In this episode, we delve into the captivating world of Hollywood through the lens of Nina Wilcox Putnam's story, "Anything You Want Is Yours." The narrative unfolds with Hulda Sobold, a determined young woman who arrives in Hollywood with dreams of stardom. Her journey is filled with unexpected twists as she navigates the complex dynamics of the film industry, encountering influential figures like Grant Whittier and the enigmatic Mr. Metzinger. As Hulda's story progresses, she finds herself entangled in a web of ambition, deception, and the pursuit of dreams, ultimately leading to a surprising turn of events that challenges her perceptions of success and identity.
Join us as we explore the themes of ambition, identity, and the allure of Hollywood in this dramatic adaptation. Through vivid storytelling and engaging characters, this episode captures the essence of the golden age of cinema, offering listeners a glimpse into the challenges and triumphs faced by those who dared to dream big. Whether you're a fan of classic Hollywood tales or simply enjoy a good story, "Anything You Want Is Yours" promises to entertain and inspire.
(00:01) Introduction and Author Background
(00:56) Hulda Sobold's Hollywood Journey
(04:13) Unexpected Career Turns
(06:09) A New Role as Carlotta Carlson
(09:03) The Rise to Stardom
(12:21) The Merchant of Venice Production
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[00:00:02]
Unknown:
Ladies and gentlemen, we take great pleasure in presenting in dramatic form another of the stories especially selected for us by Edwin Baumer, the distinguished editor of Red Book Magazine. We are pleased to announce that the publishers broadcast these stories. We're going to ask mister Bauer to tell you something about Naina Wilcox Putnam, the author of today's story, Anything You Want is Yours. Mister Bauer. Thank you, mister Clevinger.
[00:00:29] Unknown:
Naya Wilkerson Putnam is one of the cleverest of our popular writers. She has an unusual ability to absorb a story from people with whom she is in contact. Acquaintances naturally tell her an interesting amusing events, and she has an eye and a feeling for character which enables her her to make the story when she writes it lively and vivid. Recently, she's been in Hollywood, but things are changing rapidly. And for some incidents, just to her the story, anything you want is yours, which is about to be presented to you.
[00:00:56] Unknown:
Thank you, mister Baumer. Now for the story. The way miss Putnam wrote it, it was told in the first person by Hulda Sobold, the chief character. So we're going to introduce you to the charming miss Sobold and let her do the rest. Here she is. Oh, thank you, Clem.
[00:01:09] Unknown:
Well, you see, when I left Saint Louis, I had a one way ticket for Hollywood and a copy of screen news containing the latest picture of Grant Whittier and a platinum blonde wash on my genuine Swedish blonde hair and an introduction to mister Metzinger. You see, he used to be in the old clothes business in East Saint Louis before he gotta be a picture magnet. Well, after I'd parked my suitcase in the little old Hollywood, I didn't waste any time in getting to that colossal studio. But did I have trouble in getting into mister Metzinger? I'll say.
But at last, I managed to get into his secretary's office. He fixed me with kind of a fishy stare, and then he said Mister Metzinger is in conference. My name's Stillmore. Well, my father's no friend, mister Metzinger's, and he has a letter to prove it. See, it starts, dear Ike. Very well. In through that door there. Mister Messinger will see what one. Oh, dear. Thank you so much, mister Fillmore. Don't mention it.
[00:01:59] Unknown:
Hello? Fillmore speaking. Grant Woodie is raving around. Alright. Let him come in to me. Let's see what now. Hello? Fillmore speaking. I told you that production was not to run over half a million dollars. Well, cut the extras pay then. Cut it to $5 a day.
