Whispering Streets 58-xx-xx (xxx) Afraid To Love

Summary

Episode Summary: "Whispering Streets 58-xx-xx (xxx) Afraid To Love"

Podcast Title: Harold's Old Time Radio
Host/Author: Harold's Old Time Radio
Episode Title: Whispering Streets 58-xx-xx (xxx) Afraid To Love
Release Date: February 18, 2025

---

Introduction

In this emotionally charged episode of "Whispering Streets," listeners are introduced to Monica Raymond, a seasoned radio personality grappling with profound personal loss and a deep-seated fear of love. Through heartfelt dialogues and poignant storytelling, the episode delves into Monica's struggle to reconcile her public persona with her private grief, ultimately leading her on an unexpected journey toward healing and connection.

Characters

• Monica Raymond: The protagonist, a beloved radio personality known for her children's stories. Behind her professional facade lies a woman mourning the loss of her child and wary of opening her heart again.
• Laurel: Monica's dedicated secretary, who assists in managing fan mail and supports Monica through her personal struggles.
• Dennis Maxwell: A persistent producer who seeks Monica's companionship, representing the obstacles Monica faces in overcoming her fear to love.
• Betty Davis: The narrator who interjects with news segments, providing context and transitions within the story.
• Michael "Mickey" Truesdale: A recurring character whose invitations to Monica serve as catalysts for her emotional journey.
• Beth and Jackie: Dennis Maxwell's children, whose innocent interactions with Monica help to break down her emotional barriers.

Plot Summary

The episode opens with Monica and her secretary Laurel sorting through fan mail, revealing Monica's internal conflict between her career and her longing for a family life she never had. [00:37] Monica reflects, "I love children, Laurel. I'm afraid to show it. When a youngster holds out his arms to me, I just get all quivery inside." This admission sets the stage for Monica's emotional vulnerability.

Monica shares the tragic story of losing her child, Mary, in a house fire, which has left her emotionally scarred and hesitant to form new relationships. [02:28] She explains, "When a woman's loved and lost love, she's afraid to love again or fear she'll lose again." This candid revelation underscores the depth of her fear and the protective facade she maintains.

Amidst her struggles, Monica receives an invitation from Dennis Maxwell to spend the weekend at his countryside farm. Initially resistant, Monica reluctantly accepts, driven by Laurel's insistence. [07:15] Laurel encourages her, "A farm in the valley sounds divine." This decision marks the beginning of Monica's journey toward healing.

Upon arriving at the Maxwell farm, Monica meets Dennis's children, Beth and Jackie, who adore her stories. Their innocent affection begins to soften Monica's guarded demeanor. However, her reluctance to engage emotionally remains evident, as she rebuffs their attempts at affection. [13:07] Monica sternly states, "No, no. Keep away from me," highlighting her internal conflict.

As days pass, Monica finds herself increasingly affected by the children's warmth and Dennis's persistent kindness. The turning point occurs when Jackie injures himself and seeks Monica's comfort. Her initial cold reaction gives way to a moment of vulnerability, prompting her to reconsider her fears. [17:13] The incident forces Monica to confront her emotions, leading to moments of genuine connection with the Maxwell family.

In the climax, Dennis reveals his own struggles and his longing for connection, mirroring Monica's fears. This shared vulnerability paves the way for mutual understanding and emotional healing. [21:44] Monica reflects, "For every woman who has lost a child, there's some mother in heaven who has left her children on earth." This profound realization signifies Monica's acceptance of her grief and her readiness to embrace love once more.

Themes and Insights

Fear of Love and Vulnerability: Monica's journey is a poignant exploration of how past traumas can hinder one's ability to open up emotionally. Her struggle illustrates the universal fear of being hurt again and the resilience required to overcome it.

Healing Through Connection: The interactions with the Maxwell family highlight the healing power of genuine human connections. Monica's gradual thawing demonstrates that support and love from others can help mend deep emotional wounds.

Facade vs. Authenticity: Monica's sophisticated exterior masks her inner turmoil, a common theme in narratives about personal loss. The episode emphasizes the importance of authenticity and allowing oneself to be vulnerable to foster genuine relationships.

