 J-P-L-L-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O-O The Jello program starring Jack Benny with Mary Livingston and Phil Harrison is orchestra. The orchestra opens the program with, I am taking a fancy to you from in old Chicago. You know one of the nicest things about Jello is the easy way you can dress it up in a dozen different styles, like Jello cubes for instance. Shimmering raspberry jello molded firm in a shallow pan, then cut into colorful little cubes and piled in sherbet glasses. or strawberry jello tarts, fruit-rich strawberry jello combined with luscious fresh berries and a chilled firm in baked tart shells. Ah, that's swell. And so is whipped lime jello. All you do is chill until it's cold in syrupy, then whip it up in a bowl of cracked ice until it's fluffy and thick like whipped cream with a lovely foamy green color. There are lots of other jello tricks you will think of to add interest and variety to your meals. And the best part of it is jello is so quick and easy to prepare so economical you can serve it just as often as you like. Be sure to get genuine jello though for jello brings you that delicious extra-rich fruit flavor, a deep rich wonderful fruit flavor that makes every jello dish a three-star hit. So when you buy, look for the big red letters on the box. They spell jello. I'm taking a fancy to you played by the orchestra. Now, ladies and gentlemen, we take you to Jack Benny's dressing room at the Paramount Studio. It's Jack's first day in his new picture. Take it away, Paramount! I hasten to see that evening sun go down. I hasten to see that evening sun go down. Rochester, for the last time will you please stop singing. I'm trying to memorize my lines. Okay. I can't concentrate with all that noise going on. You know your voice is nothing to write home about. Even if it was, I couldn't. Well, be quiet. To clean up this dressing room a little bit, I'm expecting Miss Joan Bennett in here to rehearse the scene we're going to shoot today. Is that the scene where he was hanging out the window upside down? Yes, I wasn't going to do it at first, but they finally talked me into it. I knew they would. You got about as much willpower as me in a chicken coop. I just gave in to keep Paramount happy. Besides that, my option had shooting pains last night. Rochester, hand me my gray suit. I can't be standing around in my shorts when Miss Bennett comes in. That's right. They all kind of loud. That's not what I mean. Say, boss, isn't that your makeup man standing outside there? Where? Oh, yes. Hey, no. No. I'm going to work in a little while. Aren't you going to put some makeup on me? That's the scene where you're sticking out of a window by your heels, isn't it? Yes. Well, you won't need any makeup. Your coat will hang down over your face. Over my face? Not if I have anything to say about it. You won't. So long. Well, that settles it, Rochester. I'm not going to do that scene. You can bet on that. I can lose on it, too. Shut up and give me that phone. Operator, get me Mr. Hornblow, the producer, and hurry. Rochester, I ask you to get me my gray suit. Doggone, I can't relax for a second round here. That's too bad about you. If you didn't owe me so much, I'd have a nervous breakdown. All right, now go in and get my hello. Hello, Mr. Hornblow. Now, listen, I agree to play that crazy window scene, but I didn't know that my coat was going to hang down over my face. How will people know it's me? By my feet? Listen, Mr. Hornblow, all feet look alike. Oh, well, you're just saying that to be nice. But look, now look, here's the trouble. In the first scene, my face is covered up by my coat. In the next scene, I go to a mass ball so I'm covered up again. And then in the third scene, I'm sitting in a barber's chair with a hot towel over my face. My goodness, when do I unveil? What? All right, you're the boss, but I tell you one thing, Mr. Hornblow, when I'm in the barber shop under that hot towel, I better have sparkling dialogue. Goodbye. I don't know why ever let people talk me into things. Rochester, I told you Miss Bennett will be here any minute. Now, where's my gray suit? Here's the pants, boys, I've just