Radio City Playhouse and Dangerously Yours

Summary

Detailed Summary of "The Relic Radio Show" Episode: Radio City Playhouse and Dangerously Yours

Podcast Information:

• Title: The Relic Radio Show (Old Time Radio)
• Host/Author: RelicRadio.com
• Description: Unearthing audio artifacts from radio's golden age. Relic Radio features a variety of old-time radio genres, including horror, science fiction, comedy, adventure, and more.
• Episode: Radio City Playhouse and Dangerously Yours
• Release Date: February 11, 2025

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Section 1: Radio City Playhouse – Ground Floor Window

Overview: "Ground Floor Window," written by Ernest Kanoy and performed by Joe Helgeson as Danny, is a poignant narrative exploring themes of isolation, disability, love, and the longing for human connection. Set in the late 1940s, the story delves into the life of Danny, a 23-year-old man confined to a ground-floor window due to a physical condition that limits his mobility and speech.

Plot Summary: Danny has spent his entire life observing the bustling activities of the street from his ground-floor window. His condition has rendered him socially isolated, earning him the nickname "Dopey Dan" among neighborhood children who tease him relentlessly. The arrival of Ruth, the new upstairs tenant, marks a turning point in Danny's otherwise monotonous existence. Ruth, portrayed as a compassionate and understanding young woman, becomes a beacon of hope and friendship for Danny.

Character Dynamics:

• Danny: Struggles with his self-esteem and the constant bullying from peers. His silent yearning for connection is palpable as he navigates his relationship with Ruth.
• Ruth: Demonstrates unwavering kindness and empathy towards Danny, offering him solace and companionship. Her interactions represent the possibility of overcoming societal prejudices.
• Danny's Mother: A single parent grappling with her son's condition and her strained relationship with Skip Parson, a neighbor who embodies societal indifference and insensitivity.
• Skip Parson: Represents the antagonistic force, a neighbor whose teasing exacerbates Danny's feelings of inadequacy and isolation.

Notable Themes:

• Isolation vs. Connection: Danny's confined existence juxtaposed with his deep desire for meaningful relationships highlights the human need for connection.
• Stigma and Acceptance: The societal treatment of Danny underscores issues of disability stigma and the transformative power of acceptance and empathy.
• Hope and Resilience: Ruth’s persistent kindness serves as a testament to resilience and the capacity for hope in bleak circumstances.

Selected Quotes:

1. Danny's Reflection on His Life:

   • "I've been sitting in this ground floor window of ours for 23 years. Yes. Ever since I can remember..." (00:02:11)

2. Ruth's Compassion:

   • "Danny, it's 9:00. It's getting late. How about letting me fix you for bed, huh?" (00:04:12)

3. Emotional Climax – Danny’s Vulnerability:

   • "Oh, let me alone. Let me alone. Let me alone." (00:12:08)

4. Danny’s Dream of Movement:

   • "That night I dreamed I could walk. I was with you, Ruth, by the ocean..." (00:12:08)

5. Danny's Mother on Acceptance:

   • "I've always been able to talk to you. Remember when I said I wanted to talk to you? Always." (00:14:10)

Emotional Tone: The narrative is laden with melancholy and yearning, capturing Danny's internal struggles and the subtle yet profound moments of connection with Ruth. The interactions between characters, especially the tender exchanges between Danny and Ruth, evoke a deep sense of empathy and highlight the transformative impact of kindness.

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Section 2: Dangerously Yours – The Shadow of the Raven

Overview: "Dangerously Yours," featuring Victor Jory, delves into the tumultuous life of Edgar Allan Poe, intertwining his literary genius with his personal demons. This segment offers a dramatized glimpse into Poe's relationship with his wife, Virginia Clemm, highlighting themes of love, desperation, and the blurred lines between reality and imagination.

Plot Summary: The story paints a dramatic portrayal of Edgar Allan Poe's inner turmoil as he grapples with his passion for writing and his troubled relationship with Virginia. Edgar is depicted as a tormented soul, struggling to finish his works while battling his own mental instability. The narrative crescendos with Edgar succumbing to his vices, ultimately leading to his tragic demise.

Character Dynamics:

• Edgar Allan Poe (Edgar): Represents the archetype of the tortured artist, his brilliance shadowed by his personal struggles with addiction and despair.
• Virginia Clemm (Mrs. Clemm): Embodies unwavering support and love, striving to anchor Edgar amidst his chaos.
• Doctor: A peripheral figure symbolizing society's inability to comprehend or alleviate Edgar's internal struggles.
• Skip Parson: Reappears from "Ground Floor Window," perhaps symbolizing the pervasive nature of Poe’s torment.

Notable Themes:

• The Duality of Genius and Madness: Edgar’s creative brilliance is inseparably linked to his mental instability, illustrating the fine line between genius and madness.
• Love and Sacrifice: Virginia's dedication to Edgar underscores the sacrifices made in the name of love, even in the face of insurmountable personal challenges.
• Isolation and Desperation: Edgar's alienation from the world mirrors Danny's physical confinement, highlighting universal themes of loneliness and the human condition.

Selected Quotes:

1. Edgar’s Confession of Love and Despair:

   • "The best I can offer you is my love and my devotion..." (00:33:08)

2. Virginia’s Reassurance:

   • "If that's true, then let there be danger, because it will be a beautiful danger." (00:35:15)

3. Edgar’s Inner Struggle:

   • "I must finish this poem. I must finish it." (00:50:54)

4. Climactic Descent into Madness:

   • "The sound increased. And what could I do? It was a low, dull, quick sound..." (00:53:00)

5. Edgar’s Final Departure:

   • "Edgar Allan Poe died just before dawn on Sunday, October 7th." (00:55:15)

Emotional Tone: The segment exudes a somber and tragic atmosphere, effectively conveying Edgar's descent into madness. The dialogue is intense, reflecting the protagonist’s internal battles and the profound love he harbors for Virginia. The interplay between hope and despair creates a hauntingly beautiful narrative that resonates with the timeless essence of Poe’s literary legacy.

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Conclusion

This episode of The Relic Radio Show masterfully juxtaposes two compelling narratives from old-time radio, each exploring profound human emotions and societal issues. "Ground Floor Window" offers a heartfelt exploration of isolation and the redemptive power of empathy, while "Dangerously Yours – The Shadow of the Raven" delves into the dark psyche of a literary genius battling his inner demons. Through rich storytelling, evocative performances, and carefully selected poignant quotes, the episode not only preserves the legacy of golden-age radio dramas but also brings to life timeless themes that continue to resonate with audiences today.

