FORMAN:

Good health to all from Rexall!

MUSIC:

REXALL FANFARE, THEN THEME UP, UNDER

FORMAN:

Yes, it's Sunday! Time for the Phil Harris-Alice Faye Show! Presented by the makers of Rexall drug products, and your Rexall family druggist.

MUSIC:

OUT

DRUGGIST:

Good evening. This is your Rexall family druggist, taking a little time from behind the prescription counter, this Sunday evening, to speak for all ten-thousand of us. The ten-thousand druggists who have added the word "Rexall" to our own store names. You can always tell us by the orange and blue Rexall sign in our windows. The sign means that we carry the two-thousand or more drug products made by the Rexall Drug Company. They range all the way from aspirin to penicillin, and they're as fine and pure and dependable as science can make them. We recommend them to our customers, because we know you can depend on any drug product that bears the name Rexall.

MUSIC:

REXALL FANFARE UP, THEN UNDER

FORMAN:

Good health to all, from Rexall!

MUSIC:

THEME UP, THEN UNDER

FORMAN:

And now, your Rexall family druggist brings you the Phil Harris-Alice Faye Show. Written by Ray Singer and Dick Chevillat. With Elliott Lewis, Walter Tetley, Robert North, Jeanine Roos, Anne Whitfield, Walter Scharf and his music, yours truly Bill Forman, and starring Alice Faye and Phil Harris!

MUSIC:

"ROSE ROOM" UP, THEN OUT

FORMAN:

Today, as we look in on the Harrises, Phil and Alice have just arrived at NBC for rehearsal of their radio program.

SFX:

THEY WALK ALONG SIDEWALK, UNDER

HARRIS:

Hey, we better hurry, Alice. We'll be late for rehearsal. I don't wanna set a bad example for the guys in the band. Ya know, since we've got a new sponsor, those guys have changed. They've become gentlemen.

FAYE:

I haven't noticed any change in them.

HARRIS:

Well, I have, and I work with 'em. I laid the law down to 'em last week. I said, from now on, we ain't gonna have any more horseplayin' or poker games at rehearsal.

FAYE:

Good for you, Phil. We'd better get in, or the boys'll start playing without you.

HARRIS:

They can't start without me.

FAYE:

Why not?

HARRIS:

I got the dice.

FAYE:

Oh, Phil, the Rexall people aren't gonna like that. You're in enough trouble with the company already.

HARRIS:

What trouble?

FAYE:

Last week, at their store, you insulted a customer, and smashed every bottle on the perfume counter. Gosh, Phil. Aren't you ever gonna grow up? Why do you always get into trouble?

HARRIS:

I dunno. I guess it's just the Peter Pan in me.

FAYE:

To make things worse, when you cut your hand, you let Frankie sign your contract with the Rexall Drug Company.

HARRIS:

Well, how was I to know he'd sign his own name instead o' mine?

FAYE:

You know, Phil, with that contract, Frankie is now legally the star of the program.

HARRIS:

Aw, nonsense. Frankie's probably forgotten about that contract already. You seem to forget that Frankie's my pal. He wouldn't try to take over. Don't worry about it. You'll see, just as soon as we get into the studio.

MUSIC:

UP, THEN OUT

SFX:

STUDIO AMBIENCE, UNDER.

(BAND IS ALL TALKING AT ONCE.)

 

FRANKIE:

(YELLING) All right, quiet, you guys! Quiet!

(BAND IS SILENT. PAUSE.)

 

FRANKIE:

(POWER-CRAZED) I've told ya the whole story. That's why the sponsor insisted that I be the star o' this show.

ARTIE:

Hey, ya mean you're in charge now, Remley?

FRANKIE:

Irrevocably! From this moment forward, I am your leader! You are to accept my orders with unquestioning obedience!! I am an absolute power!!!

BAND:

Heil, Remley! Heil, Remley! Heil, Remley!

