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Dangerous Paradise - Script No. 52

Dangerous Paradise

Script No. 52 

Apr 20 1934


ANNOUNCER, Alois Havrilla



Master Copy Radio Program

Prepared and Produced by

Lennen & Mitchell Inc.

17 East 45th Street ... New York

Station WJZ--and 16 other stations


O K--Alois Havrilla

No. 52

O K Ded E

Program Woodbury's Facial Powder

Date Friday, April 20th 

Time 8:30 E.S.T.



ANNOUNCER: Woodbury's, on behalf of their Facial Powder, present this evening the closing episode of "Dangerous Paradise", starring Elsie Hitz and Nick Dawson as Gail and Dan. Woodbury's Facial Powder, you know, is a creation of those same skin specialists who make the famous Woodbury's Facial Soap.

This is our last evening with you, until next fall. So I hope you will graciously listen to the Woodbury message I wish to leave with you until we meet again. It's this: Summer brings special problems of the skin. In order to keep your complexion fresh, smooth, cool and free from shine, you need to use face powder generously. That makes your choice of the right powder all the more important. If you choose Woodbury's Facial Powder, you can use it lavishly without the risk of clogging up your pores and preventing your skin from breathing. Woodbury's is the pride of a group of expert skin scientists who formulate it from the purest ingredients obtainable, to achieve an exquisite texture that's as safe for the skin as it is flattering. With Woodbury's, every breathing pore is kept fine, free, alive and functioning vigorously. And by means of this powder your skin is smoothly, suavely finished, too. So let Woodbury's be your choice for summer wear. Once more--and for the last time this season--Woodbury's invites you to try this powder, free. I will tell you later how to send for six trial packets, one of each of the six alluring shades.

ANNOUNCER: And now, as we pay our final visit to "Dangerous Paradise", in the South Seas, we find a vital question still unanswered. The happiness of Gail and Dan hangs in the balance as Dan remains silent, and as Gail's lips are sealed by her adherence to the code that a girl should wait for a man to speak the first words of love.

Duke Weyman, you'll remember, attempted to escape in the plane from which Dan had removed the gas. The engine went dead, and Weyman, with one last heroic gesture, put the plane into a dive and so ended his criminal career.

Gail and Dan are on the beach, awaiting the plane that will carry them away from Horseshoe Island.

DAN: Well, Gail. It won't be long now.

GAIL: What? What did you say?

DAN: It wasn't important. Never mind. You've been sitting there, staring off into space, saying nothing for so long, I--I thought it was time one of us said something.

GAIL: I'm sorry, Dan. I was--thinking.

DAN: It must have been about something serious.

GAIL: No. It was funny.

DAN: I didn't see you laughing about it.

GAIL: The laugh was in my sleeve.

DAN: Say listen, Gail. You've got something on your mind. You're blue, and--and almost bitter. That isn't like you.

GAIL: I'm not exactly happy, Dan.

DAN: Why don't you tell me what's bothering you, Gail?

GAIL: Do you want me to tell you?

DAN: Yes. I thought we were--pretty good friends.

GAIL: I can't tell you, Dan. There's a law against it. You'll have to tell me.

DAN: There you go--talking in riddles again. Before I get marooned on a South Seas island with you again, I'm going to study up on charades and jig-saw puzzles so I'll know how to talk to you.

GAIL: Am I so hard to understand?

DAN: Honest, Gail. Half the time I need an interpreter to tell me what you mean by what you say.

GAIL: Oh, forget it, Dan. Maybe when we get away from this place we'll be more normal. Perhaps I'll be less puzzling to you and you'll be more alert, mentally.

DAN: Maybe I'm dumb, but----

GAIL: That's right, Dan.

DAN: All right. Let it go at that. As soon as the plane gets here, you can say "goodbye" to Horseshoe Island.

GAIL: Yes?

DAN: And then in a few hours you can say "Goodbye" to me--and----

GAIL: And--what?

DAN: That's all.

GAIL: Oh, is it?

DAN: Yeah.

GAIL: But--I don't want to say "Goodbye".

