Friday, March 31, 2023

1944-03-23 Sneak Preview

A motion picture director turns detective to track down Nazi agents. The story was written by Robert L. Richards. There are several inside jokes in the script:

  • At about 11:30, Cotten has a funny line "Well, if you know so much, what are you doing up here acting like a Suspense radio character?"

  • At about 12:50 a character uses the word "paramount" and Cotten says "let's leave Paramount out of this," which is funny to say as he is portraying a film producer

  • It's also an in-joke as Spier's wife Kay Thompson worked for MGM and facilitated a steady flow of MGM stars to make appearances on Suspense

Overall, it’s a good story and there are likely more inside jokes that we don’t have enough background to detect or appreciate.

Only the east network broadcast has survived.

This story was included in Suspense Magazine #2 a PDF can be downloaded at the same link as the recordings.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP440323

THE CAST

JOSEPH COTTEN (Frank Henderson), Hans Conried (Edwards, alias Sarko), Dennis Hoey (Captain McNeill), Joe Kearns (Man in Black / Interviewer / Callett), Cathy Lewis (Ruth in movie / Convent girl), John McIntire (Studio executive / Informant), Robert Bruce (Leading man in movie)

Cotten was originally announced for a script called The Dark Tower. The script was held for Orson Welles upcoming appearances on the show in May. Cotten was part of the Mercury Theater run by Welles.

Cat and Mouse with Sonny Tufts was originally scheduled for this date. There is a legend that Joseph Cotten announced the him as the next week’s guest on this episode by saying with great incredulity “Sonny… TUFTS?” Tufts did not have a good reputation and was considered to be a poor actor hired for movies mainly as “eye candy.” Cotten’s joke never happened on air. It likely did happen in rehearsal. Spier ran very loose rehearsals (except for “dress” rehearsal when they were timing the show), and there was lots of horsing around and joking and snide comments as the cast bonded and became familiar with the scripts and their roles. This was especially the case with people who had known each other for a very long time. Cotten and Spier knew each other from their time on March of Time in the early 1930s. But everyone knew when it was broadcast time, and they put on their professional personas to deliver top notch performances.

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Thursday, March 30, 2023

1944-03-16 Narrative About Clarence

Uncle Clarence has just returned from India and decides to mess with his family’s heads using the black magic powers of hypnotism. Back in the 1940s, hypnotism was a big deal and something to be feared, especially when used by someone with evil intentions. The story seems very dated because of the modern understanding of hypnotism. But that’s okay. As classic radio fans, we’ve always bought into the idea of someone being able to “cloud men’s minds so they cannot see him” and have been entertained by it. Enjoy the story, nonetheless.

Only the west coast recording has survived. It has the date of 1944-03-20.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP440316

THE CAST

LAIRD CREGAR (Clarence Crossman), Hans Conried (Bill Gilchrist), Joe Kearns (Man in Black), John McIntire (Doctor), Mary Lou Harrington? (Jeanie), unknown (Lillian), Robert Harris? (Dr. Miller)

The original title of the script was “A Death in the Family.”

This was Cregar’s second and final appearance on Suspense. An immense talent, he died nine months later of complications from dieting in an effort to get more leading movie roles.

The writers of the script were Dwight Hauser and Bob Tallman. Hauser was an actor, writer, and producer who had a long association with Disney working on television and movie projects starting in the 1950s. It was Tallman who probably adapted an outlined idea by Hauser.

There has been some speculation that The Whistler script 1943-05-23 Man from India was adapted or re-used for this broadcast. Unfortunately, that Whistler broadcast does not exist in circulation, and nor does its script. There is reason to believe that the Whistler broadcast was a script by Joe Kearns adapted from a 1936 short story by Emil Tepperman, Man from the East. A profile of Kearns in Radio Life 1945-06-03 mentions he wrote a script "The Man From Out of the East" for The Whistler which may refer have been re-named Man from India. Newspapers did not carry much background on any of the Whistler broadcasts, so that resource is not helpful. There is no information about Man from India, so the possibility remains thoughtful speculation that requires some lucky breaks in the research process.

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Wednesday, March 29, 2023

1944-03-09 The Defense Rests

Alan Ladd plays Robert Tasker in The Defense Rests, a young ex-con who is rehabilitated by a criminal attorney who hired him to be a clerk in his firm. A lawyer in the same firm is the former DA who convicted Tasker. When that ex-DA is murdered, everyone knows who the likely suspect is: Tasker!

Ladd had just appeared on Suspense two months before, and this appearance was at the height of his popularity at this time. He was piling up a lot of radio appearances before his military service was slated to begin a few weeks after this broadcast. He was initially rejected as 4-F, but enlisted in 1943 and was accepted despite a medical issue. He was stationed in Washington state and the studios delayed his projects or replaced him with other actors. Despite his lack of new films, he remained immensely popular through the period.

East and west network recordings have survived. This is an incomplete aircheck, station not identfied, of the west coast broadcast. There is also an Armed Forces Radio and Television Service recording from the late 1970s / early 1980s that is derived from the east broadcast.

The aircheck has a gap at the end of the recording where some final announcements were made. The recording returns and has the CBS network ID at the conclusion of the recording.

The network recordings are the ones in best sound quality, with the west slightly better.

The story also appeared in Suspense Magazine #1 and a PDF can be downloaded at the same link for the recordings.

The author of the script was Rowland Brown. His career as a writer, director, and producer is so absolutely wild that you’re better off going to the Wikipedia page, it’s that crazy and hard to summarize. His better known projects were as the writer of Angels with Dirty Faces and wrote the screenplay for Johnny Apollo. This was his only Suspense script. He had some gangster ties in his past, and that may have informed some of this story. https://en.wikipedia.org/wiki/Rowland_Brown

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP440309

THE CAST

ALAN LADD (Robert Tasker), John McIntire (Max Craiger), Will Wright (Judge), Frank Graham (Prison warden / Cop / Bailiff), Hans Conried (Arthur Hines), Joe Kearns (Man in Black), Joe Forte (Police Captain / Johnson), unknown (Peggy), unknown (Harry Marvin)

This script was originally planned to air a week earlier, and Portrait Without a Face was performed in its place.