[00:02:19] Unknown:
Yes. Messinger's orders. Elmore. What's this I hear? Oh, sit down, would you? For years, I've been trying to do a good picture around here and they keep putting me off with promises. You're referring to the action the board took about The Merchant of Venice? You know right? Well, that's what I mean. Only last week, they approved of the adaptation made by Benny Katz and Al Schumacher, and now they shelved it. Sorry, would you? Those are the orders. All I get is a bunch of truck to direct. I'm going to seed around here, I tell you. Well, I'll sell mister send mister Metzinger a memo that you still want to do the merchant. The Katz and Schumacher adaptation. Yes. Yes. I'll take care of it. It. Oh, come right in, miss Sobold. Hello? Don't forget about that film. No. No. No. I won't. Did you, have a satisfactory interview, miss Sobold? Say, who was that just went out? Was that was it Grant Whittier?
[00:03:01] Unknown:
Was it? Yes. Our most famous director. Oh,
[00:03:05] Unknown:
I wanted to work for him for so long. And now maybe oh, maybe I'll work for him in a picture. You saw mister Metzinger? Yeah. He says you ought to call the casting director right away so I can meet him, and so I can tell him what parts I can play. So you're an actress. What have you done? I played Portia in our high school dramatic society.
[00:03:22] Unknown:
Miss Sobold, I'm going to give you a piece of advice you won't thank me for. Go home. But mister Messinger said that I was to see the casting director.
[00:03:30] Unknown:
Oh, and I know what I can do with a part. Alright. If it's your own way, I've done my duty. Now what did you say your telephone number was? Here it is. Here it is. It's written on a card. Oh, and here's a picture of him. Here's Portia.
[00:03:41] Unknown:
Cute. Well, I'll put him in the file.
[00:03:44] Unknown:
Well, aren't you gonna call the casting director? He's gone for the day. I'll call you up and make you an appointment. Oh, thank you, mister Filmore. Hey. I approve my worth. You see, I I've studied pictures, not as a foolish fan, but but really seriously. And I have an ambition to play in a picture directed by Grant Whittier. On my way to my room, I passed 16 platinum blondes, and all of them were good looking. Well, I I hung around home a couple of days waiting for a call from the studio that never came. Then I picked up a newspaper and saw the headlines. Bankers make clean sweep at Colossal. Mettinger definitely out. Complete reorganization promised.
Just imagine if they hadn't said one word to me about it. Well, I can tell you I was boiling mad. And when I reached Colossal, the sour faced desk sergeant said Mister Metzinger is no longer with us. Well, then is his secretary, mister Fillmore, in? He is in conference. Well, tell his conference to go sit on somebody else's knees. Tell me to clear out. I have to talk to him. Mister Fillmore is in conference. But Oh, there he is. I see him. Oh, mister Fillmore. Mister Fillmore? He's my little friend. How are you darling? Oh, I hear mister Mettinger is out. I don't know what to do.
[00:05:02] Unknown:
You oh, oh, you are not out too, are you, mister Fillmore? And the casting director isn't changed, is he? You know, you promised me an appointment. Forget that. That's ancient history now, darling. And I've got big news for you. Big news? For me? Yes. I've left Metzinger, and I'm going to try independent production. Believe me, little girl, I'll use you. Oh, you will? Will. Now what's your name and your telephone number? I want them handy.
[00:05:32] Unknown:
Well, I called up colossal four days later. Oh, mister Filmore's gone, says the operator cheerfully. Left yesterday for Africa to direct an educational picture and be gone two years. Well, that woke me up. Believe me, I never wanted to hear the word pictures again. So you know what I did? I went out and got a job as as a chambermaid at the big apartment hotel, but I hadn't been there two hours before I found out that one of the apartments I had to clean belonged to Grant Whittier. Gee, I wanted to turn and run. I couldn't bear to have the man I'd idolized for years see me as a servant. I didn't know what to do, do, but I had to keep the job, of course.
So I I skinned my hair back and made myself look as ugly as I could. If he'd noticed me, all he'd see would be a dumb Swedish servant girl. Well, I didn't run into him until one morning, several days later. I was scrubbing the floor as he opened the door. Just then the telephone started to ring.
