Redbook Dramas 32-06-23 ep05 The Kid

Summary

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Podcast Summary: "Redbook Dramas 32-06-23 ep05 The Kid"

Podcast: Harold's Old Time Radio
Date: November 1, 2025

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Main Theme

This episode showcases “The Kid,” a poignant radio drama dramatized from a story by Elaine Stern Carrington, renowned for her sensitive portrayal of real-life human situations. Set against the backdrop of family ambition and upheaval, the story follows young Betty as she courageously navigates the adults’ selfishness and fights for her own happiness and security.

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Key Discussion Points & Episode Structure

1. Introduction and Context [00:39 - 01:32]

• The show is introduced by the announcer, who notes that each episode is adapted from stories in Redbook Magazine by arrangement with its editor, Edwin Balmer.
• Edwin Balmer explains why he selected Carrington’s story, highlighting her insight into character and human situations:
  "She writes most sympathetically and with great insight into character. As you will see in her story, 'The Kid.' It is about a little girl who got in the way of her mother's selfish ambitions. And bravely solved her own problems for herself." – Edwin Balmer [01:04]

2. The Homecoming: Betty Returns to New York [01:44 - 03:57]

• Betty and her mother, Pearl, return from Hollywood with their nurse, Alex, to reunite with her stepfather, Jimmy.
• There's a subtle tension between Pearl’s glamour-chasing ambitions and the familial love in Jimmy’s modest New York apartment:
  • "Same dump, all right. Living room looks just the same. Billboard and bride everywhere. Along with cigarette butts, neckties and burnt matches. You haven't changed, Jimmy." – Pearl [03:23]
• Jimmy’s happiness at their return is palpable, while Pearl seems quickly distracted, immediately needing to phone a new interest.

3. Ambitions and Disappointment [04:10 - 05:40]

• Jimmy is excited to announce he has booked a joint act for them, hoping to rekindle their past success.
• Pearl quickly crushes his hopes, revealing she’s moving on to a part in Saul Greenberg’s Broadway show:
  • "I can't go on the act with you, Jimmy. I'm signing with Saul Greenberg tomorrow." – Pearl [04:53]

4. Betty’s Innocence and Attachment [05:40 - 07:55]

• Betty shares a heart-to-heart breakfast with Jimmy, revealing both her wisdom and youthful yearning for stability.
  • "Jimmy, if Pearl ever dies, I'm going to marry you." – Betty [07:14]
  • Jimmy responds humorously yet lovingly, emphasizing his loyalty to Pearl.

5. Uprooted: Pearl’s Abrupt Move [08:12 - 09:34]

• Pearl, focused on her own future, suddenly insists the family leave Jimmy and move into a hotel, planning to divorce Jimmy and marry Greenberg.
• Betty resists:
  • "But Jimmy wants us here. He won't let us go." – Betty [08:36]

6. Conflict with Saul Greenberg [09:50 - 12:17]

• In the hotel, Greenberg visits and tries to ingratiate himself with Betty, giving her an expensive doll.
• The situation turns tense as he attempts to force affection on Betty, who recoils and is slapped.
  • "Oh, don't. Don't you touch me." – Betty [11:38]
  • "Here's a slap for yours, you little brat." – Greenberg [12:07]

7. Resolution – Return to Jimmy [12:37 - 13:17]

• Betty, distraught and bruised, flees to Jimmy and pleads to stay with him.
• Jimmy gently comforts her, folding humor into resolve, gently prodding her toward education but welcoming her back:
  • "No ignoramuses can hang around this dump, get it? You got to get educated. And if I ever get home of a night and you can't count off 13 short blocks, why, out you go." – Jimmy [13:05]
  • Betty, regaining security, promises to learn.

8. Closing [13:32 - 13:50]

• The announcer wraps up, noting that the story was presented with Redbook Magazine’s permission and hinting at next week's episode.

