Employees' Entrance (Warner Bros.) (1933)

Increase Coverage by Radio! RADIO DRAMATIZATION OFFERS STRONG PLUG (0 MIN. FEATURE FOR YOUR LOCAL STATION If you are already taking time on the air to advertise your shows the following prepared sketch should prove splendid advertising material. The continuity from “Employees’ Entrance” is self-explanatory, and its novelty as a genuine radio fan-interest-feature will be realized at once by a live wire broadcast studio. Members of some local amateur dramatic society will be glad to put it on in turn for the favorable publicity involved. In case this is not possible, members of your own staff, or of the studio ‘staff, may present it. The playlet can be employed by the station as a sustaining unit, during unsold periods. Make sure, however, that the time set for its presentation does not interfere with your own shows. Four characters: Minister. Kurt Anderson, Madeline, Martin, a RADIO DRAMATIZATION TATION Routine Announcement — followed by — ANNOUNCER: For the next few minutes we shall present brief dramatizations of scenes from the thrilling First National motion picture, ‘“Employees’ Entrance,” which will open at the Theatre (the town) on next. Warren William and Loretta Young are starred in this exciting medern dramatic romance, and the featured players include Wallace ' Ford, Alice White and Allen Jenkins. Mr. (name of theatre manager or his representative) will now give you a short summary of the events leading up to the scene in the great department store, managed by Warren William, as Kurt Anderson—an inhuman efficiency machir~" ST RE RATOR: Thank you (name| ouncer). So that we may vhat it’s all about, may I .. you briefly the incidents which lead up to the opening scene of the dramalogue which you are to hear in a moment. Kurt Anderson, manager of a big town department store has made it a tremendous success by the ruthlessness of his methods. He takes an interest in young Martin West and advises him to avoid marriage in order to be a success. Martin, however, is in love with Madeline, a beautiful girl Anderson _ has placed in the store after having taken advantage of her. Madeline dislikes Anderson, and fears to have Martin fall under his influence. Anderson decides to make Martin West his chief assistant . .. after having a general shakeup in the establishment ... and _ discharging many employees. Kurt Anderson is speaking: KURT: Come in, West. I sent for you because I have a proposition to put up to you. Sit down... I’m going to talk about the business of this store, in case you dont get me. When I first came to work here I was a kid like you... twenty years old in the shipping department. One of a thousand. I’ve been through many departments then. I’ve seen thousands of em-ployees come and go... and I’ve come to one conclusion; There’s no room for sympathy or softness. My code is, smash or be smashed. I took this store when it was a pile of junk . . and I eonverted it into assets... ASSETS... WEST: Yes sir... KURT: This store has got to go on climbing. There’s only one man that can keep it at top speed. ME. I’m in supreme command. We employ twelve thousand people and we are @ great institution ... and we since Page Twenty made a hundred million last year . all of which means nothing unless we can make more this year. You know, Martin West ...I think I could make something out of you. Whor-> Wel.) To, KURT: I’ve been watching you for some time. You’ve got ideas. You’re young and I like the way you’ve been working. I’ve fired Higgins. Do you think you could fill his job? WEST: Me? Your assistant? KURT: Well, I don’t see why not. This has been pretty much of a one man job that I’ve been doing here. I like you a lot, young fellow. I think I could train you. Harden vou up to th. point where you could o into my shoes, some day. Would | WEE Wika +t? ” WEST: Gee, Mr. Anderson. II-I-don’t know what to say. KURT: Well, don’t say anything. I want you to move up into that office next to mine where I can have you with me. I’ll want you for twenty-four hours of the day; you like to work, don’t you? WEST: Yes, sir. KURT: U’mm, so do I. It’s the only thing in the world worth anything. You’ll find that out. You're not married, are you? WEST: No, no, I’m not. KURT: U’mm, well, that’s fine. This is no job for a married man. Where would I be with a wife hanging around my neck. WEST: Don’t you like women? KURT: Sure, I like ’em, in their places. But there’s no time for wives in this job. Love ’em and leave ’em. Get me? WEST: Yes, I think I do. KURT: All right, Martin, you move in tomorrow and I’ll show you what it means to be a success. WEST: Oh, thank you, Mr. Anderson .. KURT: I was raised on a farm, Martin . .. a poor little farm in Ohio. I nearly fell for a girl there, but I was too poor to marry her. If I had, I’d have been there yet. I might have had a son about like you, brought into the world to struggle with poverty like I did. But I ran away from it and smashed my way through to where I am now . and... ITve got you for a son just the same. Get the idea? WEST: Yes, I get it. KURT: All right. Now get out of here ... and come back at six. (Music and Narrator’s eontinua tion of the story). NARRATOR: Martin so busy evenings that Madeline becomes peevish. They had meant to be married ... but the time seems farther away than ever. As the two take one of their rare strolls in the park, Madeline speaking: Anderson’ keeps is .. MADELINE: with you, Say, what’s the matter Martin. You haven’t told me you’re delirious with joy, or anything. Something wrong? WEST: thing’s great. No, no, Madeline. Every MADELINE: There is, too, something the matter. What is it? WEST: Say, listen, young lady, do you realize who you’re talking to? MADELINE:.. who? Good gracious, WEST: Kurt Anderson’s new assistant. MADELINE: Oh, Martin, no. WEST: No kidding. MADELINE: Well, I-I think that’s marvelous. WEST: It’s a big job. It means twenty-four hours a day. You see, Anderson wants me with him all the time and — MADELINE: YesI see.. you won’t have any time for me. WEST: Honey, it-it isn’t that. It---it just wouldn’t be fair to you to get married right now. MADELINE: You’re closer and closer to that man all the time, Oh, Martin, don’t get like him. JI couldn’t stand that. You mustn’t let him dominate your life, too. . and getting MADELINE: Well, I mean he’s brutal. He’ll take everything you've got and then throw you out. Everybody hates him and now he’s taking you away from me... WEST: He’s not taking me away. MADELINE: Oh, yes, he is. I thought we were going to be married tonight. WEST: Well, we don’t have to be married tonight, do we? Oh, listen, sweet. I’m crazy about you. Just let me get set in my job. Listen, honey, you don’t know that guy like I do. He’s been swell to me. Tonight, he opened up a little. He’s running that store alone. All alone. He wants me to help him. I can’t let him down now — besides, we need the dough, don’t we? MADELINE: Oh, look ... look over there at the church .. look... WEST: Hey, don’t tell me it’s a wedding. MADELINE: Oh, no, that couldn’t be. Anderson didn’t order it. WEST: Look, there’s the bride and groom. MADELINE: she look pretty? WEST: Kinda. Oh, gee, doesn’t MADELINE: Oh, they look so happy. WEST: Why shouldn’t they? They’ve just been married. MADELINE: Yes... WEST: Honey, how’s your heart? Ig it all right? MADELINE: No, it’s just jumping right out of my mouth. WEST: Well, come on. MADELINE: What do you mean? WEST: Come on—we’re going to do it. Come on. There’s the minister at the door... MADELINE: Oh, but Martin— WEST: Come on... across the street ... MADELINE: WEST: Pardon me, _ reverend. Could I...er...or would... ask .. you a favor? MINISTER: Are you newspaper reporters? WEST: No, we want to get married. MINISTER: Married? it’s only I know... but— WEST: Yes, you know, like you did to those two that just ran out of here... MINISTER: But, my dear young man, there are certain formalities. . . WEST: Oh, we don’t want any formalities. We've got the license and everything seems all ready here. I mean all the decorations .. and VOUS. f MADELINE: Oh, please MINISTER: Well, it’s rather unusual, but I’l] do it since you wish me to. MADELINE: Oh, thank you. MINISTER: . If you’ll just stand here. Oh, Swanson and Evans. I want you to witness this marriage. Oh, have you the ring? WEST: Did you get the ring, Madeline? MADELINE: No, I told you to get it. WEST: You got the license. Why didn’t you get the ring... MADELINE: Use yours. WEST: Oh. MINISTER: Oh, that’s quite all lright . . . Dearly beloved . . .' we (Fades into music and Narrator continues) NARRATOR: Martin and Madeline keep their marriage secret. At an employees’ ball, they quarrel and part in anger. In this mood Madeline meets Anderson who gets her tipsy and sends her to the hotel room he has engaged. Next day, at the store, Martin begs Madeline’s pardon for his quarreling and drinking... and she does not reveal her affair. Anderson later calls Madeline to his private office. He is speaking: KURT: I asked you to come up at closing time, didn’t I? MADELINE: This is closing time, so far as I’m concerned. KURT: I was going to ask you to come out with me tonight. A nice little‘dinner in my apartment. What do you say? What is it — conscience? MADELINE: Why do you want me? I haven’t any feeling for you. I don’t even hate you. I wish I could. It’s just no feeling at all. Like something you pick up on the streets. That’s what I feel like. Why don’t you leave me alone? KURT: Because you’re an attractive woman, one of the most attractive I’ve ever seen. There is something in us right now that pulls us together. We haven’t anything to say about it. If I just lay my hand on you now... MADELINE: Don’t touch me... KURT: You may not come to me tonight, or tomorrow night, but you'll come. You can’t help it. MADELINE: No, I won't. KURT: Yes, you will. Furthermore I’ve had a look at your sales record. It’s pretty good, good enough to make an assistant buyer of you at a bigger salary. If you'll just keep your head and work with me. MADELINE: Don’t you understand, that’s not what I want? KURT: What do you want me to do, marry you? Bunk. When you dames get your claws on a man you don’t let him go till you’ve dragged him to some altar and ruined his life. soft place to park for the rest of your life. MADELINE: The only thing I’ve ever asked you to do is to leave That’s all I want, and as for marrying you, you're safe there, too. I am married and I love my husband. What I do with my life doesn’t matter. But I won’t make a mess out of Martin’s... All youw’re looking for is a me alone. KURT: Martin? You mean Martin West? MADELINE: Yes. Now you know. KURT: You’re a nice girl, MadI’ve nothing against you personally ... How much is that marriage license worth to you? MADELINE: What do you mean? Are you offering me money? KURT: Yes, to let Martin go. MADELINE: Listen, when Martin goes, he goes with me. I’m leaving this store today and I want my husband to get away from here, eline. jtoo, before he finds out what has happened. KURT: You women think an affair with you is the most important thing in the world, don’t you. A man’s work and his success is. MADELINE: That’s not true. We’re the most Please discharge I don’t want It’s I, it’s Martin. important things. him, do you hear? ee — pe Ya) KURT: Come Ones: s .. . how much? (Musie and Narrator continues) NARRATOR: Threatening to take her own life, Madeline rushes from Anderson’s office. Martin finds her in an adjoining room, unconscious. The excited salesgirls tell him she hag taken poison. She is carried to the first aid and Martin... with grief and anger . . . goes to Anderson’s office, taking with him the bottle she has partly emptied. Martin is speaking: come on crazed WEST:~Do you see this? Do you see it, Anderson? Madeline took it. They’re taking her to the hospital. Do you know what I’m going to do? I’m going to pour this down your throat! KURT: Here. You might have a little trouble pouring that stuff down my throat. So try this good little gun. Go ahead. Use it. WEST: You think I won't... KURT: Well? WEST: Won’t I? You'll see. KURT: All right. Go ahead and don’t miss. (Pause) I told you you were yellow. (Music, and Narrator concludes). What happens to Kurt Anderson? . Did West lose his nerve? What happens to Madeline and her young husband, Martin? What happens to the thousands who go in and out of the “Employees’ Entrance” of the Big Store — depending on it for bread and butter? These questions will be answered to your satisfaction next BUSPNG we ee Theatre when First National’s latest smash “Employees’ Entrance” starts its local run. Till then, ladies and gentlemen, good evening... . (THE END)