FRANKIE:

CUT THAT OUT!!! Now, from now on, there'll be no more clowning. I want more respect than you showed to your former leader. That was the trouble with him. He was nothing but--

BAGBY:

Don't you say nothin' about our former leader! He was a great guy.

ARTIE:

You said it!

BAGBY:

He was our leader for ten years, and did a great job! We'll never forget him! No matter where he goes, we'll always have a soft spot in our hearts for good ol'-- Hey, Artie! What was his name again?

ARTIE:

His name was Aysham Jones!

BAGBY:

Yeah, good ol' Aysh.

FRANKIE:

It's Phil Harris! Don't feel sorry for him. He's still with us. I'm gonna let him play the cymbals. Just because I'm the star o' the show don't mean I'd throw him out. He's my pal. Whaddaya think I am, a heel?

ARTIE:

Heel, Remley! Heel, Remley!

FRANKIE:

That's enough outta you! Now, uh, in line with the dignity of our new sponsor, you'll notice I made a few changes in the orchestra. I've added three new violins and a lady. Harpist. And another thing, from now on, I'm gonna do the singin'. So, let's go over my number. I'm singin' "That's What I Like About the South", but I'm changin' the lyrics.

ARTIE:

Why change 'em?

FRANKIE:

Because they're corny! "Won'tcha come with me to Alabammy, come and see my dear old Mammy, she's boilin' eggs and fryin' hammy, and that's what I like about the South"??? Nothing! (SMILING) I'm changin' the lyrics to fit my personality and birthplace. From now on, it goes like this: "Won'tcha come with me to North Dakota, come and see my dear old Modah, she's mixin' me a scotch and soda, and that's what I like about the North!" Yeah! All right, now, we'll try it that way--

HARRIS:

Hold it, hold it! All right, hold it! Okay, Remley, you can step down now. The Maestro's here.

ARTIE:

I knew Aysham'd show up!

HARRIS:

Hey, Remley... (CHUCKLING, THROUGHOUT)

FRANKIE:

(CHUCKLING, THROUGHOUT)

HARRIS:

Hey...

FRANKIE:

Huh?

HARRIS:

That was a funny gag. Your signin' your name to my contract last week. Imagine. You, the star o' the program. Oh, you're a clip, kid.

FRANKIE:

Yeah.

HARRIS:

Yeah.

FRANKIE:

Ain't I?

HARRIS:

Yeah.

FRANKIE:

(DICTATORIAL) All right, siddown and play the cymbals. I got a band to rehearse!

HARRIS:

Cymbals??? Remley, listen to me--

FRANKIE:

Please! You're runnin' me into overtime! All right, fellas, one chorus of our new theme, "That's What I Like About North Dakota".

HARRIS:

Hey, wait a minute, Remley! You're not singing-- (PAUSE. TAKE) That's what you like about what???

FRANKIE:

North Dakota.

HARRIS:

That's the last straw! Now, get offa this stand, Remley!

FRANKIE:

But my contract says--!

HARRIS:

Get down! Get offa here! (TO BAND) Now, look. I don't know what Remley told you guys, but I'm still the boss. I'm your leader.

ARTIE:

Heil, Aysham! Heil, Aysham!

HARRIS:

QUIET! I don't want any more o' that-- (TAKE) Why does he keep calling me Aysham? All right, fellas, look. Now, we're doin' "That's What I Like About the South", and we're doin' it MY way! Hit it!

MUSIC:

"THAT'S WHAT I LIKE ABOUT THE SOUTH"

HARRIS:

(SINGING) Won't ya come with me to Alabammy,

MUSIC:

ADD HARP GLISSANDOS THAT DROWN OUT BAND

HARRIS:

(SINGING) Let's go-- (TAKE. YELLS) HOLD IT!!! HOLD IT!!! HOLD IT!!! HOLD IT!!!

MUSIC: OUT

HARRIS:

Who smuggled Shep Fields into this act?