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Notable Quotes & Memorable Moments

• Edwin Balmer on Story Selection:
  "Elaine Stern Carrington is distinguished by her unusual ability to present human situations in the life of our day... It is about a little girl who got in the way of her mother's selfish ambitions. And bravely solved her own problems for herself." [01:04]

• Pearl’s Selfishness:
  "I'm going to divorce Jimmy and marry Mr. Greenberg. Already he's bought you a swell doll. Mr. Greenberg's a grand fellow..." – Pearl [08:55]

• Betty’s Distress:
  "Oh, don't. Don't you touch me. Don't you touch me." – Betty [11:38]
  "I don't want his own doll. I got. I got. Mister, Go see." – Betty [09:05]

• Jimmy’s Nurturing Humor:
  "No ignoramuses can hang around this dump, get it? You got to get educated." – Jimmy [13:05]

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Key Emotional Beats

• A child’s struggle to belong vs. maternal ambition: Betty’s sincerity and longing for connection stands out in contrast to Pearl’s calculating and fickle priorities.
• Abuse and escape: The disturbing encounter with Saul Greenberg brings the adults’ failings into sharp relief, triggering Betty to assert herself and return to the only person who’s cared for her.
• Restoration of Security: The episode ends on a warm note—Betty, though hurt, finds safety with Jimmy, whose gentle guidance and affection promise her a more loving environment going forward.

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Timeline of Important Segments

• [00:39] – Announcer introduces story and editor’s remarks.
• [01:44] – Betty reunites with Jimmy in New York.
• [04:10] – Jimmy shares news of their stage act; Pearl reveals new plans.
• [05:40] – Breakfast scene; Betty and Jimmy bond.
• [08:12] – Pearl arranges to leave; Betty objects.
• [09:50] – Hotel scene, conflict with Saul Greenberg.
• [12:37] – Betty flees, finds Jimmy, is consoled.

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This rich episode from the golden age of radio blends warmth, pathos, and resilience, capturing both the drama and the hope of a child's point of view during family upheaval. The clear, emotive performances and sharp dialogue create an experience as relevant today as it was in its original airing.

Transcript

[A]

Hey, this is Sarah. Look, I'm standing out front of a.m. p.m. Right now and, well, you're sweet and all, but I found something more fulfilling. Even kind of cheesy. But I like it. Sure, you met some of my dietary needs, but they've just got it all. So farewell, Oatmeal. So long, you strange soggy.

[B]

Break up with bland breakfast and taste AM PM's bacon, egg and cheese biscuit made with K tree eggs, smoked bacon and melty cheese on a buttery biscuit. AMPM Too much Good stuff.

[C]

Ladies and gentlemen, we present in dramatic form another of the stories especially selected for us by Edwin Balmer, the distinguished editor of Red Book Magazine. We are pleased to announce that the publishers of Red Book Magazine have given us special permission to. To broadcast these stories. Mr. Ballmer is here with us. And before the story begins, we're going to ask him to tell you his reasons for selecting Elaine Stern Carrington's story the kid. Mr. Ballmer.

[D]

Thank you, Mr. Clementer. Elaine Stern Carrington is distinguished by her unusual ability to present human situations in the life of our day. She writes most sympathetically and with great insight into character. As you will see in her story, the Kiss. It is about a little girl who got in the way of her mother's selfish ambitions. And bravely solved her own problems for herself. Betty is played by Florence Hallis, who is just eight years old today.

[C]

Betty and her colored nurse Alex and her beautiful mother Pearl have been in Hollywood. But now they're in New York. Betty will see her stepdaddy again. Oh, it's been such a long time.

[E]

We're gonna see Jimmy. We're going to see Jimmy.

[F]

Hurry up with those bags, Alex. Betty, will you stop fidgeting and come on? An 8 year old kid ought to know how to act right off that little ground.

[E]

Said I'll take you back. I see Jimmy on the platform. There's Jimmy. Jimmy.

