 And it's Black and his orchestra. The orchestra opens the program with Where's That Rainbow? from Peggy Ann. And now for that man of Merth, humor, jokes, Rochester buffalo Cleveland in all points with Mr. Jack Benny on track five. Hello again. That was Alois Havrilla folks who has me mixed up with the 20th century. I don't know if we're all goofy up here. You know, he's supposed to introduce me as Jack Benny, that big hearted gentleman, but I guess he forgot his line, you know. I know what I'm doing. Well anyway, we got a suit for you tonight, real hot news. Let us see the first program to announce that today is Easter Sunday. Yes, sir. Jack, how do you find out these things? All by just keeping my eyes open. Alois, you know, always on my toes. And I want to tell you it was a pleasure today to see the ladies walking down Fifth Avenue in their new Easter clothes. Of course, they room a few bucks we try to save since Christmas. I'll say. But after all the pieces and the women do need new outfits. You know, first a green dress, then a green hat to match. Oh, sure. Sure, then they have to get a green shoes to match the hat. Oh, of course. Then a green bag to go with the shoes. And they ask you for something green to put in the bag. You know, those legal blotters that the government keeps printing, you know. And then you married men have to start saving again. I'll tell you, fellas, the only way to hang on to your dough is to marry a scotch nudist. I see. Jack, what are you talking about? I don't know, Avril, but there's a microphone here I thought I'd use it. However, as I was saying, it is nice to see people out in their new spring finery. New hats, new dresses, new suits. And it is nice to see the new Chevrolet with a shining hood. It's a beautiful thing about it. I'll grant you that, Alois. I'll grant you. After all, that's what we're here for, yeah. Hello, gentlemen. Happy Easter. How do you like my new coat? Very nice, Mary, but why a raccoon coat? This is Easter. I know, but they're so cheap this time of the year. Oh. You know, I'm getting 10% off. Off what? I don't know. Where did you get the bill? I see. Where were you all day? Well, I was up in Harlem trying to get some colored eggs. In Harlem? Why, Mary, you have to buy plain eggs and color them yourself. Of course, they're all kinds of eggs. You know, there's a chicken egg. There's a duck egg. And there's a, there's a... Jack's burning. Ooh. Hello, Frank. Happy Easter, Jack. Happy Easter to you, Frank. Yippee. That was Yippee by Frank Black, which is a equivalent to our hidey-hole. Yeah. Amen. They fried your rare in the light, really. What makes you so hot? I've got on red flannel underwear. Oh, so that's where the heat's coming from. I thought it was the radiator, yeah. I think it's a shame for Frank to come up here in his flannel underwear. But Mary's wearing a full-dressed suit over it, yeah. Oh, I thought that was his underwear. Mary's quiet. He can hear you, you know. It certainly is a pleasure to be on the same program with you two. Thanks, Frank. I always wanted to go slumming. Well, yeah, remember, folks, he's just a musician, you know. Well, let me ask you something. What do you do that's so good? Well, I... I thought so. You leave Jack alone. He has more talent in his little finger than you'll ever have. I don't believe it. Neither do I, but that's what he told me. And a girl, Mary. Shut up. Hello, everybody. Do you need me? Uh... You two just arrived. What's your name again? Singing Frank the Chevrolet Man. Oh, yeah, I thought I recognized you. Yeah, I'm the fellow who paid the check last night. Oh, sure. Hello, sucker. Hey, Parker, I saw you on Fifth Avenue today. Who was that beautiful girl you were walking down the street with? That was no girl. That was Mike Kane. I thought she was rather thin, yeah. What were you talking about when you came? Oh, nothing much. We were just talking about Easter clothes and so far. Oh, that reminds me, Jack. I wrote a poem about Easter. Mary, when you stop writing those poems, you're the only trouble with this program. Well, just listen to this one. All right, all right. Uh, Easter comes but once a year, even as you and I, a rag-a-monger comes from here, and a rag-a-monger comes from here. So the man worked well as the one who can smile on a happy Easter day. Hey, hey. That was Frank Black and his orchestra by Mary Livingston. That's the last poem I'll ever write. There goes the telephone. I'll take it, Jack. Okay, Mary. Hello, yes, yes. Who's it for, Mary? It's a rough call. I want to know if Mr. Onion from Bermuda's here tonight. By Mary, this is April Fool's Day. Oh, yeah? I'll answer no more phones today. Don't get so, Mary. It's just a gag. Come here, Mary. We'll pull it on Frank Black. We'll have him call up a number and play a joke on him. Well, doesn't he know it takes us first? I don't even know what year this is. Now, look, now, here's what we do. You can hold her and ask Black to call up Whitehall 4156O and ask for Mr. Mackerel. Well, what's funny about that? Mary, Whitehall 4156O is the Aquarium. That doesn't stress me, honey. Mary, don't you know what an Aquarium is? Yeah, a person who rides horses. That's an Aquastrian. Oh, yeah? Oh, now I get it. Oh, yeah, I get it now. Oh, Frank, Frank. Yes, Mary? Will you do me a favor and call up Whitehall 