[00:06:31] Unknown:
Now take your time. I'm coming. Hello. Oh, that you, Ed? Yeah. Gruensburg. You know, the bird that got Mettinger's job? Well, he put me on the spot. Not going to sign me on again. Three high brow flops. Next picture would be my last. The merchant's out. Yeah. And what story do you think they've given me to do? The sob parade. The original written by Max, the office boy. It's an insult to my intelligence, and I'm gonna get square with that ex plumber, Gruensburg. Yes. I can too. Fix them good and plenty. Oh, you're going to see something. I'll be seeing you this evening, Ed. So long.
Hey, you. Say I'm speaking to you, whatever your name is. Yeah. Yeah. Yeah. Yeah. Get up. Turn around. Why? But Benoit The entire motion picture industry. Yeah? Turn around, please. Not a bad figure. And a natural Swedish towhead that could be rechristened and flattened them. I think I've been going now. No. You don't. You're going to listen to me, so try to get those slow wits together.
[00:07:33] Unknown:
You wanna go into the movies? No. What? You don't wanna go be a great actress, a star? No. I I already do housework.
[00:07:40] Unknown:
Well,
[00:07:41] Unknown:
you're not as dumb as you look. You're dumber. Can you act? Act? How? Glorious. You can't act. Just a mysterious looking sad Swede with nothing behind the mystery. You're perfect, Roy. Even your legs are swell. Gentlemen don't talk so. Listen. I make pictures. See? I tell my boss this morning miss Carlotta Carlson is in town. There is no Carlotta Carlson, but I tell him she's the greatest picture star of Europe. He says I must get it to sign contract. Do you understand? Do you understand?
[00:08:12] Unknown:
Yeah.
[00:08:13] Unknown:
Well, you're Carlotta Carlson from now on. You're it. No. I go now. Stop. Come here, Minnow. Wait. But I Darling, don't go back on me. You're going to star in my new picture. These people ask for trip and they're going to get it and like it. I don't like top house, but Listen. If you don't sign this contract, I'll get you fired from this job. You don't wanna be without any work in times like these. No. And sign this contract. It's for more money than you've ever seen before. But I Remember, I'll get you fired if you don't sign. Oh, then I oh, yeah. I I sign, mister.
[00:08:56] Unknown:
Oh, I knew I was a fool, but then what else could I do? Well, Grant Whittier took me shopping, and he bought me all the expensive clothes in Hollywood. You know, the whole colossal studio fell over on itself when I got out there. And did I get temperamental?
[00:09:10] Unknown:
You know, when Gruenberg just asked me how I like Hollywood, I said, I think it's bad. I don't like it. Well, we'll change all that. We make it so you like it, miss Carlton. What you like? Anything you want is yours. Well, I would like two Great Danes sent to my dressing room at once. Hello? Hello? Give me Schumacher. And I must have a string orchestra to wake me every morning. Get Goldberg on the other phone. It must play while I while I'd watch. Hello, Schumacher. Get busy right away and send down a couple of Great Danes. Good. Big ones. Ones. No. No dogs. No women. I've only been five minutes.
Oh, Goldberg. Have a swing hawks ready to wake miss Carlson tomorrow morning. No. Not small, your boomer. 16 pieces and play outside the bathroom while she's
[00:10:24] Unknown:
Well, that's what got Grant Whittier saw at me. He wanted publicity for his picture. Honest, you know, I I'd fallen hard for him, and I knew I had to do something to bring back his interest in me. Well, my chance came when I was left alone in the studio to read the script of the picture I was to do, the sob parade. Then I had a bright idea. I'd show them some real sob.
