 Everybody, this is Jack Benny, that gray-haired carrier pigeon talking. Uncle Sam has clipped an important message on my ankle and I'm going to give it to you right now. Ladies and gentlemen, we're going to win this war. And we'll win it a lot sooner if we all line up solidly behind our armed forces and keep them supplied with all the tanks and planes and guns and ships they need to do this tremendous job. And we can do that by buying war-saving bonds. We must put aside one out of every ten dollars we make. Ten percent of our income and buy war-saving bonds. That's our quota and let's meet it with the same determination that our boys are meeting the enemies. Buy those bonds and buy them right now. Thank you. The Jell-O program presented by Jell-O and Jell-O putting starring Jack Benny with Mary Livingston, Phil Harris, Dennis Day Rochester and yours truly, Don Wilson. The orchestra with the program was jumped for joy. When you take a package of Jell-O off the pantry shelf these days and make up a grand Jell-O dessert, you can count on something extra delicious. Yes, extra delicious, extra rich, more flavorful and more enjoyable. Because today Jell-O's flavor is locked in. Locked right into the tiny Jell-O particles by Jell-O's new and exclusive process. This process protects Jell-O's tempting goodness, makes it even more of a delight. Never with Jell-O more enticing, more attractive looking than it is today. And thanks to Jell-O's new process that locks in the flavor, Jell-O now tastes better than ever. It's a new high and tangy zestful flavor. Flavor is refreshing as the juicy right fruit itself. But let your very next package of Jell-O prove it. Open the package. Notice that there's no telltale aroma, no sign of escaping fragrance and flavor. Then dissolve the Jell-O and lo and behold, out will come Jell-O's captive goodness in a perfect flood of rich flavor. Get Jell-O tomorrow, friends, and see if you don't agree that Jell-O's locked in flavor really is extra delicious. That was Jump for Joy played by the orchestra. And now, ladies and gentlemen, as you all know, Jack Benny has started work on his new picture with Anne Sheridan. So tonight we would like to show you what happened when the whole gang paid Jack a visit at Warner Brothers Studio yesterday. Jack told us to come over to his dressing room about 9 a.m. and said that he'd take a photo. My mama done told me, son, a woman will sweet talk and give you the big eye. But when the sweet talk is done... Now where did I put that script? A woman with a two-phase, a worrisome thing to leave you to sing the blues in the night. Now where's that script? I have to learn my scene with Anne Sheridan. It's very important. This is a movie from Memphis to St. Joe. St. Joe. They love me there. Oh, here it is. Rochester, I'm sorry to interrupt your sunrise serenade, but if you don't mind, I wish you'd help me rehearse my lines for the day. Here's your part. You be Miss Sheridan. Oh, boss. I just want you to read her lines so I can learn mine. Now this is a sequence where I propose. It's a very tender love scene. Now let's get going. Well, as a rule, I don't get romantic until about dusk. Now quit stalling. You're going to be Anne Sheridan and I'm going to propose to you. Okay, get down on your knees and let's go. Don't have to get down on my knees. That's old-fashioned. Now start here on page 23. You're Connie and I'm Bill. Yes, sir. I speak first. You're seated in a patio wearing a white organ de gown and you're sipping a lemonade. A lemonade. Yes. And you're in a very gay mood. Can't you make that a Tom Collins lemonade? Rochester, I'm not interested in your reaction to liquids. Now pay attention. Now Bill enters through the French doors. That's me. Connie. Connie, I've come back. Come back to ask you a question. That means more to me than life itself. What is it, my sweet? Connie. Connie, will you marry me? But boss, this is so sudden. That's Bill. That's Bill, this is so sudden. Now read your next line. Okay. You look tired, Bill, won't you? Sit down. Thank you. Well, Connie, I'm waiting for your answer. The answer that will fill my heart with joy. A girl shouldn't rush into these things, Bill. First I'll have to ask Mater and Tater. Who are they? That's your mother and father in Latin. You see, you're a society girl. Now let's continue. Connie, Connie, please say yes and make me the happiest man in the world. Yes, Bill, I'll marry you. Connie, my very own. Bill, embarrass me. That can break me. The word is embrace. Oh, Connie, you've made me the happiest man. Oh, hello, Mary. Hello, Jack. What's Rochester doing on your lap? Huh? It's quite all right, Miss Livingston. He just asked me to marry him. All right, Rochester, I think I know the scene. You can start