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Notable Production Credits:

• "Ground Floor Window":

  • Written by: Ernest Kanoy
  • Starring: Joe Helgeson (Danny), Bernard Grant, Marilyn Erskine, Adelaide Klein, Joe DeSantis
  • Music by: Dr. Roy Shield
  • Directed by: Harry W. Junkins

• "Dangerously Yours – The Shadow of the Raven":

  • Starring: Victor Jory (Edgar Allan Poe), Janice Gilbert (Virginia Clemm)
  • Script by: Gene Holloway
  • Directed by: Richard Sanville
  • Music Directed by: Mark Warno

This comprehensive summary encapsulates the essence of both radio plays featured in the episode, providing listeners with an engaging and insightful overview of the stories, characters, and emotional landscapes portrayed in The Relic Radio Show.

Transcript

[Host]

This is the Relic Radio Show, Old time radio entertainment still standing the test of time from relicradio.com.

[Fred Collins]

Welcome back to.

[Host]

The Relic radio show. We begin this week with Radio City Playhouse and their story from October 23, 1949, titled Ground Floor Window. After that, it's Dangerously yours and the Shadow of the Raven. That story aired September 17, 1944.

[Harry W. Junkins]

From Radio City, New York. The National Broadcasting Company presents Radio City Playhouse, Attraction 57. Ladies and gentlemen, here is your director, Harry W. Junkins.

[Joe Helgeson]

Thank you, Fred Collins. This afternoon on Radio City Playhouse, Ground Floor Window by Ernest Kanoy. The story of Danny. The story of his fears and his courage, his heartbreak and his love. We presented this story a year ago last July at the very beginning of the Radio City Playhouse series, and we are repeating it in response to many, many requests. With us to play the very difficult and demanding role of Danny is Joe Helgeson, one of radio's most sensitive and most perceptive actors. Here then is our show, Joe Helgeson as Danny in Ground Floor Window by Ernest Kanoy. Attraction 57 on Radio City Pie.

[Danny]

I've been sitting in this ground floor window of ours for 23 years. Yes. Ever since I can remember, I've watched the girls playing potsy in the sidewalk, boys playing stickball, dodging the cars, shooting marbles in the gutter. I'm 23 now. 23. It was six years ago that I first saw you, Ruth. You were the new upstairs tenants. There was a big yellow moving van, the furniture, your father managing everything. I remember the first words your father ever said to me. The first words your father ever said to me. Hey, you.

[Skip]

You in the window. This 791.

[Danny]

Why?

[Skip]

I said it's a 791.

[Danny]

Why?

[Skip]

It's no use asking him, mister. He's dopey. Yeah, how do you know?

[Ruth]

Yeah.

[Skip]

Yeah, he's a regular goof. Just sits there all the time.

[Danny]

Mister, I can't.

[Skip]

He can't even talk straight.

[Danny]

Yeah, it's 791, all right.

[Skip]

Hey, you moving in, huh? Yeah. Hey, the goof there, he ain't dangerous.

[Harry W. Junkins]

Or anything, is he?

[Danny's Mother]

Him?

[Skip]

Nah. He can't even get out of that chair. His ma even has to tie his shoes for him.

[Harry W. Junkins]

No kidding.

[Danny]

Yeah.

[Skip]

Okay, Ruthie, this is the right place.

[Danny]

We're home.

[Fred Collins]

What's wrong with him, Papa?

[Danny's Mother]

He looks so funny.

[Danny]

Never mind.

[Skip]

Now go find a super and get the key to the apartment.

[Danny's Mother]

Yeah, but he looks so funny.

[Harry W. Junkins]

Go on, you heard me.

[Skip]

Find a super.

[Danny]

All afternoon I watched your father and another man Carrying furniture and trunks into the house. It was dark before the truck finally pulled away. Kids in the block were shooting bottle caps under the street lamp. The ice cream man had been around twice.

[Ruth]

Danny, it's 9:00. It's getting late. How about letting me fix you for bed, huh?

[Danny]

No, Ma, not yet. I'll stay up a while.

[Ruth]

You had a long day, Danny. You ought to rest.

[Danny]

Oh, Ma.

[Ruth]

All day you sat by the window.

[Danny]

Put me Rowan, will you?

[Ruth]

Can I get you some ginger ale? It's cold in the icebox.

[Danny]

No, I don't want anything, Ma. Just leave me alone.

[Ruth]

Okay, Danny.

[Danny's Mother]

Just call me when you want to.

[Ruth]

Go to bed, huh?

[Danny]

Yeah, Ma. All right.

[Danny's Mother]

Hello.

[Danny]

Hello.

[Danny's Mother]

My name is Ruth. I moved in today.

[Virginia]

Upstairs, I saw.

[Danny's Mother]

Mind if I sit on the stoop by your window? What's your name?

[Danny]

Dan.

[Danny's Mother]

What's wrong with you? You ain't really dopey, are you?

[Danny]

No. It's just that I was born with.

[Danny's Mother]

That lady in the blue dress. She's your mother, ain't she? My mother died last year. She had double pneumonia.

[Danny]

That's too bad.

[Danny's Mother]

Can't a doctor do something for me? Yeah.

[Danny]

My mother took me to the clinic when I was four. They told her they couldn't do anything.

[Danny's Mother]

Oh, that's awful. What is it?

[Danny]

The doctor said something. Isn't there in the part that tells the muscles what to do?

[Danny's Mother]

You don't have to tell me if you don't wanna.

[Danny]

I don't mind. You won't laugh at me, though?

[Danny's Mother]

No, I won't laugh.

[Danny]

The rest of the kids on the block do. I'm used to it, I guess. They call me dopey Dan.

[Danny's Mother]

That isn't fair. It isn't your fault, is it?

[Danny]

No, it isn't my fault.

[Danny's Mother]

Oh, that's Papa. I gotta go upstairs. I'll see you tomorrow, Dan.

[Danny]

Good night, Ruth.

[Ruth]

Who was that you were talking to, Danny?

[Danny]

The girl from upstairs.

[Ruth]

Oh, the one who moved in today, huh? She should shame herself with such a dirty face.

[Danny]

Her name is Ruth.

[Ruth]

Ah, this used to be such a nice neighborhood.

[Danny]

She looked straight at me, Ma.

[Ruth]

So she looked at you. Should I put you to bed now, Danny?

[Danny]

That's all right, Ma. I want to sit up a while longer. You go ahead. I want to think. I watched you grow up, Ruth. You washed your face now, and those long braids have given way to a sort of soft tangle around your face. You went to Douglas Junior High School with the kids from the block. And after school you used to sit on the high brownstone Stoop. Just outside my window. Report on the day's activities.