pressed them. Thanks. Pressed them while you've burnt them. Look at that spot right there. Where? Right there on the seat. That is a little crisp, ain't it? Fine, burnt pants. Now what are we going to do? I don't know if there was toast, I could scrape them. The lucky thing, I got two pair of pants with this suit. Oh, that must be Miss Bennett. Quick, Rochester, help me out with my pants. Okay. Make it snappy. Just a minute. Hurry up, Rochester. Here you are. Here you are. Okay. All right, you can come in now. Hi, Jack, old boy. What was the delay? Oh, it's you, Phil. I thought it was Joan Bennett, so I put my trousers on in a hurry. You sure did. You got one leg left over. Oh, yes, I thought they were a little tight there. Here, Rochester, help me get this on right. So you're expecting Joan Bennett, huh, Jack? I'll have to stick around and meet her. Oh, fine. I don't mind if you stay, but for heaven's sake, Phil, the minute I introduce you to Joan, don't ask for her phone number. I won't. Thanks. I got it. Now, wait a minute. You said you didn't know Joan Bennett. How can you have her phone number? She's got a maid, hasn't she? Oh, so you go around with her maid, eh? That Mr. Harris, you're the lady's man. The lady's man. If he took some of that padding out of his coat, he wouldn't be so much. I hate anybody that tries to deceive people about their physique. You should talk. You tried to buy a coat with built-in muscles. I did not. I merely told my tailor to allow for them. But you haven't got any muscles. Well, I'm taking a course of exercises and there'll be a long any minute. I wish Ms. Bennett would get here so we could start rehearsing. There's a phone, Mr. Bennett. Well, why don't you answer it? It ain't for me. Well, don't put yourself out. Hello? Oh, hello, Kenny. You are? Well, we'll be listening in. Yeah, as you can come over later. Goodbye, Kenny. Hey, Phil, turn on the radio. Kenny's gonna sing a song. Okay. Quiet, Rochester. We want to hear Kenny. I make up things to say on my way to you, on my way to you. I can write poems to when you're far away. But when you are near, my lips go and ask me, am I in love? I always answer as well, Con. Hey, that was very good. And you know something, Phil, your orchestra boys play much better when you're not there to lead them. Yeah, I get them all mixed up. You sure do. Rochester, I asked you a thousand times to clean up this dressing room. Look at those socks dangling on the chandelier. Why don't you take them down? They ain't dry yet. Oh. Another thing, I told you to plug up that hole in the floor. Floor is full of holes. Did you look at those mousetraps I said last night? Yes, sir. We caught three mice, two rats and a beaver. A beaver, I was wondering who built that dam in the bathtub. Gee whiz, Jack, I don't see why Paramount doesn't give you a better dressing room. This place is a mess. Well, it is a little bohemian, Phil, if that's what you mean. Oh, that must be Joan. Just a moment. Rochester, empty those asterisks. Yes, sir. Come in. There he is over there. Hello, Jack. Hiya, Jack. Are you surprised to see us? Oh, so it's you guys. Yes, this being your first day on the picture, we just drop in to wish you luck. We won't be in the way, will we, Jack? No, we won't be in the way, Kenny, but I want you all to behave yourselves. Joan Bennett is coming here any minute for rehearsal. Gosh, Jack, you really have the nerve to invite her over here to this dump. Looks like Mr. Zuckers' weight basket. Listen, Mary, there's nothing wrong with my dressing room. It's very comfortable. And look at that rug there. It says Idaho Potatoes on it. Well, Idaho is a beautiful state. If you want to know something, plenty of big stars have occupied this dressing room. You know who had it before me? Yeah, Tom Mix and Horst. Did not. This room was occupied by Carol Lombard. Well, she left her bridle on the coat rack. Not a bridle. That's the harness I wear when I'm hanging out of the window. Hanging out of a window? I thought you said last week you weren't going to do that scene. Well, I wasn't, but I had a conference with Mr. Hornblow and, well, he convinced me that I ought to do it. You know, Jack, you