DAN: I thought you were sick of this place.

GAIL: That isn't what I meant.

DAN: What did you mean?

GAIL: What do you think, Dan?

DAN: I should think you'd be darned glad to get away. You haven't been happy here.

GAIL: I--could have been.

DAN: You'll feel better when you get back to the States.

GAIL: Why?

DAN: Oh--you'll forget about Weyman after a while. It'll take a little time--but----

GAIL: What in the world are you talking about?

DAN: Weyman. I know how you feel. It'll hurt for a while--but it's like having a tooth pulled. Sooner or later it gets better, and then you'll forget how it hurt.

GAIL: How do you know?

DAN: I--I had a tooth pulled once, you know.

GAIL: And you never got over it, did you?

DAN: You'll go back to your work. The newspapers will make a big fuss over you. Lost girl--found on South Seas Island--and all that sort of thing. You'll be famous. And then--you'll forget what a tough break you had. See?

GAIL: You've got my life all planned out for me, haven't you?

DAN: No. I'm not doing anything like that. I--I'm just trying to say something that'll make you feel better, that's all.

GAIL: You're sweet. Dan. But where do you get the idea that I'm all broken-hearted about Duke?

DAN: Why--it's easy enough to see that.

GAIL: Dan. Have you forgotten that I told you I did not love Duke Weyman?

DAN: I know that's what you said. But you were just trying to sell yourself the idea because you realized he was a--a bad egg.

GAIL: How clever you are.

DAN: Oh, you couldn't kid me about that.

GAIL: You think you know a lot about me, don't you, Dan?

DAN: Well--I know that much.

GAIL: So that's what's the matter.

DAN: Yeah.

GAIL: Dan--I can't understand how even a man could be so blind--so dumb.

DAN: Who--me?

GAIL: Yes. You. You're supposed to be smart. You are about some things. But, Dan--you're so thick-headed.

DAN: Say--what's the idea?

GAIL: Even dumb animals know things--instinctively. But you don't. You see nothing; hear nothing; say nothing.

DAN: Now, wait a minute----

GAIL: Take Snodgrass, for instance. He knows I love him. I don't have to tell him. He just--knows it.

DAN: Listen--Gail----

GAIL: Oh, Dan. What must I do? Shout it from the tree-tops? Write you a letter? Put it in the newspapers? Perhaps you'd rather I'd draw a diagram for you.

DAN: Say--what do you mean, Gail. Do you--

GAIL: Oh, I know it's against the rules for me to say it first, but I don't care about rules, any more.

DAN: Gail--let me ask you----

GAIL: You prattle to me about how I'll go back home and work and forget about Duke. I'm darned if I don't believe you'd sit right there and let me go--and never say a word to stop me--just because of some silly idea you have that I love him.

DAN: But I thought you did.

GAIL: You poor, dear, dumb darling. I'm trying to tell you that I love you.

DAN: You--what?

GAIL: Maybe a nice girl wouldn't tell a man she loves him. But you make me so darned mad, I could kill you--but I do love you, Dan.

DAN: Why--you darling. Gail, I never dared to hope that you could ever love me. 

GAIL: I said it. I made up my mind I wouldn't. But--I did. Oh, Dan--forget that I said that, will you?

DAN: Listen, you adorable little spit-fire. If I live to be a thousand I'll never forget it. Not a word--not even a syllable. Kiss me, Gail.

GAIL: But Dan--(PAUSE)

DAN: I may be dumb about getting an idea, but once I get it, I never let go. Gail, darling. You love me. I still can't seem to believe it.

GAIL: Dan. Don't hold me so tight. I can't--breathe.

DAN: Say it again. Tell me you love me. Keep on saying it over. I want to be sure my ears weren't playing tricks on me.

GAIL: No. I won't tell you again.

DAN: Why not?

GAIL: Because--it just isn't being done. I thumbed my nose at the conventions once--because I had to. But not any more.

DAN: My darling. Adorable nose. Precious thumb.

GAIL: I'm going to be a lady from now on. I'm not going to tell you again that I love you until you tell me whether you love me or not.