[00:10:51] Unknown:
Oh, no. Roy, it was easy. Hey, miss Carlson. Somebody do something. Do something. Miss Carlson is wrong. Keep quiet. Miss Carlson is wrong. Keep quiet. Say, miss Carlson, can I do some tell me? Tell me, please. I ask you. Lots of trouble, miss Carlson. What what do you want? Name it. Name it, please. Sorry. That audible car parade. I won't do him. I hate you. It's a story. She don't like it. It's a story. It won't do it. It's a story. Well, well, what's the matter with you? What are you all standing around for, like, a lot of dumbbells? Get another story. Get it fixed. What kind of a story would you like?
Name your style of story, miss Carlson. We'll have our writers do it right away. Oh, it's something new and original. There. Haven't I been telling you all? Something original. That's what the studio needs. Get an original right away. Oh, I don't want an original. I want something original. An, an adaptation. An adaptation. Get an adaptation. Have we got adaptations? Yeah. Yeah. We're going for the Venice. A very good amount. No. No. No. That's it. I want the Merchant of Venice. Get the Merchant of Venice. Get cats. Get Schumacher. Get them tomorrow. I think I used to rest today. Oh, but I must do the match in the Venice. Yeah. I I do that picture. Aye, miss Kautz. That is fine. You do just what you wish. You rest today. Yeah. Now get out of here, all of you. Get out.
We fix everything just as you want it should be. Oh, thank you, mister Broomsburg.
[00:12:10] Unknown:
Oh, I go too. Yeah. I I think I rest too. Oh, come in.
[00:12:22] Unknown:
Oh, miss Evitia. Hey. What's all this about? You're doing the Merchant of Venice. I do it. I do not like the sob, Patty. But why did you choose a merchant? How did you get away with it? My contract say I can't choose my own story. I write that in contract when nobody is looking. Up in your fly. Oh, cut the kidding. Quit all that and tell me who you really are.
[00:12:40] Unknown:
Stop it. You're hitting my arm. Oh, please let me go. Answer my question. Well, I you see, I knew you'd been wanting to do this story, and I've played Porsche already, and I oh, I love the part.
[00:12:50] Unknown:
Kid, you're clever. That slavey makeup was a wow. It fooled me plenty. Yeah. I think it did. Well, look here. Can we really get away with this production, do you think? Of course. We're gonna make a real picture. One little Malcolm Cole. Isn't exactly as written for a change. Hello. No. You can't speak to her just now. Don't ring this phone for an hour. We're in conference. You've heard about these motion picture conferences, haven't you, Holly? You bet I have. Well, we're going into one right now. Oh,
[00:13:18] Unknown:
oh, Grant.
[00:13:21] Unknown:
This story, Anything You Want Is Yours by Nina Wilcox Putnam was broadcast by special permission of the publishers of Red Book magazine. We take great pleasure in announcing that next week at this same time, we will present another story in dramatic form from Red Book.
Ladies and gentlemen, we take great pleasure in presenting in dramatic form another of the stories especially selected for us by Edwin Baumer, the distinguished editor of Red Book Magazine. We are pleased to announce that the publishers broadcast these stories. We're going to ask mister Bauer to tell you something about Naina Wilcox Putnam, the author of today's story, Anything You Want is Yours. Mister Bauer. Thank you, mister Clevinger.
[00:00:29] Unknown:
Naya Wilkerson Putnam is one of the cleverest of our popular writers. She has an unusual ability to absorb a story from people with whom she is in contact. Acquaintances naturally tell her an interesting amusing events, and she has an eye and a feeling for character which enables her her to make the story when she writes it lively and vivid. Recently, she's been in Hollywood, but things are changing rapidly. And for some incidents, just to her the story, anything you want is yours, which is about to be presented to you.
[00:00:56] Unknown:
Thank you, mister Baumer. Now for the story. The way miss Putnam wrote it, it was told in the first person by Hulda Sobold, the chief character. So we're going to introduce you to the charming miss Sobold and let her do the rest. Here she is. Oh, thank you, Clem.