haven't got any backbone at all. You let people talk you into anything. Mary's right, Jack. You're just a chump. A chump? I told him that, but he wouldn't listen to me. Shut up, Rochester. Now, look, Mary, I've got a mind of my own, and neither Mr. Hornblow nor anyone else can sway me. Not much. You're the kind of a guy who goes into a barber shop for a shave and comes out with a haircut, a manicure, and a ticket on a turkey raffle. Well, that has nothing to do with my picture. And besides, I haven't been in a barber shop for months. Then where did you get that haircut? It's a Lulu. It's not my fault. He wouldn't hold still. Well, I was nervous. Now, Jack, don't tell me that you make Rochester cut your hair. Well, he told me he used to be a barber. I told you why I got fired, too. Oh, sure. Say, Jack. What is it, Kenny? I was just singing or something. As long as you're going to do that scene where you're falling your head, why don't you take a... Kenny, I won't fall on my head. I'm going to hang out of a window and I'm going to have a harness around my stomach. Are you going to have a bit in your mouth, too? No, Kenny. It's to hold me up. I'm not going... I'm not going to play the part of a horse. Part of a horse? Quiet. Now, listen, fellas. I've had enough of this silly chatter. I'm nervous today, so if you want to stay here, be quiet. Well, quit hammering on that door and come in. I'm sorry, Jack. I didn't mean to disturb you. Oh, it's you, Joan. Terribly sorry, Joan. I must apologize. I didn't know it was you. I wouldn't have shouted like that. Do you want me to go out and come in again? Oh, no, no. Say, you've never been over here before, have you, Joan? No, I haven't, Jack. This is quite a dressing room you've got. Oh, it's nothing much. No, it isn't. Well, I was going to have it redecorated, but you know, one never knows how long one's going to be here, does one? You're right. One never can tell about one's job. And Jack's the one. I'll marry you little mink. Say, Joan, I want you to meet my radio gang. This is Kenny Baker, our young tenor. Hello, Kenny. How do you do, Miss Bennett? I've enjoyed your singing so much, really. I think you have a very fine voice. I don't care whether you mean that or not. You're my dream girl. Dream girl? Who did he like when he's awake? I don't know. And, Joan, this is Phil Harris, our orchestra leader. Oh, so this is the curly-headed heartbreaker I've heard so much about. Yes, he's our corny Casanova. How are you, Phil? How do you do, Miss Bennett? It's going to be nice knowing you. You better be careful there, Joan. You know, Phil is a pretty fast worker. He is? Yeah, man. First thing you know, he'll ask you to go to the Trocadero with him. Oh, I wouldn't dare go out with Phil. Why not? My maid would never forgive me. Hey, that's very good, Joan. You're the first one that ever put Phil in his place. We're going to meet our little leading lady, Mary Livingston. Hello, Mary. I'll bet you're as old as I am. Mary. I could be a blonde if I wanted to. Mary, that's very impolite. Now, you kiss Joan and make up. I won't. Then I will. Oh, no, you won't. Oh, no. Well, we're right back where we started from. And now, Joan, last but not lightest, may I tell you how thrilled I am to meet you? Yes, do. Really, my heart's just going pity-pat. Mine's not. Now, Mary, be happy. Well, thank you, Mr. Wilson. And I always get a kick out of the way you talk about Jello. You sound as though you're pretty crazy about it. Well, really, I am, Miss Bennett. Oh, he is. When I say that Jello is the most tempting, delicious, and economical dessert and that it tastes twice as good as ever before, I say it with every fiber of my being. And that's a lot of fiber, Joan. Believe me. I tell you, Miss Bennett, I could stand here for hours and talk about Jello. We know you could, Don, but we've got to rehearse. Now, Joan, how about you and I going over these lines where I'm hanging upside down out of the window? Oh, you mean that scene where you fall on your head? Joan, I'm not going to fall on my head. That was merely an accident at rehearsal. Well, it was very funny. Funny? Especially when you bounced. She would