FRANKIE:

Uh... That's the girl harpist I hired.

HARRIS:

Harpist???

MUSIC:

HARP GLISSANDOS

HARRIS:

Lady, willya-- Lady!!!

MUSIC:

OUT

HARRIS:

Please, lady. Will you take that screen door, and get outta here? Remley, (SADLY) I-- I-- I just don't know.

FRANKIE:

What'sa matter?

HARRIS:

I can't understand you. At times, you remind me o' little Willie.

FRANKIE:

You mean Alice's brother?

HARRIS:

No! Willie Green.

INTRO TO PHIL'S SONG:

HARRIS:

(SINGS) Now, Willie Green was from New Orleans, and just as mean and selfish as he could be. (SPOKEN TO FRANKIE) Just like you!

He always wanted part o' what somebody else had, but he didn't wanna give nothin' to you.

And then one day, his mother baked him a jelly roll--Yeah!-- That's the best cake that was ever made!

And then, when Willie's little friends all gathered around and asked him for a piece, (SPOKEN TO FRANKIE) Just like you!

Here's what little Willie said:

PHIL'S SONG:

"I AIN'T GONNA GIVE NOBODY NONE OF MY JELLY ROLL"

FAYE:

Ah, that was great, Phil! Shall I rehearse my song now?

FRANKIE:

Aw, don't bother, Alice. We won't have time for either one of you to sing.

HARRIS:

Whaddaya mean?

FRANKIE:

As star o' the show, I've decided to do a long guitar solo. My lawyer says, as long as I have that contract, it gives me the right--

HARRIS:

Now, that does it! Gimme back that contract, Remley, or I'll shake it outta ya!

FRANKIE:

Unhand me, you uncouth cymbal-banger! Stop searching me! You don't think I'm fool enough to carry the contract with me? (GLEEFUL) I got it hidden safely away at home.

HARRIS:

Lemme tell you something, Remley. You're not gonna get away with this, because-- Oh... Come on, Alice. Let's get outta here.

SFX:

THEY WALK AWAY, UNDER

HARRIS:

That character... I'll break every bone in his body!

FAYE:

Now, Phil. Phil, don't lose your temper. You won't get the contract back by antagonizing Frankie. You've gotta use your head about this.

HARRIS:

Oh... I guess you're right. But to think my... my best friend would double-cross me. That's what hurts. Isn't there anybody I can trust? Isn't there somebody that I can admire and respect?

WILLIE:

Good morning, Philip!

HARRIS:

Willie, please, not now, Willie, not now.

FAYE:

You better leave him alone, William. He's not in a very good mood. He has a problem that's getting him down.

WILLIE:

Why, Philip, I'm surprised at you, letting problems get you down. Why, I find problems stimulating. I believe in standing up to a weighty problem, and defeating it. Or, as a Chinese philosopher once said, "He who wrestle with problem, get toe-hold on adversity."

HARRIS:

Thank you, Anna May Wong!

WILLIE:

Philip... Now, if you tell me your problem, I'm sure I can help you. Yes indeed, m-hm. M-hm-hm.

HARRIS:

Get out, willya, Willie?

FAYE:

Maybe you can help, Willie. You see, Phil let Frankie sign his Rexall contract for him. And now, Frankie has taken advantage of it, and is taking over the show. And, well... well... Phil won't be on the air any more.

WILLIE:

I see. (PAUSE) But what's the problem?

HARRIS:

For your information, wise guy, he's gettin' Alice offa the show too. Now, if you'll excuse me, I gotta go and figure this out!

SFX:

WALKS OFF DOWN SIDEWALK

WILLIE:

Getting my sister off the show??? Wait for me, Philip! Alice, I've brought the children down. I thought we all might have lunch together.

FAYE:

Oh, I'll take them to lunch. You go with Phil.

WILLIE:

(CALLING) Wait, Philip! I'm coming with you!

