Dark Hazard (Warner Bros.) (1934)

The popularity of short radio sketches has increased ten-fold. Radio stations have found this kind of ready-to-use material of great interest to listeners-in. This sketch prepared from the original dialogue used in “Dark Hazard,” plays up the highlights of the Special Radio Sketch RADIO SKETCH PROVIDES INTERESTING 10 MINUTE BROADCAST THREE CHARACTERS JIM TURNER: Gambler and final owner of the greyhound, Dark Hazard. MARGE: His deserting wife who fails to cure him of gaming. VAL: Blonde who tries to alienate Jim from his wife. Regular Station Announcement followed by ANNOUNCER: We are pleased to offer for your entertainment flashes of the dialogue of ‘‘Dark Hazard,’’ Warner Bros.-First National picture starring Edward G. Robinson and featuring Genevieve Tobin, Glenda Farrell, Robert Barrat, Gordon Westcott and a score of other screen favorites. Mr. (name of theatre manager or his representative) will give you a brief summary of events leading up to the opening of this sketch. NARRATOR: Thank. you (name of announcer.) In the picture ‘‘ Dark Hazard,’’ Edward G, Robinson plays the part of Jim Turner—a born gambler—who has already made and lost many fortunes when he: reaches th village where he takes room and board in the home of Marge Wilson, whom he finally marries... He: takes a job as hotel clerk, but soon is. back at his old habit of gambling—making money hand over fist. He hears of the dog-racing game, and gets Marge’s reluctant consent to go West with him, promising her that he is going to a legitimate job. We hear him now after bidding her good night, on his way to the race tracks which are glaring under flood lights... Liveried grooms are leading the champion dogs around the tracks, in the wake of a brass band which follows a giant drum major, twirling his stick. Crowds are filling the stadium. Yonder is the mechanical rabbit, which will be set whizzing around the ring, when the starter drops his flag and the gong sounds—and the greyhounds are set free. Jim Turner is anxious to see ‘‘Dark Hazard,’’ the dog that everybody’s talking about. He has scarcely seated himself when a flashily dressed blonde enters his box. She is surprised to see Jim... listen— VAL: Well, I’ll be a son of a gun, if it ain’t Jim Turner—the horses’ friend— JIM: Why, hello, Val. VAL: Where you been keepin’ yourself, Jimmie, old dear. Come on. Give mama a big hug. JIM: Here, here, break away. I’m a married man! VAL: (incredulously) Don’t tell me you’ve turned decent on me! JIM: Yeah, sure. VAL: Not legally? JIM: Handeuffs an’ everything. VAL: Another good man off the straight and narrow. Boy, what times we used to have! JIM: Sure did. VAL: Yes sir, boy, I remember the time when if they spotted you comin’ into Bailey’s at Palm Beach, they closed the faro game for the night. An’ Jim, willya ever forget the day you played strip poker with Mrs. Whitney Revier in the stables at Latonia, and she finally had to give you her horse? JIM: Yeah, and that dumb doorman at the St. Nicholas wouldn’t let me bring it into the lobby! VAL: Yeah, them sure was the days. game? How’d ya ever get into this JIM: I ain’t whatya call in it, yet. Never seen whippets run before— VAL: Don’t let nobody hearya call ’em whippets—greyhounds— JIM: Greyhounds, then— VAL: See Dark Hazard yet—? JIM: Yeah, ain’t much to look UU. oarelte VAL: No. but maybe he can’t beat the rest of them tramps in his sleep! Wow! JIM: Well, it’s just cost me forty bucks to find out that dogs are just like horses. It ain’t how they look, it’s how they run— VAL: Now yow’re talkin’, bozo. Why, that fool dog can run the three-sixteenths in eighteen and a fifth! Wait tillya see that baby step— JIM: Yeah? VAL: Say, kid, you better come along up to my apartment after the show. Have a coupla drinks for old time sake and— JIM: No, I can’t Val. Honest I can’t. I gotta go home to Marge— VAL: You sure are one changed man. More ups and downs than a roller-coaster—Well, no tellin’—You know me—Jim— (Clang of bell—murmurs of crowds — shouts — yelping of dogs blending with music of jazz band—) They’re off— JIM: Dark Hazard’s third! VAL: Watch him—boy — watch him—! (Cheering and music louder— fades as narrator continues) NARRATOR: Spurred on by Valerie, and by his own inclinations, Jim Turner gets