in front of Jack) I'll have you~ toast in a minute. Rochester tu~s to go. Jack takes cove~ off the dish. JACK Oh, for heaven's sake. ROCHESTER (coming bac~) What's the matter? JACK Look st these eggss. They're sunnyslde up, I wsnted them flipped over. 8T~01 0336593
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~ i¸ :f.. ! - 2 !k ROCHESTER Flipped over? Yes, sir. Rochester picks up the plate, flips She eggs and dowvA again. JACK (annoyed) That, I could have done myself. Hand me a napkin, will you please? DOOR BUZZER. There's the door. Rochester hands Jack e papernspkln. then ~tops. -5- sets the plate Jack starts to unfold it, ~! JACK Roehester...s paper napkin? After ell, I!m a star of stage, sereen~radio end television. POLIX Nob in the morning. (squawk and whistle) JACK You be Quiet. As Jack resumes eating we ~ She front door buzzer again. Rochester goes to the door. We HEAR the door close. ROCHESTER' S VOICE Yes, he's in the den. MED. SHOT OF ARC}~AY LEADING FROM HALL - ROC~STER, DON AND JACK As Rochester returns, followed by Don. Rochester oontluues on and exits into the kitchen. Don is wearing blue jeans, hiking boo~s, leather Jacket and ten-g~llon hat. (try to make him look like sn overgrown Scoutmaster) PAN with Don, FRAME UP with Jack. DON Hello, Jack. I finished the commercials and I thought you might like to look them over. I made some changes so when yon talk to the sponsor -- JACK (surprised at Den's get-up) Don -- Don, whet are you dressed up for? i MG AI~O I 033659~
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DON Well, Jsek, my wife end I have been planning for s long time, end now we've finslly decided to do it. JACK To do whet, Don? %mat ere you talking about? TWO-SHOT - DON AND JACK DON Lois and I ere going out to the desert end Search for uranium. JACK Don, you're kidding. DON NO, I'm not. I've already got all the equlpment...end wetre going to drive out to the foothills st the edge of the desert where we pick up some burros and peck in the rest of the way. We'll be gone e whole week. JACK But, Don, you're not used to living out in the open. DON I'm not, eh? The first five years I worked for you I had to sleep in the perk. JACK That wasn't my fault. You were so fatyou couldnLt get into e room.,.~o dontt blame me. MED THRE~ SHOT - ROC}~BT~, JACK A~DON. Rochester re-enters from the kitchen carrying a dish. ROCHEST~R (placing the dish on the table) I brought you some more toast, BOSS. JACK Thanks. /'~ 1" N 0 "1 0336595
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J • ;C., ROOHEST~a Are yo~ sure ~ou donrt want something to eat, Mr. Wilson? DON No thanks. I better get stetted on my trip. Lois is waiting for me. (takes toast) Wish me luck, JACK Good luck, good luck. Don exits out of SHOT. Door closes off. TWO SHOT - JACK AND ROCHESTER, POLLY IN B.C. JACK (picking up e piece of toast) Uranium! You know, I didn't want to say enything in front of Mr. Wilson, but the Ides of him going o~t to look for urenlum is ridlculous...I mean if ell those big companies with ell their experiences end equipment hove a herd time finding it, whet chance has he got? ROCHESTER But2 boss -- JACK (noticing something about the toes$) Rochester, what are these spots on the toast? ROC~STER Those ere freckles. JACK Freckles? ROC~STER Our toaster broke so I hod to use the sun lamp. JACK Oh. i• A1"~01 0336596
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ROCHESTER But, bossj getting back to Mr. Wilson...I don't think he's so silly. A lot of people go searohing for ursnlum. JACK (unimpressed) Roohester, hand me the marmalade. ROCHESTER Yss~ sir. (picking up jar of mermalade) You know, I reed in the paper where one men went out in the desert ell by himself and discovered a claim that was worth eight million dollars. pOLLy (squawks) Eight million dollars, yipe~ (squswks end whistles) JACK Polly, I told you to -- Eight million dollars -- Yipe'. Rochester hurries toward the door. JACK Rochester, where ere you going? ROC~BTER TO the bedroom to pack. JACK What? ROCHESTER The lest time you "yiped'~ like that, we wound up in Tahiti diving for pearls. JACK But, Rochester, the desert isn't very far...and uz~nium is valuable ...you said so yourself. ROC}~STER But, boss, camping out. ~. ,.~.r ~" • .... ~, ~$ ~ .~,~ ~ : ~, - AI'~01 033659?
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~,~ ;~ i --9-- ,~ 91 • ! JACK (getting up) It'll be good for me. My doctor said I need the eight million -- I mean fresh air...and exercise. And it can't be too rough. Don Wilson Is taking his wlfe along. Jack steps over to the closet end puts on his cost. ROCHESTER Boss, where ere you going? JACK Over to Miss Livingstone's house and ask her to go with me. And you get ready, too. I want to get started as soon as possible. Jack exits. MEDo CLOSE OF ROC~S~ - INCLUDING POLLY ROCHEST~ Yamm..hmm°.°Thsre,8 one thing about working for Mr. Benny. There's never a dull moment. If it isn't One thi~, it,s another. INT. KITCHEN OFMARY'S APARTmeNT - DAY -ME Do SHOT -JACKAND MARY Mary is fixing herself some breakfast and Jack is dogging her footsteps. JACK Mary, how can it miss? MARY Jack, I think this is the most ridiculous thing I've ever heard of. JACK There's nothlug ridiculous about looking for uranium. MARY Stop following me around and sit down. JACK I don't want to sit down. ~T~01 0336598
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/ ,J -10- MARY Well, I'm going to have my breakfast. (she slta down and looks at her plate) Oh, for heavenFs Sakes. YouWe done SO much talking you got me 811 mixed up. I made my eggs sunny side up and I wanted them flipped over. CLOSEUP OF JACK His eyes light up mlschieviously. JACK Flipped over? WIDER ANGLE - TO INCLUDE MARY JACK I'll do it. Jack takes the plate and flips the eggs into the air. CLOSEUP OF JACK He is holdln~ the plate out waltlng for the eggs to return. We PAN over to Mary and we see the eggs on top of her heed. She is staring at Jack, tight-lipped. JACK (sheepishly) I'm sorT, Mary. (ploking up e spoon) Here, fill get them off. MARY No, leave them there. I~ll wear them in the Easter Parade. JACK Sa , it dose look kinds .... Oh, hold still. (he takes the eggs off he~ head) ~O SHOT - JACK AND MARY JACK Whet do you way, Mary, will you go with me? A'I" HO 1 0336599
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• ~q., ' i MARY Well...I don't know. JACK Believe me, it won't be too rough for three or four days.. And think of the excitement. It's like the great Gold Rush of 1849. MARY Jeek you didn*t find it then, you wont find it now. JACK Mar2, I'm serious. Now hurry up and get dressed. I went you to go down to the surplus store with me so I can pick up the equipment. MARY Well, okey..As soon as I finish me coffee.. JACK I knew you'd go with me, Mary.. Re hi~s her on the back as she drinks coffee. DISSOLVE TO: INT. WAR sURPLUS BTOEE - DAy - MED. SHOT - JACK AND MARY Jack and Me~y enter ~tore. JACK (locking around) Gosh, they sure have s lot of stuff here. I bet I'll be able to get everything I need. MANY Jack -- JACK Yes, Mary? TWO SHOT - JACK AND MARY MARY ...Before you start buying e lot of e~uipment, are you sure you want to go on t~is trip? ...I thlnkit's silly. AI'HO'I 033660t]
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-12- 3 D Ji JACK But it isn't silly. Mary. You just don't understand. If I discover ursnlum it's...it's ...It's like fln~Ing eight million dollars. MARY Well, why go to all that trouble? You ten find eight million dollars in you~ vest pocket. JACK Oh, stop. Whet're ~ou t~ying to do? Get me ~ld up?... HO~ ooze Oil. MED. SHOT - JACK AND MARY WITH MERCHANDISE IN B.G. PAN es they start walking and pass s bar~l of picks with a sign on it. CLOSE UP - SIGN "$1.75 - TAEE yOUR CHO~DE" TWO SHOT - JACK AND MARY JACK Say, Ms~, we're going to need a couple of these picks. MARY Yeah, but first you ought to see about campin~ equipment. JACK Okay. PAN as Jack starts to walk, stops, and steps back to the barrel. JACK Hey, get a load of that sign, "Take Your Choice." MANY What shout it? JACK Ma~y, don't you get it? MARY No. JACK Well, you will i~ a minute. Watch this. (calllng man behind aonnter) Oh, Mister - Mister -- 0 ~SX~ T,I? Ftl'~OI 0336601
