Wonder Bar (Warner Bros.) (1934)

Special Radio Sketch WARNERS’ RADIO DRAMAS RULE THE These broadcast sketches have been okayed and used by both the Columbia and the National Broadcasting networks. Exhibitors in every part of the country have found the value of taking the air—if only for a few minutes. Parts may be played by studio cast or local amateurs. If actors cannot sing, other voices may be substituted. Be sure you get your share of the publicity on dramatic and radio pages when you announce the broadcast. For your convenience, this sketch is divided into sections running for 10, 20, or 30 minutes. eee —————————————————————— SIX CHARACTERS: AL WONDER (AI Jolson): Singing boss of the ‘Wonder Bar’—in love with Inez. INEZ (Dolores Del Rio): Spanish dancer in love with her dancing partner, Harry. HARRY (Ricardo Cortez) : Gigolo loved by Inez and Liane Renaud, hated by AI. LIANE: (Kay Francis) : Two-timing wife of M. Renaud, in fatuated with Harry. TOMMY (Dick Powell): Young tenor and piano player, who is jilted by Inez. RICHARD (Henry O’Neill) : Head waiter at Wonder Bar. (Voices of call boy and patrons of Wonder Bar. Al Wonder is a baritone, Tommy a tenor. If the men play ing the roles cannot sing, others may be substituted. The crowd joins in choruses of songs. Local members of dramatic clubs and singing societies should do the parts.) For your convenience the sketch has been divided into 5 scenes which may be given complete or in part according to the time you allot to the broadcast. ad Regular Station Announcement, followed by— (First scene — 6 minutes) ANNOUNCER: Ladies and gentlemen, we’re pleased to present for your entertainment flashes of the exhilarating action of “Wonder Bar,” the First National musical parade of stars which comes to the Theatre 00... next, featuring Kay Francis, Dick Powell, Dolores Del Rio, Al Jolson, Ricardo Cortez, Hal LeRoy, Guy Kibbee, Hugh Herbert, Ruth Donnelly, Fifi d’Orsay, and scores of Hollywood beauties. The spectacular dance numbers were created by Busby Berkeley. Songs are by Harry Warren and Al Dubin. “Wonder Bar’ was directed by Lloyd Bacon. Mr. (name of narrator) will now give you a brief summary of the story. NARRATOR: Thank you (name of announcer.) All pleasure-seeking Parisians are on their way to the vast and glittering night club— Wonder Bar. Men thrill at the dancing of the tango queen, Mademoiselle Inez. Women rave about her swarthy gigolo partner, Harry. Both of the dancers have many affairs of the heart, though Inez is bitterly jealous of Harry, one of whose ardent admirers is Liane, beautiful wife of Renaud the Banker, who has secret agents on her trail. Liane has failed to locate Harry during the day and is in an unpleasant mood as Richard, head-waiter at the Wonder Bar escorts her through the gay crowd to a table. Young Tommy, the orchestra leader is hopelessly in love with Inez—who has disearded him for Harry. (Here begin sounds as background — tuning of instruments, voices, laughter—not too distinctly heard—). RICHARD: A table for two, Madame Renaud? LIANE: Yes, Richard. In a secluded place. My husband will not join me until later. RICHARD: Very good, Madame. This one—back of these palms is— LIANE: And the great Mr. Al Wonder, where is he? RICHARD: Al’s late tonight, Madame, for some reason. LIANE: Odd he doesn’t realize that a big place like this won’t run itself. RICHARD: Yes! But I am here, Madame and Tommy is here! Seems everybody else is late tonight. If a person were superstitious he’d almost think it was a bad omen. LIANE: that! RICHARD: Why, Madame, I.. (quickly) Don’t say LIANE: Oh, I'm sorry, Richard. My nerves are on edge this evening. Don’t mind me. Ah —here is the great Mr. Al Wonder himself! (Quick applause— Al’s voice through