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Tuesday, March 28, 2023

1944-03-02 Portrait Without a Face

Michele Morgan portrays a French refugee, asked to use an old love relationship with an artist to advance resistance against the Nazis. The painting Portrait Without a Face by her ex-lover is shocking when she sees it. It shows Morgan’s character with the dead body of a French traitor general at her feet, implicating her in his murder. Now what happens? Will she kill the artist? Or is her husband setting her up for her own murder? Or is her husband a traitor to the cause?

The broadcast includes two stars who appeared on Suspense before, Philip Dorn and George Coulouris. The script is by Corporal Louis Pelletier, who would become more associated with FBI in Peace and War later in his career.

The two network broadcasts have survived, with the east recording with slightly better sound. The west broadcast has the date of 1944-03-06.

The story also appeared in Suspense Magazine #1, which can be downloaded as a PDF from the same page that has the recordings.

Michele Morgan played leading movie roles from the 1930s to 1950s in France and Hollywood. Her French career was interrupted by leaving France for Hollywood after the 1940 German invasion. Her US career was good but not consistent, with her biggest role with Humphrey Bogart in the 1944 Passage to Marseille. She returned to France after the war where her film career was quite successful. This role in Suspense, her only appearance, has one of those quirky aspects decades later. The story involves an artist, and she took up painting in the 1960s. She an exhibition of her work in 2009 in France.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP44032

THE CAST

PHILIP DORN (Paul Degel), MICHELE MORGAN (Collette), GEORGE COULOURIS (Charles Gavenaud), Hans Conried (Doorman / Committee member), Joe Kearns (Man in Black / Waiter), Will Wright (voice in end commercial)

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Monday, March 27, 2023

1944-02-24 Sorry, Wrong Number

With the east and west performances of Sorry, Wrong Number for this Suspense, Agnes Moorehead had delivered her performance five times in 10 months. The inaugural performance of May 1943, the east and west performances of August 1943, and now this pair or regional performances.

If this is the first time you are reading about Sorry, Wrong Number, be sure to review the posts about the previous broadcasts:

This pair of performances on Thursday, 1944-02-24 and Monday 1944-02-28, likely had the biggest listenership with the combination of a sponsor promoting the series, the CBS publicity department finally committed to the series, and a much better time slot. The story and buzz around SWN was very big considering all of the disadvantages that sustaining unsponsored series had.

Newspaper publicity emphasized that SWN was being performed again because of “listener requests.” PR pros love that kind of wording because it connects with potential listeners and makes it seem to be an endorsement by regular people just like they are. It also plays on emotions of those who never heard the play by stoking the social fear of missing out on something big. Typical newspaper teases were generally like this:

In the unusual play by Lucille Fletcher, Miss Moorehead is heard as a nervous and neurotic married woman left alone in her apartment to torture herself with fantasies of fear. She tries twice to telephone her husband, but finds the line busy each time. On the third attempt, wires become crossed and she overhears a conversation planning a murder that night at 11 o'clock. She loses the connection and a rapidly evolving chain of circumstances lead up to an unexpected climax.

This is funny in another way – everyone knew what the climax was because the word of mouth from the prior broadcasts was so strong. The interest among those who had heard the play before was the curiosity about how it was all done, and how it was so different compared to what they usually heard, even after multiple hearings.

The sound effects artist, Berne Surrey, was starting to get some recognition about his role in making the performance so exceptional. Getting the phone effects right was important, of course. But the ending with the clatter of the passing train, the struggle, and the falling thud of Mrs. Stevenson’s body were difficult to execute in such a short period of time.

The 1944-03-01 Variety summarized the Thursday 1944-02-24 east presentation:

The third airing of Lucille Fletcher’s Sorry, Wrong Number, last Thursday on Suspense, first time under sponsorship, lost no suspense because of previous airings. Pacing was particularly fine. Agnes Moorehead, as the neurotic wife, acted it to the hilt. In keeping with the production integration, which is this program's trademark, there was no copy break midway in the script.

It is still amusing that the script that ends a vicious murder would be so attractive to Roma that they would surrender their mid-show commercial to delight the listeners. Had this script not had such rave reviews and buzz when it had no sponsor, it would likely never be accepted by Roma as a new script. This is an indication of how special and highly regarded the script and Moorehead’s performance had become. Not even timid ad executives, could refuse the lure of a big audience.

Only the west broadcast has survived, and that recording bears the date 1944-02-28. The Armed Forces Radio Service release, #41, is available, and was drawn from the west broadcast. The network recording has the best sound of the two.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP440224

THE CAST

AGNES MOOREHEAD (Mrs. Stevenson), Hans Conried (George), Harry Lang (Contact), John McIntire (Sergeant Martin), Joe Kearns (Man in Black / Telegram boy), Jeanette Nolan? (Operator), Cathy Lewis? (Chief Operator / Henchley Hospital), Margaret Brayton? (Information)

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Sunday, March 26, 2023

1944-02-17 Life Ends at Midnight

An elderly woman’s son pays an unexpected visit, and needs money to get out of trouble. She refuses. When he learns that her border has no relatives but has a life insurance policy, he hatches a plan to murder the lodger and take the proceeds. This is an original play by Robert Tallman. Dane Clark plays the “no-good” son.

Only the west coast network recording has survived, and is dated as 1944-02-21.

The story also appeared in Suspense Magazine #4, and can be downloaded from the same page as the episode recording.

These are the first Suspense appearances for Faye Bainter and Ralph Morgan. Bainter would appear three times, and this is Morgan’s sole appearance.

Fay Bainter started in regional and traveling theater in 1908 and found her way to Broadway. She started her Hollywood career in 1936 and had a successful long run movies through the late 1940s. Actor Bob Bailey’s parents were in vaudeville and traveling theater with Fay, and their friendship is why Yours Truly, Johnny Dollar star Bob Bailey’s middle name was Bainter.

Ralph Morgan started on stage and silent movies and had a fine and long career on Broadway and movies. He was a founder of the Screen Actors Guild. His younger brother, Frank, was a bit more famous, in the end, but it was Ralph who encouraged him along the way. Ralph’s daughter was actress Claudia Morgan who also had a successful career, and also appeared on Suspense in 1960. 