getting my clothes ready. Yes, Bill. I'm boss now. Well, Mary, how do you like this dressing room? It's all right, isn't it? It sure is swanky. How'd you ever get such a gorgeous layout? Well, uh, well, it isn't mine exactly. What? As soon as Mr. Earl Flynn is over, it's cold. Out we go. Hey, you mean this is Earl Flynn's dressing room? I don't care whose it is. I'm not going to dress in the boiler room anymore. I don't blame you. That scene here seems to remind you of an audience. Not that. It's too hot down there. Say, Jack, remember that awful dressing room you had at Paramount? Paramount? They hate me there. I'll never forget that dump they gave me to dress in. Every time I'd walk in the door, a loose board would smack me right in the face. It was going out, said fathered me. Me too, come to think of it. Come in. Oh, it's my makeup, man. Hello, Gordon. Hello, Mr. Benny, are we ready for our daily tussle with father time? Just, just make me up and don't get smart. Okay. Now, where did I put my trowel? You don't have to fill in every wrinkle. Just put a little powder on me. I'll get going. He was on the phone, Rochester. Yes, sir. Hello? It's a Miss Hayden calling for Mr. Flynn, boys. A girl, eh? Oh, oh, I'll take it. Yeah, for heaven's sake. Quiet, Mary. Flynn knows some pretty nice girls. Hello. Yes, yes, Miss Hayden. No, no, this is not Errol Flynn. Not even a reasonable facsimile. Mary. You see, Errol's in bed with a cold. A cold. But Miss Hayden, if you're not doing anything tonight, how about dining with me and... And pay half the check. And pay half the check. Mary. Now look, Miss Hayden. Hello? Hello? Hello, Miss Hayden? Hello? Don't you marry? She hung up. Well, come on, Gordon. Let's get going. Make me look beautiful. You're kidding, of course. I am not. Do a good job. Mary, the next time I'm talking on the phone and you interrupt me, you're going to get right out of this studio. Now, please. Gordon. Gordon, for heaven's sake. What's the matter now? Don't put so much makeup on my chin. Yesterday, you buried my dimple. I did? Yes. Everybody was asking for it. Now, be careful. Say, Jack, why don't you have him darken your hair? No, Mary. I like those gray streaks running through it. It makes me look mature. You can't mean victor. Mary, leave me alone, will you? Say, Gordon, I'd appreciate if you take that eyebrow pencil out of my ear. There's a table to lay it on. Say, Jack. What? Where's Rochester to get that beautiful watch? Where? Well, I'll be done. Oh, Rochester. What are you doing with Mr. Flynn's wristwatch? I'm modeling. Look, just because we're using Arrow Flynn's dressing room, we don't have to... Well, look who's here. Oh, hello, boy. Hello, Mary. Hi, it's Jackson. Say, fellas, I've been waiting for you. Did you have any trouble getting in the gate? No, we just flew Vaseline on Wilson and squeezed him through. Ha, ha, ha! Remember a straight line with that Harris? Oh, you're as sharp as a doorknob. Hey, uh, Jack, are you really going to work with Ann Sheridan today? What was that, Don? I say, are you really going to work with Ann Sheridan today? I sure am, Don. We're going to do our big love scene where I propose to her. Oh, boy, Ann Sheridan. Do you kiss her, Mr. Benny? Well, of course, Dennis. Gosh, why do you have to kiss her? Can I kiss you? Definitely not. No use waiting. I've got to have a talk with that kid. See who that is, Rochester. Hello? Who? It's a Miss Wilkins boy called Mr. Flynn. I'll take it, I'll take it. Oh, Jack. Quiet. Hello. I'm sorry, Miss Wilkins. Mr. Flynn is home with a cold. But I'll be glad to take you to dinner. I'm a pal of his. You'll have to guess. No. No. No. No, it's Jack Benny. Hello? Hello? Hello, Miss Wilkins. Hello? And that operator, she cut us off. And just as I was doing so good. You and Hitler. Well, I was. See, that girl had a beautiful voice. Ready for him to set, Miss Benny? Okay, come on, kids. We're all going over to stage seven. So long, Rochester. So long. Oh, say what? What'll I do with any more of Mr. Flynn's girlfriends? Call us. I have a call transferred to be on stage seven. Okay. You're going to get hooked for a meal yet. The idea, exactly. See you later. Which way do we go, Jack? Down the street to our right. Take clothes, Dennis. See, I hope I don't faint when I meet Ann Sheridan. Why did you faint? Well, I saw her in King's Row and she was so beautiful I toppled right out of my seat. You did? It was all right, though. I told my girl it was indigestion. Well, that was quick thinking. To our left here, fellas. To our left, right here. Here's the stage right over there. Hello there. Hello, Jack. How are things going? Fine, fine. Good. How do you like working with Ann Sheridan? Oh, swell, swell. Glad to hear it. So long, Jack. So