General Electric Theater (1953) s03e19 Episode Script

NARRATOR: In research, in engineering, in manufacturing skills at General Electric, progress is our most important product.
[MUSIC PLAYING.]
RONALD REAGAN: This is a farewell party for Johnnie Pulaski to with him luck.
The promise of success does different things to different people.
Fame and fortune are not easily come by.
And sometimes there are moments of decision when a man must choose between success and his own integrity.
Now Johnnie Pulaski is a cabinet maker and a good one.
But he has one other talent.
He can sing.
-Hey, good night.
Thanks for coming.
I'll do my best.
Good night.
-Wonderful, to Johnnie, who is gonna be the biggest Pulaski of them all.
Hey Papa? -Good luck, Johnnie.
-Drink.
Drink.
-We'll listen to you on the radio every night.
-I hope so.
Don't forget the big boss hasn't heard me yet.
-They wouldn't tell you to come back if they wouldn't want you.
-You come visit, Johnnie.
Big shots are at your door.
-This will always be my home.
And I'll always be Johnnie Pulaski.
-Johnnie we are going to miss you in the shop.
-Coming Katherine? -I'll stay and clean up, mama.
-Good night Johnnie.
-It's not necessary.
-I want to.
-Thank you.
-Good luck, Johnnie.
-I know you will make us proud of you.
-Thank you.
-Good night.
[MUSIC PLAYING.]
-It was a nice party, huh? I bet this cost the boys in the shop a pretty penny, huh? This is real ah-- really nice, eh, Johnnie.
-I'll get plenty of use out of it.
-Well, that's shy they brought it.
They want to make sure that you're going to pay us plenty of visits.
-Sure Papa.
You come to New York to visit me.
-New York, oh ho.
-Papa, you know that cabinet I was working on? -Yeah.
-I think I'll take it with me.
-You-- nah, you're going to sing with the radio and make records.
Why do you want to fool around with a cabinet? -I want to.
-You re-- well, if you really want to, you-- you need a good knife an-- ah-- that's foolish.
Huh.
Oh, I-- I had one glass of wine too many.
-You wanna lay down, Papa? -No, no.
-No.
Go right ahead.
I'll call you in plenty of time for the train.
-I close my eyes for a minute.
But in case I fall asleep, wake me up a half an hour before-- Johnnie I'm going to miss you too much.
But I'll be proud to say that I am Johnnie Pulaski's father and see the name right up there in the night lights.
I'll be very proud of you, very proud.
[MUSIC PLAYING.]
-He sounds good.
-It'll be the best audition record they ever heard, Papa.
-He wants to take this along.
Foolish? -No Papa.
[MUSIC PLAYING.]
-Hi.
-Hi.
-Happy? You're going away to a new world, Johnnie.
We want you to be happy.
-I'm happy, it's just-- well, you know.
I'm glad you came out Katherine.
I wanted to talk to you all night.
There's so darn many things I wanted to say.
I know I should've said them long ago.
But when you grow up with someone the way we did, it makes it that much more difficult.
You understand? -I love you, Johnnie.
-You do? I love you too, Katherine.
-It's all right, Johnnie.
You don't have to-- -But I do, no kidding.
And I'd marry you tonight, I would.
-I wouldn't want you to.
-You wouldn't? -Not out of- not out of being scared, Not out of just needing something from home, someone to turn to when the going gets a bit difficult.
-There's nothing wrong with that.
-Oh but there is.
There's everything wrong with it.
Because when you stick this out, if you do, you're going to be a famous man.
-That won't change me.
I'll always be Johnnie Pulaski.
-If you are and if you still want me, I'll be here.
I'll be waiting for you, Johnnie.
No Johnnie, not now, please not now.
[MUSIC PLAYING.]
-Now look, the band gets here at three.
[PHONE RINGS.]
-Well, we cut it then.
Right.
-Norris Music.
I'm sorry, Mr.
Norris is in a meeting.
May I take a message? May I help you? -I'm Johnnie Pulaski.
I auditioned here a couple weeks ago.
I have an appointment with Mr.
Norris to sing for him.
-Oh, you can go right in, Mr.