SFX:

RUNS DOWN SIDEWALK, AFTER PHIL

FAYE:

(TO HERSELF) Poor Phil. This thing really has him down. I wish there were some way I could get that contract back from Frankie.

SFX:

THE GIRLS RUN UP ON SIDEWALK

ALICE:

Hello, Mommy!

PHYLLIS:

Hi, Mommy! Where'd Daddy go?

FAYE:

Oh, he had business to attend to, children. He's got a problem that's bothering him.

PHYLLIS:

Can we help, Mommy?

FAYE:

Oh, thanks, honey, but there's nothing you can do. You're just children, and-- (SOTTO) Children... Say... Maybe that's the way to do it. If I can appeal to Frankie's human side... (UP) Look, girls, here's what I want you to do. When Uncle Frankie comes out of NBC, we'll be standing here, looking very sad.

MUSIC:

UP, THEN OUT

SFX:

FOOTSTEPS ON SIDEWALK, UNDER

FRANKIE:

Well, so long, fellas! Be on time for the show, Sunday!

BAGBY:

Okay, Frankie!

ARTIE:

See ya Sunday, Maestro!

FRANKIE:

Yep! (TO HIMSELF) Ah, fine buncha men I have workin' for me.

SFX:

FOOTSTEPS CONTINUE, AS FRANKIE WALKS ALONG SIDEWALK, UNDER

FRANKIE:

(SINGS REXALL FANFARE TO HIMSELF, THEN SINGS) Oh, I'm the star of Rexall!

(FAYE AND THE GIRLS SNIFFLE AND SOB, UNDER)

 

FRANKIE:

(SINGING) And that's where I belong! (TO HIMSELF) Yes, sir! This--

(FAYE AND THE GIRLS SNIFFLE AND SOB LOUDER)

 

FRANKIE:

(TAKE. SOTTO) Are there bloodhounds following me? (UP) Oh! Hello, Alice!

FAYE:

(MOROSE) Hello.

FRANKIE:

Hi, kids!

(GIRLS WAIL AND SOB)

 

FRANKIE:

What are ya cryin' about? Alice, did you beat those poor kids?

FAYE:

Frankie.

FRANKIE:

Hm?

FAYE:

You want to know why they're crying? It's what you did to their father.

PHYLLIS:

(CRYING) Yes! You beast!

ALICE:

(CRYING) You scoundrel! You took our daddy's job!

FRANKIE:

Well, I didn't really. I only-- uh... Gee, look, kids. With his talent, your daddy can get another job.

PHYLLIS:

(CRYING) Wh-- where???

FRANKIE:

Well, he can go-- He could work f-- They'd be glad to have him at-- Ya got me. Wait a minute! He's still workin' for Jack Benny!

PHYLLIS:

(CRYING) You know there ain't no money connected with that show!

ALICE:

(CRYING) Besides, it's too late for anything. He's left us!

FRANKIE:

Left you?

FAYE:

Naturally. He's a man. What else could he do? No job. No future. He didn't want to burden us. He said he didn't wanna live on my money.

FRANKIE:

What made him change his mind all of a sudden?

FAYE:

This is no laughing matter, Frankie. Do you realize that-- that because of your having that contract, Phil has left us for good? (TEARFUL) And now... Now, I don't have a husband. (WAILING) And the children don't have a father! (SOBS)

FRANKIE:

(STARTING TO CRY) Cut it out, Alice!

FAYE:

(CRYING) Oh, Frankie! Frankie, you're the only one who can make us (WAILING) a happy family again! (SOBS)

FRANKIE:

(SOBBING) Yeah. I-- I guess it's up to me to do the right thing. Alice...

FAYE:

(CRYING) Yes, Frankie?

FRANKIE:

(SOBBING) How would you like to become Mrs. Remley? I'd make a very good father to your children.

(THE GIRLS WAIL AND SOB)

 

FAYE:

(SOTTO) Don't get hysterical, girls. I didn't say yes.

