Gold Diggers of 1933 (Warner Bros.) (1933)

SPECIAL RADIO ‘BROADCAST Use Brunswick Records of “Gold Diggers” Song Hits to Fill Music References in Dialogue of This 10 Minute Sketch. RADIO DRAMA, MUSIC AND SONGS FROM “GOLD DIGGERS OF 1933” Judging from the experience exhibitors playing “42nd Street’ had with the radio sketch from the picture, directors of local radio stations are going to fall all over themselves trying to land this 10 minute radio sketch from “Gold Diggers of 1933.”’ If you are using radio to advertise your show, this sketch will give you the finest sort of publicity. If you are not using the air, give this to your local station to use as a feature of their sustaining program. Either get orchestrations of the song hits in the picture, or use the records of “I’ve Got to Sing a Torch Song,” and “Remember My Forgotten Man,” which are referred to in this dramatization. Get members of your local dramatic society to play the parts in the sketch. If this cannot be done, members of your staff, or artists at the radio station can put it over. ; BARNEY HOPKINS: Enthusiastic but moneyless stage producer. BRAD ROBERTS: Young song-writer who offers to act as ‘angel.’ POLLY: Show girl Brad wishes to see as star Station Routine followed by— ANNOUNCER: Ladies and gentlemen, it is our pleasure to entertain you for the next few minutes with flashes of the exhilarating dialogue, action and music of “Gold Diggers of 1933” the Warner Bros. super musical sensation which comes TheagtTesiceccs csc. next. “Gold Diggers of 1933” may be called the Big Sister of “42nd Street” and its only rival. The cast includes Warren William, Joan Blondell as Carol, Ruby Keeler as Polly, Dick Powell as Brad, Aline MacMahon as Trixie, Guy Kibbee, Ginger Rogers as Fay, Ned Sparks as Barney and 200 of the most beautiful girls ever seen on the screen at the same time. Al Dubin and Harry Warren have supplied the five big song hits—and the direction is by Mervyn LeRoy. “Gold Diggers of 1933” presents the story of four show girls who hit back, when the depression hits them—and get more than they bargain for. Mr. (Name of the theatre manager or his representative) will give a brief summary of events leading up to the opening scene of the sketch: NARRATOR: Thank you, (Name of Announcer). The whirlwind action of “Gold Diggers of 1933” begins when Carol, Polly, Trixie and Fay—show girls who have been hit by the depression—hear that Barney Hopkins, a producer they all know, is about to put on a new musical show. All but Fay storm his office and Trixie starts the ball rolling: TRIXIE: Well, Barney, good old smiling, big-hearted Barney, I hear youre doing a show. BARNEY: Yes, I’m doing a show. TRIXIE: You’re more enthusiastic than usual. Does that mean it’s good? BARNEY: You said it, it’s good. Announcement, SIX CHARACTERS CAROL: Golddigger show girl who at first doubts Brad’s honesty. TRIXIE: Golddigger show girl who doesn’t believe in Santa Claus. FAY: Golddigger show girl. It’s the finest thing I ever heard. I’ve figured it from every angle and I don’t see how it can run less than six months or gross less than half a million, that’s figuring on thirty grand a week, and at the Broadhurst, we can do forty. We’ll do forty with this show! POLLY: Gosh! (In awed voice). BARNEY: Why, I remember you, girlie. POLLY: Do you? (Thrilled). BARNEY: Sure. Yow’re Polly. You were in the chorus. You’re coming out of the chorus some day. You’ve got stuff on the ball. POLLY: Oh, thank you, Mr. Hopkins! (More thrilled than ever). CAROL: (Contrasted voice) Can you use me, too, Mr. Hopkins? BARNEY: (In a big way) I’ll use all you girls I used before. (Murmur of delight from all the girls). Can I use you, Carol? Why, you'll be featured, girl! And you, Trixie—I’ll feature you as comic! Carol, I’ve got some ideas for songs for you, that’ll tear their hearts out. Something new—different! TRIXIE: What’s the show about? BARNEY: The show, Trixie, is about the depression. My idea is... (Piano heard, off, playing air of “Pve Got to Sing a Torch Song,” Pause, as music goes on). BARNEY: Who’s that playing? TRIXIE: Oh, a kid song-writer. Brad his name is. BARNEY: Just another palooka, huh? (Music sounds faintly throughout). Say, that’s not bad. I’ve never heard that number. What is it? POLLY: (With enthusiasm and