Resilience and Growth: Despite her initial resistance, Monica's experiences at the Maxwell farm showcase her resilience and capacity for emotional growth, underscoring the possibility of finding happiness after profound loss.

Notable Quotes

• Monica Raymond [00:55]: "I'm afraid to show it. When a youngster holds out his arms to me, I just get all quivery inside."

• Monica Raymond [02:42]: "When a woman's loved and lost love, she's afraid to love again or fear she'll lose again."

• Laurel [07:15]: "A farm in the valley sounds divine."

• Monica Raymond [13:07]: "No, no. Keep away from me."

• Monica Raymond [17:13]: "For every woman who has lost a child, there's some mother in heaven who has left her children on earth."

• Dennis Maxwell [22:44]: "Maybe your children's mother's there, too."

Conclusion

"Afraid To Love" masterfully intertwines personal tragedy with the journey toward emotional healing. Through Monica Raymond's story, the episode underscores the transformative power of love and the courage it takes to overcome fear. Harold's Old Time Radio delivers a touching narrative that resonates with listeners, reminding us of the enduring strength of the human spirit and the importance of opening our hearts to new possibilities.

Transcript

[Basil]

Perdio Sutra Bajo reduheron susoras presente su solicitud. Oy mismocondel Departamento de Emplode, Oregon Es gratis Basil. Yey servicios de ponibles. Llame al uno ocho. Siete, siete. Tres.

[Bette Davis]

Whispering street and here is Betty Davis.

[Monica Raymond]

Hello. Monica Raymond enjoyed her career as a radio personality. But sometimes, in fact, quite often, she thought of the career she might have had as a wife and a mother. Now, as Monica and her secretary sat at the desk opening fan mail from listeners.

[Laurel]

Must be a couple of hundred. Monica, how did you ever dream up the idea. Monica Raymond against music. Telling stories for children from six to sixes?

[Monica Raymond]

No, it just came to me.

[Laurel]

I guess the funny part of it is you don't like children. The day that young town man brought his little boy to the studio, you rushed right past him. He was holding out his arms to you and.

[Dennis Maxwell]

Monica. What's the matter?

[Monica Raymond]

I love children, Laurel. I'm afraid to show it. When a youngster holds out his arms to me, I just get all quivery inside. I back away and try to cover it up with a wise crack if I can think of one fast enough.

[Laurel]

I don't get it.

[Monica Raymond]

Laurel. I'm going to tell you something that nobody knows. Nobody on the studios, that is. I'm widow. I once had a child of my own. But.

[Laurel]

Everybody calls you Ms. Raymond. Where's the child?

[Monica Raymond]

I said I had a child. Mary.

[Dennis Maxwell]

And I was named with Malcolm.

[Monica Raymond]

Mary and I lived in the suburbs. And one night, after everybody was asleep, there was a fire. Effective wiring, they said. Mary carried me down the stairs. The baby's room was on the ground floor. And we thought the nurse had the baby outside. And then we saw the nurse all alone. Mal darted back into the house and I tried to rush after him. But a fireman caught me and held me.

[Dennis Maxwell]

And then the roof caved in. The most awful thing I ever heard. So that's why.

[Monica Raymond]

That's why I want to tell stories of children. And paradoxically, why I want to avoid contact with children. When a woman's loved and lost love, she's afraid to love again or fear she'll lose again. That's why I cover myself outside with the veneer of sophistication. I'll get it.

[Laurel]

Since you told me and what you told me, I feel all gone in.

[Monica Raymond]

The pit of my stomach. Monica Raymond's apartment.

[Laurel]

Yes, I see.

[Monica Raymond]

It's Michael Truth there, Monica.

[Dennis Maxwell]

Oh, again.

[Monica Raymond]

The third time he's called today. Hello, Nicky. No, I don't want to have dinner with you tonight. No, I can't accept a weekend invitation to your cottage at the beach. Well, no, I won't. I can't. Why? Well. Well, I'm going out of town this weekend. No, you can't drive me where I'm going. I'm. I'm awfully sorry, Mickey. I appreciate all your offers, but the answer is no. Goodbye. He's a very important producer, but he's just a pest to me.

[Laurel]

But won't he discover you haven't gone out of town?