think it was funny. Well, it was funny and shut up. All right, Joan. Let's go over that scene once anyway. Now, you're passing by and I'm hanging out of the window. I've got the first line. Okay. Oh, Vivian. Vivian. Conrad, why are you hanging out of that window? Are you crazy? No, Vivian. I'm head under heels in love. Vivian, there's something I must tell you. I know what you're going to say, Conrad, but it can never be. Not, dearest. You love me, don't you? Yes, but father will never permit our marriage. He says you have no money to support me. He's got money all right, but he won't part with it. Now go in the other room. There isn't any. And keep quiet. Go ahead, Joan. Oh, Conrad, why must we continue like this? Neither of us is happy. Let's call everything off. What? Call everything off? Not so loud. You'll get paramount an idea. Now, Mary, we're trying to rehearse. Continue, Joan. Oh, just a minute. Come in. They're ready on the set for you, Miss Bennett. I'll be right there. They want me to? Yes, you can come along. Come on, Joan, we better get over there. Can we come along, too, Jack? Oh, sure, all of you. Say Rochester, run across the street to the camera shop and buy six rolls of moving picture film. Jack, what are you buying that for? Well, I'm going to shoot a scene. They do? Why, for the last three pictures, I've been buying my own. I'm going to see Mr. Zucker about this. Come on, gang, I'll get a refund or else. Sad, isn't it? No, it sure is. Boy, what they do in pictures. Guys, look at those chorus girls. Are they working in your picture, Jack? Of course they are, Phil. Now, Phil, I should think you'd have learned a lesson when Miss Bennett puts you in your place. Not me. I'm always in there punching. See you later, fellas. I bet he won't have any more luck than I did. Say, Jack, isn't that Mr. Zucker standing over there? Oh, yes, I must speak to him. Hello, Mr. Zucker. Hello, there, Bing. Imagine the head of the studio doesn't know me from Bing Crosby. He does on payday. You know, Mary's like that with everybody. You just can't remember names. Hello, Mr. Zucker. Hello, Kenny. Now, that was just a wild guess. Is that so? Well, I'll see. Hello, Mr. Zucker. Hello, Herman. You're right, Jack. You see, I told you. Oh, say, Jack, who's that tall fellow way over there in the corner talking to John Bennett? Where? Oh, that's Mitch Lison, the director. Hiya, Mitch! You're right with you, Jack. Excuse me a minute, fellas. Let me tell you something before Jack gets over here. What is it, John? Anything wrong? Well, I'm not one to complain, and I like Jack personally very much, but... But what? What's the trouble? Well, I rehearse with him two or three times, and frankly, Mitch, he cannot play a love scene. Yeah, I know, John, but we can't get Gable for that kind of money. Well, I'd be willing to chip in. So would I, but I'm afraid it's too late now. You know, Mitch, Jack's a very sweet fellow and all that, but he hasn't any more sex appeal than a fresh vegetable plate. He doesn't seem to have any fire. Well, I did everything I could. I even fed him sternum. Just the same, Mitch. I think that... Quiet. Here he comes. Hiya, Mitch. Well, here I am, raring to go. We're just about ready for you, Jack. Okay. Light him up, boys. Now, quiet, everybody. Let's settle down. Well, John, do you think we better run through our love scene again before we shoot it? No, Jack, you're as good now as you'll ever be. Oh, thank you, John. Thank you. Well, you know, none of us is perfect. Say, Mitch, do you mind if my gang sticks around and watches the scene? No, not as long as they're quiet. Oh, they'll be quiet all right, won't you, kid? Sure. Sure. Not me. I'm a Shreiner. Our convention is over, Kenny. We're all ready for you, Mitch. Okay. Oh, that's Teddy Tetz left, fellas. Our cameraman. He's one of the best. Hello, Teddy. How are you, Jeffrey? Jeffrey, I don't even know You think that's something? The soundman is deaf. He is not. Hello, Chuck. Eh? Well, that's news to me. All right, Jack, Joan. We'll have one good rehearsal and then we'll shoot the scene. Now, Jack, you climb up there in the window. Okay, Mitch. Hey, give me a