[B]

Well, here's the place. Remember it, Betty. Gee, little kid, you've gone up a mile.

[E]

Hey, Lee.

[F]

Go on.

[E]

Me?

[B]

We gotta get out here. Here we are, Pearl. Say, you look like a million.

[F]

So we're home, eh? Same old join.

[G]

Jimmy.

[F]

I thought maybe you'd move to the rift.

[E]

Me?

[B]

No. I'd have to get me used to the grub all over again.

[F]

Did you miss us any?

[B]

Did I? And how? Well, up the steps, folks. Wait till I find my key. Bring those bags, Alex.

[F]

Yes, fine.

[B]

Stay, Pearl. How'd you like Hollywood?

[E]

I like it fine, Jimmy, but I like to see it better.

[F]

We had a swell Place there all right. Well, you don't look so good, Jimmy. Anything the matter?

[B]

Not now. But see, when you went away, I got so blue I wasn't any good on stage or off. I'm glad they didn't sign you up for life out there, Pearl.

[F]

Oh, I could have stayed, all right. Only I like New York, I guess.

[B]

Gee, it's great to have you back. Where's that key? It got me so fussed I couldn't even find it.

[F]

All right.

[B]

Come on in.

[E]

I remember, Jimmy. It's just the same look. That doll light don't go on and off like it used to in the closet.

[B]

It's the bulbous faucet kit.

[E]

Oh.

[B]

Well, Pearl, don't it look good to you here?

[F]

Same dump, all right. Living room looks just the same. Billboard and bride everywhere. Along with cigarette butts, neckties and burnt matches. You haven't changed, Jimmy. You sure did a swell job of cleaning for us.

[B]

You oughta seen it yesterday, baby.

[E]

You all ought to see the house we had in Hollywood. Mr. Harvard. Right out where all the movie stars live. Ms. Pearl Joan was stepping high out there.

[B]

Make her appreciate a place like this all the more. Sit down in the davenport, Pearl, and get rested.

[E]

I can help it. Here, Jimmy.

[F]

Oh, sorry, Jimmy. I gotta go out and phone.

[B]

Why, you haven't even taken off your gloves yet.

[G]

Phone.

[B]

Say, listen, baby, if this bird was that interested, he'd have been at the station to meet you the same as I was. What's wrong, Pearl? See you're frowning. Ain't you glad to be back?

[F]

Oh, I guess so.

[B]

I want to talk to you, Pearl. Come on over here, Betty, and give me a hug and you can listen in. Say, Pearl, I nearly wired you in shy, but I thought I'd rather see your face when I sprang the news.

[F]

Okay, Jimmy, fill it.

[B]

It's a real break for us. I got us booked open in Newark a week from Thursday. I never could work with nobody else but you remember what a wow we used to be before you got the Hollywood bug. Well, anyway, as soon as I told the booking office that you was coming back, they grabbed at the chance stage our old action.

[E]

Gimme that, Damien.

[F]

Hey, wait a minute.

[B]

Oh, but it's great. All we need is a couple of days rehearsal and we're all set to go again. Now that you got that Hollywood buck.

[E]

Out of your system.

[F]

Who said I got that Hollywood bug out of my system?

[B]

Well, baby, if you got any big office back ease.

[F]

Well, you didn't give me a chance to tell. I can't go on the act with you, Jimmy. I'm signing with Saul Greenberg tomorrow.

[B]

Saul Greenberg?

[F]

Yeah.

[B]

Oh, gee, no kidding.

[F]

I went to a party on the coast Mr. Greenberg was at. Said he was putting on a big new Broadway review and he'd be a part in it for me. Came east just before I did and asked what I get in touch with him the minute I got back.

[B]

Well, baby, that's great. Say, maybe he could use a bum hoover in the show too, huh? Well, I suppose you gotta phone em. Morning, kid. Having breakfast? Looks like Pearl's gone for the day.