[00:01:09] Unknown:
Well, you see, when I left Saint Louis, I had a one way ticket for Hollywood and a copy of screen news containing the latest picture of Grant Whittier and a platinum blonde wash on my genuine Swedish blonde hair and an introduction to mister Metzinger. You see, he used to be in the old clothes business in East Saint Louis before he gotta be a picture magnet. Well, after I'd parked my suitcase in the little old Hollywood, I didn't waste any time in getting to that colossal studio. But did I have trouble in getting into mister Metzinger? I'll say.
But at last, I managed to get into his secretary's office. He fixed me with kind of a fishy stare, and then he said Mister Metzinger is in conference. My name's Stillmore. Well, my father's no friend, mister Metzinger's, and he has a letter to prove it. See, it starts, dear Ike. Very well. In through that door there. Mister Messinger will see what one. Oh, dear. Thank you so much, mister Fillmore. Don't mention it.
[00:01:59] Unknown:
Hello? Fillmore speaking. Grant Woodie is raving around. Alright. Let him come in to me. Let's see what now. Hello? Fillmore speaking. I told you that production was not to run over half a million dollars. Well, cut the extras pay then. Cut it to $5 a day.
[00:02:19] Unknown:
Yes. Messinger's orders. Elmore. What's this I hear? Oh, sit down, would you? For years, I've been trying to do a good picture around here and they keep putting me off with promises. You're referring to the action the board took about The Merchant of Venice? You know right? Well, that's what I mean. Only last week, they approved of the adaptation made by Benny Katz and Al Schumacher, and now they shelved it. Sorry, would you? Those are the orders. All I get is a bunch of truck to direct. I'm going to seed around here, I tell you. Well, I'll sell mister send mister Metzinger a memo that you still want to do the merchant. The Katz and Schumacher adaptation. Yes. Yes. I'll take care of it. It. Oh, come right in, miss Sobold. Hello? Don't forget about that film. No. No. No. I won't. Did you, have a satisfactory interview, miss Sobold? Say, who was that just went out? Was that was it Grant Whittier?
[00:03:01] Unknown:
Was it? Yes. Our most famous director. Oh,
[00:03:05] Unknown:
I wanted to work for him for so long. And now maybe oh, maybe I'll work for him in a picture. You saw mister Metzinger? Yeah. He says you ought to call the casting director right away so I can meet him, and so I can tell him what parts I can play. So you're an actress. What have you done? I played Portia in our high school dramatic society.
[00:03:22] Unknown:
Miss Sobold, I'm going to give you a piece of advice you won't thank me for. Go home. But mister Messinger said that I was to see the casting director.
[00:03:30] Unknown:
Oh, and I know what I can do with a part. Alright. If it's your own way, I've done my duty. Now what did you say your telephone number was? Here it is. Here it is. It's written on a card. Oh, and here's a picture of him. Here's Portia.
[00:03:41] Unknown:
Cute. Well, I'll put him in the file.
[00:03:44] Unknown:
Well, aren't you gonna call the casting director? He's gone for the day. I'll call you up and make you an appointment. Oh, thank you, mister Filmore. Hey. I approve my worth. You see, I I've studied pictures, not as a foolish fan, but but really seriously. And I have an ambition to play in a picture directed by Grant Whittier. On my way to my room, I passed 16 platinum blondes, and all of them were good looking. Well, I I hung around home a couple of days waiting for a call from the studio that never came. Then I picked up a newspaper and saw the headlines. Bankers make clean sweep at Colossal. Mettinger definitely out. Complete reorganization promised.
Just imagine if they hadn't said one word to me about it. Well, I can tell you I was boiling mad. And when I reached Colossal, the sour faced desk sergeant said Mister Metzinger is no longer with us. Well, then is his secretary, mister Fillmore, in? He is in conference. Well, tell his conference to go sit on somebody else's knees. Tell me to clear out. I have to talk to him. Mister Fillmore is in conference. But Oh, there he is. I see him. Oh, mister Fillmore. Mister Fillmore? He's my little friend. How are you darling? Oh, I hear mister Mettinger is out. I don't know what to do.