4156O and ask for Mr. Mackerel. I'd like to talk to you. All right, Mary. Oh, wait a minute. Do you know what day this is? Sure, it's Sunday. Anything else? No, just eat your sundae. Yeah, he doesn't know it's April 3. That's because he doesn't pay his rent on time. You know what I mean? Go ahead, Frank. Get me that number. Oh, boy. Hello, operator. Operator, get me Whitehall 4156O. It's so fun. Hello? Hello, I want to speak to Mr. Mackerel. Oh, good. Hello, is this you, Mack? How are you, Mack? Let's be sent to the world here someplace. I'm glad to hear it. How's Mrs. Mackerel? Come on, answer me. Don't flounder around. Oh. Well, what do I do now, Jack? Forget the whole thing. We lose every fish in town, I think. Yes, Mack. My orchestra's pretty well filled up, but I could use another bass and a flute. Maybe you'd use another pickerel player. Wait a minute, Mack. Wait a minute. Mary Livingston wants to talk to you. Here you are, Mary. The whole thing sounds fishy to me. Hello? Hello? Hello? Say, there's nobody on this wire. April Fool? It's all your fault, Jack. Oh, well, it's all in fun, Mary. You know, don't get sore. It's a double, double crock, you know? And now, ladies and gentlemen, we didn't mean it that way, but that's the way it turned out. And now, ladies and gentlemen, for our feature attraction of this program. Tonight, we're going to offer that great and oft-repeated eternal triangle where two men are in love with one woman. You know, those plays where a woman likes to fellow, but her husband is an awful pest and hangs around the house too much. This play of ours is really a blackout. And to you people who are not familiar with the language of the theater, a blackout is a scene in which the lights go out on the finishing punchline. So when you see the lights go out in the studio, the scene will be finished. Or you can put the lights out in your own home. Or if you happen to be sitting in the bathtub, just turn off the water. This blackout will be played immediately after Frank Tarkasaw, who is entitled to House of Haunted. Answer that, Mary. Okay. April Fool, you big poloka. Well, it didn't fool me that time. And you were not fooled when you buy the 1934 Chevrolet. Oh, Mary, who was that on the phone? Your father. Sing, Parker. Sing. That was Frank Parker singing the House of Haunted. And now, for our blackout, the eternal triangle played by the husband, Lionel Havrilla, the wife, Catherine Livingsburn, and the lover, Clark Benny. Curtain, Lizzie. See, darling, you always have to go to Boston on business. What kind of a guy are you anyway? I don't have to go to Boston. Who said anything about Boston? Oh, yeah? Well, you're going to Boston. 10.20 now, and if you hurry, you'll catch the 12 o'clock train. But what am I going to do in Boston? I have no reason to go there. For my sake, will you please go to Boston? I'll pass your bag. Here are three shirts. Two pairs of socks. You're too short. And look, I bought you a straight razor so you won't cut yourself. Already, darling. Now listen, dear. I'm going to bed. You're going to Boston. But I have no business in Boston because I don't know a soul there. Well, you'll meet somebody. Goodbye, Lionel. All right, then. Goodbye. If I must go to Boston, I must. Hurry, or you'll miss that 12 o'clock train. Goodbye. Goodbye, dear. I'm going to miss my man. I'm going to miss my man. I'm going to miss my man. Oh, see, see? He met them. Peel me an egg. Okay. Boy, it's lonely without my Lionel. I'm going to miss my man. I'm going to miss my man. Uh, come in. Hello, darling. Has he gone? Yes, the big brood. He went to Boston, I hope. And he left me all alone. What did you bring me, sweetheart? Some flowers, here. Flowers? That's all you ever bring me. But they're beautiful, dear. They're roses. Don't they smell wonderful? Oh, I'd sooner have a diamond ring and it don't have to smell so good. Why speak of diamonds when the situation calls for love? Oh, see, see? They met them. But if it's please. Are you a French maid? Oh, yeah, sure. I come from Paris. You see, she's been working for Jack Pearl. Oh, I see. I see. Oh, see, see, see for two and it don't have to be cheese. Yes, see, see. I'll take a ham sandwich and it don't have to be cheese. I'm sorry, man, but they have no tea or ham. Well, what have you got in the kitchen? Just the ice, man. Well, bring in some cracked ice. Yes, sir. Joe, enough. She must have worked for Amos and Andy, too, I think. Tell me, darling, do you love me? You know I do. Then how about a little cheese? Okay, and it don't have to be little. Who's that? I don't know, but if it isn't my husband, it'll spoil the play. See, but you're beautiful. You know you're getting prettier every day. Oh, that's just because you love me, sweetheart. Are you sure that's your husband? Of course it is. He always misses the train to Boston. But supposing it isn't your husband. Then you better take the train. Have a cute little pudgy, why do you? Oh, my ducky, what? He's getting a bit annoying, dear. Well, maybe you better hide, sweet. In the same closet? Yes. I'm tired of that same old closet. I always come out smelling a moth wall. Keep your shirt on. I've got it on. Open the door. Oh, he makes me sick. How about a rubber braid? Oh, not now. That's it, I'll hide behind the radio. Come in, darling. Well, dear, I