Pulaski.
-Thank you.
-It's the first door to your left.
-Thank you.
-I'm Mrs.
Stone.
I'm in charge of new talent.
Have you brought your audition record Mr.
ah-- -Pulaski.
Yes ma'am.
It's right here.
-Fine.
Let's hear what it sounds like, Mr.
Pulaski.
[MUSIC PLAYING.]
-This is Mr.
Wickmore.
He's in charge of programming.
[MUSIC PLAYING.]
-Oh, no, you're kidding.
She really wore that? -So help me.
-You can turn that off now.
You can turn that off now.
I wish you'd come back to your office, Mr.
Norris.
I'd like you to listen to this.
Have you ever studied music, Mr.
Pulaski.
-Yes ma'am a little.
-Where? -Mrs.
Palmer's School of Music.
It's in Syracuse.
-Oh, I'd like you to listen to this, Mr.
Norris.
Play it.
[MUSIC PLAYING.]
-What else have you got? -Nothing Sir.
[MUSIC PLAYING.]
Send Bernie in here.
I want a dozen lead sheets.
He can pick'em out.
[MUSIC PLAYING.]
-(SINGING) Moon light in Vermont.
Moo-- -Don't you know this one either? -No Sir.
-It's been on the hit parade 14 weeks.
What's the matter? Don't you like the song? -It's fine, Sir, but-- -Ah, but it's not your style.
All right, try it again.
-(SINGING) Moon light in Vermont.
Moo-- NORRIS: Hold it.
Don't you read music? -Yes Sir.
-Then how can you make so many mistakes? Does the gizmo bother ya? Can you work without it? -Well, it helps me quite a lot, Sir, but if you'd-- [BUZZER.]
-I've go a luncheon appointment.
Have him back this afternoon.
Let him work on "Moonlight In Vermont" and "Why Tell a Lie.
" -Right.
-Well, is everything all right? I was told at the audition two weeks ago, I'd be spotted on a radio show.
-Don't worry about it.
Just leave it to Mr.
Norris.
How's for lunch? -Sure.
-Come on, let's go.
-(SINGING) Moon light in Vermont.
-Oh, I'm sorry.
I didn't know you were still here.
I was going to turn out the lights.
-Ah, Mr.
Norris told me to wait.
-He won't be back for quite a while.
-Well, I'll wait if it's all right.
But you can turn out the lights if you're supposed to.
-Oh, that's all right.
Can I have a sandwich or something sent up for you? [PIANO MUSIC.]
-(SINGING)Last night I dreamed I walked along the paths of-- [MUSIC PLAYING.]
-(SINGING) Last night I dreamed I walked along the paths of paradise.
And only God could tell you what I've seen.
But when I woke, my heart was sad, but then I realized.
That paradise for me was still a dream.
But now I know that I'm the one who journeys there to rest.
And every man must find his way alone.
But if a man can prove he's tried to do his very best.
The light of life will lead the stranger home.
So when temptation blinds my eyes, Lord I need to know.
Send down the winds to bid me come and tell me I must go.
So when at last these days of life are numbered few for me, when fear and pain is shielded from my eyes, I'll bow my head and say a prayer wherever I may be to walk again the paths of paradise.
-That was Act One of "Big Shot" starring Johnnie Ray with Nancy Gates.
Now for a story with a twist, our progress reporter, Don Herbert, visits another company not General Electric, but one in which General Electric is very interested.
-Good evening.
This is Mr.
Charles Muir of General Electric.
-Good evening.
-Mr.
Muir and I have an appointment with the president of the Rak-O Company.
-It's a-- time to go in, Don.
-Oh, why don't you come along.
I think you'll find it interesting.
-Mr.
Herbert, this is the President of Rak-O Company Miss Patricia Jumett.
-Hello Mr.
Herbert.
-How do you do? Aren't you a little young to be president of a company? -Not in junior achievement.
We're all between 15 and 21 years of age.
-That's right, Done.
We have six junior achievement companies in Schenectady and Rak-O is one of them.
It's sponsored by the General Electric Foreman's Association.
-And your executive director of the Junior Achievement Program in this area, right? Well, then you tell us just what it is.