[Danny's Mother]

The teacher don't like me. Damn. I'm part of the whole class. She said I didn't do my homework.

[Danny]

Did you?

[Danny's Mother]

Well, not exactly. I tried to.

[Danny]

You went to movies instead. I saw you go by.

[Danny's Mother]

Well, Skip asked me to. And I don't see what good algebra does anyway.

[Danny]

Did you have a good time with Skip?

[Danny's Mother]

I guess so. We had a soda after. You've never seen a movie, have you, Dane?

[Danny]

Ma was going to take me once, but she couldn't get anybody to carry me.

[Danny's Mother]

It was a swell picture.

[Danny]

I'll see one someday.

[Danny's Mother]

What do you do when I'm in school, Danny?

[Danny]

Why? I don't know. Just watch the street, I guess.

[Danny's Mother]

Don't you read?

[Danny]

I can't turn the pages. Good. I used to have a teacher come once a week. Not anymore.

[Danny's Mother]

Hey, I know what I'll read to you Saturday afternoon. I gotta read Ivanhoe for school anyway, and I'd just as soon read it aloud.

[Danny]

But Skip calling you.

[Danny's Mother]

Well, let him come over here if he wants anything.

[Skip]

Hey, what are you doing, Ruthie?

[Danny's Mother]

Just talking.

[Skip]

Just talking to Gophy, Dan, Skip, cards.

[Danny's Mother]

And you shut up.

[Danny]

Well, that. That's all right. Sure.

[Skip]

Danny don't mind, do you, Danny?

[Danny]

Mm. Mm.

[Skip]

We're all friends, ain't we?

[Danny's Mother]

Never mind, Skip. You shut up.

[Skip]

Anyway, girls are crazy, ain't they, Danny?

[Danny]

Huh? All right. See, Danny agrees with me.

[Danny's Mother]

Why don't you go away, Skip?

[Skip]

I'll go when I wanna. Say, Ruthie, all the kids in school are going up the river on the day line Saturday.

[Danny]

Would you like to go?

[Danny's Mother]

I don't know.

[Skip]

Won't cost much. I mean. Look, I'll tell you what. You come with me. I'll get your ticket.

[Danny's Mother]

Well, I was gonna read to Danny on Saturday.

[Skip]

We're going to Bear Mountain. Joe Barker's father's giving him hot dogs for the whole bunch.

[Danny]

Ruthie.

[Danny's Mother]

I don't know.

[Danny]

It sounds swell, Ruth. Yeah, sure.

[Skip]

It's a lot better than just sitting on a stoop reading all afternoon.

[Danny's Mother]

I don't know yet, Skip. I'll let you know.

[Danny]

You went to Bear Mountain with Skip? Ruth, I wanted you to. Skip was supposed to be very funny. He had an imitation of the way I talk and how my face moves. I never saw it, but all the kids in the neighborhood laughed every time. Saturday afternoon, I watched the little kids unscrew the top off the fire hydrant, run around under the water. I thought of you on the boat with the wind blowing through that Short tangle of hair. I think I enjoyed that trip more than you did. You came home late, way after 12. Alone. The night was hot. The whole street seemed to be weighed down under a smothering blanket. You sat in the stoop. Even in the dark, I could tell you were crying.

[Danny's Mother]

I am not crying. It's just hot.

[Danny]

Didn't you have a good time?

[Danny's Mother]

Sure.

[Danny]

How come Skip didn't bring you home? Your father will be awful mad.

[Danny's Mother]

I don't care.

[Danny]

What's the matter? You are crying, Ruth.

[Danny's Mother]

Nothing, Danny.

[Danny]

Something happened on the trip, didn't it?

[Danny's Mother]

No.

[Danny]

It was Skip, wasn't it?

[Danny's Mother]

Oh, Daddy.

[Danny]

He made fun of the way I talked.

[Danny's Mother]

I hit him, Danny. I slapped Skip as hard as I could. And then I ran into the cabin. I didn't come home with them. I couldn't stand it, Danny. I will never talk to Skip as long as I live.

[Skip]

They don't mean anything, Ruth.

[Danny]

It's just that I'm different. Don't cry, Ruth, please.

[Skip]

Is that you, Rosie?

[Mrs. Clemm]

Queen's papa.

[Danny]

He's been to Connolly's Bar. I saw him go by around 10. Ro.

[Skip]

Danca, when you fight a fraud. Yes.

[Danny's Mother]

Papa, Danny's drunk. What'll I do?

[Skip]

Didn't I tell you to get home before midnight?

[Danny's Mother]

Papa?

[Skip]

Didn't I say before midnight tonight? But, Papa.

[Danny]

Mr. Gower, Ruth was here talking to me.

[Danny's Mother]

No, dad.

[Skip]

She was. Huh?

[Danny]

She was talking to me. She was back around 11. Why.

[Skip]

Why, you lying, half witted cripple.

[Danny]

Mama.

[Danny's Mother]

Don't you dare talk to Dan like that.

[Skip]

Why. Why, you little. Come on, get upstairs before I beat your head off.

[Danny]

Mr. Gower, you shouldn't.

[Skip]

Listen, you overgrown idiot. If I didn't know that your mom has even to wipe your nose for you, I. And stay away from Ruthie, see?

[Danny]

I don't want her hanging around her.

[Skip]

Just stay away.

[Danny]

Danny.

[Mrs. Clemm]

Was.

[Ruth]

Was that Gala coming home drunk again?

[Danny]

Danny.

[Ruth]

Danny, you're crying.

[Danny]

No, Ma.

[Ruth]

What's the matter? Danny, Can I do something for you? What are you crying for?

[Danny]

Nothing.

[Ruth]

Here, let me f. Fix the pillow behind your back.

[Danny]

It's all crooked, Ma. Stop it, Danny. I can't stand it any longer. Oh, let me alone. Let me alone. Let me alone. But my mother fixed my pillow. Brought me a glass of water. Wiped the tears out of my eyes. I sat at the window, staring out at the street. That night I dreamed I could walk. I was with you, Ruth, by the ocean. We were running hand in hand, sort of floating over the sand. Running, running. Then suddenly I fell. I couldn't get Up. He looked down at me and said quietly, crippled.

[Skip]

I was screaming when I woke up.

[Danny]

My mother came running. She insisted on sitting up with me all night. I didn't dream anymore after that. You didn't come every day. You had a job after school. I'd see you go out in the morning with your books, come back late in the afternoon. You weren't really pretty, I suppose you always looked tired. And you took a long time climbing the stoop.

[Danny's Mother]

Hello, Danny. Oh, isn't this a scorcher?

[Danny]

Hello, Ruth. You're tiring.