[Monica Raymond]

Well, somebody's bound to ask me to go somewhere. You know, just out of sheer cussedness. I swear I'll accept the first invitation that comes my way. Anything to keep away from Michael Truesdale. Well, how about getting on with the letters?

[Laurel]

Okay. Here's one from a little boy who's promised to eat his spinach if you'll send him your picture. His name Carol. And here's one from a man who going to see his old sweetheart after 20 years. He wants a copy of that poem you read yesterday about love lasting forever.

[Monica Raymond]

Well.

[Jackie]

And.

[Laurel]

Here'S your invitation, Monica.

[Monica Raymond]

My invitation?

[Laurel]

Get a load of this. We listen to you every evening right after supper, Ms. Raymond. And we've taken fancy to you. We've even got it doped out what you look like. You have white hair and a sweet smile.

[Monica Raymond]

White hair and a sweet smile. Oh, my.

[Laurel]

Our farm's in a valley surrounded by mountains. We've read that the city's having a heat wave and so. Well, Ms. Raymond, we're wondering if you'll visit us for a spell. We can promise fresh air and country food. It will probably do you worlds of good. So I guess you're all set.

[Monica Raymond]

What on earth are you talking talking about, Laurel? Do you really suggest that I spend the weekend with strangers?

[Bette Davis]

In just a moment, Bette Davis will be back again.

[Narrator]

But first four Navy ships arrived off the coast of Colombo, Ceylon. The USS Duxbury, USS Princeton, USS Sutherland and USS Henderson. They were there to take part in the rescue work made necessary by one of the worst clubs in the history of Ceylon. Over 300 tons of food were offloaded and dispatched to the disaster areas. 160 tons were airlifted. The helicopters of the Princeton medical teams from all the Navy ships immunized thousands of people to prevent epidemic outbreaks. They also purified. Purified the drinking water. After five days of 24 hours a day work, the flood waters receded and the emergency passed. The spirit and teamwork displayed by these Navy men Gave us all a thought to remember we are Americans. As we go, so goes America.

[Bette Davis]

And now back to our story with Betty Davis.

[Monica Raymond]

Monica stared at her secretary with a look expressing both surprise and disapproval. She reached for the fan letter that Laurel the secretary, had just read.

[Laurel]

Remember, Monica, you swore that you'd accept the first invitation that came your way. And here it is, made to order.

[Monica Raymond]

Good heavens, Laura, I. I don't even know this person.

[Dennis Maxwell]

Let's see.

[Monica Raymond]

His name is Dennis Maxwell. Probably an old father. He and his wife go in the children of 60 class. Laurel, he's enclosed a timetable and a rail for ticket. Well, what do you know?

[Laurel]

A farm in the valley sounds divine.

[Monica Raymond]

And the country food town sounds like £10.

[Laurel]

Back to distributors only for a weekend. Be a good sport.

[Monica Raymond]

Go. You said you wouldn't know. A joke's a joke, Laurel. Because if I win, he'll meet me at the beep. Or the place is called Simpson's Corners. That sounds like deep country.

Truly rural.

[Laurel]

Oh, dear.

[Monica Raymond]

Hello?

[Laurel]

Oh, yes, Mr. Trusdale. Well, no, Mr. Trusdale. I think she's going away. No, I don't think you should come here.

[Jackie]

Mickey.

[Monica Raymond]

Mickey, I wish you'd stop bothering me. No, no, I won't change my mind. Of course I'm going away, just like I said. Where? To a place you never heard of. It's way out in the country. Simpsons Corners, if you're interested. Well, some friends have invited me to visit them on their country estate. Please excuse me, Mickey.

[Laurel]

I don't pass.

[Monica Raymond]

Well, that's that. The die, so to speak.

Monica already had some programs recorded on tape in case of an emergency. So she wired Dennis Maxwell to meet her. She told him she'd accept his invitation for the weekend. But the moment that train pulled out of the city terminal, she told herself she was being an idiot. Two days, possibly three, with a pathetic old couple would be an eternity. She was angry at herself and at her secretary. By the time she stepped off the train, she stood on the depot platform tapping her foot.

[Bette Davis]

You can't be Ms. Reminger. Young enough, pretty. But you're the only lady who got off the train.