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,;.f M~. T~EE SHOT - JACK, MARy AND NELSON NF~LSON YeBBSSSB? JACK (to Mary - aside) Oh boy, am I glad I ran into this guy. NEL%0N Well...you called me...~mt is it? JACK Well...this barrsl here. That sign shouldnlt say, "Take Your Choice. " It should say, "Take Your Piok! " Jack laughs and ~ffaws at this joke. NELSON (oalling to someone o.s. ) Hey, Joe, another one just oame in. JACK (let down) You mean someone else pulled that Joke? NELSON Yes, but you're the first adult. JACK Hmm. MARY Jack, tell him what you want and let's get out of here. JACK 0k~y, okay. (to Nelson) Now look, Mister, I'm going out to the desert on a camping trip, and I'd like to know just what equil~nent I'll need. NE[,50N Well, the first thing you'll need is one of these sleeping bags. -13- • i" BB t9 T ~¢0 "1 0336602
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5<: k -14 - JACK A sleeping bag? Gee, I've never had a sleeping bag before. How do you use it? NELSON Oh, it's quite simple. You just crawl in and pull the zipper all the way up. JACK Gee, won't I suffocate? 'MARY Jack, you're to leave your head oufiV~pp°sad NEI~ON (tO Mary) Oh, I wish you behn~t told him. JACK Now look -- NELSON pardon me a moment, I have to wait on another customer. Nelson steps out of shot. JACK T~ guy drives me nuts. MARY Jack, instead of getting sleeping bags, why don't you get a couple of tents? (pointing out of shot) And look, you won't even have to buy them. They have tents for ~e~t. JACK ( looklr~ off) Yeah. DISSOLVE TO: LONG SHOT OF T~NTSECTION OF STORE- JACK, MARY ANDN~Z~50N Jack and Mary Walk over to two identical tents with a sign above that ~eads: TE~TS FOR ~. One tent has a price sign that says: "$2.50 A DAY"...The other tent sayS: "$6.00 A DAY." BB 61THO'I 0336603
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BB Nelson comes T~E~ SHOT - JACK Gee...these two tents are identical...and still one of them is two-fifty a day, and the other one is six dollars a day. I wonder what's the difference. MARY Maybe the six dollar one comes With maid service. JACK MAid service...some joke. MARY It was better than "Take your pick" • JACK All right, all right. into the scene. NELSON Have you made up your mind about the sleeping bag? JACK We've decided to get tents instead. JACK, MARY AND NEISON. NELSON Very good, very good. Of course, in that case, you'll need blankets. JACK Yeah, it gets real cold out there. NEL$0N It sure does. I once went on a trip in the desemt, and I was as snugly es a little bunny in my electric blanket. JACK Wait a minute...How can you use an electric blanket way out in the desert? NELSON I have thmee hundred and twenty miles of cord. ATe01 -15- 0336604
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BB JACK What? NELSON I just said that for a joke. I thouEht maybe'you could use it on your television show. JACK Oh, then you know who I am? NELSON Oh, yes. TW0-SHOT - JACK AND NELSON ~% NELSON (picking up anothe~ blanket) And if you'll allow me, I'd like to m~ke you a glft of this blanket. JACK A gift? HoW nice. NELSON You won't have to worry about electricity or anything, It operates on kerosene. It'll really keep you warm. JACK Well, that's verynice of you. .... a kerosene blanket, that's novel. How does it work? NELSON You dip it in kerosene and light it. JACK Now cut that out!....For heaven's sake. N~SON 0b, all ~Ight, (handing Jack a sheet of paper) Here's a complete list of camping equipment. Just check off what you want. JACK (taking the sheet of paper) That ~s better. RTH01 0336605
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BB T~-SHOT - JAOK, N~0N AND MAN Jack puts on his glasses and while he studies the list, MAN in shirt sleeves steps over to Nelson. MAN me? NELSON Certainly. ffust what are you looking for? The man points to some life jackets banging on the wall. MAN One of those. NELSON Oh, a life jacket. MAN Yes, Nelson takes a llfe jacket off the table and helps the man put it on. Of course, Jack becomeB interested. NELSON There you are, How does it feel? Pretty good. take it. MAN This is fine, I'ii NELSON I'ii write the sales slip. JACK (to man) pardon me...are you going on a boat trip? MAN No, I have a sport coat that's too big for me. The man exits. ~/0-SHOT - JACK AND MANY JACK Hmm...Mary, why do people give me such silly answers? I merely asked blm if he ~s going on a boat t~ip. ~1'~01 0336606
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J, ! ? k.~• n BB / MARY Well, what did you think he was going to do with that life jacket... take e shower~ JACK Oh... CLOSE UP - JACK JACK (looking at the list) Now let's see...what do I need... hatchet.., fiGshlight.., hammock.. shovels...Geiger counter... c~nteen,..stove...I'll need a hat. (he puts on pith hel~net. Mary shakes her head) Miss Livingstone, I presume. FULL SHOT - ~. DES~T - DAY - MOUNTAINS IN T~ BAC~ROUND ( PR~ mS ) Msry, dressed appropriately for hiking, welks into the scene, leading s donkey that is loaded down with camping equipment. Jack walks up, and he, too, is leading a donkey loaded do~n with things. M~ry stops and lets Jack catch up to heR. MiD. SHOT - JACK & MARy WITH BURR03 IN B.G. MARy Phew~ JACK Well, let's rest here til Rochester comes up. MARy We've walked over six miles already, you told me that Don and Lois would be some place near the foothills. Now where are they? JACK Well, these Bren't the only foothills. Wait til I look at my map. Jack unfolds a map. MARy Are )ou sure that map is any good? AT~O~ O'33660~
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L JACK Of course it's good. I got it the last time I bought gas. MARY The last time you bought gas they thought the world was flat. JACK Don't be funny. (pointing to map) You see., .the foothills run all slong here. (folding the map) Now come on, let's keep moving. MARY Kit a minute, Jaok. I think it's time you gave the donkeys another lump of sugar. JACK Okay. CLOSE-UP - DONKEY M~D. SHOT Jack gives one donkey a lump of sugar, and then he gives the other donkey a lump of sugar. JACK Okay~ Ma~y, we ca~ go ~ow. Mary and Jack start walking again...then stop. JACK (looking baok) Rochester... MEO, SHOT - ROCHESTER AND JACK Rocheste~ is loaded down with stuff. JACK What are you waitlug for? CLOSE SHOT - ROCHESTER ROCHEST~ A lump of sugar. I'm carrying as much as they are. BB A~OJ 0'336608
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L ,i -20L TWO-SHOT - JACK AND ROCHEST~ JACK Never mind.., stop complaining. I'm sure you brought enough supplies, ROC~STK~ Oh yeah...I brought tbmee pounds of eoffee..two pounds of sugar ...four loaves of bread...three pounds of bacon... JACE How about cigarettes? Did you bring enough Lucky Strikes? ROC~T~ Did I bring enough Luc~y Strikes' CAM~ PULIS BACK to include donkey Rochester is leading. The donkey is loaded down on both sides with cartons of Lucky Strikes. DONKEY • " (Mel Bianc~s Voice) Did he bring enough Lucky Strlkes.~ CLOSE-UP - JACK His reaction. CLOSE-UP - DOh~EY (Mel Blano's voice) D0~ Boy, if I smoked cigarettes, Lucky Strike would be the cigarette for me. T%VO-SHOT - ROCHEST~ AND DON~ EOCHEST~ And you know, LS MFT...Lucky Strike means fine tobacco. DONKEY Cleaner, fresher, smoothe~. ROCHEST~ That' s right. JACK Come o~ Bochester LONG SHOT - INCLUDING ROC~ST~ As they move on. DISSOLVE TO: AF~O~ 0~36609
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Z¸ ,~ EXT. DAY - ANOTHER SPOT IN THE DESEET - TRUCKING SHOT - MARy & ROCREST~ Mary and Rochester are wslklng together. MARY Be csr~ful of that cactus, Rochester. Rochester avoids cactus in path. MARY A~e you getting tired, Rochester? ROCHESTER 0~, Z'll make It all rlght. (look~ng back) Where,s Mr. Benny? ROC~STER He stopped at that stream back there to water the donkeys. (lookln off) Here he comes now. As Mary books off. LONG SHOT - THE TWO DONKFYS A ha~ock is strunE between them and Jack is obviously in the he~ock. CLOSE SHOT - MARY She is staring open eyed. 'M~D. SHOT - JACK & TWO DONKEYS Jack is in the ha~ook. The he~ook passes over a cactus plant. INSKWT MED. CLOSE - CACTUS AND JACK'S REAR. JACK Yipe CLOSE SHOT - MARY Mary looks off, laughing at whet she sees. FADE OUT. AIMO1 0336650