[Danny's Mother]

Sometimes I think you're lucky, Danny. You're different from the other boys I know. Not only because you're crippled.

[Danny]

It's all right.

[Danny's Mother]

I mean, it seems like I can always talk to you. Papa doesn't seem to understand. Honest, Hanny. Sometimes I think you're all there is on the whole block. That's real. I mean, I don't know what. Annie, why is it you seem kind.

[Ruth]

Of good to fight?

[Danny]

I don't know.

[Danny's Mother]

I mean, you seem so. So old.

[Danny]

Old?

[Danny's Mother]

As if you knew what was right. Oh, Dan. Will you always let me talk to you? Ruth, I get so tired. I need you to talk to Danny.

[Ruth]

I.

[Danny]

You sat on the stoop with your head in your hands looking like all the sorrow in the world. Then you looked up and smiled at me. I could see tears in your eyes. I was glad, Ruth. Glad you wanted to tell me you were unhappy. Glad you wanted me to listen while you poured out the troubles of your 18 year old heart. The war was over now. There was a big welcome home streamer stretching from our house across the street to 794. They had a big block party when the four Sedimtimi brothers came home and the little kids playing in the street wore their big brother's army clothes. I was glad the war was over. Listen while you poured out the troubles of your 18 year old heart. Glad to see the boys come home.

[Fred Collins]

Dad, Daddy, look who's back.

[Danny's Mother]

Look who's back.

[Danny]

It was Skip Parson on the sidewalk at the foot of the stoop. He stood looking up at me with his feet apart, leaning on a sort of steel cane that reached up behind his right hand and clamped his arm by the elbow.

[Skip]

Hiya, Daddy.

[Danny]

Hello, Skip. Swell to see.

[Danny's Mother]

Come on up and sit down a while on the stoop.

[Mrs. Clemm]

Sure, sure.

[Skip]

I got nowhere to go. Hi, everything.

[Danny's Mother]

Hi.

[Skip]

I guess I kind of joined your club, Danny.

[Danny]

There. I'm sorry, Skip.

[Skip]

Oh, well, I still got the leg, even if it is all scrambled up. How you Been Danny, huh?

[Danny]

Oh, same. You look great. I. I mean, except for the legend.

[Skip]

Yeah. The real surprise is Ruthie. She wasn't pretty when I went away.

[Danny's Mother]

Oh, never mind. What are the ribbons for, Skip?

[Skip]

Huh? Oh, free beers mostly, I guess. They're good for at least a quart at Conley's Bar.

[Danny]

You got home just in time, Skip. Ruth graduates high school tonight.

[Skip]

What? Hey, that's swell. Congratulations. You should have told me. I'd have brought you a present or something. Maybe flowers.

[Danny's Mother]

Oh, Dan sent me flowers.

[Skip]

Why don't you go with her tonight, Skip?

[Danny]

Mr. Gower's working. Ruth won't have anybody there.

[Skip]

I wasn't asked.

[Danny's Mother]

Don't be goofy. I need someone in the audience to clap when they call my name.

[Skip]

Oh, yeah? Well, horny handed Parsons they call me. How's this?

[Danny's Mother]

Fine.

[Ruth]

You'll do like.

[Danny's Mother]

I gotta get dressed now for your flowers as well then.

[Danny]

I'm glad.

[Skip]

In about an hour, Ruthie.

[Danny's Mother]

Maybe a little longer. I'll try to hurry.

[Skip]

Okay. Well, I gotta shave. See you later, Danny, huh?

[Danny]

Have a good time, Skip. I saw you go off together to the graduation. It was almost dark and street lamp went on just as you passed under it. Skip was wrong. You weren't pretty. The light caught the white flowers in your dark hair. Danced when you tossed your head and waved to me.

[Ruth]

Is that the G girl going to graduation, Danny?

[Danny]

Yes, Ma.

[Ruth]

You'd think her father would come home to go with her.

[Danny]

He's working.

[Ruth]

Working, not working. The girl graduates only once. Who's that with her?

[Danny]

Skip? Parson. Oh, he came home today.

[Ruth]

Yeah, I heard.

[Danny's Mother]

Oh, shame.

[Ruth]

His leg is such a strong boy.

[Danny]

She looked nice, Ma.

[Ruth]

She oughta. You made me buy expensive enough flowers. So much money for a little girl like that.

[Danny]

Oh, my.

[Ruth]

Still, you're right, Danny. Her father wouldn't get him. And on graduation, a girl should have flowers.

[Danny]

They were pretty. She had them in her hair.

[Ruth]

It's lucky. Skipped him home so she had someone to take him. Everybody's got his troubles in the whole world. Nothing but troubles. So you want some ice cream the next time the man comes around? Danny.

[Danny]

You came home late. I heard you both laughing quietly as you turned the corner. When you passed under the street lamp, I saw the flowers in your hair, welded and yellowing. Skip had tucked one of them under his infantry bags like it was a buttonhole.

[Danny's Mother]

Dan. Dan.

[Skip]

He's probably in bed, Danny. What do you want to wake him up for?

[Danny's Mother]

I promised to tell him about graduation. Danny's been something sort of special to me. Oh, Skip, it isn't fair. Why should he be like that? It isn't fair.

[Skip]

Take it easy, honey. It's graduation night.

[Danny's Mother]

Said he was glad you went with him.

[Skip]

Sure Danny's okay. He's. Hey, you're not in. I mean, Danny isn't.

[Danny's Mother]

Oh, Skip. Up. I can't.

[Skip]

Let's walk down to the river. It's early.

[Danny]

Eight, huh?

[Danny's Mother]

I can't. Pop will be home from work soon. He'll get me.

[Skip]

You got lots of time. After all, you only graduate high school once.

[Danny's Mother]

But I really promised Danny.

[Skip]

Danny was up here to answer. Yes, but, Pop, your old man. Don't do it. Come home till three. What do you say?

[Ruth]

All right.

[Danny's Mother]

Oh.

[Skip]

What's the matter?

[Danny's Mother]

My flowers came loose. Here, will you hold my purse?

[Skip]

Oh, they're drooping anyway. You might as well throw them away.

[Danny's Mother]

No, no. I'll fix the pin. I want to save them. There.

[Danny]

Look.

[Skip]

We can make it to the river and back before your father comes home.

[Danny]

I had heard you when you called, Drew. I don't know why I didn't answer, but I waited up till you came back. I wanted to be sure you got home safely. I was afraid your father'd come home and find you still out. He didn't, though. He didn't come home that night at all. It was a week later when Skip came by again. He was wearing his old suit from before the war. His arm was still braced against that twisted steel half crutch. He pulled himself up on the high stoop and sat down.