it, excitedly) AL: Well, well, well, hello everybody! Commissionaire—how are you (murmur of voices, laughter) Hi, Jo, put it there! Happy? You bet your life I’m happy! Why not? Tips? Tips nothing! I don’t play tips. Strictly hunches! Be right with ya, folks! You ain’t heard nothin’ yet! (applause — music — Al’s voice heard in conversation with Richard) RICHARD: Say, Boss, Inez and Harry aren’t here yet. AL: (impatiently) Not here yet? What the—What about the show! RICHARD: That’s What I say! AL: (grimly) All right, we’ll start it right now—without ’em. Pll go on first myself! RICHARD: Yeah, but what'll Harry say to that? AL: (angrily) What do I care what Harry says? He’s gonna be through tonight! RICHARD: (impatiently) You're always saying that Al. AL: Well, this time I mean it. The Wonder Bar went on before he came, it’ll go on after he’s gone! RICHARD: AL: So the minute he shows up that mug of his around here ——he’s gonna pick it up, right on the sidewalk! RICHARD: ‘Course you know, that if you do anything like that to Harry—you’ll lose Inez, too. AL: Oh, no I won’t — no 1 won't! RICHARD: boss! So what? Well, you’re the AL: (softly) I’m gonna have a heart to heart talk with Inez— she’s too sweet a kid to let me down for firing a rat! RICHARD: (skeptica'ly) Okay. It’s up to you— AL: Get busy! Tell Tommy to start the show! Skip the dance number! Open it up with mine! (clapping heard off) The crowd’s getting restless. Give ’em the lights! Strike up the band! Hey! (Orchestra crashes into the vamp of “Vive La France.” There is wild applause through which Al’s voice breaks) Folks—before I do a thing, I want to apologize. The show’s a little late tonight, and really, it’s all my fault. I was out this afternoon with my girl. (laughter—some applause) I call my girl Pilgrim—because I make such good progress! (laughter) All right — Tommy! Let’s start kickin’ it around! (he sings “Vive La France’’) There comes a time when ev’ryone must go to gay Paree— To play there—it’s gay there; There comes a time when ev’ryone must learn to say ‘‘ Oui, oui!’’ With a ‘‘Comme-ci’’ and a ‘‘Com meé-ca’?! Nebraska haberdashers cross the pond. To croon this tune to some blonde demi-monde. (All join in chorus) The girls are fairer—down on the Riviera, So give a viva la France !’’ ““Viva la J The wine is stronger, the kisses linger longer, So give a ‘‘Viva la, viva la France!’’ See all the charms of the quaint old Latin Quarter, Be in the arms of a lovely Latin Daughter ; So let’s make whoopee and go ‘“boop-boop-dee-oo-pee!’’ And give a viva la France !’’ ‘*Viva_ la, Fifty million Frenchmen can’t be wrong— ‘*Viva la, viva la France!’’ (Enthusiastic applause) (Second scene — 6 minutes) AL: All right, customers. How’s for a little dancing—(ap plause again, and orchestra begins dance tune, background for talk) RICHARD: Inez wants you, Al. She’s over there, AL: Inez—well—(fading) I’ll see what’s wrong—poor kid—! INEZ: (pleadingly) Please; Al—don’t be angry with me. I— T don’t feel so well, tonight. And besides I couldn’t help it. AL: Where’s Harry? INEZ: I — I don’t know. I went to his hotel. That’s what made me late. AL: (sharply) I eateh on. What’s he been up to? INEZ: He and I — we — Oh, nothing — (voice trembling) He and JT — AL: (quietly) Come on! Tell me! What new dame is he playing? INEZ: Oh, I can’t tell you — I can’t! AL: Okay — Inez — don’t worty INEZ: Oh, there Harry goes now — into his dressing room. AL: Come along with me — INEZ: Don’t be too hard on him, Al — he — (sharp knocking — door opens) HARRY: (brazenly) Hello, Al. AL: (fighting to control his temper) So! At last you’ve condescended to honor the joint with your presence! You know you're a little late, don’t you? HARRY: (lightly) A little, yes. Where’s Inez? Oh — there she is — (sacastically) Late, too, I see! AL: I don’t care if she is. It’s you I’m talking to. HARRY: (with hint of a sneer) You don’t care, eh? — Who do you think you’re fooling, Al? AL: self) (fighting to control himI don’t get that. HARRY: Oh, I know you're in love with the kid — so does everybody else know it. You don't have to try to hide it! AL: (in a fury) Why you lowdown rat. | could — HARRY: (hissing the words) Wait! If you lay a hand on me I'l] walk out and Inez goes with me—! AL: Just keep talking and youre a cinch to have an aecident. HARRY: (suavely) Calm yourself, Al, old dear. You know you’ve got to announce me to your customers—in about a minute. Say—do you know youw’re quite an artist—at dirty looks! —By the way I wonder just how much you do hate me? AL: (tensely) I don’t have to tell you. — Say, where did you get that necklace? Some of your lady friends, I suppose! HARRY: Think so? Some pretty nifty diamonds, eh? How much’ll you give me for it? INEZ: Where did you get it, Harry? HARRY: What’s the difference? How much will you give me for it Al? AL: I’m not buying stuff that looks hot! (off) Run on—Inez. INEZ: (off) You will come — Harry? (door closes) HARRY: (calling tensely) Wait, Al! AL: What do you want? HARRY: (becoming emotional suddenly) Look! Tve got to raise some money tonight! I’ve got to, see? Here, take it — look it over—! Gimme five thousand dollars for it! It’s worth five times that much, but— AL: First tell me where you got it. HARRY: That’s one thing you'll never know. AL: (roughly) You stole it! ~—-Tell me where you stole it— you— HARRY: (hysterically) Don’t Al. I'll tell you! Madame Renaud gave it to me—Liane, you know! That’s how she paid for her dancing lessons. She didn’t have any ready cash — and she didn’t want her husband _ to know! AL: (contemptuously) I eal led you a rat—now I apologize—! HARRY: Thanks! AL: To the rats! — There — look over there. There comes Monsieur Renaud now — looking for his faithful little wife! She’s over there behind the palms. Why don’t you go face the music? Let Renaud cash in your diamonds — you — low-lifed— CALL BOY: Last call! HARRY: (pleadingly) me out, Al — J — (off—excitedly) Harry and Inez! Help AL: Get going — (murmur of the crowd clearer — chatter — laughter) Ladies and gentlemen —I have the honor and pleasure of announcing my star attraction of the evening — Beginning where we left off — I have the honor and pleasure of presenting that grand little premiere danseuse of the Wonder Bar — Mlle. Inez — and Monsieur Harry, her partner, in their famous dance creation — Valse Amoureuse —! — With young Tommy Green doing the words! (guests applaud—musie crashes into a loud fanfare, and Tommy sings as they dance “Don’t Say Good Night’) A little smile, A little glance, A lilting tune, A little dance, A little romance steals into your heart, A little blush, A little lie, A little Squeeze, A little sigh, A little sorrow when you have to part; (All join in refrain) When this lovely dance is over, Don’t say ‘‘Good-night’’— Let me live this moment over — Don’t say ‘‘Good-night’’? — Oh! please don’t break the spel— I have so much to tell you — Can’t I compel you— To see the light? Now that we are here together— just hold me tight, Why can’t this go on forever? — Don’t say ‘‘Good-night’’— When this lovely dance is over, Don’t say ‘‘Good-night’’ Why can’t this go on forever? Don’t say ‘‘Good-night.’’ (loud applause as song ends — murmur of voices continues — and soft music as background to the conversation). (Third scene — 8 minutes) RICHARD: (bringing Renaud to Liane’s table) Monsieur Renaud, Madame—! RENAUD: Hello, darling. LIANE: Oh, you frightened me — RENAUD: So sorry! RICHARD: If Madame wishes me to take the — ee eeeseseseseseses—“‘(éN Page Twenty-two