[E]

Oh, she done went out early, Mr. Harvey. She says he had a appointment to see Mr. Greenback. I've been waiting to have breakfast with you, Jimmy. Great.

[B]

I'll just have a cup of coffee, little lady.

[E]

Jimmy, what was you and Mama talking about last night? After I went to bed, Mama came in and I heard you talking real loud.

[B]

Why, nothing, kid. Pearl will be all right today. What would you like to do today, kid? What's new?

[E]

Tell me. Go to the movies, Jimmy.

[B]

Well, I suppose you ought to go to school instead.

[E]

I'd rather go to the movies.

[B]

Yeah, but listen, education's a great thing.

[E]

But I know a lot already.

[B]

Well, let's see how much you know. Now. If I was on the corner of 55th street and Broadway and wanted to walk to Times Square, how many blocks would it be? But, Ginny, gee, you can't even do an easy one like that. Why, it's fierce to grow up ignorant. Kid, you ought to go to school.

[E]

Oh, Ginny, let me spend the day with you.

[B]

All right, kid. I tell you what. I gotta go down to Blake's casting agency for a while. I gotta get something to do myself, I guess. And when I get back, I'll take you for a walk. We'll get down to the florist stand on 6th Avenue.

[E]

I remember on the corner. And you will get a carnation.

[B]

Sure, get myself a carnation in your rose and we'll walk into the park and feed just like a bride and groom.

[E]

That'd be dainty. I'll take my doll, Mr. Goldfish, too.

[B]

Some doll that d got a funny face like a lot of movie actors I know. Gee, kid, it's great to have you back. I don't know how I got along while you were away. I must be getting real funny. You and your old lady.

[E]

Jimmy. Jimmy, if Pearl ever dies, I'm going to marry you.

[B]

Yeah, well, say, what an idea for a.

[E]

Don't you want to, Jimmy?

[B]

Oh, I get so many offers that you'd like to. Why, listen, kid, honest, I think it'd be a great idea. The only trouble is I'm so old, see? Now, how'd I look going up to the altar and hobbling on crutches besides you. Besides, it's Pearl and nobody. I'm afraid. If she passed out of the picture. Why, I guess I'd go it alone.

[E]

Just as long as I can stay with you all.

[B]

With that goes double, little girl. You bet. And now you finish your breakfast. I gotta scram down to the casting agency. Be back in a little while.

[F]

So long.

[E]

So long, Jimmy. I wish Jimmy would hurry back. Mr. Goldfish and I want to go out with him.

[F]

Oh, here come your mother, Tom. She back early? Alex, hurry now. Pack our things right away. We got Ma here.

[E]

I don't want to go away from here.

[F]

Jimmy and me are hurried. Alex, throw those dresses into my suitcase.

[E]

Where are we going? We just got here last night.

[F]

Yeah? Did you think I'd stay in this joint a minute longer than I had to?

[E]

But I like it here.

[F]

Listen, kid, if I was to tell you we're going to a swell hotel, would you feel any better?

[E]

But Jimmy wants us here. He won't let us go.

[F]

Won't, eh? I'd just like to see him try to stop me. Not after the way he tried to ball me out last night. Where does he get off thinking he can tell me what time I ought to come in? Nice. Now, you get into that coat and come on.

[E]

I want to stay. I want to stay here.

[F]

Listen, you're going to a swell hotel. I'm going to divorce Jimmy and marry Mr. Greenberg. Already he's bought you a swell doll. Mr. Greenberg's a grand fellow, but I.

[E]

Don'T want his own doll. I got. I got. Mister, Go see.

[F]

You stop that ball and I'll give you something to bawl about. Do you hear?

[E]

I wanted to stay with Jimmy.

[F]

Jimmy wouldn't want you without me, see? Now get into that coat. Come on, we're clearing out here before he gets back.

[E]

Alex.

[F]

Alex, are those suitcases packed?