[Skip]

It's quite a climb. Mind if I sit a while?

[Danny]

Oh, no.

[Skip]

Danny, you've got to help me.

[Danny]

Me?

[Skip]

Yeah, I know I got a nerve. All afternoon I sat in Connolly's Bar trying to figure out how I had the right.

[Danny]

What's the trouble, Skip?

[Skip]

Look, remember when I was a kid, I used to call you Dopey Dan?

[Danny]

Yeah. I remember Ruthie socked me once for it.

[Skip]

I was imitating you on the boat coming down from Bear Mountain. She hauled off and she sucked me.

[Danny]

I knew about it.

[Skip]

Well, kids are like that, Danny. You know that, don't you? I didn't mean anything special. I. There's just no excuse. I guess I. I don't mind anymore. Look, I know it isn't anything like it. I mean, my leg and your trouble, they aren't in the same class. But this morning I saw two kids following me down the street making like my brace with a stick.

[Danny]

You'll get used to.

[Skip]

No, that's not what I mean. I tried to figure how I come off to ask you to help me. I wouldn't have had the nerve, Danny. But Ruthie told me you were always her friend.

[Danny]

Ruth. Yeah.

[Skip]

I need you, Daddy. You're the only one who can help.

[Danny]

Why, I.

[Skip]

What's the matter? How many more do you want?

[Danny]

Nothing.

[Skip]

You see, it's her old man, Danny. He won't let us say anybody. He goes crazy every night when he's working. Cause he can't tell where she is. And she's scared of him.

[Danny]

Danny, what do you want from me?

[Skip]

I gotta see it, Danny. I just got to. She's gonna meet me over at the park, See? She told her father she's gonna read to you now. He'll ask you, Danny. You've got to tell him she was.

[Danny]

I didn't know what to say to Skip, Ruth. So I stuttered like I always do when I get confused. Skip sat by the window and told me how pretty you were. You weren't really pretty, Ruth. Even on graduation night, with my flowers in your hair. I wanted to tell him there were lots of prettier girls. So many others. He could walk. He could find the others. Why did he have to come to me? Why did I have to help him? You stopped by my window before you went to meet him. You sat in the stoop the way you used to.

[Danny's Mother]

How do I look, Danny?

[Danny]

Fine, Ruth. Fine.

[Danny's Mother]

Going over to the park to meet Skip.

[Danny]

I know.

[Danny's Mother]

Oh, Danny. I love him. What's the matter, Danny?

[Danny]

Well, Skip's her good guy.

[Danny's Mother]

He wants to get married and go to California. He knows a job out there where his leg won't matter. If only it wasn't for Papa.

[Danny]

Can't you just go anyway?

[Danny's Mother]

Yes, but Skip and Papa don't like each other, Danny. Why is Papa like he is? Oh, he's not really bad. He worries about me that way, you know. And Danny, he doesn't need to worry ever. Why can't he be nice, Danny? Why can't he?

[Danny]

Ruth, I.

[Danny's Mother]

You've always been a friend, Danny. I've always been able to talk to you. Remember when I said I. I wanted to talk to you? Always?

[Danny]

Ruth, I can't even talk right. Hardly.

[Danny's Mother]

Even if you couldn't walk or anything. You were my very best friend on the block. You were my best friend in the world, Danny. You could tell what I was thinking. You knew it without my saying anything. That's what I love about Skip, Danny. He's so gentle and sweet. Like you, Danny. Sometimes I think that you're the only one, Danny. I'll write your orphan.

[Danny]

You're not going tonight, are you?

[Danny's Mother]

Tomorrow, maybe. If Skip wants.

[Danny]

Well, I hope you'll be happy, Ruth.

[Danny's Mother]

Bend your head up, Danny. Oh, you. Your face is hot. Danny, are you all right? Have you got a fever or something?

[Danny]

No, I'm all right.

[Danny's Mother]

Your forehead's so hot, Danny. Tomorrow I'll say goodbye like always. Just like I was going to school or something. But I'm gonna kiss you goodbye. No goodbye, Danny. Oh, Danny.

[Ruth]

Who are you talking to? Danny? Is somebody Bob?

[Danny's Mother]

Danny, what's the matter?

[Danny]

Why you cry?

[Ruth]

That's no way for a man to act.

[Skip]

A man?

[Danny]

A man who can't even button his shirt or tie his shoes. What kind of a man is that, Danny? What kind of a man?

[Skip]

Jewels and stammers when he talks like.

[Ruth]

A baby, Danny, your mama ain't blind. You're my son. I lived in the house with you for 23 years.

[Danny]

Pretty.

[Ruth]

That's Skip Parson. He went two years to a war. But, Danny, your war went on from when you were born. I know. I know.

[Danny]

You're Ruthie.

[Ruth]

She's going away.

[Mrs. Clemm]

But you've got to live, Danny.

[Ruth]

I haven't flew it, so she goes away. It didn't take courage, Danny, to live 23 years sitting in a window watching the world run and play games. A man, Danny. Could there be more of a man?

[Danny]

Oh, Mama, I love her. And now I sit by the window and watch the street all day. I watch the girls jumping rope and the boys playing stickball. You wrote me, Ruth, but I didn't answer. This is the letter I write in my head. Even if I wanted to, I couldn't put it on paper. I'm 23 years old. I can't hold a pencil in my hair.

[Harry W. Junkins]

That was ground floor window attraction 57 on Radio City Playhouse. As written by Ernest Kanoy. Joe Helgeson starred as Danny, and other members of the cast included Bernard Grant, Marilyn Erskine, Adelaide Klein and Joe DeSantis. The music was composed and conducted by Dr. Roy Shield. Radio City Playhouse is produced and directed for the National Broadcasting Company by Harry W. Junkins.

[Joe Helgeson]

This is Harry Junkin again next week on Radio City Playhouse. The story of a fear so strong that it created the very thing it feared. The Wind, by Ray Bradbury, one of America's most extraordinary, exciting young authors. That's next Sunday, The Wind Attraction 58 on Radio City Playhouse. Good afternoon, everyone.

[Danny]

Foreign.

[Harry W. Junkins]

Be sure to hear Celeste Holm and Van Heflin in the Thunderbolt on Theater Guild on the air immediately following Sam Spade. Tonight on NBC, Fred Collins speaking. You're tuned for the stars on NBC. Makers of Vic's Vapor Rub presents Dangerously Yours, starring Victor Jory in the shadow of the Raven. Here is a good thing for you to remember when you catch a cold. The best known home remedy for relieving miseries of colds is Vic's Vaporup. And now, Dangerously Yours. I am adventure. In my name, men have traversed the highways, the byways, the skyways of the world. I am the fire that burns in the heart of youth that makes men dream and dare and conquer. I am dangerously yours. Danger is an elusive term. Daniel met it in the lion's den. Sir Francis Drake on the seven seas. Edgar Allan Poe met it in the dark wandering recesses of his mind. Come with me to the brooding adventure that was the life of Edgar Allan Poe in the story called the Shadow of the Raven.