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-22~ FADE IN: EXT. DAY - MED. SHOT - ANOT~E PART OF THE DESSERT - JACK, MARy, ROCHESTER &DONKEYS They all walk into scene and stop. MED. LONG SHOT - MELBLANC, MARY, JACK & ROCHESTER A Mexlcsn (Mel) staggering across the desert. From his app@srance, he must have been lose on the desert for weeks, MEXICAN Water -- water -- water! Ple~se, sonor, I 8m so thirsty. Please give me some water. Jack, Ma~y and Rochester come ove~ to tha Mexican. JACK Quick, Mary, get the canteen, it's tied On the side of ~y donkey. MARY Okay• Ma~y goes out of scene. MEXICAN The sun is 8o hot...The sun hss been besting on me for days ... for weeks. Hurry, Mary. CLOSE UP - MEL. JACK ~XICAN My throat is perched ... the sun beating on me for weeks ... MED. SHOT - JACK~ ROC~STER, MEL, MARY Ma~y hurries into the scene with the canteen and hands it to Jack. MARY Here you are, Jack. MEXICAN (while Jack unscrews canteen) Hu~y, hurry ... Please, senor, hurry. PIT HO "~ 0336611
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JACK (handing him the canteen) Here ... her8 ... drink. CLOSEUP - MEL He drains the canteen. MEXICAN (handln~ back the osnt~en) Ahh ,.. graOlaS, 8eno~ ... You are so kind. MED. SHOT - MEJ~, JACK MEXICAN I must give you something to express my gPatitude .~.. Here ... (taking a pai~ of moracees off his belt) Take My mopaecas. JAOK That isn't necessary. MEXICAN Take them. It will make me feel better. JACK Well ... okay. Jack takes the mo~secas. MEXICAN Now I have to go back to work. Adios. JACK Adios. Jack kooks after the Mexican as he leaves the scene. FULL SHOT - BIG BILLBOARD THAT SAYS "VISIT MEXICO -- THE LAND OF THE SIESTA" - M~ O~r Mexlesn climbs up On a platform, fits himself into s cut-out portion of the billboard and assumes and freezes in a typical Mexican pose. T}~REE SHOT - JACK, ROCHESTER MARY JACK Gee, what s tough job, (handing Rochester the mo~aocas) Here, Rochester, you carry them. CONTINUED NTNO] 03366]2
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• i CONTINUED R00HESTER Yes,.sir. JACK Let's go. MARY Jack, if we don't find Don Wilson within the next fifteen minutes, I'm not going to walk any further. JACK Okay. Come on. Jack and Mary start walking, followed by Rochester who shakes the ~oraccas add Sin~S "La C~c~raoha". DISSOLVE: EXT. - CAMP SITE - ESTABLISHING - JACK &MARY The camping equipment has been unloaded off the donkeys. Mary is adjustlng the outdoor stove, and one tent is up, except for the ropes being tied to the stakes, which Jack is ~oing. We HEAR the mo~eccas and Rochester singing "Ls CuesrachM'. MED. SHOT - JACK We PAN with Jack as he steps over to Rochester, who is sitting in front of the campfire singing lustily. JACK (annoyed) Rochester, put down those moracc~s. and help me tie the ropes to the stakes. ROC~S~ Yes, sir. Jack steres o. s. JACK Hey, look. MARY What? JACK Those people up there. Maybe Don end Lois ere there, too .... I'm going over and see. Jack ~elks out of scene. JG RI'~OS 0336613
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EXT. DESERT NEARBY ~D. SHOT - FOUR MEN They are studying the terrsin. They could be prospectors. lgT MAN We've been all around here for three days now, but something tells me thst this is the spot. MED. SHOT - A YUCCA TREE - JACK As Jack comes up to the tree, he stops and looks off." JACK Y~mm~n ... Don isn't with them. As Jack turns to go beck, we HEAR one of the men talking. 2NDMAN'S VOICE According to the survey, this should be the exact place we've been looking for. CLOSEUP - JACK Jack reacts and freezes st what he HEARS. JACK (to himself) Exact place ... they've been looking for ... 3RO MAN (VOICE OFF) Well, let's get s good night's sleep, and we can stsrt digging early in the morning. CLOSEUP JACK JACK Urenium~ MED. SHOT - JACK Jack steslthily becks away from the tree, turns, and runs in the direction he came from. MED. SHOT - FOURMEN IST MAN That's ell right with me. I know this is the spot. (looks at map) Yep, this is it. If we dig right here, we should find the gas pipe. We'll put in the new turn-off valve and ou~ Job is done. JH ATHOI 0336614
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L~ 4 H MED. SHOT - T~ CAMP SITE - MARY& JACK AT CAMPFI~ MARY Here's some coffee, Jack. JACK Thanks, Mary. MARY Jack, for the last five hours, you've had a funny gleam in your eye. Now what's it all about? JACK It's nothing, Mary. MAEZ Come on, what is it? There must be something TIGHT TWO SHOT - JACK &MARy JACK Well, 1.11 tell you. Those four fellows I saw this afternoon ere searching fo~ Uranium end they've got maps end found the exact spot. MARY Jack, you're kidding! JACK No, I m not, Mary. But they're not going to start digging till tomorrow morning. picking up pick sod shovel) ... so I m going to go over there later tonight and beat them to it. MARY For heaven's sakesj Jack. If they found a spot, it belongs to them. Tomorrow morning we can go and sea~oh fo~ our own place. JACK But, Mary -- MARY Forget it and go to sleep. JACK I'll go to sleep. JG ATH01 0336615
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FULL SHOT - THREE T~TS - JACK, MARY & ROCHEST~ Mary and Jack go into their respective te~ts. Jack t~rns to Rochester before enterlng his tent. Rochester picks up the Y~ooss 8nd starts to shmke them ~Dd Sing "I~ Cu~arao~81~ JACK Rochester, you ought to get to sleep, too. ROCHESTER Oks~, bossj ~s soon as I p~t out the fire. ~. SHOT - FIHE - ROC~ESTE~R ~echest~p throws so~e sa~ on the flre. INT. JACK'S TENT - MED. SHOT - JACK Jack is stretche~ out on ~ blanket with his head on a knapsack. JACK Gosh ... Uranium ... Eight milllon dollars ... and I know the exact spot .,. Yes, Sir. OUTSIDE OF JACK'S TENT - CLOSE SHOT - SNAKE We see a ~ttlesn~ke ~pp~oach the tent. INT. JACK'S TENT = MED. SHOT - JACK (JAC~ SI~GS) The rattlesnake coil~ and ~attles i~ rhythm. INTERCUT SHOTS OF SNAKE ANDJACK The shots of snak~ would h~ve to be ~IGNT CLOSE-UPS with ~ubber do~ble with Jack ~d a dummy of Jack to work with live s~ke. JACK Gosh, Ur~ni~ ... With a claim llke that I'll be loaded. The s~ke c~awls up behind Jack and coila up. JACK Eight million dolla~=. The s~ake shakes ~ts rattles. JACK (Si~gs) q Ls c~caracha ..-la c~caracha ., da de da de d~ da da. The snake sl~kes its Bttles. ~-3 T Y(O 1 0336616
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JACK (CONT'D) La ouoaracha ... Io cuoBrocha ... de de da de da d8 de. Th~ snake rattles. MARY'S VOIOE Jack, stop singing and go to sleep. The snake goes away. JACK Okay, okay ..) F~mmm ... I don't care what Mary says about those fellows and thei~ olalm. I'm going to get up early in the morning and dig for that Uranium. Jack closes his eyes and goes to sleep. He turns ove~ and with his eyes still closed comes face to face with the snake without knowing it. The snake takes one look at him end crawls out of the tent. DISSOLVE: EXT. CAMP SITE - ~T. OF TENT - EARLY MORNING - MED. SHOT - JACK Jack sneaks out of the tent .~. looks around ... tiptoes over and Dicks up a pick and shovel and hurries out of the scene. DISSOLVE: EXT. D~ERT PHOSFECTING S~TE - DAy - MED. SHOT - SPOT WHERE FOUR M~WERE Jack comes up with the pick and shovel. Jack starts digging. MED. SHOT - FOUR MEN The four men with picks and shovels approach the spot. They stop when they see Jack o. s. IST MAN Hey, Joe, look st that. ~D. SHOT - JACK STILL DIGGING The four men walk into the scene. IST MAN Hey, buddy, what do you thank you're doing? JG 0T:401 033661,.~
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L JACK You know what I'm doing. ISTMAN Well, we've got work to do here, 80 soPam. JACK Oh, yeah ... well, you shoulda got up ~Brlier .,, This is my spot now. He keeps digging. let MAN Look, I said scram. 2ND MAN Wait a minute ... let him dig. JACK You're darned right you'll let me dig. He digs some more. EXT. CAMP SITE - MORNI%D - MED. SHOT - MARY& ROCHESTER Mary is coming out of tent. She stretches, then calls. MARY Jackl Rochester comes ove~ to her. ROCP~,STER Where's Mr. Benny? MARY Isn't he in his tent? ROCHESTER Me, I just looked. MARY (~emembering) Wait a minute ... I'll bet I know where he is ... Come on, They ~slk off. EXT. PROSPECTING SITE - FULL SHOT - ~ACK, MEN, M~RYAND ROCKESTER The hole is much bigger now. The four men stand looking at Jack dlgg/ng. Rooheste~ and Ma~Z come up. Mary looks dowa the hole. ~T~O~' 03966 ?B