long. Say, Jack. Who are those fellas? The Warner Brothers. Everybody, let's go inside. And if I don't want any giggling or a wisecrack while I'm emoting, it scolds me. Now, remember that, fellas. Here we are, fellas. Pretty big stage, isn't it? Just a minute there. Well, have you got passing? This isn't one of my... I mean, this isn't a regular tour. These people are guests of mine. This way, fellas. I don't make the rules, you know. Oh, shut up. Well, come on, kids. Jack, who's that tall fellow over there biting his nails? Where? Oh, that's Mr. William Tealy, my director. He's just a bundle of nerves. Legitari, huh? You said it. I have yet to see a director here, so they didn't have to carry out screaming. Well, it's not all my fault. Ms. Sheridan must plenty of lines, too. Hey, Jackson, you sure there ain't a part in this picture for me? For you? What could you do, Phil? Well, you're doing a scene today where you're proposed to Anne Sheridan, aren't you? That's right. I do propose to her. So where do you come in? Well, just as she says no, I ought to crawl out from under the dab and pour. She's going to say yes. That's the way it's written. Uh-oh. Jigger, fellas. Here comes the director. Hello, Mr. Tealy. Oh, hello, Jack. Paying us a little visit? No. No, I'm in the picture. So absent-minded. They say I've got a surprise for you, Mr. Tealy. I know my lines today. Good. And I can send this baseball bat back to the prop room. Oh. I'll leave. You won't have to use force today. By the way, Mr. Tealy, I'd like you to meet a few friends of mine. Oh, Jack, I warned you time and again about bringing sightseeing to Earth through the studio. Oh, this isn't one of my... I mean, this isn't a tour today. Mr. Tealy, this is my radio gang. Oh, I'm glad to know you are. How are you doing? Hi, at least I see you. Well, I'm ready to go, Mr. Tealy. Shall we get started? Here's an incidental, Jack. When we shoot the scene today, I wish you wouldn't stare right into the camera. Uh, what? In every shot, you seem to be looking for a seat in the audience. Oh. Oh, well, I'll, uh, I'll watch it. Please do. I'll see you all later. So long. So long. Now, this was stage seven, folks. We've allowed to see the stage eight where I was... Whoops. Pardon me, I was so nervous. I got a little confused there. Now, where's Ann? I want you to meet her. Well, Jack, isn't that Miss Sheridan standing over there by the camera? Oh, yes. Yes, that's Ann. Excuse me, fellas. I'm going over and break the ice. Ice around Sheridan. Oh, Jack, send out. I'll be back in a minute. I'll look in the camera if I want to. I never saw a director yet that wasn't jealous of me. Well, well, well, good morning, Ann. Oh, hello, Jack. You're certainly looking marvelous this morning. Thanks, Jack. You're looking too. You're left out of words there with us. It's all right. You're the cutest thing. Jack, will you please stop pinching my cheeks? It's too early in the morning for coochie-coo. Pardon me, I always do that, don't I? Oh, say, Ann, did you get to the bunch of violets I left in your dressing room this morning? Yes, Jack. They were lovely. I'm glad. But you mustn't do that anymore. You've been sending flowers to me every day. Oh, well, it's only a gesture, really. But not as if there were anything serious between us. Hey, Ann? Jack, will you please stop running your hands through my hair? Well, can I help her? I'm only human. Oh, by the way, Ann, would you mind meeting some people at that little group standing over there? No, I'd be glad to. Hmm, business is pretty bad today, isn't it, Jack? Oh, these aren't tourists, Ann. They're the members of my Jell-O show. Come on, I'll introduce you. And you thought those violets meant that I was stuck on yours, something silly girl. Jack, don't skip. Let's just walk. I'm as frisky as a lamb today, I don't know. Well, tell us, here she is. Ann, this is Don Wilson, our announcer. Hello, Don. Oh, this is a pleasure, Mr. Sheridan. And this is Phil Harris, our band leader. Glad to meet you, Mr. Sheridan. Well, hello, Phil. I've seen you so often, I feel I almost know you. Oh, down at the Biltmore Bowl, huh? No, at Macy's Beauty Parlor. Look at him blush. Now, Ann, this is Dennis Day, our young tenor. Hello, Mr. Sheridan. This is the happiest moment of my life, my darling. Well, you've met her, Dennis. Are you thrilled? Please, don't talk to me for a minute. I didn't know the kid was so emotional. Uh, pardon me, Ann. I'm Mary Livingston, Jack's too stupid to introduce me first. I'm not stupid, I just forgot. Well, I'm happy to know you, Mary. I've enjoyed you on all the programs. Thanks. By the way, how's Jackson behaving? Oh, he's been sending me violets and pinching my cheeks and skipping all over the place. I know the whole