[Fred Collins]

Once upon a midnight dreary while I pondered, weak and weary over many a curious volume of an old forgotten lore While I pondered. While I pondered. No, no, that's not it.

[Mrs. Clemm]

Edgar, it's almost midnight. You must get some rest. Mother and I like to see our boarders healthy.

[Fred Collins]

Hello, Virginia. It's long past time for little girls to be in bed. I heard you're singing one of Greig's songs. That has always been a favorite of mine.

[Mrs. Clemm]

Yes, it's one of my favorites, too. Do you know the words? Oh, love of mine to all eternity?

[Fred Collins]

Yes, I know the words very well.

[Mrs. Clemm]

What are you writing?

[Harry W. Junkins]

Nothing.

[Fred Collins]

Just an idea, but it isn't working out. I've been wanting to do a piece for a long time about a raven.

[Virginia]

Good heavens. What are you two doing up? Go on to bed, Virginia.

[Mrs. Clemm]

Yes, mother. Good night.

[Fred Collins]

Mrs. Clem, there's something I must tell you. I didn't sell my story today, and I don't have any money to pay my board.

[Virginia]

Never mind, Edgar. Your stories will be recognized someday. And don't worry about the rent.

[Fred Collins]

There's something else I. I want to tell you.

[Virginia]

Yes, I know. You've fallen in love with my daughter, haven't you?

[Fred Collins]

Edgar, you're a very wise woman.

[Virginia]

Mothers have an instinct about such matters. And you see, I know so well how she feels.

[Fred Collins]

I want so much to marry her, and yet I'm afraid to marry her. Mrs. Clemm, have I any right to her? My life is such a confused, unhappy thing. Have I any right to marry someone so sweet, so young, so holy? I think I haven't, if I'm honest. I must say all I can offer her is A nightmare.

[Mrs. Clemm]

No, Edgar. No, you mustn't say that.

[Virginia]

Virginia. You were listening.

[Mrs. Clemm]

Yes, Mother, I was listening. And I'm glad. Would you let me speak to Edgar alone for a moment, please?

[Fred Collins]

Of course.

[Virginia]

Good night, Edgar.

[Mrs. Clemm]

Now, don't sit up too late. Oh, Edgar, I love you so much.

[Fred Collins]

Virginia, listen to me. The best I can offer you isn't big enough or good enough or pure enough. The best I can offer you is my love and my devotion.

[Mrs. Clemm]

That's the whole world.

[Fred Collins]

And if you accept my love and devotion, you accept also hours darker than any you've ever experienced. The hours of my despair and torment. The hours was when demons descend on me and take hold of me and I want to die or get drunk. Doesn't that frighten you? Doesn't that make you pause? Virginia, do you love me? Edgar, I love you and I need you. I'm ever to know peace, but when I want to reach out for you, something inside me says no. Something says, don't touch her. There's evil in your touch. What's clean and holy will shrivel and die if you attempt to possess it. Virginia, do you understand at all what I'm saying? Do you?

[Mrs. Clemm]

Yes, dear. You're saying you love me. And I'm glad. I'm so bitterly glad.

[Fred Collins]

Oh, run away, Virginia. I'm not strong enough to send you. Run, run, run fast until you're in the sunlight and free of you. Me? Run, Virginia, darling, hold me close.

[Mrs. Clemm]

Hold me close.

[Fred Collins]

My darling Virginia. Oh, my Virginia.

[Mrs. Clemm]

Edgar, it's almost morning. You must get some.

[Fred Collins]

I can't sleep. Virginia, I cannot marry you. I just cannot marry you. There's a demon in my mind, Virginia. When I conquer him, he writes my stories. But when he conquers me, he makes me a whining coward. And I can't bring all that into your life.

[Mrs. Clemm]

My dear, if there's to be happiness for me, if there's to be light in the sunshine and happiness in the stars, I must be with you. Oh, Edgar, I'd rather have one glorious hour than a thousand empty ones.

[Fred Collins]

There's danger in this marriage, Virginia. I feel it. I know it.

[Mrs. Clemm]

If that's true, then let there be danger, because it will be a beautiful danger. Edgar, we must go on. We must take what comes. If we turn back, we return to nothing.

[Fred Collins]

I love you very much.

[Mrs. Clemm]

And I love you and will forever.

[Fred Collins]

Mrs. Poe, did I ever tell you that I love you very much?

[Mrs. Clemm]

Well, you haven't for a long time. A half an hour at least.

[Fred Collins]

Virginia, suddenly you've made me Very ambitious to write. I want to conquer the world and floor at your feet. Ask me for something. Something you've always wanted.

[Mrs. Clemm]

Well, let's see. I think I'd like a house. A small house with a friendly fireplace and lots of windows. I ask you for that. And I shall ask God for a long life to live in that house with you.

[Fred Collins]

This is a very special occasion, darling. How about a toast?

[Danny]

Good.

[Mrs. Clemm]

I'll pour the sherry. What shall we drink?

[Fred Collins]

To drink to white of the future. Our future.

[Danny's Mother]

Close.

[Mrs. Clemm]

That thunder. Worse. Well, let us drink our toast, Edgar.

[Harry W. Junkins]

To our future.

[Fred Collins]

To our shining future. So discouraging. Writing and having nothing come of it. Getting jobs isn't losing them because of politics and petty jealousies.

[Mrs. Clemm]

Things will be better, Edgar.

[Fred Collins]

But, Virginia, you look ill. I'm afraid, no. I should never have brought you to New York.

[Mrs. Clemm]

But I love it here. And nothing great was ever accomplished without a struggle. Why don't you go on with your story, Edgar? It's such an exciting idea. And I love the title. The Pip and the Pendulum.

[Fred Collins]

Virginia, where are you?

[Mrs. Clemm]

I'm here, darling.

[Harry W. Junkins]

The room's so dark.

[Fred Collins]

It's full of eyes staring at me.

[Danny]

It's so dark.

[Mrs. Clemm]

Virginia, there's nothing in the room. Edgar. You were just having a bad dream.

[Fred Collins]

Virginia, my darling, don't ever leave me there. Promise you'll never leave me.

[Mrs. Clemm]

I promise.

[Fred Collins]

Edgar, how can I ever keep you? How could I ever keep an angel?