pride) It’s his own. He composes music. TRIXIE: (Irritated) Shut the window and let’s get on with this. BARNEY: Listen ... (Music goes on faintly) Tell the fellow to come on over. POLLY: (Calling from window) Brad! Oh, Brad! BRAD: (Answering, off) What? POLLY: Come on over! Quick! BARNEY: D’ye know that tune has a great feel to it. That boy’s got something! TRIXIE: (Sourly) Yeah. tion! BARNEY: What’s he done? POLLY: He hasn’t had a chance to do anything, yet, but he’s a—he’s a genius! Really, Mr. Hopkins! BARNEY: We can use a little genius in the show business. (Knock at the door). POLLY: There he is. usher him in! TRIXIE: (To Barney, crossly) What’s the idea, taking up time with a genius when there are hard-working girls like us to worry about? POLLY: (Excitedly) This Brad Roberts, Mr. Hopkins! BARNEY: (Abruptly) Sit down and play. BRAD: Play what? BARNEY: That number you were just playing. BeAD: Oh, that!) Well... .. POLLY: Don’t be coaxed... CAROL: Go ahead. Brad. Don’t be afraid. You’re among friends! BARNEY: Out with it. BRAD: (Plays piano and sings chorus). “lve got to sing a torch song For that’s the way I feel When I feel a thing, then I can sing, It must be real— I couldn’t sing a gay song It wouldn’t be sincere { could never croon a happy tune, Without a tear— I have my dreams but one by one They vanish in the sky,— I try to smile and face the sun But romance passes by,—that’s why I’ve got to sing a torch song To someone far apart For the torch I bear is burning there Right in my heart.” BARNEY: (With enthusiasm) Swell—I like it. Got anything else? BRAD: Yes, a couple of things. BARNEY: Let’s hear them. (Brad has just struck a few notes of another tune when there is knock at the door). Wait till I see who the heck this Ambi (Off) PU is DS eye. « FAY: Hello, Mr. Hopkins! Charming to see you again! You remember me? Fay? BARNEY: (Grufily) Sit down, sit down. Go on, Brad. (Brad plays few more bars of air). No—I don’t like that. It’s dull. (Music stops). TRIXIE: What is this? A piano lesson? Or are we going to hear about this show? BARNEY: (Ignoring Trixie) Say, young fellow, you haven’t got something—with a sort of march effect —march rhythm to it? BRAD: (Eagerly) Yes, I have— yes — “Remember My Forgotten Man.” (Brad plays the air of “Forgotten Man” his words heard above the melody) I haven’t any words to this yet—I tell you, I just got the idea for it last night—watching the men on that bread line on Times Square —in the rain, standing waiting for doughnuts and coffee—men out of a job—the soup kitchen— BARNEY: (Excitédly) Stop — (Musie breaks) Go on—(Plays again) Wait! That’s just what this show’s about—the depression—men marching—marching in the rain (Brad picks up the tune and plays it softly as Barney speaks) marching—marching—doughnuts and erullers—jobs—jobs—marching— march. ing—marching in the rain—and in the background (Music halts) will be Carol—spirit of the depression— a blue song—No, not a blue song— but a wailing—and this woman— this gorgeous woman—singing this number that tears your heart out— the big parade—the big parade of tears—(Brad plays brilliantly, then —Barney yells excitedly) Yeah — . ee ae SE Ve |! yeah—that’s it! Work on it! Work on it! And you, too, girls—all of you—l’m going to use you! Do you hear! Use every darn one of you! FAY: (In piping voice) I’d like to do a specialty! BARNEY: (Impatiently) Sit down or you'll do a blackout! And listen, Brad—whatever your name is —Tll cancel my contract with Warren and Dubin! They’re out. You’re going to write the music for me! And lyrics! Can you write lyrics! POLLY: You bet he can. BARNEY: Well, get going, boy! Get going! Say, you over there. What’s your name? Norah? You got thin. Youw’re just skin and bones! POLLY: She’s had tough going. She’ll fatten up. BARNEY: Don’t you do it, Norah. Don’t fatten up. I’m going to take some of you skinny ones and use you-—-show them what this depression is—what a messy thing it is—make a great number—I got it all figured out. And looka here, Brad —I want your stuff, son. It’s good. I definitely want it! BRAD: Mr. Hopkins, have it—on one condition. BARNEY (Suspiciously) Yeah? BRAD: If Miss Parker—Polly— has a principal part in the show. She’s helped me a _ lot—and she’s really great! BARNEY: You telling me? I’m telling you. I’ll tell you