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MARY Jack. JACK Don't bother me, Mary. He keeps digging end then his pick hits something metal. IST MAN Not so her4, bud, you'll b~eak that gas llne. JACK I don't care if ... gas line? 2ND MAN Yeah, that's whet we were looking for. What were you lookin~ for? TIGHT SHOT - JACK looking up sheepishly. CLOSE SHOT - MARY laughing. MARY (lookiog down) Jack, tell them what you were looking for. Jack ... We see dirt flying up from the hole. MARY Jack, you can stop digging .. Jack ... Jack ,., DISSOLVE: EXT. FFONT OF JACK'S HOUSE - DAX - DOLLY SHOT CAMER~ stops on the mall box which says, "Jack ~gnny - 366." CAMERA then ~ BACK to a portion of the lawn whe?e we see the ground b~eek and Jack comes throngh, CLOSE UP - JAOK JACK (directly into camera) I know this is hard to believe, but I wee so embarrassed I just bed to come home this way, As Jeck starts to c~svl omt of the hole: FADE OUT MUSIC: "HOORAY FOR HOLLYWOOD" R]'~(O I 0336619
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S . " FADE IN: DON W~LSON - IN FRONT OF CURTAIN DON Jack will be back in just moment, but first ... -3z FADE OUT TO BLACK / JG ATHO'I 0336620
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/ ~q THE AMERICAN TOBACCO COMPANY LUCKY STRIKE TV FILM COMMERCIAL #107 (l:oo) OPEN ON WIDE SHOT OF Tf~ FRONT OF A NEIGHBORHOOD MOVIE HOUSE. A FEW PEOPLE WALK BY ON THE SIDEWALK. S0~ COME OUT OF THE MOVIE. NONE OF TH~ ARE RECOGNIZABIZ. WE MOVE SWIFTLY IN AS GRACE AND RUSS COME OUT CHATTING AND SMILING. GRACE WEARS A TOPCOAT. THEY STEP OUT UNDER THE MARQU~ AND UP TO A WAIST SHOT AND STOP. THE SONG IS HEARD "0~" AND RUSS TAKES OUT A PACK OF LUCKIES AND THEY EACH TAKE ONE AND LIGHT UP AND SMO~3~ WITH RICH ENJOYMENT. DURING THE PAUSE IN THE SONG BETW~ "RFXMX" AND "IT'S LIGHT-UP TIME" THE CLOCK DEVICE IS SUPPleD O~rER THE SCENE. IT F~ADS ABOUT ll:20 P.M. GRACE AND RUSS WALK OFF SCR}~N AS ANDRE COMES OUT OF MOVIE AND STEPS UP TO CAMERA. HE LIG~S A LUCEX. OUT TO CLOSEUP OF ANDRE. I~ T~/(~S A DEEP PUFF AND EXHALES WITH GREAT SATISFACATION • HOLDS UP LUCKY PACK. OUT TO INSERT CIJDSEUP OF PACK IN HIS RAND. "LS/MFT" IS FEATURED. -32- ( SOUND: THEATRE, ( MUSIC : Light up 8 time. Be happy -- Go Lucky. light-up time. PRESENCE 0UTSID#o ) STREET NOISES, TICK TOCK INTRO) si Fag (OVER) .Lucky, it~ s light-up It's For the taste that you like, Light up a Lucky Strike. Relax ... (MUSIC: GLISS) ... it's light-up time. A m BABUCH (OH Man, that's smoking enjoyment -- to come out of a good movie and hight up a Lucky. ~mmm~m - does that taste good. Especially when it's a Lucky. Because ... Luckies taste better. And for go~ ressons, (NOW VOICE OVER) First, Lucky Strike means fln~etobacco. P~],~O 1 0336621
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,.! THE AMERICAN TOBAUCO COMPANY LUCKY STRIKE TE F~u~ C0MMm~CIAL #~07 (C0HT'D) HE TURNS PACK FULL FACE AND ~E SUPER "IT'S TOASTED TO TASTE BETTER" EXACTLY AS IN MAGAZINE ADS. CUT BACK TO MEDIUM BHOT OF ANDRE. DISSOLVE BACK TO GRACE AND RUSS. THEY ARE WALKING DOWN THE STREET. WE TRUCK WITH THEM PAST A STORE FRONT. THERE IS A LUCKY CARTON POST~ IN WINDOW. CAM~A STOPS AND GRACE AND RUSS WALK OFF SCR~ AND WE ZOOM IN TO TIGHT SHOT OF CARTON POST~ IN WINDOW. SUPER "TREBEST-TASTING CIG~YOUEV~R SMOKED" JUST AS IN MAGAZINE ADS. -33 - ANDRE (COHT'O) Then, thi~ fine, good-tasting tobeooo is toasted to taste even better. Cleaner, fresher, smoother. (ON c~) That's why when the show lets out, so msny folks light up -- a Lucky Strike. SINGES (OVER) For the taste that you llke, Idght up o Lucky Strike, Right now ... (sFo~m-ovm) Light up e Lucky. (s~ms AQAZ~) It's llght-up tlme~ ~ii¸ L• JG "A ~.~ ~. ~~.~. ~...~ "~r~ • ~~Cr • -~, ~ ,~ f ~ : . ~. ~ ~ • , ~. ~ ~,~ ~"~'~" ~,• , ~= P~ ]',~0 "~ 0336622
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:~i¸ !: -34 - ( AO) WAR SURPLUg STONE Jack knocks on doom. Nelson opens it and Jack walks in loaded down with equipment. NELSON Oh, it's you again. We're closed. JACK I don't care. I want to return all this stuff I bought from you. NELS0N I'm sorry, we don't give refunds. JACK Look~ you give me my money back or I ll tell everybody in this town that--- N~L$0N All right, all right...let's have the stuff. I'll count it in the mo~ning and send you a check. JACK (~tting t~ngs do~) Here's the shovel...Geiger counter.. hatchet...And you can have this jacket back. N~0N All Fight, all right..take it off. Jack takes off jacket. NELSON off that hat# too. You can take Jack takes off hat. NELSON Now take off your glasses. Jack starts to take off his glasses, then stops. JACK Wait a mlnuJet I didn't buy these glasses from you. NEL~0N I ~ow, I just want to punch you in the nose. BB A]'~O 1 0336623
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JACK Well you're not going to. Jack goes out of store. NELSON Ladies and gentlemen, be sure to watch Ann Sothern next week, and herll be back in two weeks. Jack comes back in. o JACK I forgot...l~dles ~nd gentlemen, be sure to watch Ann Sothern... NELSON I told them, I told them. JACK Oh...Goodnlg~t, folks. FADE OUT ATe01 0336~2~
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-36- C~D #i DISSOLVE: CARD #2 DISSOLVE: Card#3 DISSOLVE: CARD #4 DISSOLVE: c,~,o #5 DISSOLVE: CARD #6 DISSOLVE: CARD #7 DISSOLVE: CARD #8 DISSOLVE: T~ JACK B~N~/PROGRAM (with caricature) Copyright o 1955 by J & M PRODUDTIONS, INC. All rights reserved Executive Producer and Director RALPH LEVY Pr~ueer ~LLYARD MARKS Written by SAM PF/~RIN GEORGE BALZ~ AL GORDON HAL GOIDMAN Musical Director MAHIDNM~ICK Associate producer RICHARD FISH~ Cast Mel Blanc Robert Bray Ken Clark Kem Dibbs Frank Nelson Herb Vigren Produo$ion Supervision SAM P}~RIN Director of Photography -- John McBurnie Art Director -- M~rtin 0bzin~ Editorial Supervisor -- Richard G. Wray, A.C.E. Film Editor -- Daniel A. Nathan, A.C.E. 8TM01 0336625
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~H ~q ;t~¸ i!iI~i -37~ CARD ~9 Set Decorator -- Gene Redd Sound -- Roy Meadows Assistant Director -- Jack Corrlck Wardrobe Supe~vlsor -- Vincent Dee Make-Up -- Jack Barren RCA Sound Recording Emblem - IATSE Seal A.T.F.P. (The characters and events depicted in this photoplay are fictional. Any similarity to actual persons, living or dead, is purely coincidental. ) DISSOLVE: d CARD #10 THE JACK BENNY PROGRAM Caricature of Jack Was filmed in Hollywood at Revue p~oductions, Inc. c 1955 J & M PRODUCTIONS, INC. All Rights Reserved Revue Insignia DISSOLVE: CARD #11 Ann Sothern PRIVATE SECRETARY CARD MCA Insignia ANNCR Remember, one week from tonight be suite to watch Ara~ Sothern in "Private Secretary" on most of these same stations. FADE TO BLACK INT0 HITC }fi~q~E BB AT~40"I 0336626
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T~ AMerICAN TOBACCO COMPANY TAREYTON TWOSOME 321 MCU 2 GIRLS STANDING EITH~ SIDE OF CHRISTMAS TREE. GIRL AT ~ HOLDING H~B~T TAREYTON CARTON: GIRL AT RIG~ HOLDING FILT~ TIP TAREYTON CARTON PAN TO GIRL AT RIG~. SEE POINTS TO CARTON SHE IS HOLDING. GIRL IAYS CARTON ON SHELF OF MOD~NISTIC TREE. DOLLY IN TO CU CARTON. CUT TO MCU OF GIRL HOIDING CARTON OF HERB~qT TAREYTON. CU GIRL'S HAND HOLDING CARTON. MCU 2 GIRLS AND CHRISTMAS TREE. "THE TAREYTON TWOSOME" POPS ON ABOVE IN SYNO VO, "FOR CHRISTMAS GIVING" POPS ON BELOW, ANNCR The Tareyton Twosome -- perfect choice for C~a~istmas giving! Filter Tip Tareyton in a Christmas carton printed with h~gllsh holly and a big e~ ribbon...3o smart it needs no other wrapping~ What a gift for filter smokers -- ~iI the pleas~e comes thru... the taste is e~! And for your friends who prefer a non-filter cigarette, choose famous Herbert Tareyton... in a Christmas carton printed with holly and a bright r_~ ribbon. Remember...The Tareyton Twosome... perfect choice for christmas giving' BB ~,T~O 1 033662?