[Mrs. Clemm]

I don't know whether you could keep an angel or not. But I'm sure no woman could ever leave you. Why, Edgar, you're the prince that every woman dreams about.

[Fred Collins]

If I'm a prince, it's the prince of darkness.

[Mrs. Clemm]

That may be. The dark may be your kingdom. You write about it so well. But if it is, then. Then you must learn to ride through it unafraid.

[Fred Collins]

I wish I could. Dear God, I wish I could. My dear friend, I am deeply embarrassed by the necessity of having to write you this request. But I been anticipating a sale of some stories that has not yet materialized. I wonder if you would be so kind as to lend me the sum of $20?

[Mrs. Clemm]

It's so heartbreaking to watch him struggle so desperately for a foothold. I never quite get it.

[Virginia]

You're worrying too much about Edgar. He's coming along, dear. He did win a prize with his goldbug story.

[Mrs. Clemm]

A prize isn't enough. I'm frightened for him, Mother. I'm afraid he'll break his heart.

[Virginia]

Not over stories. The only thing that will ever break his heart is losing you.

[Mrs. Clemm]

Don't say that. Please don't say that, Mother.

[Fred Collins]

Well, Doctor, it's hard to know what to say to you. Mrs. Pole, I wish you'd let me talk to your husband. How old are you, Mrs. Pole?

[Mrs. Clemm]

23. Am I very ill, Doctor?

[Fred Collins]

Do you want the truth, my child?

[Mrs. Clemm]

Yes, I. I want the truth.

[Fred Collins]

Well, I'm sorry, but I can't help you. Medical science is still very limited in cases like yours.

[Mrs. Clemm]

I see. How.

[Fred Collins]

How long have I. I can't even answer that. I'm sorry. More sorry than I can say. I'll have my carriage take you home.

[Mrs. Clemm]

No, please. Please, I can walk home.

[Fred Collins]

No, no, no. Raining hard. I don't want you out on the streets in this weather. And remember, you can send a boy at any hour of the day or night if you need him.

[Mrs. Clemm]

Thank you, Doctor, but I shall probably fool you. You know I intend to live for a long time yet.

[Fred Collins]

God bless you. I hope you.

[Harry W. Junkins]

In just a moment, we will bring you Act 2 of the Shadow of the Raven. You know, this is the time of year when the children start coming home with colds that make them feel so miserable. Now, to relieve their distress, the best known home remedy you can use is Vicks VapoRub. You just rub it on the child's throat, chest and back at bedtime, and right away it starts in to help relieve the congestion and irritation in the upper breathing passages. The coughing, spasms, sore throat and that muscular soreness or tightness results are so good because VapoRub penetrates. Penetrates into the upper bronchial tubes with its special soothing, medicinal vapors. And at the same time, it stimulates. Stimulates chest and back surfaces like a comforting, warming poultice. This penetrating, stimulating action of VapoRub keeps on working for hours. It invites restful sleep and often by morning, most of the misery of the cold is gone. But be sure you use vaporub because only vaporub gives you this special, penetrating, stimulating action to relieve distress of colds. Vic's VapoRub. And now, act two of Dangerous Liors, starring Victor Jory in the Shadow of the Raven.

[Fred Collins]

Virginia. Virginia, where are you?

[Mrs. Clemm]

I'm here, dear. Is anything wrong?

[Harry W. Junkins]

No.

[Fred Collins]

Except that even the next room was so far away I couldn't bear it. Aren't you reading very late tonight?

[Mrs. Clemm]

I. I'm not sleepy. I. I slept pretty late this morning.

[Fred Collins]

You know, you have a strange radiance tonight. You're almost too beautiful.

[Mrs. Clemm]

What a nice compliment.

[Fred Collins]

Come sit beside me. Let me put my arm around you, darling.

[Mrs. Clemm]

What was the matter, dear? Why did you call for Me?

[Fred Collins]

Because I fell asleep for a moment and I needed you. You see, every time I shut my eyes lately I feel as though I was sinking into a pit and that you are being drawn away from me somewhere out into space.

[Mrs. Clemm]

But I'm not in.

[Fred Collins]

No, it's only my horrible dream. I had one last night. I got up and lit the lamp and sat there watching you sleep. Then I was at peace. You seemed to me an angel. Holy, pure and remote from all earthly things. And during those hours, I was free from the thing that haunts me. It was there I came to know exactly what it is you are to me.

[Mrs. Clemm]

What is that, Edgar?

[Fred Collins]

You're all the good that's in me. You're my religion and my faith and my honor. You're the light that can dispel the blackest night. You're the coolness that can heal my most burning feelers. And you're the clear, logical reason for my continuing to live a life that has no beauty but for you. Oh, Virginia, sometimes I think that if I lost you, I. I'd go mad.

[Mrs. Clemm]

No, Edgar. No, please. Please don't say such things.

[Fred Collins]

I'm sorry, darling. Very sorry. And very tired. Won't you please sing for me?

[Mrs. Clemm]

Oh, my dear, I don't think I can.

[Fred Collins]

Please, Virginia.

[Mrs. Clemm]

Though I roam a minstrel lonely all.

[Fred Collins]

Through the night.

[Mrs. Clemm]

My true harp shall.

[Danny]

Praise you.

[Danny's Mother]

All through the night.

[Fred Collins]

Love's.

[Mrs. Clemm]

Young driver says other yet my strains of love shall hover near the presence.

[Fred Collins]

Virginia. Oh, Virginia. My daughter. My daughter. Doctor, she must have a complete rest and quiet. Mr. Paul, you must be very careful not to excite her or upset her in any way. Good night. I'll stop by in the morning. Good night, Doctor.

[Virginia]

I'll show you out, doctor.

[Fred Collins]

Thank you, Mrs. Good night, young.

[Virginia]

Edgar. Now, I want you to lie down and try to get some sleep. I'll sit with Virginia for a while.

[Fred Collins]

I can't stay in this house. I've got to get out of this house. Do you think I can sit here while she's dying in the next room? Don't you understand that I'm dying, too? Do you think I can stay here and watch the only thing in this world that I love slipping away from me? I've got to get out of here. I'll go mad if I stay here.

[Virginia]

What good do you think running away would do? Do you think you can drink yourself into forgetting?

[Fred Collins]

Yes, eventually.

[Mrs. Clemm]

Estra, listen.

[Virginia]

She's calling you.

[Mrs. Clemm]

Esther.

[Fred Collins]

Oh, my. All right, darling. I'm coming.

[Mrs. Clemm]

Oh, my poor dear. I'm sorry. I frightened you. Sit down beside me. You look so tired, my darling. Lie down here and take a nap with me. We'll both feel much better in the morning, I promise you.