boost, somebody. Righto. Thanks, Mr. Zucker. Such a democratic studio. Now, Joan, we'll take it from where Jack stops shoes you pass by his window. You mean right here? Yes. Are you ready, Jack? Yep. I'm up here on the window sill. All right. I get a good grip with your feet and hang all the way down. Come on. Come on. Don't be afraid. Okay. Oh, there goes all my chain. Hey, get away from there, you. Oh, pardon me, Mr. Zucker. I love that, Mitch. All right. Ready for rehearsal? Action. Go ahead, Jack. Oh, Vivian. Vivian. Conrad, why are you hanging out of that window? Hold it, hold it. Now, Jack, please don't blush when you're talking to Joan. You're not supposed to be bashful in this scene. But, Mitch, I'm not blushing. You are, I tell you, your face is all red. Well, naturally it's red. I'm hanging upside down and the blood is rushing to my head. Well, stop it. What do you want me to do? Put a detour sign in my stomach? You're just being unreasonable. What are you laughing at, Mary? Your face isn't red anymore. It's blue. I'll go away. All right, now take the scene again. And, Jack, remember, when you start proposing to Joan, be sure and get down on your knees. But, Mitch, how can I get down on my knees when I'm hanging out of a window? I shall fall down and break my neck. All right, what's the difference? It's only a rehearsal. Oh, this is awful. Say, Jack. Yes. What would you give to be back and walk heakin' right now? Never mind that. Now, please, Mitch, let's get going here. I can't hang like this all day. All right, let's try it again. Oh, pardon me, Mr. Lysen. My name is Don Wilson. Yeah? Well, what do you say on your mind? Well, I was just thinking, as Jack is so identified with Jell-O, couldn't you have him fall out of the window into a bowl of sliced bananas? Sliced bananas? No, that would be corny. Now, never mind that. Let's get through with this scene. I'm very uncomfortable here. All right, we'll shoot at this time. Light them up. Quiet on the set. We're turning. All right, ready? Right? Action. Oh, Vivian. Vivian. Conrad, why are you hanging out of that window? Are you crazy? No, but Lysen is. Vivian, there's something I must say to you. I know what you're going to say, Conrad, but it can never be. But why not, dearest? You love me, don't you? Come on from here. Hey, Mitch, Mitch, somebody help me. Take it easy, Jack. I'll bring you back to Sandwich. Thanks, Mr. Zucker. See, he's a nice fellow. If you want to make your family happy, just say homemade strawberry ice cream for dessert. Then give them the best they ever tasted, smooth and creamy, luscious with that flavor of real strawberries and easy to make. Use jello-freezing mix for perfect strawberry ice cream, a lovely color, a perfect mixture, smooth and mellow and creamy, and what a taste. For in jello-freezing mix, you'll find real sliced strawberries in their own sweetened juice. Tempting and delicious is only real strawberries can be. And it's so easy to make, the youngsters could do it. All you do is open a can of jello-freezing mix, add milk and some whipped cream, and pour into the freezing tray of your refrigerator. Stir just once while it's freezing and get six servings of swell ice cream with that real homemade goodness. You'll like all six luscious flavors, strawberries, chocolate, vanilla, orange, pineapple, tutti fruity, and maple wallet. So why wait? Have a delicious treat tomorrow night. Homemade ice cream for dessert made just perfect with jello-freezing mix. Last number of the 37th program in the New Jello Series, and we'll be with you again next Sunday night at the same time. I want to thank Joan Bennett and Mitch Lyson for coming over here tonight and helping us out. What is it, Mary? I was only kidding before. I think Joan is awfully cute. Yeah. And you know what? What? I'm going out to dinner with Mitch Lyson. You are? Well, then I'm going out with Joan. Are you ready, Joan? Right here, Jack. Oh, come on, let's go. Well, but Mitch and I have a better time than you two. So do I. Good night, folks. Just from Coconut Grove, Kenny Baker appears on the Jello Program for the courtesy of Mervyn Leroy Productions. This is the national broadcasting couple.