FRANKIE:

All right. Stop crying, kids. Alice, I'm not a homewrecker. If it means that much to you, I'll give you back the contract.

FAYE:

Oh, Frankie! I knew you would! Come on, let's go over to your apartment and get it.

FRANKIE:

Oh, I haven't got it there. I just told that to Curly. I got it right here in my guitar case.

SFX:

OPENS GUITAR CASE, TAKES OUT PAPER, CLOSES CASE.

FRANKIE:

There ya are.

FAYE:

(WARMLY) Aw, thanks, Frankie! You're a darling! You've made me happy; you've made the children happy, and, when I tell Phil he's the star of the show again, he'll be happy too!

FRANKIE:

(SOBBING) Yeah, but I'm not! Now I'm just a lousy guitar player again! G'bye, Alice. So long, kids.

FAYE:

Goodbye, Frankie.

SFX:

HE GOES OFF DOWN SIDEWALK, SOBBING

FAYE:

(PAUSE) Children, you were wonderful!

(GIRLS LAUGH)

 

FAYE:

I've got to find your daddy, and tell him the news! It's a great day for the Harrises!

ALICE'S SONG:

"IT'S A MOST UNUSUAL DAY"

SFX:

HARRIS & WILLIE WALKING ON SIDEWALK, UNDER

WILLIE:

Philip, I do not think we ought to break into Franklyn's apartment. That's no way to solve your problem.

HARRIS:

Nobody's askin' you. Now, Frankie said the contract is in his place, and I'm gonna get it. Now, let's see... Remley's room is on the ground floor. Here it is. Now, look, I'll get down on my hands and knees, and you stand on my back so you can reach the window.

WILLIE:

Philip, I refuse to go through with this.

HARRIS:

Now, you can't back out! For once in my life, I need you.

WILLIE:

Well...

HARRIS:

Well, now, you listen to me! This contract means a lotta dough to me. I need your help!

WILLIE:

Well, in that case, I will make a deal with you. If I help you, you are to make me your business manager, at one hundred dollars per week.

HARRIS:

(PAUSE) Did you major in Blackmail at Harvard? All right. It's a deal. Now, I'll get down on my knees, and--

SFX:

SCRIBBLE OF PEN ON PAPER, UNDER

HARRIS:

What are you writin' there?

WILLIE:

Putting our little deal on paper. Just sign here.

HARRIS:

Oh, okay.

SFX:

SCRIBBLE OF PEN ON PAPER

HARRIS:

Now, come on, get up on my back.

WILLIE:

Very well. (CLIMBS UP)

HARRIS:

That's it. Now, open that window, quick!

SFX:

OPENS WINDOW

HARRIS:

Now, get in, Willie, and don't make any noise.

JULIUS:

Wow, what are the Bobbsey Twins up to now?

HARRIS:

Julius, whaddaya doin' in this alley?

JULIUS:

I got grocery customers here. Hey, you guys are tryin' to break in that apartment! I got a good mind to call the police!

HARRIS:

Now, wait a minute, Julius. Don't do that. If they catch me, I'll get twenty years in the clink! You don't want that to happen to me, do ya?

JULIUS:

(LAUGHS)

HARRIS:

Look, Julius, if ya don't care about me, think o' Miss Faye. Now, if you call the police, my poor wife will be left all alone for twenty years.

JULIUS:

(PAUSE) HELP! MURDER! POLICE!

HARRIS:

Julius! Now, don't do that! Please, kid! Look, I"m not robbin' anybody.

JULIUS:

Then whaddaya tryin' to sneak in that apartment for?

HARRIS:

I'm just goin' in to get my radio contract with Rexall.

JULIUS:

A likely story! I'm gonna call a cop!

HARRIS:

You better hold it a minute, grocery boy! Now, you better get away from here. Gettin' this contract means a lotta money to me.