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Z~ ~,i~ ? THE AMerICAN TOBACCO COMPANY LUCKY STRIKE DISSOLVE TO CAED: POWH~,TTAN WITH "THE AM~IOAN TOBACCO COMPANY" ABOVE AND "A~ICA' S 12ADING MANUFACTURER OF CIGARETTES" BELOW ~T~ The Jack Benny Program has b~en brought to you by The Amerlcan Tobaoco Csnpany -- America's leadi~nmnufacturer of cigarettes, BB AT~0/ 033662Ef
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"AS TELESCAST" A~RICAN TOBACCO COMPANY LUCKY STRIK~ THE JACK HEMNY TE~VISION PROGRAM SUNDAY, DECEMBER 18, 1955 OBS 4:30 - 5:00 PM PST JACK ~NNY DON WILSON ~PORTSMEN QUARTET GUEST STARS: FRANCES & EDGAR HERGEN Butler ............. BARRY STEWART Chsrlle McCsrthy..,STEVIE WOOTTON Mortimer ~nerd ..... LOUIS LETTIERI Enrico Scortlohinni..THURL RAVENSCROFT Kids: (NOt used) ..... DAVID HALPE~ EARL SE~I~R J2RRY EAR~N BT,~O 1 0336629
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THE AMERICAN TOBACCO COMPANY LUCKY STRIKE JACK BENNY TV PROGRAM .1 OPENING COMMERCIAL CUT TO TITLE CARD: "TRE JACK BENNY pROGRAM" CUT TO TITLE CARD: "PRESENTED BY LUCKY STRIEE" CUT TO TITLE CARD: "BE HAPPY~..GO LUCKY, LUCKIES TASTE BETTEB". -A- (MUSIC: LUCKY STRIKE T~ UP AND UNDER ..... ) ANNCR From Television City in Hollywood, the Jack B~nny Program... with ~hi~ 9~9~ guest, Mrs. Edge~ Bergen .... ~ ..... Presented by Lucky S ~ri~e (MUSIC: VAMP AND BE HAPPY .... GO LUCKY....SHORT VERSION) CUT TO: A?" MO 'l 0336630
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11 ,t THE AMERICAN TOBACCO CO, ~CKY STRXKE TV RTLM CO~RCIAL #108 CHRISTMAS CARTON (l:O0) OPEN ON ~,DI~ SHOT OF GRACE AND RUSS AT A TABLE IN SA~ SETTING AS T~ "BUDGET" COMMERCIAL. NOW, HOWEVER, THEy ARE WEARING DIFFERENT CLOTHES. T}~Y ARE BOTH SMOKING LUCHIES. RUSS IS WRITING THE LAST OF A TILE OF TAGS FOR A STACK OF CUPISTMAS CARTONS. GRACE TAKES THE TAGS, AFI~R RUSS WRITES ON THEM. AND STICKS THeM ON THE CARTONS. THE GRANDFATHER'S CLOCK STANDS IN SOFT FOCUS IN THE BAOKGROUND. IT HEADS A FEW MI~/YES PAST 8. CUT TO GRACE ALONE. SHE PAUSES WITH CARTON IN HER HANDS AND SPEAKS TO US. SHE pUTS STICKER ON THE CARTON AND pLACES THE CARTON ON T}~ "FINIS}~D" STACK. SHE PIOKS UP ANOTHER CARTON AND HOLDS IT, REFERRING TO IT AND SHOWING IT TO U5 AS SHE SPEAKS TO US. (SOUND: PRESENCE IN THE ROOM, OF GRANDFATHER'S CLOCK, ETC. ) SINGERS (OVER) Give lots of Luckiee At Cbmistmes time Be Happy, Go Luck~ At Christmas time. TICK Give the folks that you like A gift of Lucky Strike This year GRACE (SPEANT G) Give cartons of iaokies. (SINGERS AGAIN) At Christmas time. (}~JMMING OF "LIGHT-UP TIME" TH~ CONTINUES HEHY~: ) sBAHE (SPEA X ) These Christmas cartons of Luckies make wonderful glft~ for every smoker on your list. They're so bright and colorful and they say '~Merry christmas end Happy Smoking" two-hundred times~ Thet's right, each earton contains lO packs - 200 of those better- testing Luckiee. (MORE) A [)~01 0336631
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:tt '7" ~/i THE AMERICAN TOBACCO COMPANY LUCKY STRIEE TV FILM O0~NCIAL #108 (CONT'D) SHE NOW STICKS A TAG ON THIS CARTON ;~H/LE SHE'S TALKING TO US AND PUTS THIS CARTON ON ThE "FINIS~D" STACK. AS TEE SONG RESUMES "OVER", Sf~ CONTINUES TAGGING CANTONS. CUT TO A TIGHT SHOT OF GRACE AS SHE pLACES T~ LAST CANTON ON THE STACK. THIS SHOT FEATURES THE CARTONS IN PROMINENT FOREGROUND. GRACE TAE~S DEEP PUFF ON HEN LUCKY AND SMILES AT US. OPKN -2- / GRACE ( S2EABX~G CONT'D) They're so nice to give.. end so wonderful to get. So this Christmes -- give cartons of Luckie s SI G S (OWN) Give the folks tha~ you llke d A gift of Lucky Strike This yeer... (SPOKEN -- OVEN). Give cartons of Luekies. (SINGERS ASAIN ) at Christmas time, ..... MG ~T~01 0336632
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. (AFTER OPENING ICOMF~RCIAL) JACK COMES OUT TO MUSIC AND APPLAUSE JACK / MG Thsnk you, thank you, thsnk you...and welcome to the Lucky Strike Program...Well,~here it is seven days till 0hrlstmes...snd]l hate to admit it, but I haven't even begun to do my C~ami@@ems shopping. I guess it's because it's always such a problem for me. There are sa many people I have to remember... close assoclstes like Don Wilson, Dennis Day... And then there's Rochester. Now Rochester has been working for me fo~ eighteen years end it,s so hard to know what to get hlm..,He's got nothlng.~And Don Wileon...there at lesst I got some helD. Pile wife told me hswould like a shirt and she told me his size -- 16 - 33. Now where are you going to find e shirt with a 3~ neck and e 16 sleeve?J...And then there ere the boys in my orchestra. Of course, I always exchsn~ gifts with them. And they've already given me mine. They sent me s beautiful five carat diamond ~ing. Now there was no card in the ~ift or snythlng, but I knew it was f~om the boys in the orchest~8 when the pollea came and took it back. Fortunately in our next musical arrangement the clarinet pleye~ has a ten year rest. Anyway, the rlng does count as 8 gift so I have to ~sclproeete. (MOME) 4 AFXO] 0336633
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/3T~O 1 0336634.
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H¸" DON Oh, Jack ....... Jack. JACK Huh? .... What is it, Don? DON Jack...before the Sportsmen come out to do the number, I'd like you to meet Mr. Enrico Scot tichlunl. JACK ( SHAKING HANDS ) EnPleo Seer tichinnl ..... How do you do~ si~. MAN (IN E~EP, BASS VOICE) My pleasure, Mr. Benny...and I cannot tell you how much I have looked forwerd to perfol~ing on your show tonight. JACK Well, that's -- performing on my show? DON Yes, Jsck....you see, in order to do this number properly, I took the liberty of getting Mr. Soortlehinnl to woPk wlth the Bportsmen. m -3- ~'f MO 1 0336635
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JACK Oh gOOd, good .., we do want to do the number right. DON Certelnly....And Jack, Mr. gcortlchlnr~i has 8gTesd to come on for only a thousand dollars. JACK ... Whet did you say, Don? DON I sald he's coming on for only a thousand dollars. JACK Don, how many times have I told you, the wo~ds o~snd thousand don't go together. (TO m~UCO ) Excuse me a minute. Don, as long as we have the Sportsmen qusrtet. I don't see why you had to go and -- DON Well, Jack, you may not 8ppreolate this but Mr. SoortIGhl~ni just happens to be between tours 8nd the Only resson he~s appeamlng for e thousand dollars is because he likes you so ~uch. ATe01 0336635
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,41¸ JACK Cen't you find someone who hates me e libtl~ for a hundred? DON I found a lot of people who despise you, but they can't slng. JACK Oh... Oh .... that's sort of s tough break. DON Don't wo~r~ about it3 Jack. Take my wo~d fop it, Mr. Scortlchlnnl makes the whole number. (TO AUD NCE) And new, ladies and gentlemen, singing "That's How Santa Ol8~e Will Look This Year", Mr. Enrloo Soortlohln~i s~d the Sportsmen Quartet • SPORTS~N COME OUT TO AppLAUSE DON STEFS OVER TO JACK.--T~RTSMEN SING THE SONG. SCORTICHINNI JUST STAND~ THERE. JACK LOOKS AT HIM WONDERING WHEN ~'S GOING TO DO SOMETHING. SCORTICHINNI FINALLY COMES IN ONLy ON THE "HO HO HO" PHRASE. QUARTET With e lon~ white beard end e suit of red And e Davey Crockett hat ou his hS~d That's how Santa Claus will look tbls year. And to get us all of the thlugs we need Ws will ride the plains "on his trusty stead Way OU~ wee~ will he his new fr<>ntier. With a ~Ip~ e~a ~T~01 033663?