[Dennis Maxwell]

Are.

[Monica Raymond]

Are you Dennis Maxwell?

[Laurel]

You look like Cary Grant.

[Bette Davis]

If you know my name, you must be Miss Raymond. But you don't look quite the way we pictured you.

[Monica Raymond]

Well, the line about white hair and a sweet smile tickled me, so I just played along with it.

[Bette Davis]

You're more like something off a magazine cover. Ms. Raymond, my car is at the other end of the platform. We'll have supper as soon as we get to the farm, the hired girl cooks supper, and we usually eat early so she can go home while it's still light. But I. I guess she'd better stay nights as long as you're with us. Being as how.

[Monica Raymond]

Being as how what? Well, let's get going, Mr. Maxwell.

[Bette Davis]

This way, Miss Raymond. Give me that bag. I reckon I didn't tell you in my letter that I'm a widower, Miss Raymond. That's why I guess it's better if the hired girl stays all night, sort of as a. A chaperone. The visit wasn't my idea, Ms. Raymond. It was Beth's and Jackie's.

[Monica Raymond]

Well, who are Beth and Jackie?

[Bette Davis]

My children.

[Monica Raymond]

Your children? How old are they?

[Bette Davis]

Well, Jackie is 7, Beth's 6. Here's a car. I'll put your bag in the back seat. In you go, Miss Raymond. I reckon the kids will be just as surprised when they see you as I was.

[Monica Raymond]

I. I didn't dream you had children.

[Dennis Maxwell]

Two of.

[Bette Davis]

I wonder why I didn't say something about them in my letter. They're really wonderful kids, Miss Rims. You fond of children? Oh, well, of course. You must be, or they wouldn't be so crazy about your stories.

[Monica Raymond]

Well, I'm glad they like my stories. If they didn't, I'd be out of a job.

[Dennis Maxwell]

Business is business.

[Monica Raymond]

This is a very nice road, all dappled with sunlight.

Dennis Maxwell and Monica Raymond were almost completely silent for half an hour. Dennis asked an occasional question. Monica replied with a yes or no. And then the car climbed a steep grade, and as it came down on the other side.

[Bette Davis]

That's my farm over there in the Valley, Ms. Raymond. The White house with the red outbuildings across the road from it.

[Monica Raymond]

Well, it's almost too far to see.

[Dennis Maxwell]

There's so many trees.

[Monica Raymond]

Does the house have green shutters?

[Bette Davis]

No, Blue. Hold tight, Ms. Raymond. I always coast when I come to this last hill. That brings the car right up to the gate. We're close to the jumping off place, Ms. Raymond.

[Monica Raymond]

It's a nice jumping off place.

[Bette Davis]

It's peaceful, anyhow.

[Dennis Maxwell]

Very peaceful. I remember. Are those your children hanging on the gate? Beth and Jackie?

[Jackie]

Yeah.

[Dennis Maxwell]

Huh.

[Bette Davis]

Jackie's holding out his puppy so you can see it first thing, and Beth has her doll in her arms. Miss Raymond, I've got to tell you something before we meet my kid.

[Dennis Maxwell]

Oh, okay. Go ahead.

[Bette Davis]

It's your voice. Voice? When you read poetry, you sound the way they think their mother's voice sounded. They. They don't remember her really? She died long ago. Well, it's all kind of mixed up and unexplainable. But children are queer.

[Dennis Maxwell]

Grown ups are queer, too.

[Bette Davis]

Yeah, folks get goofy ideas without meaning to do it. Hey, Jackie Beth, here's your friend.

[Monica Raymond]

Your hair isn't white right the first time.

[Jackie]

You want my puppy to sleep on your bed?

[Monica Raymond]

Take it easy, youngster.

[Bette Davis]

One at a time.

[Beth]

I'm dad. You're here to be yellow and I want to kiss you.

[Jackie]

I'll kiss you, too.

[Monica Raymond]

No, no. Keep away from me.

[Beth]

I have a kitty. You can see my kitty. I got baby chickens, and you got.

[Jackie]

To see my older chickens.

[Beth]

There's an ear to eat for supper. Can I call you Aunt Monica?