JULIUS:

Money? Mr. Harris, are you tryin' to buy me off? Are you insinuatin' that I'd be quiet for the sum of, say, ten dollars?

HARRIS:

I didn't say nothin' about givin' you ten dollars.

JULIUS:

Well, I heard somebody say it, and I accept.

HARRIS:

All right, all right. Then, ten bucks, it's a deal. I'll mail it to ya.

SFX:

SCRIBBLE OF PEN ON PAPER

WILLIE:

Sign this, Philip.

HARRIS:

What is it?

WILLIE:

Your agreement with Julius.

HARRIS:

That's my business manager that said that. Hand it to me.

SFX:

SCRIBBLE OF PEN ON PAPER

WILLIE:

Here's the agreement, Julius. From now on, Mr. Harris agrees to pay you ten dollars a week.

HARRIS:

A week??? I didn't-- Julius, come back here. There's been a mistake. You wouldn't take advantage of me. You wouldn't take money every week for nothing, would ya?

JULIUS:

If you can take it from Rexall, I can take it from you! (OFF MIKE) So long, sucker!

HARRIS:

Oh, that kid. I can't--

WILLIE:

Come on, Philip. Give me your hand, and I'll help you through the window.

HARRIS:

Thanks.

SFX:

CLIMBS ON GARBAGE CAN, THEN THROUGH WINDOW

HARRIS:

Well, we're in at last. Now, let's find that contract before Frankie gets home. Shhhh. Quiet, now. We don't want the neighbours to hear us.

WILLIE:

(WHISPERING) I wonder where he has that contract. Could be in the dresser drawer. Or it could be in the sugar bowl.

HARRIS:

(WHISPERING) Yeah. It could be in his guitar case.

FRANKIE:

(WHISPERING) That's where it was, but it ain't any more.

HARRIS:

Frankie!

FRANKIE:

Yeah. Frankie. What are you guys doin' in my apartment?

HARRIS:

Apartment?

FRANKIE:

Yeah.

HARRIS:

Ain't this the Fairfax bus?

FRANKIE:

Curly, whaddaya doin', breakin' into my place?

HARRIS:

I got a right to break into it! I'm after my contract, and I ain't leavin' til I get it. Now, hand it over!

FRANKIE:

Oh, you're too late, Curly. I already--

HARRIS:

Look, Frankie, if you'll gimme the contract, I'll make it worth your while. Now, I'll make a deal with ya.

SFX:

SCRIBBLING OF PEN ON PAPER

HARRIS:

Not yet, Willie! We didn't even come to terms yet. Now, look, Frankie, if you'll hand over the contract, I'll give ya a hundred dollars a week raise.

FRANKIE:

But, Curly, you don't-- I don't-- (SOTTO) WHO don't? (UP) I'll take it! Will ya put that in writing?

HARRIS:

With Willie here, how can I help it?

WILLIE:

Sign here, Philip.

SFX:

SCRIBBLING OF PEN ON PAPER

HARRIS:

There! Now, Remley, gimme the contract, and--

SFX:

POUNDING ON DOOR

FAYE:

(CALLING, SLIGHTLY OFF MIKE) Frankie? Frankie?

HARRIS:

Hey, it's Alice! Come on in, honey!

FRANKIE:

(SOTTO) Oh-oh...

SFX:

DOOR OPENS

FAYE:

Oh, there you are, Phil! I thought you'd be here, and I've got wonderful news for you!

HARRIS:

Me too!

FAYE &
HARRIS: I got the contract back from Frankie!

HARRIS:

YOU got it?

FAYE:

Yes. Here it is. He gave it to me right after you left NBC.

HARRIS:

But I just gave him a hun-- (MENACING) Remley...

FRANKIE:

(ENGLISH BUTLER) The Mahstah just left, Sir. I'll tell him when he returns from Injah.

HARRIS:

Remley, you low-down-- Come on, Alice, let's get outta here!