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:~L~ SCORTICHINNI HO ho hO QUARTET He'll leugh so jolly. He will yippy eye SCONTICHINNI Ho hoho. QUARTET SO load and clesr. With a long whit8 besrd snd s suit of red And a Dsvy Crockett hs~ on his hesd Thst's how Old St. Nick Will get his Christmss kick Yes, that's how Santa Claus will look this year. He~s he comes. SCORTICHINNI Ho ho. QUARTET Here he comes SCORTICHINNI No ho QUARTET Here he comes. SCORTICHINNI He 11o hoho. t~iT XO 1 0336638
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r QUARTET With a jolly laugh and a bulging pack full of good old Luckles on his beck. That's what Santa Claus will brlug this year. Every Lucky Strike ham a taste you'll llke For a perfect glft give Lucky Strike. Every puff is full of Christmas cheer. QUARTET With e ylppy eye SCORTIC~E~ Hoho ho. QUARTET He'll laugh so jolly. With a ylppy eye SCORTICHI~I HO ho ho QUARTET SO loud and oleer. Lucky Strike is smoother, fresher, too, And it's so much cleaner through and through. Whet a cigarette. It's toasted, don't forget Smoke a Lucky Strike throughout the oomlug year. Make Lucky Strike your smoke this coming year. RT~O] 0336639
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° MG SCORTICHINNI He he he ho! ~ Y THEY ALL EXIT. JACK LOOE5 AFTER THEM FOR A FEW SECONDS, T~N LOOKS AT DON. JACK Don .... Don...8 thousand dollars for 8 "He he he" singer?...Itls rldieulous. DON W~II, I thought he w~s 8 bargain. JACK Oh, you did, eh? ... Well, Don, the next time you hi~ somebody wltho~t consulting me, I'm going to w~ing your slz8 33 n~ck. Now ~o. DON GO? I can't understand him,.. I try to add 8 little class to the show and he always ge~s upset. \ (AppLAUSEI / JAC~ Anyway, ledies end gentlemen, that numbe~ was resll~ w~Itten b~ two of my boys...and the reeomdlng was made by the DeJohn Sisters.. ~.." I~TM01 03366~0
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JACK (CON,'D) ~nd I hope that you'll all go out and buy it becsuss my boys don't kuo~ it yet but they're going to pay Mr. 8oortichinni... We'll see who has the last Ho HO Ko. Now l don't want any one to ~} the impression that I object to spsndlng money o~ talent fop the show... because I don~t. That is, I don't object when it's worth it. As a matter of fact, I had an Ides in which I wanted to use a vent~iloqulet on a future television show and I didn't hesitate to t'ryu,t6(~ Edgar Be~gen... He"~ §o wonde~f~l~-~h~ wa~ h~' works Mc~s ~%h~ 8hd~t Mo~ ti~e ~ ~e~d.~ ~As hlm asd t~ik~d ~i~ about ,th~<ide8 se@e~al.tlmet~,;i and 8 fe~ days :ago',~ ha~ sn ~ppoi~dm~nt tto s~e' ~ !:hi~3'st h~s hodse. " :h i~ ~ . DISBOL~ TO: ::c'~ : [ -: !~': ~5 Z 3::';~ :: :L ]. ! ~. ! : [ ~t RT~01 O3366~)
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-I0- EDGAR BERG~'S LIVTNG ROOM THE SUTLK~ IS PbVfTING SOME FINISHING TOUCHES ON THE C~ISTMAS TRHE. THE p~ONE RINGS. HE ANSWERS IT. BUTL~ (SW£OISH AOC~W ) Mr. Bergen's ~esldence.. Oh, it's you, MP. Bergen... Yah... Yah... If he o~mes, It11 b~zve bLim wait. THE BUTI/~ HANGS UP AND GOES BACK TO PLATING ORNAMENTS ON THE TREE. B~ (sINGrNG AS HE WORKS) Yingle bells, yingle bells, Yingle all the W~y. Oh, wb~t fun it is to ride In a one-horse open sleigh. Root toot de toot .... WE HEAR THE DOOR BUZZER. HE ANSWerS IT. JACK How do you do. I'm Jack Benny. I h~ve ~n appointment With M~. Bergen. BUTI2~ I know. Mr. Bergen ~ust called on the telephone ~z~ said he will be home soon. Won't you come in and wait? JACK Thank you. JACK ST~S INT0 TE~ ROOM. TAKES OFF SIS HAT A~D COAT A~D HANDS T}~ TO THE BL~L~% WHILE THE BUTL~ HANGS THE COAT AND HAT IN THE CLOS~, JACK LOOKS AROUSD THE ROOM AND STOPS TO ADMIRE A POETEAIT OF MRS. B~}~N 0V~ THE F~d~LACE. AT)WO'| 03366~2
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,D: r? i -¸¸•% JACK That sure is a beautiful port~alt of Mrs. Bergen. B~ Yah, it is. JACK (PICKINGUP A SMALL PICTURE; To Edg~r Bergen, fro~ Gustav. Gee, an autographed ploture of the King of Sweden. I'll bet Mr. Bergen is proud of that. BUTL~ Oh, yah, by yimniny, very proud indeed. Mr. Bergen is Swedish, you know. JACK I know, I know. BUTI/~ I am Swedish, too. JACK No~ yah. JACK Well, isn't that funny. I would have sworn you were from French Morocco. )i RI'H01 0336643
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- ii BUTLE~ Mr. Benny, would you llke me to tell Mm__~s. Bergen that you are hore? JACK Oh, is Mrs. Bergen at home? Bb~L~ Yah. I will tell her. THE BUTI2~ E~ITS. JACK SITS DO~; AND FYCKS UP A BOOK THAT IS LYING ON T}D~ ~D TABLE. JAOK Well! .. Here's the book that George Burns wrote, What a clever title,. "I Love Her, That.s Why." I'm sure glad George asked me to write the Prologue to this book. (oP s THE BOOK AND REDS) "Prologue - by Jack Benny." AS JACK BEADS THE PROLOGUE TO HIMSELF, FIRST HE SMILES... THE~ GIGGLES TO BI~2...THE~ IAUGHS SIL~ITLY...TH~ GIGGLES OUT LOUD.. ,T}~ IAUGHS OUT LOUD AND SIAPB HIS KNEE. JAOK Gosh, when George asked me to write this, I certainly was in great form. Someday 1111 h~ve to mead the book, ( AYS BOOK DOWN) B~' S VOICE Oh, there you are, Mrs, Bergen. Mr. Benny is in the living room. RT,,~,O~ 03356~4
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f!l II I "-'~ ................. 71nlrlfll Thank you. FRANCES ~T~qS. Jeck~ FRANCES' VOICE I'll gO right in. FRANCES JACK GETTING UP ) Frames : SACK on~m Hm A ~Es oN T~ c~. FRANC ES Jack, Edgar mentioned that you would drop by. studio. show. I k~ow. He must be detained at the He's rehearsing his ~adio JACK Your butler told me. FRANCES This place is such a mess, we've been Wrapping Chrlst, s presents. I hope you don't mlnd Welting. JACK Not at allo As a matter of fact, l'm enjoying n~/self, your home is so Chrlstmsssy...with the tree and everything. FRANCES Well, thank you. And Jack, I want you to know that of ~ll the christmas cards, yours was the prettiest. -13- Al%01 03366~5
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(, JACK Gee, you received it already? I only mailed it last night. FRANCE5 No no, Jack, I'm talking about the ones you sold us. JACK Oh, those. I did have a nice selection this year. FRANCE5 Yes, you did...Well, I'm awfully sorry that Edgar is so late. But if you'd like a drink while youJre waiting, I'll ring for Pierre and ask him to fix one. JACK No no, Z donlt think lld...Wait minute...your butler's name is Pierre? FRANCES Yes. We picked him up in French ~OI~OOCO. JACK Well, I'll be darned. By the way, Frances, while I was talking to Edger, about coming on my television show, he told me something about you that I didn't know. RTH01 0336646
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., 4 - -15- FRANCES What's that? JACK He told me that you sing. FRANCES Oh, I don't really sing. Sometimes entertain at parties...and I've appeared With Edgar a few times. n JACK ~ell, F~,ances, t~tts wonderful. ~ybe yoh could come on my show, too. FRANCES (MODESTLY) Oh, Jack... JACK No no, Frances, let me hear you sing something. "We have plenty of time. Edgar won't be here for a few minutes. FRANCES Well...if you want me to, all right. This is a cute number I did at Darryl Zanuckts big party last week. JACK At D~rryl's party? Gee, I donTt remember you doing a song. FRANCES You werenft there. R'fM01 033664P