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP440217

THE CAST

FAY BAINTER (Mrs. Bates), DANE CLARK (Walter Bates), RALPH MORGAN (Mr. Chalmers), John McIntire (Officer), Joe Kearns (Man in Black / Joe the newsboy), Hans Conried (Plumber), Bill Johnstone (Officer Flanagan)

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Saturday, March 25, 2023

1944-02-10 Suspicion

A man survives being poisoned but doesn’t know whether it was his cook or his wife who did it. There are suspicions when they hear that police are concerned about a cook named “Mrs. Andrews” has been murdering her employers. Can you collect unemployment when you do that?

Suspicion was adapted from a Dorothy L. Sayers short story by Peter Barry. He wrote many scripts for The Shadow. This is the second time this script was used on Suspense. It was originally used in the Summer 1942 season, and Spier is taking advantage of the new and larger audience of the Roma sponsorship to use scripts that played to the small audiences of that 1942 Summer season. No recordings of that broadcast have survived.

Only the east network recording has survived. There is an Armed Forces Radio Service recording (#39) that is drawn from the west broadcast of 1944-02-14 and is labeled as such. Times are approximate:

  • East at 17:32 "Tomorrow or next day, when he’s quite well, mind you, I’d like to have you….have him….come down to the office…"

  • AFRS at 15:49 "Now, tomorrow or next day, when he’s quite well, mind you, I’d like to have him come to my office…"

The AFRS recording is slightly better than the network recording.

This is the second and final appearance of Charlie Ruggles on Suspense. He starred in the first episode, Burning Court.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP440210

THE CAST

CHARLES RUGGLES (Hubert Mummery), Hans Conried (Brooks), Joe Kearns (Man in Black), Bill Johnstone (Wellbeck / Officer), John McIntire (Dr. Maysbrey), Alec Harford (Thomas), unknown (Penny), Esta Mason? (Sutton), unknown (Helen, alias Caroline Andrews)

Publicity for the broadcast included a note that the program should “not to be confused with Alfred Hitchcock movie of the same name.” Hitch’s movie starred Cary Grant and Joan Fontaine, and was released in November 1941. The Sayers short story was from 1939.

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Friday, March 24, 2023

1944-02-03 The Sisters

Two big stars whose stardom was on its way to becoming bigger headline this unique Suspense broadcast. The opening scene almost seems like it could be a set-up for Inner Sanctum (imagine the scene with an organ background rather than the Suspense orchestra). Someone buys a coffin for someone who’s not dead yet (nor are they in any final days of illness), which is Sanctumish, for sure. Then, post-commercial, it bursts into a true Suspense drama with curious interplay of two strange sisters whose needs and desires compete and intertwine. Ida Lupino is joined with Agnes Moorehead in this one. Agnes gets to play the crazy sister who lives in the attic. Ida plays the nefarious one.

East and west network recordings have survived. Both recordings have flaws, and the east recording might be an aircheck and not a studio recording. The west recording, bearing the broadcast date of 1944-02-07, is better and more listenable, but still has some disc noise issues. The Armed Forces Radio Service recording is known to have survived and is #38. No copy of the recording is available at this time.

George Wells wrote the script, his only Suspense one, and it was used again in 1948 and 1958. His career was growing just like Lupino’s and Moorehead’s. For years he toiled on Lux Radio Theatre adapting all those movie scripts for radio. In 1943, he started to work at MGM as a screenwriter in 1943, remaining there until his retirement in 1970. Is this yet another Kay Thompson connection to Spier and Suspense? Kay was musical coach and worked on choreography for the musicals (as well as the occasional performance) at MGM.

This was not Agnes Moorehead’s first appearance on Suspense, for sure, but it was for Ida Lupino. She had a grand Hollywood career, and became one of the Hollywood’s most influential people as she moved from performing to producing. She was one of early television’s most important executives when she formed her own production company. She has a special place in Suspense history, though indirectly. She was the only other actor to perform the lead in Sorry, Wrong Number radio play in the golden age. That was part of a Kate Smith show in February, 1945. No recording has surfaced, and has likely not survived. (The Lux production of the movie SWN with Barbara Stanwyck doesn’t count).

The hymn used in the story is Higher Ground, written in 1892 by Johnson Oatman, Jr. (lyrics) and Charles H. Gabriel (music). It was used in all three presentations of this script, this one in 1944, 1948-12-09, and 1958-03-30. Many thanks to members of the Old Time Radio Researchers group forum for identifying it.

Lupino produced and starred in the movie Beware, My Lovely, based on the play The Man and the Suspense play To Find Help... same Mel Dinelli play in three different forms and three different names. Lupino would next appear in some of the Auto-Lite era Suspense, and then in 1958 was in a production of On a Country Road with husband Howard Duff.

The main undertaker in this episode is played by Ian Wolfe, another long-career movie and television character actor with hundreds of credits. He was very active in radio, and in many Suspense episodes from 1943 to 1946. He has affectionate Star Trek cult recognition from the episode All Our Yesterdays (1969) where he plays the librarian, Mr. Atoz. Fans know that is a perfect name for a librarian, because it is “A to Z.”

 

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP440203

THE CAST

IDA LUPINO (Lydia Haskell), AGNES MOOREHEAD (Elly Haskell), Ian Wolfe (Undertaker), Hans Conried (Second undertaker), John McIntire (Police Officer), Joe Kearns (Man in Black)

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Thursday, March 23, 2023

1944-01-27 The Locked Room

This episode is final “new” John Dickson Carr script to be performed on Suspense. Very few Carr scripts would be performed again on the series. Of course, it’s a “locked room” mystery. The owner of a very large diamond is murdered in a room only he could access. He was hit over the head, which means that the killer somehow got into the secure room when others could not.

The original title of this script was “The Locked Door.” It was adapted by Suspense producer William Spier, himself. Spier always did tinker with scripts, sometimes using a pseudonym (once he used “Sebastian Moriarty”), but most times he just tinkered anonymously as that was part of the director’s job. This must have required some extra work for him to add his name to the credits, and to be held so long after Carr’s departure for Britain.

The surviving recordings are a modestly rare “trifecta” where the east, west, and Armed Forces Radio Service recordings are available. The noted times for dialogue differences are approximate:

  • East at 26:02: “After you drink it you'll…you’ll not mind what else is necessary.”

  • West at 25:56: “After you drink it you’ll not mind what else is necessary.”