-Well, Junior Achievement is a nationwide program that gives our teenagers a better understanding of the American business system.
-We actually set up our own company and sell the products we make.
-What does Rak-O make? -Well, we make magazine racks like this.
-Say, it's a beauty.
Just how does a JA company operate? -Well, like any other company except in miniature.
For example, there's Rak-O's treasurer right over there, just like the treasurer in a large corporation, she's in charge of all financial matters.
-I suppose the money comes from sales, but how do they get started? -By selling shares of stock like this.
-These are brought by the public and by the achievers themselves at $0.
50 a share.
And the achievers themselves act as their own board of directors.
-Well, how about production? -You ought to see it.
-Come on, Don, let's go take a look.
-All right.
-This is production.
-That's right.
All the work, from ordering the raw materials to selling the finished product, is done by the members of the company.
Incidentally, they all get a salary too.
DON HERBERT: I see they're all wearing safety glasses.
Ah-- who are those two gentlemen? CHARLES MUIR: Oh, those are the two production advisors.
And we have a few other men here too.
Over there, the business advisor is giving a few pointers to the treasurer.
And there, the sales advisor is in a huddle with Rak-O's sales manager.
The advisers come from the same group that sponsor the company.
-Well, then all the advisors for Rak-O come from the GE Foreman's Association here in Schenectady.
What about other cities? -Well, General Electric employee groups sponsor 68 junior achievement companies in 34 communities across the country.
-And I know General Electric actively supports this volunteer work of its men and women.
And it's no surprise, General Electric as a company, and its men and women as individuals, have always been interested in building a better America with, and for our young people.
For today's youth will bring tomorrow's progress.
And at General Electric, progress is our most important product.
-This is Junior Achievement Week and General Electric takes this opportunity to extend best wishes to the many junior achievers all over the country.
Now, Act Two of "Big Shot" starring Johnnie Ray with Nancy Gates.
[PHONE RINGS.]
-Reception.
No I haven't seen him.
Yes Mr.
Norris.
Yes Mr.
Norris.
Oh, Mr.
Pulaski you're late.
Mr.
Norris has been waiting.
-Oh, golly, I hope he's not sore.
I had to take a bus.
-You better get in there.
[MUSIC PLAYING.]
-I think she has possibilities.
Have Paul plug her on the afternoon show.
I'm sorry I didn't get back to you yesterday afternoon Johnnie.
Did you sleep well? -Ah ti-- -Oh, ah-- call Mitch and see if he has a real tear jerker that we can exploit.
Well, Johnnie, we're starting you a week from today on the Paul Brock Show.
You'll work with Bernie Moore, piano, bass, guitar, and drums.
And we're cutting one of these two sides.
I haven't decided which one yet.
This one could do it for you.
Do you remember what Bell Bell did for Guy Mitchell? -Yes Sir.
-Now I want you crew but.
You don't happen to be a college man do you? -No, no Sir.
-You know, I think he'll sell juvenile even with the gizmo, he's got that sort of open face appeal.
-Exactly what I was thinking.
-Yeah, why you follow me, Johnnie? -I think so, Sir.
-Is something bothering you, Johnnie? -Well, Sir, this type of song-- -Oh, you don't feel these are right for you? -I think I can handle them all right, Sir.
But my natural style is-- -Your natural style? You mean the prizefighting bid is a real? The arm waving? -Yes, Sir.
That's the way I feel it.
-Son, cutting a record with an unknown singer is an investment of sweat, blood, and money.
It's a long shot that 99 times out of 100 doesn't pay off.
Don't you think that we have every right to protect our investment as best we can? -I guess so, Sir.
-Well, then ride along with me on this.
I've had a little experience in this racket.
Now maybe you do feel every word you sing.
But I don't read you that way.
I just don't see you deep in torture.
Why to me, you're a kid with a pleasant grin.
You're the kid next door, football games on Saturday afternoon, and the big dance at night, nice easy swinging love songs with simple rhythm.
To me, you're "Moonlight In Vermont.
" And "Why Tell a Lie.
" What do you say, Johnnie? -I'll do my best, Sir.