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/ JACK 0h..oh..that's Fight .... I would're been there, but I didn't know he was giving a party....Now come on, Frances, let me hear you sins. FRANCE~ Yourre sure you v~nt to hear it? JACK Certainly...go ahead. I didn't know you could even sins. FRANCES All right. (INTRODUCTION) FRANCE~ Believe in what you'~e doing And do what you believe in And llfe will have a new dimension. Lots of la~ghs...a lot less tension. Soon you Will find you have found a New way for sleeping sounder. you~ goal is high but you'll achieve it Just as long as you believe. Th~tls why each graduatlon day The gaest of honor will always say, "To be suecessf~l in the field you choose... Students, all you've sot to do's Believe in what you're doing And do what you believe in And life Will offer love and laughter Eve~ after.., just believe..." BT,'~O] 03366~8
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J -17- FRANCES (CONT'D) That's ~y each g~aduation day The guest of honor Will always say, "~o be successful in the field you choose... Students, all you've got to do's Believe in what you!re doing And do what you believe in And life Will offer love and laughter ~. Ever aftem...Just believe. (APplAUSE) JACK That was wonderful, Frances, just wonderful. Gee you know ..... I didn't know you could do numbers like that. As soon as I get an idea for you on my -- (PHONE RI~S) FRANCES Excuse me, Jack. (ANS S PEON ) Hello...Yes, this is Mrs. Bergen... MP. Bergen isn't in right now. M~y I take a message? What? Oh, that's wonderful...He' ll be so happy about that....He'll be down in the morning. Oh, isn't that lucky. JACK What was that? ~T~O~ O3~66~9
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/ -'~ r / • -- TI • -18- FRANCES Edgarls five carat diamond ring, the police got it back. JACK Oh ..... Frances, ~fter hearing you sing, I got the most wonderful idea for my show. Now sit down and let me tell you about it ..... WE HF~R CHARLIE'S VOICE O.B. BEFORE HE I~TT~S. CHABLIE' S VOICE (C~G) Oh, Mms. Bergen...Mrs. Bergen... Where are you? Come c4/t, come out, wherever you are...Oh, there you are, Mrs. Bergen. CHARLIE ~T~S CAEBYING A TOY. JACK STARES AT THE 12VE CH~2LIE McCARTHy IN AMAZEMENT, AND DOES HIS TAKE DURING THE FOLLOWING. CHABLIE Look at this gadget I found outside. JACK Franc~s... FRANCES KNEE~ DOWN BY CHARLIE. HE DISPLAYS TOY, FRANCES LOOKS AT IT. FRANCES That's very interesting, Cha~lie. CHARLIE Okay, okay. Can I go down to the city dump and slug rats with Skinny Dugan? ~T~40 J 0336650
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FRANGES Only for an houm .... Oh, Charlle, look at that tie you put on. It has a stain on it. Go to your room and get another one. CHARLIE Okay, oMey. On8 little stain, one ~tinkin~ little s~in. My, my, my .... I've got to have a cle~n tie to slug rats. CHARLIE ~ITS. JACK LOOKS OFFSTAGE ~ HIM. FRANCES You know, Jack, sometimes Charlle -- (NOTICING JACK'S BEWILO~ES EXPRESSION) Jack, what's the metier? ¸ • ~i~ AT~O? 03366B~
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-20- JACK ~anoes,. ,Frances... that was Ch~rlle ~Car thy~ FRANCES Certainly..l don't ~ow why that boy always picks a tie that has a -- JACK Wait a minute, F~ances..he's real. FRANCES ~at are you talking about? JACK All these yesrs...all these years, I thought he was a du~. FRANCES Jack, you've been in show business all your life.. How ca~ you be so naive? JACK I don't know...I don't know...I just can't believe it. JACK SITS DOWN, WEAKLy...CHARLIE HE-ENTErS HOLDING A TIE BE~N HIS FIN~B. CHARLIE How is this one, Mrs. Bergen? R ],~01 0336652
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-21- FRANCES Fine, fine...Let me tie it for you. WHILE FRANCES TIES CHARLIE'S TIE, JACK LOOKS AT ~IM, FIN~S CHARLIE'S SHOULDER, T~ PUTS HIS HAND UP UNDER HI3 COAT. C~RLIE Are you trying to pick my pocket? JACK No, no, I just straightened your coat. JACK SITS DOWN..ENOCKB ON TABLE, TH~ E~0CEB ON CHARLIE'8 (NO SOUND)..THEN JACK ENOCEB ON HIS OWN }~J~D (SOUND OF ENOCK ON WOOD). JACK That I can't understand at all. FRANCES Oh, I always have trouble with • en's ties. Maybe Mr. Benny Will tie it for you. CHARLIE WAL~ OVER TO JACK. CHABLIE Would you, please? JACK Yes, yes, I'll try. WHILE JACK FOCUSSES HIS ATTENTION ON FIXING CHARLIE'S TIE CHARLIE INTENSELY STUDIES JACK'S FACE..T~N SQDDENLy TURN~ TO FRANCES. t~ T;~O ? 033665~
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"j ~L / L~ C~RLIE Thlrty-nine, he s~ys. JACK ~FINISHING TIE) Thor8 • CH~RLIE Thank you, M~. Be0ny..(Aslde) The !~t time he saw 50 was on speed~ter. Oh Jingle bells, bells:, jingle all tl~e way .... CHARLIEEXITB° (APZ AUSE) JACK STAND5 UP AND ICES2 4.% JACK I C~'~t get over it, / I just can't," et over it. FRANCES Jack, .~ou'~e not just putting on "i an ac~, are you? JACK NO, ~nces, Itl8 just that all thes~ye&~s I NaB SO SUPe~ SO posi~ve, that he was a dummy I'd have bet fifty cents. FRANCES No: t Yes, i~ eally. aboutthe whole thing. get over how-- JACK I'm so flabbergasted I just can't Thirty-nine. a jingle ~]'~O1 033665~
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ii; i . • .i 0h3 Mrs. my work. quarter. MORTIMER'S VOICE Bergen...Mrs. Bergen! I finished I'm ready to collect my FRANCES Oh, fine, Mortimer. MORTIMER ENTERS CARRYING A RAE~, (AVP AUS ) JACK Oh3 nO..no,,,no...no.•,no,.• no.,•no.,. JACK GROPES FOR A CHAIR AND SITS DOWN. OFF RAKE. FRANCES GIVES HIM QUARTER. FRANCES Here's your quarter. Did you do a good job? MORTIMER Yep. I finished with the leaves. It was kind of tough getting up in the tree, but I got them all. FRANCES Now where are you going to do with the quarter?? MORTIMER Well, I thoug~ht maybe I'd..I'd.. ( I~DIOATING JACK) "Who's the yokel?..Can we talk in front of him? -23- MORTIMER TAKES LEAVES ¸,¸¸7 . ,~7 ~ ' ~'~'-~ ~ : V ~ " ~"~'~'l'<;'~p'~;~ <•~ 6tl NO ~ 0336655
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/ ,{ FRANCES It' s perfectly all right. MORTIMER Well..er. ~you're sure now..You're sure he ain't an eaves-drlpper? FRANCES Mortimer, that's dro!oper. MORTI~ (LOOKS AT JACK) Looks more like a drooper. FRANCES Mortimer, this is Jack Benny. Now go over and say hello. MORTIMER Okay. JACK LOOKS IN AMAZEMENT MORTIM~ WALKS OVER TO JACK. MORTIMER (LOOKS UP AT JACK) EP. ,St. (WALES BACK TO FRANCES) What did you tell me to say to blm? FRANCES I told you to s~y hello, MORTIMER Oh, yes yes. (WALKS BACK TO JACK) Er..hello, r~T~O~ 0336656
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• j: JACK Well..so you're Mortimer Snerd. MORTI~ Excuse me. (WALEB BACK TO FP NCES) I..e2..I know I'm Mortlmer, but what was the last part he threw at me? FRANCES Soerd..that's your last name. You are Mortimer Snerd'. We told you that hundreds of times. MORTIMER Er..not today. (WALES O~ TO JACK) What did you say your name was? JACK I'm Jack...Jack... FRANCES Benny. JACK Yes, Jack Benny..l'm so coofused. MORT~ You're kind of hard of thinking, too. FRANCES Mortimer, this is Jack Benny, sta~ of stage, screen, ~adlo, and television. MORTIMER Jack Benny..the big star, eh. JACK Yeah. FI]" lg 0 '1 033665?