  • AFRS at 23:24: “After you drink it you’ll not mind what else is necessary.” "

The AFRS recording is drawn from the west coast broadcast. The west recording is the superior of the three recordings by a wide margin. The dates in the file names reflect that the east broadcast was on Thursday, and the west broadcast was on the following Monday.

Spoiler alert (like they matter?; part of the fun of these is how the story is executed, and we’ve heard so many of these episodes before so we know the endings already): The poison is delivered via seltzer bottler. This was common in so many households of the era. It seems so innocent, and also evokes memories of seltzer being sprayed about in Three Stooges shorts, so it seems hard to take seriously in the story. Seltzer was often delivered to homes, and people would make all kinds of novel concoctions at home with juices, milk, flavorings, and even adult beverages. Listeners would have accepted the premise as a poison in just another everyday food item.

The show stars Viginia Bruce and George Zucco, who were profiled in prior posts. Another star was included in this cast, Allyn Joslyn stage. His long career featured stage, film, radio, and was a successful television actor. He tended to be cast as snobbish and pompous aristocrats. It is claimed he was in over 3,000 radio shows, but he has very few mentions in RadioGoldindex. Like so many supporting radio actors, most of their roles were uncredited, especially in daily soap operas and juvenile series. Actors would often be in different daytime shows throughout the day, with their week irregularly peppered by evening appearances. This was especially true for supporting actors who were not under contract for leading roles. Those actors might have limitations in their contracts to not appear in other programs that affect their association with their headline and sponsored role. Sometimes radio’s most financially secure and wealthy performers were those who never got the big starring role but were relied on every day by directors and producers for their skills and dependability. Could he have been on 3,000 shows? It is plausible.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP440127

THE CAST

VIRGINIA BRUCE (Iris Lane), ALLYN JOSLYN (Harold Mills), GEORGE ZUCCO (Dr. Woodhall), Will Wright (Seaton), Joe Kearns (Man in Black / Barton), Hans Conried (Alex Van Houten), Bill Johnstone (Captain Hadley)

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Wednesday, March 22, 2023

1944-01-20 A World of Darkness

Paul Lukas plays a blind man who insists he can name the person who murdered a young woman in his apartment house. The author is Robert L. Richards.

When the police gather witnesses, they realize that Lukas’ character, Anton Rijak, is not there. This is a device to make the character’s entrance into the story more interesting and emphasize his blindness, and create some sympathy for his situation among the audience. This lays the foundation for the surprise ending when it is realized that the sympathy for him was greatly misplaced. His service dog, Carl, plays an important role in the story, making the story a bit unusual.

NY Daily News radio critic Ben Gross certainly loves Suspense and he loved this episode. These are his comments in the 1944-01-21 edition:

The Suspense story, World of Darkness, last night was not quite so eerie as others in this series. However, compared with other presentations of this type on the air, it still towered above its competitors. Paul Lukas, the movie and stage star, gave an exceptionally fine portrayal of the leading role, that of a blind musician. As always, the background music contributed a major part to the effectiveness of the broadcast. In fact, the incidental melodies in this show are about the best you'll find in radio.

This is the final appearance of Paul Lukas on Suspense. The other episodes were Fire Burn and Cauldron Bubble, and Mr. Markham, Antique Dealer.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP440120

THE CAST

PAUL LUKAS (Anton Rijack), Earl Keen (Carl), Hans Conried (Inspector / end commercial voice), Ian Wolfe (Franz), Gloria Gordon (Mrs. Washburn), Jeanette Nolan (Edna Collins), Charles Lung (Police Radio / Haggerty / end commercial voice), Joe Kearns (Man in Black), Elliott Reid? (Danny Farrell), unknown (Kay Walker), Mary Jane Croft? (Nancy),

The service dog is played by Earl Keen. He was the voice of Lassie (except for barking, it seems, because Lassie “insisted” on doing those with trainer Rudd Weatherwax) and numerous other animals in many, many shows. He also did dialects and kids voices, so it would be common for him to double and triple in scripts if necessary. He was one of those interesting radio production specialists who is not well-documented but had a very lucrative and very busy career.

This story was featured in Suspense Magazine #3, and a PDF can be downloaded from the same page that has the recording of the episode.

Everything takes place at 325 West 52nd Street in Manhattan between 8th and 9th Avenue. It is a real address of co-op apartments, with an average current selling price of $1.3 million. You can rent an apartment there for $6,000 a month. Easy walk to Rockefeller Center and subways. Want to schedule a visit?

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Tuesday, March 21, 2023

1944-01-13 Dime a Dance

Many people do not realize that Lucille Ball was an accomplished non-comedic radio and movie drama actor early in her career. In Dime a Dance she plays a “taxi dancer” in a dance hall whose life is in danger. There is a serial killer in town who is targeting young women. Her character, Ginger Allen, gets involved in tracking the killer down.

The original short story was by Cornell Woolrich under his “William Irish” pseudonym and appeared in the February 1938 edition of Black Mask magazine. The story was adapted by Robert Tallman.

What makes this episode all the more interesting is that Ms. Ball played a key role in revising the script. She made suggestions for changes that resulted in William Spier re-writing the script for the Thursday broadcast. When the show went on the air, he was still making changes during the broadcast! She read the last three pages of the script cold, without rehearsal. It can be assumed that all of the changes were fully integrated for the west broadcast.

The website oldtimeradioreview.com has a very enthusiastic review. Note that he mentions the effectiveness of the first-person narrative style of the program, though he does not use that descriptor.

This is one of the very best episodes of Suspense's entire run, showcasing many of the series' greatest strengths, including its frequent use of well-chosen source material and its ability to attract the leading stars of the day to do justice to the scripts… In any case, Ball is extremely good in the main role, making for a strong, sympathetic lead.

The fact that the story is told from the perspective of Ball's character, rather than that of the police trying to solve the case, makes it that much more gripping, as she herself is a potential victim. As well as Ball's performance, another of the episode's great pleasures is its vivid evocation of the period - the short story on which it was based was written in 1938, and it has the definite feel of a Depression-era tale, with an air of desperation hanging over its dance hall setting. Adding to the atmosphere is the effective use of contemporary music. Finally, the story itself is a very enjoyable one, with a dark edge and a good series of twists. Overall, a superb episode.