routine. Mary. But believe me, Ann, he's harmless. Oh, yeah? Homeless. A who chased Hedy Lamar all around the swimming pool at the Beverly Wilshire? Me. Sure you chased her. She had your bathing cap. Well, they're tough to get now. Oh, say, fellas, here comes my cameraman, Ernie Haller. Hello, Ernie. What a crew. Oh, Ann, Jack, we're ready for the scene now. Okay, Mr. Keely. Quiet, everybody. Quiet on the set. Geez, those Warner Brothers are always on the job. Nice of them to help out like that. Now, Jack, this is a scene where you and Ann have been married one month and you've just had your first quarrel. Married? But Mr. Keely, I learned the proposal scene. I don't know this other scene at all. Oh, for Pete's sake. Well, here's another day shot to... Mr. Keely. Please, and don't worry, I'll get the scene. After all, I'm an ad-lib comedian. Then why don't you answer Fred Allen once in a while? Because in order to answer him, I'd have to listen to his program and he's not gonna suck me in that way. He's so smart. Well, he was smart enough to put a finish on your play last week. Well, I'm glad he did, because we didn't have one. Now, come on, are we making a picture around here or not? Sometimes I wonder. Now, here's the idea of the scene. You and Ann have quarreled for the first time. He's begging you to forgive her, but you remain adamant. Okay. And what? Adamant, you're cold and unresponsive. Oh, oh, adamant, adamant. Now, let's run over it. Quiet for rehearsals, please. Quiet. Quiet for rehearsals. Those Warner Brothers, they're so conscientious. Now, the scene is off to dinner in your living room. Ann, you're trying to make up with Jacks, but he's reading the evening paper and ignoring you. Ignoring Ann? Okay. I'll try. Let's go. Ann, you have the first speech. Yes, Mr. Gilles. Oh, Bill. Bill, why must you be so stubborn? It's a silly little quarrel going to ruin our happiness and tear down all that we struggled for. It's not fair, Bill. It's not fair. Speak to me, Bill, and I want the truth. Don't you love me anymore? No, Connie. I'm afraid this is the end. Oh, my Aunt Molly. Jack, Jack, put some feeling into the line. You're mad at the girl. Mad at Ann? I'll read your line again. Okay, I'll try. All right. Speak to me, Bill, and I want you to know the truth. Don't you love me anymore? No, Connie. I'm afraid this is the end. I've got a way or a lot to have. What in heaven's name was that? Well, didn't I do it right, Mr. Keely? Oh, if I only had a little chicken farm in Ventura. Well, for peace sake, what's wrong now? Jack, you're not a gangster. You're the girl's husband. You just had a little quarrel, that's all. Okay, okay, let go of my necktie. Please. All right, Ann, continue with the scene, please. Oh, for a bunch of violence, I have to go through this. Sorry, Ann. Let's go on. Bill, I know this quarrel has been all my fault, and I'm terribly sorry. Let's kiss and make up. No, Connie. It is too late. It's not too late, Bill. It's not too late. Please, dear, take me in your arms, and let the ashes of our love burst into flame once more. Ooh, what she said. Dennis. All right, Connie, I forgive you. Kiss me, my love. Kiss me. Jack, you're not supposed to kiss her. I know what I'm doing. Connie, kiss Jack. Jack, Jack, stick to the script. The heck with the script? Ann, I mean Connie. I love you. Kiss me. Speak to me. Holy smokes, she framed her. Famed her, they, ha, ha, ha. Now, let Fred Allen finish this. Please. Springtime, Fred, is a salad time. But what better way to celebrate the season than with a crisp vegetable salad made with fars tangy lemon jello. It's as simple as can be to make. All you do is just dissolve a package of lemon jello in one pint of hot water. Next, add one tablespoon of vinegar and a dash of salt and chill until slightly thickened. Then, fold in one cup each of diced cucumber, sliced radishes, and sliced young onion. Mold and serve on lettuce. And believe me, there's a perfect salad. A delightful combination of cool, crisp vegetables nestling in a shimmering mold of golden lemon jello. Don't miss trying it soon. Get several packages of lemon jello tomorrow. When you do, be sure to ask for genuine jello because jello's locked-in flavor is extra rich. This is the last number of the 31st program in the current jello series, and we will be with you again next Sunday night broadcasting to the boys at Masser Field. Thank you, Mr. Keely and Ms. Shedden, for appearing with us tonight. Oh, say, Anne, I think it's only fair to let the folks in on a secret. You really didn't faint when I kissed you. No, but you nearly did. See, I did it that. Good night, folks. Yellow program is written by Bill Maher and Ed Belan and is broadcast each week by shortwave while armed forces throughout the world.