[Fred Collins]

Is she any better?

[Virginia]

No. The doctor just left. He says there's no change.

[Fred Collins]

I'm going in to sit with her for a while.

[Virginia]

Let me sit with her. You're tired and ill. No, I have.

[Fred Collins]

To count the hours now. I can't waste even one.

[Mrs. Clemm]

Hello, Rick. Look, the sun is out. Isn't it nice to see the sun in January?

[Fred Collins]

Yes, and in two more months it will be spring. And then shall go out in the sunshine, my dear. And I'll fill your arms with flowers and you'll grow strong again.

[Mrs. Clemm]

Remember how we used to walk through the fields when I was a child? Hand in hand, and you would tell me stories. And in all of them I was always the fairy tale princess waiting for my knight to come riding. Do you remember, Edgar?

[Fred Collins]

Yes, I remember.

[Mrs. Clemm]

And when the night came, he had your eye and your smile. And I. I thought how wonderful it would be if such a man would fall in love with me.

[Fred Collins]

Oh, Virginia, I wanted to give you so much. And I've given you so little.

[Mrs. Clemm]

So little. Why, you've given me 12 years of happiness far beyond what most people know. You've given me the days of those years in their fullest beauty. Why, my dear, you've given me the entire world as a kingdom. You've made me very happy. It's been exciting and beautiful every moment.

[Danny]

I.

[Fred Collins]

It's been poverty and pain and fear and death. Don't you think I know that? My darling, you must live. You. You've got to live. You. You promised you'd live, you know.

[Mrs. Clemm]

No, Edgar. I promised I would never leave you.

[Fred Collins]

My dear friends, I am writing to advise you that my wife, Virginia, died on January30.

[Virginia]

Edgar, you must rest.

[Fred Collins]

No, no, no, please. I must finish this poem. I must finish it.

[Danny]

Very well.

[Virginia]

Very well.

[Fred Collins]

Eagerly I wish them all Vainly I have sought to borrow from my books Cease from sorrow Sorrow for the lost Lenore or that rare and radiant maiden Whom the angels named Lenore Nameless here forevermore and the raven, never flitting still is sitting, still is sitting and the lamplight o'er him streaming Throws his shadow on the floor and his soul from out that shadow the lights floating on the floor shall be lifted Nevermore. Oh, Virginia. Virginia.

[Danny]

Edgar. Edgar, where are you going?

[Fred Collins]

Edgar, come back. Hey, Doctor. We found this man unconscious over on East Lombard Street. He seems to be in a bad way yes, he's in a very grave condition. You did right to bring him to the hospital. Who is he?

[Danny]

I don't know.

[Fred Collins]

Never saw him before. Well, let's see if he has anything that will identify him. He has some letters in his pocket. Let's see. All the best, Edgar Allan Poe. Is he resting any easier? No, Doctor. He's still delirious. He's been shouting and sobbing terribly.

[Harry W. Junkins]

You better look at him right away.

[Fred Collins]

Virginia. Virginia, where are you? Virginia. You said you wouldn't leave me. But it's been two years since.

[Harry W. Junkins]

Since you left.

[Fred Collins]

And I've been alone for two years. Two years of nightmares. Nightmares.

[Ruth]

Nightmares.

[Fred Collins]

Writing, Writing, Writing. The sound increased. And what could I do? It was a low, dull, quick sound, like a sound a watch makes when enveloped in cotton.

[Harry W. Junkins]

What can I do?

[Skip]

It cried.

[Fred Collins]

Louder, Louder. Louder. I felt that I must scream a die. And now again. Louder. Louder. Louder, louder. The Tell Tale Heart. Yes, of course, the Telltale Heart. I was reading that last night. Stupid of me. Edgar Allan Poe. He wrote it.

[Danny]

Virginia.

[Fred Collins]

Virginia.

[Mrs. Clemm]

Get him away.

[Fred Collins]

Get him away. His eyes have all the seeming. His eyes have all the seeming of demon that is dreaming. All the seeming, seeming, seeming. Virginia. Virginia.

[Skip]

Help me, Virginia.

[Danny]

I need you.

[Fred Collins]

I lost Virginia. There. Following me.

[Danny]

Winter of darkness, I am lost.

[Fred Collins]

Guardian angels.

[Mrs. Clemm]

Guardians.

[Danny's Mother]

God will end thee all through the night.

[Fred Collins]

Virginia. Ah, Virginia, I've been so lonely.

[Mrs. Clemm]

You won't be lonely again, Edgar. And there won't be any more nightmares. Give me your hand, my darling.

[Fred Collins]

Poor fellow. Poor fellow. Do you know that poem he was saying over and over? His eyes have all the seeming of a demon that is dreaming. And my soul from out that shadow that lies streaming on the floor shall be lifted nevermore. But it did lift. Look at his face, doctor. He looks peaceful, doesn't he? Very peaceful. Put down in your book, Edgar Allan Poe died just before dawn on Sunday, October 7th.

[Harry W. Junkins]

If you've caught a cold that's making you feel miserable, here's a modern way to relieve distress and get a lot of comfort. Just rub Vicks VapoRub on your throat, chest and back. You will find that Almost at once, VapoRub starts to soothe the distress of the cold. In the very places it Bothers you most, VapoRub penetrates. Penetrates into the cold, congested upper bronchial tubes with its special soothing, medicinal vapors. And at the same time, it stimulates. Stimulates chest and back surfaces like a comforting, warming poultice. This penetrating, stimulating action of VapoRub keeps on working for hours to bring grand relief. It invites restful sleep, and often most of the misery of a cold is gone overnight. Why don't you try it tonight? And remember, only vaporub gives you this special, penetrating, stimulating action. It's the best known home remedy for relieving miseries of cold. Vic's vaporub I Am Adventure Next week, come with me on a new journey into the world of romance and excitement. Meet with me, a man who dared everything for one great moment. Until then, I am Dangerously Yours. Our script was written by Gene Holloway and directed by Richard Sanville. Music for the series is under the direction of Mark Warno. The part of Virginia was played by Janice Gilbert. Be sure and listen again next week when Vic presents Dangerously Yours starring Victor Jory. This is cbs, the Columbia Broadcasting System.

[Host]

There's more from Radio City Playhouse, Dangerously Yours, the Relic Radio show and all of the other Relic radio podcasts@ Relicradio.com. if you'd like to help support this and all of that keep this show coming every week, visit donate. Relicradio.com or click on one of the links links on the website. Your support makes all of this possible. Thanks to those who have helped out. Thanks for joining me this week. Be back tomorrow with an hour of mystery on Case Closed and next Tuesday with our next episode of the Relic Radio Show.