deeper and deeper in the dog racing game. His latest yen is to possess Dark Hazard, which will mean the expenditure of almost $5,000.00. Marge, guesses how things are going, Val is determined to meet Jim’s wife. Jim is at home now, uncomfortably conscious that Val is liable to drop in any moment, to take him to the tracks. He is apologetic. JIM: Hello, Marge. Gee, I’m sorry about being late. Give me a kiss. MARGE: (faintly displeased) It’s seven-thirty and the dinner’s all cold. What took you so long this time. JIM: Say, honey, you oughta know that that job ain’t just settin’ down and watchin’ a lot of dogs. I had to write a letter to— MARGE: Oh, yes, I forget. Of course. (pleasantly) Have you balanced your check book lately? JIM: I’m glad you reminded me of that—Say, Marge—if you think the dinner’s spoiled, I got an idea— MARGE: (as if not hearing) Did you pay the rent this month? | JIM: Sure, why? MARGE: You did? this check stamped Funds’? JIM: Lemme see it! Gee, looks like there’s some mistake somewhere, Marge. There oughta be enough dough in there! MARGE: With your experience as a cashier you ought to know. JIM: All right, Marge! Go ahead and rib me. I got it comin’ to me. Nobody knows better ’n’ you that I can’t keep my own checking account straight. I never had one before. I always paid in cash, the check stubs get me all mixed up. MARGE: Oh, while we’re on the subject — I found these option tickets in your grey coat, Jim, while I was pressing it— JIM: (guiltily) Sure, kid, I make a little bet now and then. MARGE: Oh, I see, so that’s where your money’s been going. JIM: Aw, Marge. MARGE: T stay here at home all day and every night, and scrimp and save so that we can get a little ahead—and you throw it all away betting on those dogs— JIM: Come on, kid. Snap out of it. It ain’t that bad. Sure, I been makin’ a coupla bets, but I won’t do it no more—What’s the matter, honey, you was never like this before— MARGE: (quietly) I’m sorry, Jim. T’m tired and nervous. (pause) I guess it’s because I’m going to have a baby— JIM: Gee, Marge, why didn’t ya tell me! Say, honey, everything’d have been different if you’d let me know.—An’ listen, everything IS gonna be different from now on. ’m Then why is ‘Insufficient gonna get my pay check tonight and | we’re gonna put it in the bank so there’ll be plenty there for that little feller when he comes! Look, kid, you get on your hat an’ we’ll go out an’ celebrate— MARGE: But you’ve got to be at the track— JIM: I’m gonna pass up them dogs tonight—(auto horn honks) MARGE: Who ean that be? JIM: (embarrassed) Say, Marge, —I forgot to tell you—I was with Billy Fallon and Val Wilson—and they said something about comin’ over to the house to take us out to dinner. I guess I better go out an’ see— MARGE: (miffed) Oh, you forgot to tell me? (doorbell rings sharply) JIM: There she is now— (door opening) VAL: (loud and roughneck manner, heard off) Say, boy, why didn’t ya turn on your porch light? I’m all tangled up in the ivy! JIM: (off) Come on in and meet the Missus! VAL: It’s a pleasure. the Missus? Where is JIM: Look, honey, may I have the honor to introduce you to— VAL: Why all the formality, Jim? Vm Val Wilson, Mrs. Turner —one of your husband’s old friends. MARGE: (icily) How do you do. VAL: (significantly) Well, after seein’ the Missus, Jim, I understand why you stick close to home. JIM: (all up) Much obliged. MARGE: Won’t you sit down! fussed Vm always glad to meet Jim’s triends. VAL: A very old friend, honey. JIM: (helplessly) Well, looks like we oughta be havin’ some rain. VAL: Billy’s out there in the car—just a bit plastered, but okay. Come on, he wants us all to go out an’ eat. Jim: Well see, we ain’t goin’ out —Marge has got the dinner all ready— VAL: Oh, how grand! We’ll all eat here then. I'll call Billy! JIM: Well, I—I—kinda forgot to tell Marge we were havin’ comp’ny. VAL: You forgot? MARGE: (freezingly) Jim and I had other matters to discuss— slightly more important— VAL: I think I’m beginning to get it! Bye bye, my train’s just pullin’ out, if you know what I mean. JIM: Marge don’t mean nothin’, Val.