See the complete review at http://www.oldtimeradioreview.com/suspense---d2.html

In the 1944-01-14 NY Daily News, critic Ben Gross referred to Lucille Ball’s performance as “a deft bit of acting.” Lucy’s acting may have been appreciated, but her business acumen was not recognized until later. Bill Spier got a taste of the breadth of her astute production sense in the handling of the script and the flow of the drama.

The east network recording has survived. An Armed Forces Radio and Television Service recording from the late 1970s/early 1980s release exists. It matches the east network dialogue. The network recording is the much better of the two.

An Armed Forces Radio Service release from the 1940s designated as #35 is noted in an AFRS reference book, but the recording is not in circulation and may not have survived.

Lucille Ball’s career is well known. By the time she was on Suspense she was an established movie star. Later in the 1940s, she would star in the radio program My Favorite Husband, and that would lead to one of the most successful television franchises of all time, I Love Lucy. She became a production executive with her husband, Desi Arnaz, in Desilu Studios. She had a fantastic entertainment career.

Pat McGeehan was a versatile actor and announcer. He was probably best known for being an announcer for Red Skelton. He played the lead role in a short-lived mystery series, The Adventures of Bill Lance. He appeared on Adventures of Maisie, Stars Over Hollywood, Aunt Mary, and appeared on variety shows such as The Jack Benny Show and in comedies such as Fibber McGee and Molly. He became known for his announcing of Hour of St. Francis. He was yet another actor, always busy in credited and uncredited roles, who had great success in Hollywood radio.

 

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP44013

THE CAST

LUCILLE BALL (Ginger Allen), Pat McGeehan (Nick Ballister), Hans Conried (Marino), Jeanette Nolan (Mom), Ian Wolfe (First homicide cop), Joe Kearns (Man in Black / Second homicide cop), unknown (Laverne), Kay Thompson? (Singer of “Poor Butterfly”)

The big dancing venue in Manhattan at the time was the legendary Roseland, which may be what Woolrich had in mind for Joyland Palace.

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Monday, March 20, 2023

1944-01-06 The One-Way Ride to Nowhere

A dead man is discovered in the last row seat of a rollercoaster. No one knows how he got there! There must be gangsters involved.

This is a Robert L. Richards script. He played a key role in the success of Suspense as a writer, but also as an editor of submitted scripts, submitted story ideas, and adapting published stories by successful authors.

The east network recording has survived, but the west network recording has not. The Armed Forces Radio Service recording was derived from the missing west broadcast, and its file name bears that date. Times of the dialogue differences are approximate.

  • East 20:28 “...and ask for a bellhop named, uh, Ted Martin”

  • AFRS 18:51 “...and ask for a bellhop named Ted Martin”

This story was included in Suspense Magazine #2 as “Ride to Nowhere”; a PDF of it can be downloaded from the same site as the recordings.

This was Alan Ladd’s first Suspense appearance. He was a superb radio actor. He appeared on Lux Radio Theater and other programs many times before this broadcast. Classic radio fans are especially fond of Ladd’s syndicated series Box 13 of the late 1940s. The series was produced by his own company, Mayfair Productions. You can hear many of the supporting actors of Suspense in that series.

Ladd’s film career began about a decade or so before this broadcast. His film noir classic roles in This Gun for Hire and The Glass Key that still make him a film favorite were in theatrical release a little over a year before this episode. His film roles gradually expanded into film and television production. Ladd unfortunately died at age 51 in a gun accident at home that was complicated by prescription drugs he used for his years-long issues with severe insomnia.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP440106

THE CAST

ALAN LADD (Tom Dwyer), Cathy Lewis (Sheila), John McIntire (Chief Haynes), Pat McGeehan (Terry), Lou Merrill (Ben Duffy), Hans Conried (Ferrara, the Bulletproof Auto barker), Harry Lang (Ed “Wires” McGuire), Joe Kearns (Man in Black / Johnny the ride attendant / Ted Martin), Byron Kane (Doctor), Joe Forte (Investigator Johnson), unknown (Barker / Harry)

The half-hour radio script was expanded into a 1946 movie, The Last Crooked Mile. It can be viewed on YouTube https://youtu.be/a-APuf3XuKQ Look for radio actors John Dehner and Sheldon Leonard in supporting gangster roles.

Ladd hoped to turn Box 13 into a feature-length movie, but never did. There was a TV pilot made, and it was run as an episode of General Electric Theater in December 1954. It was based on the script of episode #39, Daytime Nightmare. It can be viewed at https://archive.org/details/541205Committed

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Sunday, March 19, 2023

1943-12-30 Finishing School

A newly hired teacher at a girl’s finishing school discovers a faculty member holds seances to bring the dead to life and that a student had died of fright.

The story is from Ethel Lina White’s 1937 novel The Third Eye. It was presented in the Summer 1942 series of Suspense on 1942-07-22, adapted by Harold Medford. This is another situation of producer William Spier taking advantage of the new audience for Suspense, most of whom had not heard that Summer 1942 broadcast, and re-presenting early Suspense scripts in which he had confidence and believed deserved a bigger audience.

The casting of this episode plays into that storyline in a curious way. Actress Janet Beecher’s highly publicized 1935 divorce from her second husband involved “spiritual messages,” not unlike messages that might come from a séance, that her mother claimed to receive about Beecher’s husband. These messages were very negative and cruel messages, and affected the marriage negatively and the conduct and result of the divorce proceedings. It’s bad enough when mothers-in-law say things about their daughter’s husband, but when she’s just passing messages from beyond, it can create a little tension in the relationship. That Beecher agreed to do this script may have been a bit of self-deprecating and subtle humor.

The program was promoted as an “all feminine cast,” which was often rare for the era. Since the story took place at a young women’s finishing school, it was a natural way for breaking whatever perceived barriers there would have been against such casting as a means to draw an audience for a drama. The White novel was already highly regarded.

Critic Ben Gross, in the New York Daily News edition of 1943-12-31, liked the broadcast:

A group of talented gals went in for some fancy scaring and horrifying on last night's Suspense airing. Margo, Elsa Lanchester and Janet Beecher made the blood run cold in a none-too-dainty concoction, titled Finishing School. A gripping episode in a series that is a "must" or shudder addicts.

