Instead of carrying money in your pocket, you'll carry meat around.
A sirloin steak will be worth a thousand dollar bill.
When you go down to the bank to make a deposit, instead of giving the cashier a thousand dollar bill, you'll slip him a sirloin steak.
If you ask him for change, he'll give you a hunk of bologny.
The first line blends this point with the preceding one about the high cost of eggs. The second line awakens interest and prepares for the next, "Instead of carrying money in your pocket, you'll carry meat around," which is good for a grin. The next line states the premise necessary for the first point-ending "—you'll slip him a sirloin steak," which is always good for a laugh. Then the last line, "If you ask him for change, he'll give you a hunk of bologny," tops the preceding laugh.
From this example you see what is meant by monologic laughs coming in threes and nines. The introduction of each new story—the line after the blend-line—should awaken a grin, its development cause a chuckle, and the point-line itself raise a laugh.
Each new point should top the preceding point until with the end of that particular angle or situation, should come a roar of honest laughter. Then back to the grin, the chuckle, and on to the laugh again, building up to the next big roar.
With the end of the monologue should come complete satisfaction in one great burst of laughter. This, of course, is the ideal.
3. How and Where to End
A monologue should run anywhere from ten to fifteen minutes. The monologist can vary his playing time at will by leaving out points and gags here and there, as necessity demands, so the writer should supply at least a full fifteen minutes of material in his manuscript.