DAN: Oh! Who's dumb now? I've told you I loved you. I've told you every time I've looked at you.

GAIL: Even when you scowled at me, Dan?

DAN: I loved you that day I picked you up out of the water--when you were so scared and trying hard not to show it.

GAIL: I thought you hated me then.

DAN: I've told you I love you in every way I know.

GAIL: Except in words.

DAN: Do you remember that time you were sick, and I kissed you?

GAIL: Yes.

DAN: That wasn't an invalid-kiss.

GAIL: I know it, Dan. I remember.

DAN: And that time you came so near being killed by the natives--I showed you, then, that I loved you.

GAIL: Yes. That was the time you threatened to spank me.

DAN: Didn't you know then that I adored the ground you walked on?

GAIL: You have such original ways of--saying it, Dan.

DAN: I thought you knew. I tried to hide it because you were so crazy about Duke--but I knew I wasn't getting away with it.

GAIL: Dan. Do you realize that you haven't yet said, "I love you, Gail"?

DAN: (LAUGHING) Do you want me to shout it from the tree-tops?

GAIL: Yes, Dan. Shout it.

DAN: I love you, Gail. Do you want me to write you a letter and put it in the newspapers and perhaps draw a diagram for you?

GAIL: Yes, Dan, darling. Write it so I can see it with [my] eyes and hear it with my ears----

DAN: And feel it with your lips?

GAIL: Yes, Dan. (SHE DOES)

DAN: Now do you know that I love you?

GAIL: Yes. I think, after all, actions speak louder than words.

DAN: My darling. I've dreamed about this moment for so long, I'm almost afraid I'll wake up--and find it's all a mistake.

GAIL: Kiss me again, Dan. If we don't wake up, then we'll know it's real--not a dream.

DAN: (AFTER THE KISS) Yes, Gail. It's real.

GAIL: I'm sure of it now. Dan--how long will it take for the plane to get to Sydney?

DAN: A few hours.

GAIL: Well, as soon as we get there, I'll cable my editor for some money. I'll get some clothes--and--well----

DAN: What is it, Gail?

GAIL: I'll get some clothes for Daisy, too--and----

DAN: That's right. I'd forgotten about Daisy.

GAIL: She can be my bridesmaid--and----

DAN: Now--Gail, darling. We've got to be sensible about this. I haven't got any money. I'm just a policeman. Perhaps we'd better wait.

GAIL: Daisy will love to be my bridesmaid.

DAN: I can't support a wife, yet.

GAIL: How long do we have to wait after we get the license? I don't know the Australian marriage laws--do you, Dan?

DAN: We'd be poor, Gail.

GAIL: I want a white dress. No veil. Just a quiet wedding.

DAN: After a while, there'll be some money coming from my father's estate. Then we can be married, and----

GAIL: I wish I knew what kind of clothes they're wearing now.

DAN: Then, we can--even have a church wedding--if you want one.

GAIL: It'll seem funny getting a trousseau when I don't even know whether skirts are long or short, or anything.

DAN: Gail. Aren't you listening to me?

GAIL: No. I haven't heard a word you've been saying.

DAN: Darling. Listen, then. We've got to use our heads----

GAIL: Dan. I love you.

DAN: There isn't anything in the world I want so much as I do--you. But----

GAIL: I love you, Dan.

DAN: I can't let you tie yourself down to a man like me who hasn't anything. No home--no money--or----

GAIL: I love you.

DAN: We'll have to--wait--because--well, I don't see how we can----

GAIL: I love you.

DAN: I can't let you--be poor----

GAIL: I love you, Dan.

DAN: Gail--let me try to be sensible, will you?

GAIL: I do love you, Dan.

DAN: I give in, Gail. I guess that's all that really counts, anyway.


GAIL: There's our plane.

DAN: That's right. Let's go.


[HAVRILLA]: The supporting cast of "Dangerous Paradise" included Helen Choate as Daisy, Frank Knight as Duke Weyman, Allan Joslyn as Pango, William Shelley as Hawkins, Allan Deavitt as Nanao. The story was written by Carl Bixby. The program was directed by Frank Readick.