[00:05:02] Unknown:
You oh, oh, you are not out too, are you, mister Fillmore? And the casting director isn't changed, is he? You know, you promised me an appointment. Forget that. That's ancient history now, darling. And I've got big news for you. Big news? For me? Yes. I've left Metzinger, and I'm going to try independent production. Believe me, little girl, I'll use you. Oh, you will? Will. Now what's your name and your telephone number? I want them handy.
[00:05:32] Unknown:
Well, I called up colossal four days later. Oh, mister Filmore's gone, says the operator cheerfully. Left yesterday for Africa to direct an educational picture and be gone two years. Well, that woke me up. Believe me, I never wanted to hear the word pictures again. So you know what I did? I went out and got a job as as a chambermaid at the big apartment hotel, but I hadn't been there two hours before I found out that one of the apartments I had to clean belonged to Grant Whittier. Gee, I wanted to turn and run. I couldn't bear to have the man I'd idolized for years see me as a servant. I didn't know what to do, do, but I had to keep the job, of course.
So I I skinned my hair back and made myself look as ugly as I could. If he'd noticed me, all he'd see would be a dumb Swedish servant girl. Well, I didn't run into him until one morning, several days later. I was scrubbing the floor as he opened the door. Just then the telephone started to ring.
[00:06:31] Unknown:
Now take your time. I'm coming. Hello. Oh, that you, Ed? Yeah. Gruensburg. You know, the bird that got Mettinger's job? Well, he put me on the spot. Not going to sign me on again. Three high brow flops. Next picture would be my last. The merchant's out. Yeah. And what story do you think they've given me to do? The sob parade. The original written by Max, the office boy. It's an insult to my intelligence, and I'm gonna get square with that ex plumber, Gruensburg. Yes. I can too. Fix them good and plenty. Oh, you're going to see something. I'll be seeing you this evening, Ed. So long.
Hey, you. Say I'm speaking to you, whatever your name is. Yeah. Yeah. Yeah. Yeah. Get up. Turn around. Why? But Benoit The entire motion picture industry. Yeah? Turn around, please. Not a bad figure. And a natural Swedish towhead that could be rechristened and flattened them. I think I've been going now. No. You don't. You're going to listen to me, so try to get those slow wits together.
[00:07:33] Unknown:
You wanna go into the movies? No. What? You don't wanna go be a great actress, a star? No. I I already do housework.
[00:07:40] Unknown:
Well,
[00:07:41] Unknown:
you're not as dumb as you look. You're dumber. Can you act? Act? How? Glorious. You can't act. Just a mysterious looking sad Swede with nothing behind the mystery. You're perfect, Roy. Even your legs are swell. Gentlemen don't talk so. Listen. I make pictures. See? I tell my boss this morning miss Carlotta Carlson is in town. There is no Carlotta Carlson, but I tell him she's the greatest picture star of Europe. He says I must get it to sign contract. Do you understand? Do you understand?
[00:08:12] Unknown:
Yeah.
[00:08:13] Unknown:
Well, you're Carlotta Carlson from now on. You're it. No. I go now. Stop. Come here, Minnow. Wait. But I Darling, don't go back on me. You're going to star in my new picture. These people ask for trip and they're going to get it and like it. I don't like top house, but Listen. If you don't sign this contract, I'll get you fired from this job. You don't wanna be without any work in times like these. No. And sign this contract. It's for more money than you've ever seen before. But I Remember, I'll get you fired if you don't sign. Oh, then I oh, yeah. I I sign, mister.
[00:08:56] Unknown:
Oh, I knew I was a fool, but then what else could I do? Well, Grant Whittier took me shopping, and he bought me all the expensive clothes in Hollywood. You know, the whole colossal studio fell over on itself when I got out there. And did I get temperamental?