[Monica Raymond]

If you want to. What do you do when supper's over?

[Bette Davis]

We listen to you, usually. Then the children go to bed. And then I sit on the porch and think things out.

[Beth]

When I go to bed, I want Aunt Monica to undress me.

[Jackie]

Well, I heard her hear me say my prayers when I go to bed, too.

[Monica Raymond]

I'm sorry, but that's out.

[Bette Davis]

Don't be so rough with them, Miss Raymond. Now I know why you are evasive when I ask you if you like children.

[Monica Raymond]

Go to the head of the class, Mr. Maxwell. All right, children, I'll hear your prayers. But you're big enough to undress yourself.

[Bette Davis]

In just a moment, Bette Davis will be back.

[Michael Truesdale]

Do you know when the first presidential nominating meeting was held? In September 1812, all the Congressmen of the Democratic Republican Party met in New York to pick a president and Vice President James Madison was selected to run for a second term as president, and Elbridge Gary was named for the vice presidency. In the election that followed, both men defeated the Federalist candidate for office. This meeting in New York, which has been called the first presidential convention in America, added another page to your political history.

[Bette Davis]

And now back to our story with Betty Davis.

[Monica Raymond]

So Monica heard the children say their prayers, and then she told them one of her special stories and recited one of her special. And finally they were asleep and she went down to the porch and Dennis rose from his chair and.

[Bette Davis]

You've been away a long time, Ms. Raymond.

[Monica Raymond]

Putting your kids to bed was hard work.

[Bette Davis]

Are you laughing up your sleeve at them, or do you just plain hate them?

[Dennis Maxwell]

My sleeve's only a wisp of loyal.

[Monica Raymond]

It wouldn't hold a very big laugh. And I'm too lazy to hate people.

[Bette Davis]

Your arms are pretty, but they're not the sort that could learn to cuddle a child. Your voice, your stories and poem, they completely Fooled us when? I'm off to bed, Ms. Raymond. Big day tomorrow. I hope you sleep well.

[Monica Raymond]

Dennis Maxwell was up and out of the house long before Monica opened her eyes. So she had breakfast with the children hanging over her. And then she was taken on a tour of inspection.

Daddy's in the north hoodie pounds.

[Beth]

I'll show you my kitty ant. No, no.

[Jackie]

I will show her my chicken.

[Monica Raymond]

Just a minute.

I'll see the kitten first because that's the girl. She has priorities.

[Beth]

My kitten's great and she has blue eyes. Aunt Monica, what's in the rain?

[Monica Raymond]

Well, it's that flimsy stuff they put on top of lemon pie.

[Laurel]

You know, it's whites of eggs and.

[Monica Raymond]

Sugar all beaten up into a stiff sauce.

[Dennis Maxwell]

Why do you ask?

[Beth]

Daddy was talking to himself this morning.

[Jackie]

He said you were like man, I.

[Beth]

Think Daddy's sort of disappointed cause you haven't got quite here. But you have got a sweet smile when you smile.

[Monica Raymond]

Dennis Maxwell was remote at noon dinner, so Monica was equally remote. But it took some doing because the kids had fallen for her heart and she was mad about them and well, almost mad. Mad about their father. A week went by and she tried to act sophisticated. To wide crack and be gristled. For if I let go, she told herself, I'm licked. I lay myself wide open to be hurt again. Things reached a climax when Jackie ran to meet his father one night and fell in the gravel path and got up screaming.

[Jackie]

Get her Bl that. Make her well. Give her bleed.

[Monica Raymond]

Now get up and don't be such a baby. Only sissies cry, Ms. Raymond.

[Bette Davis]

Haven't you any human sympathy? Come with me, Jackie. I'll put peroxide on your knees.

[Jackie]

I don't want peroxide. I want. I'm only good to give it a mix.

[Monica Raymond]

You'd better go with your father, Jackie.

[Bette Davis]

Yeah, Jackie, come on, stop crying. Come along with me.

[Monica Raymond]

Can you understand Monica's attitude? Dennis Maxwell couldn't. But I can't. If she'd kissed that banged up knee, if she'd held Jackie in her arms, all her resolutions would have gone out the window. That night after supper, when Beth and Jackie were in bed and asleep and Dennis spoke abruptly, she wasn't surprised.

