The World Changes (Warner Bros.) (1933)

sete! ee | ventures to Special Radio Sketch DRAMATIC 10-MINUTE BROADCAST FROM “THE WORLD CHANGES” The following forceful sketch provides sure-fire material for radio publicity. Plant it with your local station. Members of dramatic group, or of college, men’s or women’s clubs, or high schools, can be secured to play the various roles. before and after the broadcast. Print news stories FOUR CHARACTERS ORIN NORDHOLM: Pioneer American—Leader of industry. VIRGINIA NORDHOLM: His ambitious and _ half-mad wife. RICHARD NORDHOLM: His snobbish and ungrateful ' son. JOHN NORDHOLM: His equally disappointing younger son. Regular Station Announcement followed by ANNOUNCER: Ladies and gentlemen, we are privileged to offer for your entertainment flashes of the dramatic action of “The World Changes,” the Warner Bros. epic picture, starring Paul Muni and feasereen favorites as turing such | Aline MacMahon, Mary Astor, Don ald Cook, Alan Dinehart, Guy Kibbee, Margaret Lindsay, Jean Muir, Anna Q. Nilsson and Patricia Ellis. Mervyn LeRoy directed. “The World Changes” is a thrilling saga of a family—showing their decline from pioneer virility to pampered snobbishness—and final dissolution in the great Wall Street October 24, 1929. The rugged Paul Muni last seen in “I Am A Fugitive From a Chain Gang,” plays the role of the dynamic American inillionaire erash of from the age of twenty to seventythree. Orin Nordholm is born in a covered wagon on a Dakota prairie, are while his parents seeking a new home. He is brought up on the farm—but after a visit from Buffalo Bill, who gives vivid accounts of the roaming millions of eattle, free for the taking in faraway Texas—he becomes fired with the limitless possibilities offered by the rapidly growing United States. Through his daring and foresight, he develops into an industrial giant. A devoted husband of a beautiful but ambitious and snobbish wife— Mr. (name of theatre manager will now outline the situation at the opening of the sketch.) NARRATOR: Thank you (name of announcer.) Orin Nordholm is sitting in the vast drawingroom of his Chicago mansion poring over a letter from his mother back on her Dakota farm. He times urged her to come and pay a intuition tells her has many visit—but her that there is something wrong in She is right. His wife, Virginia, and his two boys, Richard and John—are selfish and even attitude toward him—and with regard to his back As Orin reads, Virginia paces the floor, her his home life. malicious in their country people. long rustling skirt trailing after her, in the fashion of 1893. Orin speak, sadly, rather wistfully: ORIN: Mother says she’ll not come here, Virginia. VIRGINIA: (faintly irritated) Why don’t you stop asking her? ORIN: Well, I— VIRGINIA: If she’s happy on the farm, or whatever it is, why don’t you let her stay there? ORIN: (earnestly) I want to see her, Virginia. VIRGINIA: So it seems. ORIN: I—I must see her—I must —If she can’t come here—Il’ll go there! VIRGINIA: And bring her back with you! ORIN: Why not? VIRGINIA: What a ridiculous idea! ORIN: Why? VIRGINIA: Don’t be absurd! What would I do with her? ORIN: Do with her? VIRGINIA: She’d hardly fit in here, would she! After what she’s been used to—according to you. ORIN: (his voice tremulous with restrained rage) NO! You’re right! She wouldn’t ‘fit here! She’d laugh herself sick with contempt for your foolishness—your waste— your petty snobbery! in’ VIRGINIA: (a little frightened, speaks in conciliatory tones, softly and reproachfully) Why, Orin! What’s the matter?—You’d think I had something against your mother!” doesn’t I’m If she want to come, it’s cruel to force her here, don’t you think, dear? She’d That’s all I sorry, dear be unhappy here. meant— ORIN: (with affectionately apologetic voice) That’s all right—Virginia—I should have known—I shouldn’t have shouted like that, but—but I love you both so much, Virginia—I love my mother—just as you would if you knew her— and I love you—I— VIRGINIA: I forgive you, darling—kiss me— ORIN: You're so beautiful, Virginia—so— NARRATOR: later when Virginia discovers that Orin has taken their two boys with him on a visit to the stockyards. It is several days VIRGINIA: And you took the boys down there! You—their father took them to that own horrid place! And the children at school already calling ‘slaughterer’ after them! Stockyards—is there any place in the whole world that doesn’t smell of the stockyards! And you took dear, innocent Richard—and little John there! ORIN: Now look here, Virginia— I only— VIRGINIA: dered them never to go—and you dared to take them there, behind my back! ORIN: I ‘dared,’ as you call it, it’s time the boys were (hysterically) I or because learning something about— VIRGINIA: Learning! (she laughs hysterically) Learning! Do you still imagine that I’m going to let them waste their lives in those filthy stockyards! Do you? ORIN: Yes! That’s exactly what they’re going (with decision) to do— VIRGINIA: (almost in a frenzy) YOU—you—! Do you think you're going to make butchers of my sons? ORIN: (angrily pounding the table with his clenched fist) YES! Of MY sons! —You’ve got to stop this! VIRGINIA: You'll kill me first! —That’s what you want to do— murder me! Why don’t you? WHY DON’T YOU—And have it over! ORIN: frenzy) Virginia! (rather terrified by her VIRGINIA: You’re never to take them there again! Youre NEVER —TO—TAKE THEM — THERE — AGAIN! Do you hear! Never bring any meat to this table—Never! Never! NEVER!!! ORIN: (pleadingly) Virginia, for heaven’s sake! VIRGINIA: Don’t talk to me— you—(off) I loath you— ORIN: —I’m sorry! Wait a minute! VIRGINIA: = (off) (door slams violently) (beseechingly) Virginia! Slaughterer! ORIN: (calling) Virginia—(pause) dear—I’m (knocks on Open the Virginia—listen, sorry. I’m very, very sorry! closed door) Virginia! door! Please—Virginia— NARRATOR: Years pass — the children are grown—educated at exclusive universities — ungrateful —greedy—snobbish—like their bit Nordholm has reached the business top in terly ambitious mother. Chicago. But rumors are abroad that other powers in the industry are scheming to overthrow him. He is somewhat disturbed about the state of affairs when the beautiful gloating joy, her usually wan cheeks hectic with Virginia—wild w'th excitement—rushes to him, erying. VIRGINIA: I’ve done it, Orin, TV’ve DONE it? ORIN: Done what? dear! VIRGINIA: I’ve done what I set out to do! The Randolph Clintons are going to make our house their home—while they’re in Chicago! ORIN: And who are the Randolph Clintons? VIRGINIA: Don’t tell me you One of the oldest and most aristocratic families in New York—and_ they’re Won’t the pork-packers and the department store climbers be green I’m giving them a reception to make this filthy city don’t know! stopping with us! with jealousy! gasp! Three hundred guests, at least — that expensive orchestra from— ORIN: (with some sternness) But, Virginia—I don’t think that we should do that right now— VIRGINIA: WE? I’m doing it! We're not doing it! ORIN: Be reasonable, Virginia— VIRGINIA: Oh, I’m to be reasonable, am I? After I work and slave and pull every string imaginable to make the Clintons forget that we come from the stockyards —and consent to stay here with their daughter Jennifer—who is just Richard’s age—by the way— and you tell me to be reasonable! ORIN: Yes, I do. It may interest you to know that my so-called friends have a better chance of taking my company away from me, than they’ve had in twenty years— and I need every cent I can raise to fight them—I’ve got no money to throw away on nonsense! VIRGINIA: (enraged) NONSENSE! Didn’t you hear me say that the Clinton daughter is just a little younger than Richard— and— ORIN: Oh, all right, all right, whatever you say. VIRGINIA: They are perfectly matched, and if I can only— ORIN: (with some irritation) All right, I said! VIRGINIA: That’s a little more like it. You certainly are aggravating at times, Orin Nordholm— but you usually come around — to the opinions of your little Virginia —don’t you? ORIN: Unfortunately— VIRGINIA: Now now — don’t spoil it all—dearest— ) NARRATOR: Virginia has her way. All the elite of Chicago are in attendance at her reception for the aristocratic Clintons. The Nordholm mansion is ablaze with lights —the ‘expensive’ orchestra is furnishing its gayest music for the dancers. Richard proposes to the haughty Jennifer Clinton and is accepted. Virginia is