missed my train. Oh, I'm so glad, sweetheart. I was terribly lonesome. You were, eh? Well, I heard someone talking in this room. Kiss the cracked ice, ma'am. Thanks, you're fired. Oh, I knew I heard someone talking in this room. Well, it was the radio I was looking to the Chevrolet program. I like that program, too. Put it on again. Oh, never mind, dear, now that you're here, I'd rather talk to you. I want to hear that Chevrolet program. Tune it in. Oh, all right. There it is. Hello again. This is Jack Denney talking. Do you remember the fellow with the witty jokes and funny plays? You talk so nice and clear. You think he was right here in this room. Yes, I would think that. And the sketch we have tonight, ladies and gentlemen, is called E. Flynn, which comes to you through the courtesy of a... Chevrolet. Yes, Chevrolet. The most dependable car in the low price field. Isn't he? Well, I'm just like a Jack Denney and tell him how much we like him. That's a good idea. And when you write, send him his hat and gloves. He lets them here on the table. Blackout, folks. Play, Frank. That was You've Got Everything Played by Frank Black. And now, ladies and gentlemen, as this is the last program in our Chevrolet series, I want to say it has been a real pleasure being associated with Chevrolet and the members of this company. And, Frank... Yes, Jack. I want to tell you how much I've enjoyed working with you and the boys. Well, thanks, Jack. I feel the same way. And this being the last of our broadcast together, I was just wondering if, um, yeah, if, uh, could you let me have those ten dollars I loaned you when the series first started? What ten, Frank? I forget what kind of a ten it was, but nevertheless, you borrowed it from me. Well, Frank, when we first started. Of course, I hate to ask you for it, but after all, it is an award debt. Well, I... I don't remember the incident, Frank, but if you say I owe it to you, I... Here it is. I mean, what ten dollars in my life. Thanks. I hope this won't interfere with your health. Well... No, it won't. Well, so long, Frank. Good luck to you, Jerry. Thanks. There's one ten dollar bill going out of circulation. Say, Black. Yes, Alois. I want to tell you that it's been a real pleasure working with you all these months. The pleasure was all mine, Alois, and I wish you the best of luck. Well, thanks, Frank. But, uh, this being the last of this Chevrolet series, and not knowing where you live, I thought we'd straighten things out a little bit. Well, watch on your mind, Alois. Remember that day you borrowed ten from me to buy us some music or something? I don't remember borrowing a ten dollar bill from you. Probably the two-five. But if you say I owe it to you, Alois, here you are. Well, thanks, Frank. I knew you'd remember it. If you hadn't brought it up yourself, I'd never mentioned it. I still don't remember it. Funny how he remembers mine. Oh, uh, Alois. Alois. Yes, Parker? Uh, this being our last broadcast together, I, uh, well, I just thought that maybe... Here, Parker, and thanks for the loans. Right. Well, there really was no hurry. No, you should have seen and snatched it, folks. Well, Parker... Uh, yes, Mary? Uh, you know, this is the end of the series. Looks like the end of that ten soon, Parker. See how the week just flown by. Remember, Parker, when we went out to dinner one evening, and you were a little bit short, and you asked me if, um... Sure, Mary, here you are. Oh, well, after all, it was no hurry, you know. We're both young. Well, that's all right. I'm glad it crossed my mind. Oh, Mary! Yes, I remember. I just knew I couldn't keep the $10 bill long. But, Mary... Here it is, and keep still. Well, I guess we're all straightened out. Our last program. Is everybody satisfied? I don't think I'm out $10. Well, folks, I guess we're all square now. Wait a minute, wait a minute. You might be square in this studio, but how about me? What's the matter with me? Wait a minute. What's this? What's what do you mean? Who are you? Eddie Candace! Who are you? Why, Eddie, listen, I'm glad you came up. I have your $10 right here waiting for you. It's about time. Listen, Jack, what about that next tie? You know, I just won't do that for the Sunday night brought. Well, Eddie, listen. I can give you back your tie here. Wait a minute. Wait a minute. What about that suit you're wearing? Well, I thought you gave me that suit. Why should I give you a suit that Jimmy Wallington can wear? You know... Well, listen, I'm not going to take off this suit right in this studio. That's all right. You can give it to me later. Listen, Jack, confidential. Yes. Tell Mary that I don't want that dress back, will you? All right, all right. Is there anything else, Eddie? No, play, Frank. By neighbors. By neighbors we have in this studio. It's the last time I'll drink coffee. The last program in the Chevrolet series. And again, I want to thank everybody on this program and Chevrolet for a most enjoyable and happy year on the air. Me too. See you shortly, folks. Good night. This program has come to you through the courtesy of the Chevrolet dealers in your community who represent the Chevrolet Six. Next week at the same time, there will be presented a new Chevrolet program featuring Victor Young and his orchestra. This is the National Broadcasting Company.