[Bette Davis]

You look like an angel on the Christmas tree, Ms. Raymond. But you're as hard as nails.

[Monica Raymond]

Yes, aren't I? Nice shiny nails.

[Bette Davis]

Children's mother was gentle and kind. I. I told myself that I owed it to them to fill the place she left vacant.

[Monica Raymond]

Always thinking of the children, aren't you? Never of yourself.

[Bette Davis]

A Man has a right to consider himself. And then again, he hasn't. When I first saw you, I thought. Ms. Raymond, you'd better go back to the city tomorrow morning.

[Monica Raymond]

Yes, I better. Can you take time out to drive me to the depot?

[Bette Davis]

I can arrange to take time out. Now, if you'll excuse me, I'll go to bed.

[Monica Raymond]

So Dennis vanished. And Monica made her way upstairs and started to pack. But all at once, as if drawn by an invisible magnet. She went tiptoeing across the hall and into the children's room. And knelt between their beds. And suddenly she was praying.

[Dennis Maxwell]

Oh, God, is your mind full and beautiful? That feminine? Feminine is untouched.

[Beth]

You are.

[Jackie]

And Monica?

[Dennis Maxwell]

Jackie, did you need hurt very badly?

[Jackie]

No, don't hurt one bit. You wanted to kiss her, didn't you?

[Dennis Maxwell]

Yes, Jackie, I did. So terribly much.

[Jackie]

I know. And so did this. But Daddy didn't know.

[Dennis Maxwell]

Well, you're smarter than he is. Jackie, I'm going right in line.

[Jackie]

Well, why are you going to leave us when you love us?

[Dennis Maxwell]

Come on. I can't answer that.

[Bette Davis]

Maybe I can. Those are dope not to understand.

[Dennis Maxwell]

What are you doing here?

[Bette Davis]

Listening. Children are queer, but even so, they're able to see in their hearts when grownups can't.

[Monica Raymond]

Why did you put on the act? What fool you? But there were. There are a couple of other reasons.

[Jackie]

Give me. Good night, Aunt Monica.

[Monica Raymond]

Good night, Chaplain.

[Laurel]

Yes, Best.

[Jackie]

Good night, too.

[Monica Raymond]

Yes, darling.

[Dennis Maxwell]

Hunter.

[Monica Raymond]

Good night, both of you.

[Dennis Maxwell]

Good night, darling.

[Bette Davis]

And now you'll come down to the porch with me and explain.

[Dennis Maxwell]

It may take me quite a while to explain. Dennis. There.

[Monica Raymond]

There's a swell guy and a little baby up in heaven.

[Dennis Maxwell]

And maybe your children's mother's there, too.

[Monica Raymond]

And maybe she's holding my babies close right now.

[Dennis Maxwell]

Just as I'll be holding her children close. Yeah, one from now.

[Monica Raymond]

For every woman who has lost a child. There's some mother in heaven who has left her children on earth. It's heartwarming and deeply comforting to feel that they may get together in that place beyond the sunset. Perhaps Monica Raymond was guided to the Maxwell farm by a devotee, Divine providence. And perhaps the constant phone calls from Mickey Truesdale. Were just an instrument in that direction.

[Bette Davis]

And now here is Bette Davis to tell you more about Mickey Truesdale.

[Monica Raymond]

Michael Mickey for short. Truesdale asked Monica Raymond to dine with him. And to spend a weekend at the beach in his cottage. He got a decisive brush off for his pain. But Monica wasn't the only girl to whom Mickey gave invitations. Sometimes presents and he didn't always get a brush off. I'll tell you about a Red Riding Hood. We accepted the wolf's invitation with dire results. Until then, this is Betty Davis saying goodbye from the Whispering.

[Bette Davis]

Today's program was written by Margaret E. Sangster. Feature in the cast will William Baez, Barney Phillips, Charlotte Lawrence, Gigi Pearson and Kathy Garver. Whispering Streets was directed by Gordon T. Hughes and produced by Ted Lloyd. Your announcer is George Walsh.

[Narrator]

Whispering Streets has come to you through the worldwide facilities of the United States Armed Forces Radio and Television Service.