radiant—passing among her guests—glittering with jewels. It is the high light in her life—Her big moment. During a lull in the music she ascends the musicians’ platform and faces her guests. The chatter of voices fades away to silence. Orin gazes at her in amazement—thinking in spite of himself how beautiful she is. There is strange elation in her voice: (Musie VIRGINIA: My friends—the time has come to let you in on a little secret—hasn’t it, Orin— ORIN: (not understanding) Well pee as VIRGINIA: (quickly interrupting) You know, my friends, this is a double celebration. First in honor of. our distinguished guests—Mr. and Mrs. Randolph Clinton of New York—and their charming daughter Jennifer—(applause of the guests) And secondly—well, I’m going to let everyone know—My husband wishes me to make the announcement—‘Wives obey your husbands,’ you know— (murmurs of amusement — momentary hum of voices) Mr. Nordholm feels that he has done more than his share toward the development of Chicago and the Middle West—(applause) In addition, he does not wish to be troubled any longer by the problems which have recently beset the industry. Therefore—he is planning to retire and devote the rest of his life to the founding of a great art gallery in Chicago and an institute for the development of American artists. (wave of murmurs like gasps—in that moment Orin’s voice is heard, off, in low, tense tones speaking to Virginia—) ORIN: Come with me to the li brary—Virginia. At once! Bring Richard and John. (wild applause breaks out. As it dies away Orin’s voice is heard, grimly) ORIN: You’ve done a good job, Mrs. Nordholm. VIRGINIA: (nervously) I knew it was for the best. You'll sell your interest for plenty of money—instead of pouring it continually into those stockyards— ORIN: (controlling himself with a steel grip) Yes—thank you. VIRGINIA: It’s better for all of us—you too, Orin, much better— ORIN: Oh, yes, indeed, much better! According to you! RICHARD: (off, excitedly) Good news, folks, good news—Jennifer has accepted your Dickie’ boy, mother—What do you say to that, John? JOHN: (affected ‘British’ chappie accent) Rawther good, old top! Really! I’m fed up with having the chaps call me ‘slaughterer.’ | ORIN: (coldly) You are, are yout RICHARD: Isn’t it about Jennifer? VIRGINIA: Wonderful, darling. RICHARD: She says she’ll have me on condition that I don’t ask her to live in the West! wonderful ORIN: (with ominous quietness) Where will you live? RICHARD: (casually) Why New York mostly, I suppose— ORIN: How would you live? What would you do for a living? RICHARD: Why Jennifer thought of banking—or a membership in the New York Stock Exchange—either would be acceptable—to her family. ORIN: (with biting but quiet sarcasm) You mean—they are prepared to advance the necessary money ? RICHARD: Oh, I don’t know anything about that—It was merely a suggestion. JOHN: (impatiently) See here, Pater—what in the— ORIN: (suddenly shouts) SHUT UP! (Then in very low voice) Do you know what you’ve done tonight, Virginia? Answer me! Do you know what you’ve done? (pause) VIRGINIA: Orin— (gasping whisper) ORIN: (wildly) You’re all insane! Do you think I’ve slaved day and night—all this time—to make it possible for a foolish nitwit to marry a cheap snob and throw away twenty years of my life in Wall Street? Do you? Oh no! The money I made has got to go back to the muck and sweat that it came from—or it’s poison! Do you understand that? Here is where you belong and here is where you stay —all of you in this city that you hate! As for you, John—you’ll go to school here—or go to work! Richard—you’ll start tomorrow in the same slaughterhouse that feeds and clothes you! And as for you— Virginia—You’ll either learn to live happily where you are, or sure as heaven you'll land in the lunatic asylum that you’re headed for! NARRATOR: And this is but a glimpse of one phase of the life of Orin Nordholm, master of men and mastered by women. “The World Changes” takes you through the lives of four generations of the Nordholm family—presenting a romantic drama never yet excelled on the screen. You will meet the great Paul Muni—and see him in his most powerful role at the Strand Theatre next. Until them—GOOD LUCK! Page Eleven