While many maintain that The
Twilight Zone influenced a great number of
authors, television producers, scriptwriters and fans in
general, the television program was influenced by the
standards of the broadcast networks. Rod Serling worked first
in radio and then moved on to television in Cincinnati
(teaching himself, through actual writing, whatever he learned
of playwriting). Wanting to make a profession of writing, he
was at the radio’s speaker, often favoring good dramas and
programs of serious horror and science fiction. Shows such as Suspense and
The Mysterious Traveler may
well have been influences for the types of stories of which he
grew fond. One of Serling’s earliest jobs was as an
unsalaried volunteer writer and actor with WNYC, a
New York
City radio station. Later he worked for stations in Marion and
Springfield, Ohio, as well
as his
native Binghamton, N.Y., and Cincinnati.
“In 1946, I started writing for radio at a New York
City station and thereafter did radio writing at other small
stations,” he recalled. “It was experience, but incidental
experience. I learned ‘time,’ writing for a medium that is
measured in seconds. Radio and its offspring, television, are
unique in the stringency of the time factor. Radio and TV
stations gave me a look-see at the factory that would produce
my product. I got to understand the basic workings of cameras,
lights and microphones. I got a sense of the space that could
be utilized and the number of people who might be accommodated
in that space. This was all to the good.”
The radio programs Serling wrote for, however, were not
broadcast nationally on a coast-to-coast hookup. They were not
sponsored. In fact, almost all of them were sustained, that
is, the production costs were borne by the network rather than
a sponsor. Cheap to produce, these programs required no major
film stars to pay, and there was no shortage of radio actors
willing to work for union scale. For him, this was experience
needed for a writer with no credits to his name, to get his
foot in the door for programs that paid much more – courtesy
of well-heeled sponsors willing to pick up the tab.
The Chesebrough Manufacturing Company, for example,
sponsored a long-running radio program titled Dr.
Christian. The program featured top-quality
dramas of a country doctor who applied the Golden Rule
approach to life when facing obstacles that required his inner
strength for support. In the beginning, the Dr. Christian radio
program came from various scriptwriters, among them Ruth Adams
Knight. In 1942, the producers tried a new approach: a contest
in which listeners could submit scripts and be eligible for
large cash prizes. This may have been the most significant
factor in the program’s long 17-year history. Suddenly,
everyone in the country was a scriptwriter. Weekly awards
ranged from $150 to $500, good money in 1942, and the grand
prize won the author $2,000. It soon became The
Vaseline Program, “the only show in radio
where the audience writes the script.”
Newsweek reported
that 7,697 scripts were received in 1947; sometimes that
number went as high as 10,000. Many were called, however, but
few were chosen. The scripts that made it to the air continued
the appeal of traditional values, showing Dr. Christian as the
symbol of good will, as a philanthropist and an unabashed
Cupid. The subject matter would include anything – even
fantasy. One show was about a mermaid; on another, a
human-like jalopy named Betsy fell in love with a black
Packard owned by a woman chief of police. Only when murder was
the theme of a script did listeners complain; they liked the
show when it was mellow. The 1947 prize play concerned Dr.
Christian’s effort to convince an unborn child that Earth
was not so bad after all.
At Antioch College in Yellow Springs, Ohio, Rod Serling
majored in language and literature and began writing scripts
for radio. He became manager of the Antioch Broadcasting
System’s radio workshop where he wrote, directed and acted
in weekly full-scale radio productions broadcast over WJEM,
Springfield. With confidence on his shoulder, during the
1948-49 school year, the entire output of the workshop was
written by Serling. With the exception of one adaptation, all
of the radio scripts were entirely original. Later he would
look back and call this work some “pretty bad stuff.”
For the broadcast of May 18, 1949, the eighth annual
scriptwriting contest of Dr.
Christian
ended with
a special broadcast revealing the year’s winners. Among the
guests on that particular
program
was Rod Serling, who at the time was attending Antioch
College. The producers of the
radio show
even paid him $76.56 to reimburse his expenses in getting to
CBS in New York City to
appear on
the Dr. Christian program.
His submission, titled “To Live a Dream,” had won approval
of the
judges and been accepted by producer Dorothy McCann.