Would you like to hear Elsie Hitz and Nick Dawson as they step out of character for a moment? Elsie, will you say a word?

ELSIE: (OFF) Thank you, Alois. (IN) There's something about the glamour of the South Seas that gets in your blood after a while. At least, I've found it so. In fact, I'm going on a vacation--and where do you suppose I'm going? That's right! I'm going to the tropics--to live for a little while in the atmosphere in which I've played for the last six months, as Gail, in Dangerous Paradise. Unless I decide to go native, I'll be with you again before very long--Until then, Goodbye.

HAVRILLA: And now, Nick Dawson--Nick, will you take the mike?

NICK: (OFF) Thanks, Alois.

(IN) If you've enjoyed "Dangerous Paradise" half as much as we have enjoyed playing it, you will understand with what regret we bring it to a close.

We thank you for your generous support and appreciation and we thank the makers of Woodbury's Facial Powder who have made this series possible.

It's vacation time for us now but be assured that we'll return to the air with a new show--So, until then, good night.




June 5, 1935

Mr. Nick Dawson

19 East 47th Street

New York City

Dear Mr. Dawson:

This letter will constitute our agreement with you covering the production of the radio serial entitled "Dangerous Paradise", starring Elsie Hitz and Nick Dawson, to be sponsored by John H. Woodbury, Inc., and to be broadcast over an N.B.C. network starting July 1, 1935, and continuing for a period of 26 weeks. The programs will be broadcast on Monday, Wednesday and Friday evenings from 7:45 to 8:00 P. M. New York time.

You are to deliver a complete production including yourself and Elsie Hitz as featured players--satisfactory dramatizations, a satisfactory cast whenever extra players are required, and an instrumental quartet for whatever incidental music may be necessary.

It is understood and agreed that this contract is for the exclusive services of Elsie Hitz and Nick Dawson and that neither Miss Hitz nor Mr. Dawson will appear in any other broadcast, live or transcription, under their own or assumed names during the term of this agreement.

All scripts are to be submitted to Lennen & Mitchell, Inc., for approval and at least two weeks in advance of each broadcast.

You agree to have an adequate number of rehearsals to insure a perfect performance and will present a full dress rehearsal for Lennen & Mitchell, Inc., on the day of each broadcast.

It is our understanding that the total cost of the "Dangerous Paradise" production will not exceed $2,407.00 weekly for the first 13 weeks beginning July 1, 1935, as per the following itemized schedule.

Cost per week for three performances:

Elsie Hitz               $660

Nick Dawson               660

Scripts                   330

Orchestra                 201

Extras (approximate cost) 556



You agree to hold Lennen & Mitchell, Inc., free and clear of any and all liability for any claim or action for plagiarism or infringement of material used in these broadcasts and to assume full responsibility for such material.

Bills will be payable weekly, after you have submitted an itemized account in accordance with the schedule contained in this letter.

We are to have an option to renew this contract for subsequent periods under the same terms and conditions set forth herein, except that the cost of the services of Miss Hitz and Mr. Dawson will be as follows:

1. For the second 13 weeks beginning September 30, 1935, it is agreed that the cost will be $1,000.00 per week each, with a bonus for this period of $200.00 per week each, if there is no further renewal. We will notify you of our intentions on this point by November 1, 1935. If, however, we elect to contract for 26 weeks beginning September 30, 1935, the cost is to be $1,000.00 per week each.

2. If we do not renew for 26 weeks on September 30, 1935 and renew for only 13 weeks beginning December 30, 1935, the cost will be $1,200.00 per week each.

3. If renewed for 26 weeks beginning December 30, 1935, the cost is to be $1,000.00 per week each with two further 26 week renewals at the same figure or four 13 week renewals at $1,200.00 per week each.

It is understood and agreed that beginning September 30, 1935 we will pay you an additional sum of $120.00 per week which is to be considered a service charge for extra expenses which you may incur in connection with this program.

This letter with your signature on it will serve as a contract between us.

Very truly yours,