-Good.
Now listen to this and give me a yell when something hits you.
Paul Powers, Bill Baker, Johnny Harvard Russ Rogers.
MRS.
STONE: Johnny Harvard.
NORRIS: Yeah, well does something sound phony to you Johnnie? If it does, say so.
-It might a-- a little.
-I'd buy it.
[MUSIC PLAYING.]
-Mrs.
Stone, Mr.
Norris, I'd like to ask, I mean, what's wrong with my own name? -Pulaski? Well, it's-- it's got no sound appeal.
It's-- what do you mean, what's wrong with Pulaski? It's obvious.
-But it's-- It's a good name.
It's my name.
It's been in the family for over 200 years I guess.
I think it'd break my father's heart if I had to change it.
-I have anything against your name personally, Johnnie.
I'm just thinking of your career.
-So am I.
You think I'll make a better impression singing rhythm songs with my hands in my pockets, I'll try to go along with that.
I'll even shave my head to the bone if that's what you want.
But I'd like to keep my name, Sir.
It's important to me.
-Look you pick a name, Johnnie, and we'll talk about it.
-I can't do that, Sir.
I've got a name.
There's nothing wrong with Pulaski.
My great grandfather was a Pulaski.
He was the finest cabinet maker in all of Warsaw.
My great uncle was a professor at-- at the University.
My-- my own father is one-- -OK, son, relax.
We'll talk about it.
-I won't change me mind, Sir.
Not about this.
-You're making a big mistake, Johnnie.
-You certainly are.
Mrs.
Stone, tell the girl in the audition room I'll be right in.
Tell her I'm sorry I made her wait.
Think it over, Johnnie.
Think it over for a day or so.
[MUSIC PLAYING.]
RADIO ANNOUNCER: Now stepping into the new Paul Brock spotlight, a new voice, a new personality.
For the first time on this or any other network, little Joanie Harvard.
-Don't you think it would help to talk about it, Johnnie? -I guess there's nothing to talk about.
I guess I just didn't have it or the name wouldn't have meant anything.
-He thought you were good enough to bring you to New York for an audition.
-OK, fine.
But he didn't think I was good enough to make it as Johnny Harvard.
-Does that make them right, Johnnie? Look, you said it was all said.
All you had to do was pick a name.
Well, if he thought you with that good, they still must think you have talent, no matter what you call yourself.
-OK, then why did they let me go? -Maybe they're waiting for you to change your mind.
-Johnnie, they just delivered it.
It's from New York.
-Don't be foolish.
Come back.
We'll talk.
Norris.
-What does it mean? -It means he thinks Johnnie's good.
-But he's still trying to make me change my name.
-That's not the point.
He thinks you're good.
He wants you.
Don't you understand that? -Maybe it's better, John.
Maybe it's better you should change the name.
-No, Pop.
-It's nice to have the of the-- -No, Pop.
Katherine's right.
He wants me back.
But if he wants me back then so will somebody else.
My name won't make any difference.
-So you go back to New York, and whatever you do, I'll be proud of you.
-I'll go back.
And this time, I'll stick it out, but only as Johnnie Pulaski.
This is all your fault.
You made me what I am.
And I like my name.
-You're going to be a great singer, a famous artist, everybody will know the name of Johnnie Pulaski, my son.
If you'll excuse me if I go to bed now.
-We'll exuse you, Papa.
-Good night, Papa.
[MUSIC PLAYING.]
-Well, I hope you enjoyed Johnnie Ray, Nancy Gates, and all these other fine people in "Big Shot.
" Next Sunday the General Electric theater will star George Montgomery in his first dramatic TV appearance in, "The Return of Gentleman Jim.
" It's a romantic story of Gentleman Jim Corbett and his greatest prize fight.
And with George will appear a very special guest star, Joe Louis.
Until next Sunday then at this very same time, good night for General Electric.
NARRATOR: In the home, on the farm, in the factory, on land, on sea, in there air, at General Electric, progress is our most important product.
[MUSIC PLAYING.]
-(SINGING) Last night I dreamed I walked along the paths of paradise.
And only God could tell you what I've seen.