something else. You’ve got a swell voice, too— and personality—you’re different— you’ve got class. I want you to sing in this show! BRAD; (Startled) No, not me, No you can music—but— BARNEY:' You and Polly would make a smart team—like the Astaires—you’d be a knockout for the mush interest. BRAD: (Seriously) No, that’s quite impossible. I won’t even discuss it. POLLY: But Brad, why not? BRAD: I can’t, honey. For a lot of reasons— TRIXIE: (Sourly) Hey, let me get on for a minute. Isn’t there any comedy in this show? BARNEY: Plenty, Trixie, old girl. The gay side, the hard-boiled side, the comical and funny side of the depression—I’ll make ’em laugh at you starving to death! Be the best thing you ever did, Trixie! TRIXIE: Yeah? Have you ever seen me ride a horse? CAROL: (Businesslike tone) When do rehearsals begin, Barney? BARNEY: (Ruefully) Rehearsals? They begin as soon as—as soon as I get the money! TRIXIE: Get. the money? ALL: (Shouting) WHAT! MONEY? : BARNEY: That’s always the way it is. I got the show, I got the music, I got the theatre, I got the cast —everybody raring to go—and it’s the old, old story—MONEY! CAROL: No money at all? BARNEY: Not even the old shoestring. CAROL: But, Barney—you said— you made us think— BARNEY: What did I make you think? I said I had a show—and a great show—and I have! FAY: (Indignantly) You said it was set. NO that’s impossible. You can have my_ BARNEY: It is set. Been set for six months. Every time I get an angel to put up the money, something happens ... Just today I had someone, just today he comes to me and says he and his wife who was suing him for a divoree—they’ve been reconciled and she don’t want him fooling around with the show business. And there I am... holding the bag— CAROL: You’ve got a lot of nerve, Barney. What about all these girls—they’ve thrown up their jobs —just because you said—you ought to be ashamed of yourself, Barney —Isn’t it tough enough without you making mugs out of us—we counted on this—everyone of us— BARNEY: Listen—listen, kids— ’'m not going to let you down. I got other irons in the fire. Don’t worry. Couple of men coming from out of town. Due here tomorrow — Texas—cattle ... TRIXIE: (Bitterly) Yeah, Texas —cattle—How can they sell cattle? Who eats meat any more? BARNEY: All 1 can say is... BRAD: (Casually) How much do you need? BARNEY: (Hopelessly) Say—fifty thousand dollars. CAROL: Stop kidding Barney. There isn’t fifty thousand dollars in the world. Not to put on a show, anyway. BARNEY: All right. Who needs fifty thousand? Forty ... twentyfive... If I chisel—and I know how to chisel—I could do it for fifteen. Yeah, it would be a cinch—fifteen =—BUT— BRAD: (Calmly) Tif advance you” fifteen. BARNEY: WHAT? TRIXIE: (Sneeringly) Say, what does he use? I’ll smoke it, too. Quit ‘king, kid, will you? It’s not smart to make gags when girls are starving. POLLY: It’s too serious a matter to all of us, Brad. BRAD: I’m not wise-cracking. I’ll be glad to do it. I’ll write the check now. CAROL: Where can you get fifteen grand from? He means real money—not streetcar transfers. BRAD: Remember, Mr. Hopkins +. one condition .. . POLLY IS FEATURED! BARNEY: (Hastily) Anything you say. Her name in lights—anything. BRAD: (Seriously) No, I can’t give you a check—for certain reasons... But... don’t worry about it. Pll give you cash, tomorrow... Is that all right... (Music from “Gold Diggers” and Narrator). NARRATOR: The mingled feelings of surprise, wonder, doubt and hope caused by Brad’s unexpected offer—and his delay—are heightened by suspicions that he may be the blonde, youthful absconder from a bank in Canada... will he pay... will he be proved innocent ... will the show go on... and if so... on his money ... or that of some other ‘angel’? .. . See “Gold Diggers of 1933,” touted as the most sensatienal musical picture of ‘all time, comes to the Strand... Until then, good night and good luck. (In amazement)— Note to Exhibitor: When arranging broadcast of this radio sketch, make sure you get a publicity “break” in the radio section of your local newspapers. It would also pay you to plant an ad on the radio page, next to the announcement of the broadcast. If you do use an ad on the radio page, make it part of your deal with the paper, that a news story of the stunt, will appear with your ad. Page Eleven