[E]

Yes, and I'm coming, man. All right, Mr. Goldstrip, you stay behind to keep company. Say goodbye to him for me, won't you, Tom? Goodbye.

[F]

Come on, get a move on, Alex. There's a taxi waiting. Betty, come on. Will you stop crying and come on?

[E]

Say, this place sure is some class, Miss Pearl.

[F]

You bet it is. Now hurry those bags into the bedroom. Mr. Greenberg will be here any minute now, Betty. Well, for heaven's Sake. Now you stop that blubbering this minute and get your coat off. Look here. Here's the doll Mr. Greenberg was nice enough to get for you. It's the most expensive doll you ever had.

[E]

I don't. I don't want the old doll.

[F]

You take this doll and act nice about it or I'll fix you good. Come on now, straighten up. If you don't stop crying, I'll. Quick. There's Mr. Greenberg now. Go open the door and ask him to come in and sit down real polite. Take the doll with you and thank him for it. Don't you dare put any monkey wrench into the works, you little. Well, well, well.

[G]

So you're settled already, huh?

[F]

Why so? I never thought you'd get here the clank.

[G]

Well, it's never too quick to see you, kiddo, huh? Oh, so this is the baby, is it?

[E]

Her.

[F]

Well, say, how do you do?

[E]

Oh, how do you do?

[G]

Well, I see you got a dolly all right. You like it, huh?

[F]

It's crazy about it, Sal. You never had a doll like that before, did you, darling?

[E]

No.

[G]

Don't take after you, does she, Pearl? But she is going to be a good looker when she grows up just the same. You got lovely cos, darling. Here, come over here. Come over here and sit on Uncle Sol's meat. Do you like this hotel, huh?

[E]

Yes.

[G]

The kid ain't got much Gavin her, has she? But I like that. I like to be the big noise around here.

[F]

Give her time. She'll talk, you deaf and dumb once she gets going.

[G]

Don't hang back, darling. You and me are gonna be friends. Come on, sit on my knees.

[E]

Come on over here.

[G]

What's the matter, darling? Don't pull away. Here. That's right. And now I'm gonna give you a great big kiss.

[E]

Oh, don't. Don't you touch me. Don't you touch me.

[G]

What's that? What's that? You said?

[E]

Let me go.

[G]

Well, but can you imagine that?

[E]

Listen to her. So.

[F]

It's just one of her cells.

[E]

Betty, I. I Scratch me, you little.

[G]

Huh? How dare you, you little.

[E]

Betty.

[F]

So you don't need anything.

[G]

Kick me, you fresh little brat. Maybe if I. I hate you.

[E]

Jimmy. Oh, Jimmy.

[B]

Jimmy, Jimmy.

[G]

Who's Jimmy?

[E]

A little kid.

[F]

She plays with a kid, huh?

[G]

Well, here's a slap for yours, you little brat.

[E]

Oh, Jimmy. Jimmy. She's gone. She's out the door, Daddy. Come back here, you little cat.

[G]

Yeah, she'll come back, but I won't. Who's there?

[B]

Why, it's the kid? You look all in.

[E]

What?

[B]

There's a bruise on your face.

[E]

Mr. Greenberg did it, and Pearl's going away. Can I stay with you, Timmy? Can I, Jimmy? Oh, I wished I was dead. Can I, Jimmy? Please? Oh, please don't let me go, kid.

[G]

Huh?

[B]

Well, I'll tell you. This is 55th street, ain't it?

[E]

Yes.

[B]

Well, now, how far is the Times Square?

[E]

I don't know, Jimmy.

[B]

No, that don't go, kid. Now, look here. No ignoramuses can hang around this dump, get it? You got to get educated. And if I ever get home of a night and you can't count off 13 short blocks, why, out you go. Get me.

[E]

I. I get to. Jimmy.

[C]

This story, the kid, was broadcast by special permission of the publishers of Red Book magazine. Next week at this same time, we take pleasure in announcing that we will present another story in dramatic form from Redbook.