There are two recordings that have survived: the Thursday east performance and the Armed Forces Radio Service recording which was derived from the Monday west performance. The AFRS recording has the west coast date; its sound quality is low and harsh. The east recording is the much better of the two. Times of the dialogue difference are approximate.

  • East is 1:45 “Just as I saw them the very first time”
    East is 3:34 “I'll, I'll hear about it...”

  • AFRS 1:55 “Just as I saw them that very first time”
    AFRS 3:36 “I'll hear about it..”

Margo was on Suspense at the beginning of November, just a few weeks ago, in Cabin B-13. Elsa Lanchester was a stage and movie actress, known among nostalgia fans for Bride of Frankenstein and in the 1971 horror film, Willard. She was nominated for a Best Supporting Actress Oscar, twice, and often appeared in movies and on stage with her husband, Charles Laughton.

Janet Beecher played a wide range of theater and movie roles, but was usually cast as a matriarch of some type. She retired from movies in 1943, a few months after this broadcast, after a nearly 30 year career. Her final film was Henry Aldrich Gets Glamour. She was 60 at the time of this broadcast.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP431230

THE CAST

MARGO (Caroline Watts), ELSA LANCHESTER (Dean Sterling), JANET BEECHER (Melodie), Joe Kearns (Man in Black), unknown (Flora Nash), unknown (Aunt), unknown (Helen), Bill Johnstone (Second character in commercial)

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Saturday, March 18, 2023

1943-12-23 Back for Christmas

A henpecked husband, who is a college professor, decides he’s had enough of his wife’s belittling and antagonism and has a plan to do away with her. He starts a ditch in their basement for a “devil’s garden,” so he claims, but he’s actually preparing her grave. She’s sometimes watching. There’s very little Christmas spirit here, except as a target date on the calendar… he plans to be away in the US for the holiday. The wife’s gift to the husband, somewhat of a reconciliation offering, is revealed only after the murder, too late for him to change what he did and conceal his crime. The joy of the holiday seems to include a bit of panic and karma! Peter Lorre offers a compelling performance as the husband.

This is another John Collier story, and it’s a good one. It first appeared in The New Yorker of September 29, 1939. The story was adapted by Robert Tallman.

This was the first Suspense presentation of the story. It was broadcast multiple times on the series and once on Escape in December 1947. There were television adaptations on Alfred Hitchcock Presents and also the later Tales of the Unexpected. It is likely that this story, and perhaps this particular adaptation, was used earlier on Radio Reader’s Digest on 1942-09-20 as “The Almost Perfect Crime” starring Charles Laughton. He would star in some of the Suspense repeat performances of the script. (The story was in the August 1942 edition of Reader's Digest.)

This is the east coast broadcast. No west coast recording has survived, and no Armed Forces Radio Service recording is available.

Ben Gross of the New York Daily News offered a favorable and concise review in the 1943-12-24 edition:

Peter Lorre and company gave the listeners a nice gruesome monster for Christmas last night during the Suspense period. It was a blood-curdling thriller about a monstrous professor of botany who murders his wife. Lorre really scared the wits out of us. Here's a show that lives up to its name and it has some of the best background music on the air.

The superior custom-written music of Suspense and its role in the dramas in was noticed almost immediately by reviewers and listeners. It was almost like the musical scores were another character, or a non-verbal narrator of the presentations. William Spier had a strong musical background, which allowed him to communicate with the musical director and the orchestra what he needed and in a manner of musical collegiality.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP431223

THE CAST

PETER LORRE (Professor Hubert Schumacher), John McIntire (Mexican man in middle commercial / Professor), Jeanette Nolan (Hermione), unknown (Marian Markham), Joe Kearns (Man in Black / Steward), unknown (Freddie Sinclair / Professor Goodnough)

The Indianapolis News of 1943-12-23 had an interesting bit of information (likely part of CBS general publicity, but this is where we found it):

Because of the intricate production problems, Suspense is not being broadcast before a studio audience. CBS in Hollywood has constructed a special stage, sectioned off so orchestra and dramatic artists don't interfere with another while the complicated radio dramas are being performed.

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Friday, March 17, 2023

1943-12-16 Wet Saturday

Wet Saturday was a well-known story by author John Collier. It was published in The New Yorker, July 16, 1938. The original story can be read at https://literaryfictions.com/fiction-1/wet-saturday-by-john-collier/ It was adapted by Harold Medford and was first presented on Suspense as the second broadcast of the series on 1942-06-24. The blogpost for that broadcast can be accessed at https://suspenseproject.blogspot.com/2023/01/1942-06-24-wet-saturday.html

Variety favorably reviewed the broadcast in its 1943-12-22 edition:

Roma Wine's Suspense stanza, Wet Saturday, Thursday (16) (8-8:30 pm) on CBS featured Charles Laughton in a slick dramatization of a father trying to extricate his daughter from a slight case of murder. Laughton emphasized the dramatic nuance of the script by deliberately underplaying his part as the calm, collected parent who in the end has to sacrifice his son in order to save the daughter. The son had always been a problem to his parents anyway. Remainder of the cast all contributed performances that added up to a click airing.

Last week, Suspense offered The Night Reveals, a script that had been previously performed just months before. The same is true for Wet Saturday. Why is Suspense repeating its scripts? This was the first time that Suspense was being broadcast in a prime listening time slot. The first time the scripts were aired, listenership was lower than it would be for this broadcast because of a less desirable and accessible time slot with little or no promotion to encourage audience growth. These were good scripts, and worth repeating to a new and bigger audience, most of whom would be hearing them for the very first time.

The east recording is the only network broadcast that has survived. An Armed Forces Radio Service recording has survived and it is drawn from the missing west network broadcast. There are dialogue differences between the two (times noted below are approximate):

  • East at 26:30 has “I told you to keep still, George, I am thinking”

  • AFRS at 24:00 has "I told you to keep still, George, I’m…your father’s thinking”

This difference indicates that the AFRS recording was derived from the west broadcast of Monday, 1943-12-20. Therefore, the AFRS recording file name includes that date.