—She’s just got a lot of things on her mind, see— VAL: Okay, Jim—you don’t have to knock me down with a sledge hammer. So long, big boy—see you in—(pause) church! (door bangs.) JIM: Gee, Marge! Wait a minuie. Where you goin’— MARGE: (quiet anger) So that’s why you were late. Why didn’t you stay with those tramps—you needn’t have bothered to come _ home! (Sharp mocking honks of auto horn, growing fainter) JIM: Listen, Marge—I— MARGE: And you _ actually thought I’d go out to dinner with those people. That cheap, painted creature with the manners of a stable hand. JIM: Say, Marge, Val ain’t so bad when you get to know her. MARGE: You ought to know, but I’m afraid T’ll never have the advantage of such intimacy— JIM: What’s Marge—? MARGE: I’ve tried to hide from the facts—to run away from them —but now I see that you’ll never be anything more than you are now —nothing but a cheap gambler—a hanger-on at race tracks. JIM: Oh, but I won’t Marge— honest, I— MARGE: It’s too bad I eouldn’t have seen it before—and now that it’s too late—now that I’m going to bring my child into a life like this —it frightens me— come overya JIM: I don’t see there’s anything much happened to get ya so upset. MARGE: No—you wouldn’t understand—I’m wondering what it’s all going to lead to— JIM: But ain’t we settin’ pretty now, Marge? MARGE: (laughing hysterically) Yes, I suppose you’ve got all you want—three meals a day and the kind of people you like to hang around with. Why didn’t you go along with them if you like them so well? Don’t mind leaving me. It won’t be anything new to me. IT set here at home all day, anyway. JIM: I asked you a _ thousand times to come to the race track with me, haven’t I? MARGE: (violently) The track! The track! Won’t you ever talk of anything else? (a bit more calmly) I suppose you’ve done the best you picture, and serves as a direct plug for your showing and creates a desire for listeners-in to see the picture. Plant this sketch with your local radio station. The parts may be played by the station dramatic personnel or by members of a local acting club. could.—Those are the only people you know—and those are the only people I’ll ever get to know so long as I’m with you—(off) So what is left for me to do? JIM: (calling) Marge—let me tell you what I— MARGE: Leave me alone—no no —don’t touch me! (door slams) JIM: Let me in, Marge—please— You know I love you, Marge. I wouldn’t do anything to hurt you. MARGE: (voice sounds muffled beyond door) Go away. I don’t want to see you again— JIM: Please— MARGE: Go along to _ your friends. I’ll not be here when you get back! I’m going back to mother— (Music—blues) NARRATOR: Turner desperate at Marge’s desertion goes to Val for comfort. The two are together in a gambling place. The croupier looks pale with fatigue, but Valerie, brighteyed, leans against the table watching the wheel. Jim’s collar is wilted, his hair matted, -his face streaked— but he is wild with excitement. He has had the luck to break the bank, Valerie is delirious with joy— VAL: You’ve cleaned ’em out, big boy! I tsld ya your luck was in, didn’t I? JIM: Pay brother, pay. That’s right—100 — 200 — 300 — Come on, where’s the rest? VAL: Talk about JACK! JIM: That 33 was a hunch—TI just happened to remember one time in Chicago—Say what time’ is it? VAL: About six A.M.— JIM: (off) Well, so long, baby—I gotta beat it— VAL: Hey, what about me? JIM: (brusquely) Come on then, I gotta hurry— ‘ VAL: How much you win, Jim? JIM: A little over twenty thousand— VAL: Hold me up, I’m falling—! JIM: You know what, Val. I’m goin’ to buy that black dog now! VAL: Yeah? Dark Hazard’s all right—but who was it shoved you up to that roulette table? JIM: That’s right. I ought to give you a split on this dough— VAL: Don’t be silly. I played on your money all night—tucked away over a grand just in case you might need it— JIM: You keep it— VAL: You think not! (softly) This is the most fun IT’ve had in years—Come on with me, honey— we’ ll— g JIM: I gotta go find her—Val— VAL: What for? JIM: I been thinkin’ it over and I’m erazy about her— VAL: (furious) Crazy about her —you poor slug!—Go on then! Go! Good riddance!* Give her my love willya? Get. goin’! (Musie—jazz) NARRATOR: But the fates have a lot of other big adventures in store for Jim. Turner—for Marge and her family—for Valerie and for Dark Hazard himself. You’ll find this latest Robinson starring vehicle one of the grandest of his career. Until next at the Theatre, good night! Page Twenty-three