[00:09:10] Unknown:
You know, when Gruenberg just asked me how I like Hollywood, I said, I think it's bad. I don't like it. Well, we'll change all that. We make it so you like it, miss Carlton. What you like? Anything you want is yours. Well, I would like two Great Danes sent to my dressing room at once. Hello? Hello? Give me Schumacher. And I must have a string orchestra to wake me every morning. Get Goldberg on the other phone. It must play while I while I'd watch. Hello, Schumacher. Get busy right away and send down a couple of Great Danes. Good. Big ones. Ones. No. No dogs. No women. I've only been five minutes.
Oh, Goldberg. Have a swing hawks ready to wake miss Carlson tomorrow morning. No. Not small, your boomer. 16 pieces and play outside the bathroom while she's
[00:10:24] Unknown:
Well, that's what got Grant Whittier saw at me. He wanted publicity for his picture. Honest, you know, I I'd fallen hard for him, and I knew I had to do something to bring back his interest in me. Well, my chance came when I was left alone in the studio to read the script of the picture I was to do, the sob parade. Then I had a bright idea. I'd show them some real sob.
[00:10:51] Unknown:
Oh, no. Roy, it was easy. Hey, miss Carlson. Somebody do something. Do something. Miss Carlson is wrong. Keep quiet. Miss Carlson is wrong. Keep quiet. Say, miss Carlson, can I do some tell me? Tell me, please. I ask you. Lots of trouble, miss Carlson. What what do you want? Name it. Name it, please. Sorry. That audible car parade. I won't do him. I hate you. It's a story. She don't like it. It's a story. It won't do it. It's a story. Well, well, what's the matter with you? What are you all standing around for, like, a lot of dumbbells? Get another story. Get it fixed. What kind of a story would you like?
Name your style of story, miss Carlson. We'll have our writers do it right away. Oh, it's something new and original. There. Haven't I been telling you all? Something original. That's what the studio needs. Get an original right away. Oh, I don't want an original. I want something original. An, an adaptation. An adaptation. Get an adaptation. Have we got adaptations? Yeah. Yeah. We're going for the Venice. A very good amount. No. No. No. That's it. I want the Merchant of Venice. Get the Merchant of Venice. Get cats. Get Schumacher. Get them tomorrow. I think I used to rest today. Oh, but I must do the match in the Venice. Yeah. I I do that picture. Aye, miss Kautz. That is fine. You do just what you wish. You rest today. Yeah. Now get out of here, all of you. Get out.
We fix everything just as you want it should be. Oh, thank you, mister Broomsburg.
[00:12:10] Unknown:
Oh, I go too. Yeah. I I think I rest too. Oh, come in.
[00:12:22] Unknown:
Oh, miss Evitia. Hey. What's all this about? You're doing the Merchant of Venice. I do it. I do not like the sob, Patty. But why did you choose a merchant? How did you get away with it? My contract say I can't choose my own story. I write that in contract when nobody is looking. Up in your fly. Oh, cut the kidding. Quit all that and tell me who you really are.
[00:12:40] Unknown:
Stop it. You're hitting my arm. Oh, please let me go. Answer my question. Well, I you see, I knew you'd been wanting to do this story, and I've played Porsche already, and I oh, I love the part.
[00:12:50] Unknown:
Kid, you're clever. That slavey makeup was a wow. It fooled me plenty. Yeah. I think it did. Well, look here. Can we really get away with this production, do you think? Of course. We're gonna make a real picture. One little Malcolm Cole. Isn't exactly as written for a change. Hello. No. You can't speak to her just now. Don't ring this phone for an hour. We're in conference. You've heard about these motion picture conferences, haven't you, Holly? You bet I have. Well, we're going into one right now. Oh,
[00:13:18] Unknown:
oh, Grant.
[00:13:21] Unknown:
This story, Anything You Want Is Yours by Nina Wilcox Putnam was broadcast by special permission of the publishers of Red Book magazine. We take great pleasure in announcing that next week at this same time, we will present another story in dramatic form from Red Book.