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~ii~~ J MORTIMER And you're on the stage, too. JACK Yes, yes. MORTIMER You've got your own television JACK Yes. MORTY/~R Well, well..JackBenny. Ho hoho. JACK You've heard of me. MORTIMER No. FRANCES Mortimer, what do you mean you never heard of Jack Benny.. how did you get SO stupid? MORTIMER Er..what did you say? FRANCES I said, how did you get so stupid? MORTIMER Well..er°,I got a good deal and I couldn't turu it down...Well, see you later, Mister..Mister..oh, the hack with it. show, eh. RTNOI -26- 0336658
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:! JACK Frances, I just can't get over it. I'm So co~fused thst really I can't... I mean if I didn't see Charlie and Mortlm~r walk in here with my own eyss, I would n~ve~ believe it. EDGAR COMES IN FRONT DOOR. EDGAR,S voIcE (O.S.) Hello, Frances. EDGAR ENTEES, JACK Imagine Cha~lie and Mortimer actually being .... EDGAR Hi, Jack. I'm sorry I'm late. I've got the whole idea for the show all worked out..and It's all down on p/per..Now I figured at the opening of the show ~ight after youP monologue -- sit downj Jack. JACK STARTS TO SIT. EDGAR ... Right after your mooologue--Not the~e .... (INDICATING LAP) JACK SITS /~ LAP. F;T.~O J 02?36659
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C~T~NDO~. DON Jack and ~dga~ Be~en will be back in ~ minute, but first a word to cigarette smokers. CUT TO CLOSING COMME~CIAL, !L ! r , % ATe01 0336660
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• ' ................ 1 ,r~'Tr~ . -:.,.,:-r . Am J.OAN OBACqO CO m " LVOEX STRI~S~ TV FII~ COMMERCIAL .... ('~orklng on Family Budget) CLOSE -l- (i:oo) OPEN ON A LOW ANGLE SHOT ACROSS I A SMALL PERIOD DESK OF RUSS WORKING INTENTLY WITH A pEN01L [ IN FRONT OF HIM PROMINENTLY h! IN THE FOREGROU~D A BOOK TITLED: "BUDGET BO0~'. THE LIGHTING ! IS SOFT TO INDICATE T}~ MIDDLE OF T}~ EVENING. :4 AS LIGHT-UP TIME SONG BEGINS, GRACE COMES UP BEHIND RUSS AND pUTS }~ ARMS AROUND HIM. IN ONE HAND SHE HAS A PACK OF LUCEIES SME PUTS A LUCKY IN HIS MOTH, HE PAYS NO A~ION, HE IS LOST IN HIS FIGURES. 8ME LIGHTS HIS LUCKY. HE INHALES AND HIS INTENTLY S~RIOUS FAOE SUDDF~ BREAKS INT0 A BRIGHT SMILE. WE PULL BACK TO TAE~ IN THE ACTION AS HE TAEES GRACE'S HAND AND pULLS NER DOWN INTO A SEAT BESIDE HIM. HE DROPS THE PENCIL A~D LIGHTS HER LUCKY A~ THEY BOTH LEAN BACK AND pUFF AWAY HAPPILY. DURING THE PAUSE IN THE SONG ~TW~ "RELAX" AND IT'S L~NT UP TIME" THE CLOCK DEVICE IS SUPERED OVER THE SCENE. IT READS A PE~ MINUTES PAST TEN. MATCH DISSOLVE CLOCK DEVICE TO CLOCK ON END TABLE AND PULL BACK TO REVEAL BARUCH SEA~ BESIDE IT. -29- (SOUND: pRESENCE IN ROOM, RUSTLE OF pAPERS AS RUSS WRITES AND TURNS PASES IN BUDGET BOOK, .... ) (MUSIC: TICK TOOK INTRO) STNGERS (owm) Light up a Lucky. It's llght-dp time. Be Happy -- Go Lucky. It's llght-up time. For the taste that you llke, Light up a Luck~ Strike. Relax... ... it's llq~ht-up time. ANDRE BARUCH There's a happy way to make ends meet: RI'~01 0336661
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~!I ~ TA~ AMERICAN TOBACCO COMPANY LUCKY STRIKE ! TV FII/~ O0~ERCIAL . ~ (Working on Family Budget) (CONTID) CLOSE 2 STRIPS MATCH. HOLDS UP A LUCEX. LIGHTS UP AND EXHALES GRANDLy. "! i' PICEB UP LUCKY PACK. CUT TO INSERT: CU OF PACK IN HIS HAND. IT FEATURES "IB/MFT~'. BAND TURNS PACE FULL FACE A~" WE SUPER "IT'S TOASTED TO TASTE BETTER" EXACTLY AS IN MAGAZI~ ADS. CUT BACK TO MEDI~JM CU OF BARUCH. DISSOLVE BACK TO RUSS AND GRACE WORKING AND SMOKING HAPPILY. GRACE BKOW~ HIM SO~ FIGURES ~4AT S~ HAS. HE LOOEB AND SMILES AS THOUGH TO BAY: "THAT'S T}~ ANSWER -- IT'S SOLVED~" AND THEN BE STARTS HAPPILY MAKIng ENTRIES IN TH~ BUDGET BOOK. THE CAMERA MOVES BACK AND DOWN TO THE ORIGINAL ACROSS THE DESK SHOT OF RUgS WORKING. ONLy THIS TIME F~ IS SMOKING HAPPILY AND WITH GREAT EELISH. AND IN TME PROMINENT FOREGROUND ON THE DESK THESE STANDS A PAOK OF LUOKIES~ SUPER "THE BEST-TESTING CIGARETTE YOU EVER SMOEED" JUST AS IN MAGAZIME ADS. BARUCH (CONT'D) put the end of e match to ... ... the end of s Lucky and -- puff. That always adds up to meal smoking enjoyment. Why? First, because .,. Luok~ Strike means fine tobacco. Thgn this fine good-tastlng tobacco is toasted to taste even better. Cleaner, Fl~sher, smoother. So ... Shy time you want to lighten s problem, light up a Lucky~ (OVER) For the taste that you llke, Light up a Imoky Strike. Right now .... (SS0 N) Light up a LUCky. (SINGF~S AGAIN) It's light-up ti~e. MG • L ~]'~O ~ O~36662"
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,i AFTER CLOSING COMMERCIAL, JACK AND T~BERGENS COME OUTTO MUSIC AND APPLAUSE. JACK Thank you very much, ladies and gentlemen...An# now, I'd llke you to meet my gu~sts...Mr., end Mrs. EdgapBergen. THEY COMEOUTT0 APPLAUSE. JACK I want to thank you both for being on my program tonight. EDGAR Well, Frances end I enjoyed it very much, FRANCES We thought it was a lot of fun. JACK Good, good .... And Edgs~, I understand you have e new television show which 8tarts on CBS on January Third. EDGAR Yes, Jeck. JACK Well, I wish you a lot of luck with it. AI~01 0936663
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Thanks, THE BEEGEN$ LEAVE. F~DGAR Je~k, good night. JACK Ladies end gentlemen, don r t forget to wetoh Ann Sothern next week end 1,11 be back in two weeks .... So on behalf o£ my sponsor and my enti~e s~e~f, I went to wish all of you a very Merry Christmas. JACK GOES OFF TO MUSIC AND APPLAUSE. CUT TO CREDITS. 35 - RI'~01
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CARD #4 JACK BENNY PROGRAM CARD #5 DIRECTED BY RALPH LEVY CARD #6 PRODUCED BY HILLIARD MARKS CARD #7 WRITT~ BY CARD #8 MSSIC & ASSOCIATE PRODUC~ CARD #9 ART DIEECTOR, TEC}~ICAL DIRECTOR & S~ E~OORATOR CAED #10 JACK B~[NY PROGRAM CA~ #11 ANN ~ M~v£) CARD CARD #12 JACK BENNY PROGRAM TO TAF~EYTON HITCHHI~ DON (voice ~) Appem~ing on tonight's p~ogram were }~r~y St6~art~ Stevle Wooton and Louls Lettlerl. Remember - one week f~om tonight, on this same ststlon, be sure and watohAnn Sothern in "Private Secretary". Jack Benny~s next televIslon show wlll be in two weeks. (MUSIC: OUT) AT~OI 0336665
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f~ • I i::i / T~IE AM~ICA~ TOBAOCO CO. H~ERT TAREYTON KI~01]HIKE TAREYTON TWOSOME #321 :30 MCU 2 GIRL~ STANDING EIT~ SIDE OF CHRISTMAS TREE. GIRL AT LEFT HOLD/NG H~BE~T TAREYTON CARTON: GIRL AT RIGHT HOLDING FILTER TIP TAPEYTON CART0~ PAN TO GIRL AT RIGP~. SHE POINTS TO CARTON SHE IS HOLDING GIRL LAYS CARTON ON SHEI~ OF MOD~ISTIC TREE. DOLLy IN TO CU CARTON CUT TO MCU OF Olq~L HOLD/NG CARTON OF H~RB~qT TAREYTON CU G/~RL'S BAND HOLDI~G CARTON MCU 2 GIRI~ AND CHRISTMAS TREE. "TEZ~ TAP~YTON ~WOSOME" POPS ON ABOVE IN SNYC WITH VO, "FOR CP~gISTMAS GMh~" POFS ON BELOW ANNCR. The Tareyton Twosome -- perfect sholce for Cbrlstmes giving.~ Filter tip Tsreyton -- in 8 Christmas carton printed with ~ngllsh holly and s blgPePe~ ~Ibbon ... so amert it needs no othe~ wrapping! What a gift for filtem smokers -- all the pleasure comes thou ... the tsst~ is ~! ADd for your f~lends who prefer 8 non-filter cigarette, choose famous Herbert Tareyton ... in 80hrlstmas oa~ton prlnte~ with holly and a b~Ight ~e__dd~ibhon. Remembe~ ... the Ta~eyton Twosome ... perfect choice fo~ Ohristmas ~Ivlng! ~T~O~ 0336666
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~!~ i~~ "i T~ AMERICAN TOBACCO COMPANY LUCKY STRIKE DISSOLVE TO CARD: POWHATTAN WITH "THE AMERICAN TOBACCO COMPANY" ABOVE A~) "A~RICA' S LEADING MANUFACTUP~ OF CIGARETTES" BELOW. HANDICAP CARD: pOWHATTAN CARD WITH MUSIC: SYSTEM. ANNCR (VO) The Jack Benny program has been brought to you by The American Tobacco Company -- America's leadSng menufaoture~ of cigarettes. The Jeck Benny program has been selected for viewing by our Armed Forces Overseas. This is Don Wilson reminding y~ people who engege help thet experience has proved that handicapped men and women m~ke conscientious, steedy, relleble employees. They take a special interest in thei~ jobs. So, look ove~ you~ sltu~tlon. Itm sure you'll find a spot fo~ s handleepped worke~. Thank you. J ¸ L 0336667

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