This has been identified and verified by two experienced classic radio collectors at the Cobalt Club online forum. They are exceptionally skilled at detecting and documenting these and other recording differences. They are lasombra (Barbara Watkins) and chasedad (John Barker). Their work has been essential to constructing the history of the Suspense program, and especially the east and west broadcasts of the Roma Wines sponsorship. Their generous dedication to classic radio and this project is greatly appreciated.

The network recording is in more enjoyable sound quality.

Roma Wines supplied advertising “blanks” to their distributors around the country. The distributor would bring the ad to the local newspaper and have them add the station call letters and the broadcast time. It is likely that the distributor received an advertising allowance from Roma Wines to fund a portion and possibly all of the advertising space contract with the newspaper. This ad appeared in the 1943-12-16 Shreveport Times of Louisiana and directs readers to station KWKH at 7:00pm Central time. Ads similar to this could be found in newspapers around the country.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP431216

THE CAST

CHARLES LAUGHTON (Frederick Princey), Dennis Hoey (Captain Smollett), Gloria Gordon (Mrs. Princey), Raymond Lawrence (Sergeant Yancy), Hans Conried (George Princey), Joan Lorring? (Millie Princey), Joe Kearns (Man in Black / Policeman)

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Thursday, March 16, 2023

1943-12-09 The Night Reveals

A pyromaniac is creating havoc in a city. An insurance fire investigator suspects his wife is the perpetrator... but his wife suspects him!

Blogger Christine Miller notes that this script...

...was based on the 1936 short story by Cornell Woolrich (William Irish), but it doesn't capture the intensity. Suspense changed the ending and gave the married couple at the center of the story a chance for future happiness. In Woolrich's version, the husband and wife do not live happily ever after.

This is the second time the story is presented on Suspense and the earliest surviving broadcast of it. The first broadcast was on 1943-03-02 and was also the first time a Woolrich story was presented on the series. The earliest Woolrich Suspense broadcast recording that has survived is 1943-06-15 Last Night, which was posted earlier at https://suspenseproject.blogspot.com/2023/02/1943-06-15-last-night.html

The only surviving recording of this The Night Reveals is the Thursday east broadcast. The west broadcast is missing, and there is no AFRS recording available at this time. Note at about 29:10 in the recording that Joe Kearns says “join us next Thursday,” which is the marker for whether it is an east or west broadcast.

Ms. Miller considers the 1949 version with Frederic March and Jeanette Nolan to be the best Suspense production of the story. https://www.escape-suspense.com/2008/08/suspense---th-1.html

Fire was a great and legitimate fear at the time of the story, especially in apartment houses and tenements. Sprinkler systems were not common, many of today’s firefighting techniques had not been developed, and methods to detect arson were primitive compared to today’s methods. Fires could go undetected and gain strength without smoke detectors and alarms. The communications infrastructure of emergency services such as 911 call centers were not possible at the time. Electric and other appliances were not designed according to insurance guidelines such as Underwriters Laboratories and building fire regulations that prevent such tragic events and are taken for granted. There were many challenges to rescue workers to their arriving in time to save lives and property. The idea that a pyromaniac was loose in a city could draw significant news attention. This storyline was more frightening and riveting in the 1940s than it would be among today’s audience.

Woolrich was a New Yorker and some of the street names and locations can be real or “fictional but authentic.” One of the addresses is 340 E 98 Street which exists in Brooklyn and Queens, but not Manhattan.

A chemical is mentioned in the story, sodium amytal. It is a barbiturate prescription medicine used to treat the symptoms of insomnia. It is a hypnotic and sedative. The fact that Woolrich uses it means that many in the audience would have some familiarity with it, and mentioning it would not impede the storyline but give it more credibility. Many radio scriptwriters would “invent” medicine or poison names so as to not give anyone any nefarious inspirations.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP431209

THE CAST

ROBERT YOUNG (Harry Jordan), MARGO (Marie Jordan), Byron Kane (Steve), Hans Conried (Mr. Palmenter / Policeman), Joe Kearns (Man in Black), Joel Davis? (Johnny Jordan), unknown (Commissioner), unknown (Investigator)

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Wednesday, March 15, 2023

1943-12-02 The Black Curtain

There are many firsts with this broadcast. It’s the first sponsored Suspense, the first time under the plan for east and west broadcasts on different days, and the first time we hear both “A tale well calculated to keep you in … Suspense!” and “radio's outstanding theater of thrills.” Oh, and it’s the first time at the Suspense microphone for Cary Grant. Suspense was finally in the big time, with new and recognizable tag lines for branding, and one of the biggest names in Hollywood to usher the new era in.

The Eastern and Central time zones had their live performance on 1943-12-02; the Mountain and Pacific time zones had their live performance on 1943-12-06.

The production has a different feel. The music is richer and a more active participant in the drama. It helps build to the tension of the scenes and accentuates key moments in the storyline. Prior to the mid-show commercial, “the Man in Black” (Joe Kearns) gives a quick summary of the story so far and its cliffhanger; this feature would be de-emphasized and phased out over time. There is a greater vibrancy to the performances of this and the episodes to follow.

The original story is from the Cornell Woolrich novel of the same name of 1941. It became a movie in 1942 with the name Street of Chance. A man falls on a city sidewalk and realizes he can’t remember his name or events of the last three years. He soon learns he’s been accused of murder. Somehow he has to prove his innocence… and that means he has to find the real killer.

Grant, like Peter Lorre, has such a distinctive voice that casting around him for radio drama was easier than for other lead actors. Grant is also a superb radio performer as well as having the star power Suspense wanted for its first sponsored episode. He is excellent here.

This is what radio critic Ben Gross said about the broadcast in the 1943-12-03 NY Daily News

Cary Grant, the movie idol, who is the dramatic Frank Sinatra of this radio department's feminine assistants, gave a smooth-as-silk performance in the first of the sponsored Suspense series last night. This former sustaining item replaced the mediocre show which starred Mary Astor, Charles Ruggles and Mischa Auer. Cary's vehicle was Cornell Woolrich's yarn of amnesia and murder, The Black Curtain, an attention-holding playlet. This series is, to this listener, the outstanding whodunit session of radio. Both the writing and the production are slick and the mood music really does create a mood. I recommend Suspense to every one who likes a good story well told.