FAYE:

No, no. Not until I thank Frankie. (WARMLY) Frank, it was very noble of you to give up the contract for nothing. I appreciate it, and I'm going to see that you get more money on the show. You'll get a new deal!

SFX:

SCRIBBLING OF PEN ON PAPER

HARRIS:

Willie! Drop that pen!!!

MUSIC:

UP, CRESCENDOES, THEN OUT

DRUGGIST:

(CHUCKLES) Phil's troubles make us realize we all have our problems. Yes, even including Rexall's men of science. For instance, every so often, they must invite a select group of bacteria to a special dinner, and watch them while they eat it. Sounds strange, doesn't it? But drug compounds often contain such tiny amounts of some ingredients that they're almost impossible to measure. And that's when the Rexall scientists actually serve bacteria a several-course meal. Each course consisting of different amounts of the ingredient they wish to measure. You see, bacteria, like human beings, need certain things in order to live. And if those factors are present in the proper quantity, the bacteria will naturally grow and thrive. So, by the way these bacteria guests react to each course of this elaborate dinner, Rexall's men of science are able to determine whether or not the ingredient being measured is present in the formula in the proper quantity. Now, the free dinner for bacteria is just one example, of course, but...

Any Rexall druggist will tell you that each of the two-thousand or more drug products made by Rexall gets the same kind of precise and painstaking testing. That's why, when you ask us to recommend a brand, we just naturally answer, "You can depend on any drug product that bears the name REXALL".

FORMAN:

Good health to all, from Rexall!

MUSIC:

REXALL FANFARE, THEN "ROSE ROOM" UP, THEN OUT

(THIS SCENE IS PLAYED STRAIGHT FROM THE HEART)

 

HARRIS:

Frankie?

FRANKIE:

Yeah.

HARRIS:

Look, kid...

FRANKIE:

What'sa matter?

HARRIS:

Well... I want to apologize for breakin' into your apartment.

FRANKIE:

Oh, that.

HARRIS:

Well... Alice told me that ya gave her the contract, and, well... I'm sorry, Frank. I came back to thank you.

FRANKIE:

Aw, it's nothin', Curly.

HARRIS:

Oh, yes it is.

FRANKIE:

Oh...

HARRIS:

Oh, it is. As long as you had that contract, you... You had me in a hold.

FRANKIE:

Oh, nonsense.

HARRIS:

Sure you had me in a hold. You could have become the star, and made yourself a lotta money.

FRANKIE:

Well...

HARRIS:

And I just wanna say that it was very unselfish of you.

FRANKIE:

Oh, I know... I guess I'm just a soft-hearted shnook. Well... G'bye, Curly.

HARRIS:

Bye, pal.

SFX:

DOOR CLOSES

FRANKIE:

Now, let's see. Where did I put the photstatic copy o' that contract?

MUSIC:

CLOSING THEME UP, AND UNDER

BOY:

Hey, mister. What's that sign on your window say?

DRUGGIST:

"REXALL", sonny.

BOY:

What is Rexall?

DRUGGIST:

Well, first of all, it's a family of fine, pure drug products--more than two-thousand of them--made by the Rexall Drug Company, son. Rexall also means the only stores where you can buy these Rexall drug products.

BOY:

Oh-h-h.

FORMAN:

Watch for Rexall's big One Cent Sale. October twentieth through the twenty-third! On those four days, you can buy two famous guaranteed Rexall products for the price of one, plus one cent. Look for Rexall's big One Cent Sale, at every store with the orange and blue Rexall sign in the window!

This program was produced and directed by Paul Phillips. The part of Frankie Remley was played by Elliott Lewis. And Julius was played by Walter Tetley. Alice Faye appeared through the courtesy of Twentieth Century Fox. This is Bill Forman, wishing good health to all, from Rexall!

Sunday is Fun Day! Stay tuned to this station for the Edgar Bergen-Charlie McCarthy Show, which follows immediately!

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This is NBC, the National Broadcasting Company.