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Authors: Jessica Fletcher
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that?” I asked.
“I don’t know,” Grady said, downing the last of his Fletcherita, “but I’ll look into it tomorrow. Are you ladies ready to go to dinner?”
Grady had made a show of seeming unconcerned, but there was something in his expression that told me the news was worrisome to him.
“I’m ready,” Donna said, putting down her drink. “Where’s Frank?”
“The boys are upstairs,” Grady said. “Mary invited Frank to stay for dinner, and I said all right. Hope you don’t mind.”
“As long as Aunt Jessica is okay with it.” She cocked her head at me.
“He was so excited to have dinner there, I didn’t want to spoil his fun. I’ll be back next week and we can spend a little time together then. Grady’s going to bring him to the set.”
“I know. Frank’s been telling everyone,” she said. “He can’t wait.”
“I hope he won’t be bored,” I said.
“I don’t care if he is,” said Grady. “I like the idea that he’ll get to see how a commercial is made.”
“Why is that important?” I asked.
Grady looked at Donna. It was clear that they had discussed this before.
“Kids are bombarded with ads and commercials,” Donna said, “not only on television, but on every computer site they visit. Even outside. Wherever we go, there are ads—in the stores, on talking billboards at the subway station. The buses are covered in ads, inside and out.”
“As adults, we can tune them out,” Grady put in, “but kids are attracted to them. They can’t always make the distinction between what’s the truth and what’s simply a sales pitch. Sometimes I can’t either.”
“So you’re hoping that if Frank sees how commercials are made, he won’t find them so intriguing,” I said.
“Or at least he’ll understand that the purpose of a spot is not just to entertain him,” Grady said, “but to try to sell him something.”
“Well, I’m glad I’m not doing an ad for a product that appeals to children,” I said.
“We are, too.”
Chapter Six
MINDBENDERS NEW YORK SHOOTING SCRIPT—“JESSICA FLETCHER KNOWS PERMEZZO”
PRODUCTION COMPANY: EYE SCREEN; ADAM AKMANIAN, DIRECTOR
SLATE: © PERMEZZO
Low lighting—an eerie feeling—CU of Fletcher in library setting—copies of her books on shelf behind her.
FLETCHER:
Hello . . . I’m Jessica Fletcher. . . . It’s no
mystery why I always carry my Permezzo
card when I travel to do research for my
novels. . . .
Wider shot—Fletcher in front of green screen—foreign locales play behind her.
My work takes me across the country and around the world. . . . But whether it’s familiar places or exotic lands . . . I know that with my Permezzo card I’ll be welcomed wherever I go, and under any circumstances. . . . ( Chuckle from Fletcher .) And believe me, I’ve found myself in some pretty unusual and challenging circumstances.
Medium shot of Fletcher back in library.
Permezzo’s no-limit charging and expert concierge service is the best in the business, always ready to help me land a reservation at a popular restaurant . . . change my flight at the last minute . . . or find a special gift for a favorite person. . . . Well, I’d better get back to work.
She turns to her computer keyboard—looks back at camera over her shoulder.
I carry only one card when I travel . . . and that’s Permezzo.
Fade on Fletcher working at keyboard.
VO:
Jessica Fletcher knows Permezzo. You should,
too.
“I don’t like that line about Permezzo being the ‘best in the business,’ ” I said.
“Why not?”
“Well, I don’t really know if that’s the case. Is it the best? I don’t want to say anything that’s not truthful.”
Robin Stockdale, a drama teacher at the high school and a frequent director for Cabot Cove’s regional theater group, had agreed to go over my lines with me so I would be able to return to New York prepared for the filming. For the last half hour, we’d been sitting at my kitchen table in Cabot
“I don’t know,” Grady said, downing the last of his Fletcherita, “but I’ll look into it tomorrow. Are you ladies ready to go to dinner?”
Grady had made a show of seeming unconcerned, but there was something in his expression that told me the news was worrisome to him.
“I’m ready,” Donna said, putting down her drink. “Where’s Frank?”
“The boys are upstairs,” Grady said. “Mary invited Frank to stay for dinner, and I said all right. Hope you don’t mind.”
“As long as Aunt Jessica is okay with it.” She cocked her head at me.
“He was so excited to have dinner there, I didn’t want to spoil his fun. I’ll be back next week and we can spend a little time together then. Grady’s going to bring him to the set.”
“I know. Frank’s been telling everyone,” she said. “He can’t wait.”
“I hope he won’t be bored,” I said.
“I don’t care if he is,” said Grady. “I like the idea that he’ll get to see how a commercial is made.”
“Why is that important?” I asked.
Grady looked at Donna. It was clear that they had discussed this before.
“Kids are bombarded with ads and commercials,” Donna said, “not only on television, but on every computer site they visit. Even outside. Wherever we go, there are ads—in the stores, on talking billboards at the subway station. The buses are covered in ads, inside and out.”
“As adults, we can tune them out,” Grady put in, “but kids are attracted to them. They can’t always make the distinction between what’s the truth and what’s simply a sales pitch. Sometimes I can’t either.”
“So you’re hoping that if Frank sees how commercials are made, he won’t find them so intriguing,” I said.
“Or at least he’ll understand that the purpose of a spot is not just to entertain him,” Grady said, “but to try to sell him something.”
“Well, I’m glad I’m not doing an ad for a product that appeals to children,” I said.
“We are, too.”
Chapter Six
MINDBENDERS NEW YORK SHOOTING SCRIPT—“JESSICA FLETCHER KNOWS PERMEZZO”
PRODUCTION COMPANY: EYE SCREEN; ADAM AKMANIAN, DIRECTOR
SLATE: © PERMEZZO
Low lighting—an eerie feeling—CU of Fletcher in library setting—copies of her books on shelf behind her.
FLETCHER:
Hello . . . I’m Jessica Fletcher. . . . It’s no
mystery why I always carry my Permezzo
card when I travel to do research for my
novels. . . .
Wider shot—Fletcher in front of green screen—foreign locales play behind her.
My work takes me across the country and around the world. . . . But whether it’s familiar places or exotic lands . . . I know that with my Permezzo card I’ll be welcomed wherever I go, and under any circumstances. . . . ( Chuckle from Fletcher .) And believe me, I’ve found myself in some pretty unusual and challenging circumstances.
Medium shot of Fletcher back in library.
Permezzo’s no-limit charging and expert concierge service is the best in the business, always ready to help me land a reservation at a popular restaurant . . . change my flight at the last minute . . . or find a special gift for a favorite person. . . . Well, I’d better get back to work.
She turns to her computer keyboard—looks back at camera over her shoulder.
I carry only one card when I travel . . . and that’s Permezzo.
Fade on Fletcher working at keyboard.
VO:
Jessica Fletcher knows Permezzo. You should,
too.
“I don’t like that line about Permezzo being the ‘best in the business,’ ” I said.
“Why not?”
“Well, I don’t really know if that’s the case. Is it the best? I don’t want to say anything that’s not truthful.”
Robin Stockdale, a drama teacher at the high school and a frequent director for Cabot Cove’s regional theater group, had agreed to go over my lines with me so I would be able to return to New York prepared for the filming. For the last half hour, we’d been sitting at my kitchen table in Cabot
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