Frank Martin is the Roma announcer, a holdover from the The Roma Show that Roma abandoned for the Suspense opportunity. He may have been under a contract, so they just kept him on. Or, they wanted continuity of the announcing because of the familiarity the audience had with his voice and the brand. He handles the announcing chores for the first 28 weeks. Truman Bradley follows him for much of the 200+ Roma broadcasts, with Ken Niles handling one season of Suspense.

It is funny that Grant’s character could not remember details of his life since July 1940… which just happens to be the month of the failed audition of Suspense on CBS Forecast. This production is so very different than what Suspense has been up to this point, that they’ve already forgotten much of their past and are acting on a bigger and richer vision for the series.

Note the different dates and times on the script header on the front page. This is from a script copy that was being used for editing prior to rehearsal. The Eastern time zone heard Suspense at 8:00pm, with the Central time zone getting it at 7:00pm. On Monday, the Pacific time zone heard it at 9:00pm, and the Mountain time zone heard it at 10:00pm.

There are some edits to the original script that are interesting to see. Many lines of dialogue are cut or rewritten for clarity or flow. Some of the names in the hard copy of the script were spelled differently than in the original story. This was a safeguard against mispronunciation and also ensured consistent pronunciation among the different performers. One of the pre-production scripts was edited to replace “Diedrich” with “Diedrick.” The former has proper pronunciations within families as “deed-ritch” or “deed-rick.” The latter is “deed-rick” for certain.

At the end of the broadcast, Kearns says to join the program “next week.” Starting the next week, the day is mentioned, either Thursday or Monday. This is the primary way we are able to determine which recordings are east or west broadcasts. Only one recording has survived of this episode, and it’s probable that it is the east recording, but one can’t be sure. It was not common practice at the time of the disc transfers to take digital pictures of the labels that would have indicated such information. Since that is the case, we must rely on information in the broadcast, but there is none.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP431202

THE CAST

CARY GRANT (Frank Townsend, alias Danny Nearing), Lurene Tuttle (Ruth), Hans Conried (Doctor / Franklin Dietrick), Bill Johnstone (Police Officer), Joe Kearns (Man in Black), Bea Benaderet (Woman in Roma commercial / Mrs. Alma Dietrick), Harry Lang (Pop the Storekeep), Walter Tetley (Young boy), Robert Harris? ()

The Woolrich story was used in the 1942 movie Street of Chance. It stars Burgess Meredith and a nice copy is finally up on YouTube https://youtu.be/o8PjvD7Ya5Q

Woolrich uses a lot of New York City locations in his stories. He lived in upper Manhattan near his alma mater, Columbia University. Traveling around four of the five boroughs was easy by subway. (Staten Island required use of the ferry). Tillary Street is mentioned in the script. There is a Tillary Street in the Fort Greene section of Brooklyn. “New Jericho” is likely a reference to a town on Long Island, Jericho, that can be reached using the Long Island Railroad from Pennsylvania Station (usually referred to among New Yorkers as “Penn Station.”).

Van Cortlandt Park is in North Bronx. It is a massive park area for recreation and events. It is more than 1100 acres and is known for its cross country running trails (almost 300 acres bigger than Manhattan’s Central Park). It is accessible to a west side subway (#1 train, also known as the "Broadway line") on one side and an east side subway on the other (#4 train, the "Woodlawn line"). That train can often be seen during baseball games televised from Yankee Stadium. Fordham Road is also mentioned. It is on the #4 line and was a major shopping area with thousands of apartments convenient for commuters working in Manhattan. It’s not far from Fordham University, the Bronx Zoo, and the New York Botanical Garden.

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Tuesday, March 14, 2023

1943-11-23 The Strange Death of Charles Umberstein

This is the first Suspense appearance of Vincent Price. He was originally scheduled for Five Canaries in the Room, but Lee Bowman filled in. Unlike the “big” Hollywood stars, Price continued to appear on Suspense through the late 1950s. He loved radio. When many stars had contracts that limited their media performances for a period of time when they had a movie playing in theaters, Price had such clauses removed from his contracts.

This script is also the first of a radio writing legend, E. Jack Neuman. He also had a fine career in television and film.

In the story, Price portrays a spy who has been working undercover as a Nazi officer for a long time. He’s worked his way up the chain of command to a high position. But he’s worried that his successful stealth is about to come to an end. Who is about to betray him?

Price started in theater, like most radio actors, and his first Hollywood film was in 1938. This means he’s doing Suspense when his career is relatively new and still in its upward trajectory. The Wikipedia page of his career is at https://en.wikipedia.org/wiki/Vincent_Price Classic radio fans also hold his appearances in the late years of Yours Truly, Johnny Dollar – where he plays himself! with great affection.

Among E. Jack Neuman’s credits are series such as Yours Truly, Johnny Dollar, Richard Diamond, Suspense, Jeff Regan, and many, many others. He occasional used the pseudonyms of John Dawson or Jack Dawson; that was sometimes a tip-off that he had used the script in another series. His TV credits included Bonanza, The Untouchables, The Twilight Zone, and many others. His dialogue could often be some of the snappiest and crisp in the profession, and he could turn switch from sarcastic to straightforward dialogue (as in Richard Diamond and the Jeff Regan series) with great skill and smoothness.

 

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP431123

THE CAST

VINCENT PRICE (Umberstein), Hans Conried (Herr Muller), Joe Kearns (Man in Black / Conductor), Ludwig Donath (Captain Von Heinz), unknown (Fraulein Keller), unknown (Hans), unknown (Officer), unknown (train man)

There are two recordings, a network broadcast and a late 1970s / early 1980s Armed Forces Radio and Television Service release. The network recording is the much better of the two and the only one available in FLAC.

This story was included in Suspense Magazine #4 but was retitled as “The Strange Case of Mark Boren.” The PDF is available on the Internet Archive page with the recording.

This episode of Suspense is the last un-sponsored broadcast before Roma Wines enters the production and bankrolls an expansion of star-powered casting, a greater commitment to music composition and performance, and all production values. The Roma sponsorship ended in November 1947.

The following week, Suspense would be heard on Thursdays in the East and Central time zones. Then the entire production crew and cast would re-assemble the following Monday for the Pacific and Mountain time zone live performance.

The difference in overall production quality becomes noticeable every week, especially by Spring 1944. This is when Suspense finally becomes… SUSPENSE!

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