Serling’s script helped him place in the radio contest that
netted him a $500 award.
Serling brought along his wife, Carol, to attend the
radio broadcast. Among the cast on stage were star Jean
Hersholt, Helen Claire as nurse Judy Price, and prizewinners
Russell F. Johnson, Maree Dow Gagne, Mrs. Aida Cromwell, Miss
Terry McCoog, Earl Hamner, Jr. and Mrs. Halle Truitt Yenni.
The program, still sponsored by Chesebrough, was the 546th
broadcast of the series. Russell F. Johnson of Thomaston,
Connecticut won the $2,000 first prize for his script titled,
“Stolen Glory.” Mrs. Lillian Kerr of Tillamook, Oregon,
won $500 for her script titled, “Angel with a Black Eye.”
Earl Hamner, Jr. of Cincinnati, Ohio (the same Hamner who
would later write scripts for The
Twilight Zone), won $500 for his script titled
“All Things Come Home.” This was not Hamner’s first time
winning the contest. He had been on the show previous for his
award-winning scripts, “Now That Spring is There” and
“Who Would Not Sing for David?”
One by one, the prizewinners were announced and
interviewed on stage. Biographical background, professional
endeavors and their writing ambitions were discussed. Halfway
through the broadcast, Rod Serling came to the microphone.
HERSHOLT:
Hello, Rod . . . and congratulations. I read your winning
script, “To Live a Dream,”
and I
thought it was a fine job of writing.
SERLING: Thank you, Mr. Hersholt. You’ve no idea how thrilled I am
to know that you and the
judges
selected my script as one of the winners.
HERSHOLT:
Now tell us a little about yourself, Rod.
SERLING: Well . . . I first saw the light of day in Syracuse, New
York, graduated from Binghamton
High
School, at Binghamton, New York . . . And am now in my third
year of college at
Antioch
College, Yellow Springs, Ohio.
HERSHOLT:
You covered an awful lot of years in an awfully few words.
What happened during all
that time?
SERLING: Well . . . before the war I did some staff work at a
Binghamton radio station . . . tried to
write . . .
but never had anything published.
HERSHOLT:
And during the war?
SERLING: I was in the same place as Russell Johnson . . . the Pacific
. . . with the Army.
HERSHOLT:
What did you do in the Army?
SERLING: I was a paratrooper.
HERSHOLT:
Where did you get the idea for this fine story you wrote?
SERLING: Well . . . I’ve always been fond of boxing . . . tried my
hand in the Golden Gloves.
And well .
. . since you’ve read my story, you know where it all ties
in.
HERSHOLT:
Indeed I do. And do you intend to follow writing as a
profession?
SERLING: I’d like to, Mr. Hersholt. In fact, the ambition of my wife
and I . . .
HERSHOLT:
Oh . . . another married man!
SERLING: How did Russell Johnson say it? Yes, sir!
HERSHOLT:
And is your wife sitting out front, too?
SERLING: Yes, sir . . . right there.
HERSHOLT:
Well, let’s have her stand up and take a bow, too . . .
Mrs. Rod Serling . . .
(Applause)
HERSHOLT:
Well, well, you ex-G.I.s certainly specialize in beautiful
brides. And now, back to that
ambition of
yours.
SERLING: Well, we want to live in a large house, in the suburb of a
large city, raise a family, a lot
of dogs . .
. and write!
HERSHOLT:
And I certainly hope you realize such a fine American
ambition, Mr. Serling. Maybe
this check
for five hundred dollars will go toward part of the down
payment on that
dream!
Congratulations . . . and good luck to you!
SERLING: Thank you, Mr. Hersholt.
Serling’s success earned him a credit that would gain
the attention of other radio producers, when he included a
cover letter with a submission. Broadcasting standards during
the 1940s were much different from the standards enforced by
the late 1950s. The policy of reviewing and accepting
unsolicited radio scripts and plot proposals varied from one
producer to the next. While many programs had a staff of
writers, other programs occasionally purchased submissions
from the open market. Suspense,
a radio anthology specializing in thrilling crime dramas, for
example, bought scripts from a deaf mute in Brooklyn, a night
watchman from Chicago, a cowhand in Wyoming, and one script
from a former inmate of San Quentin.
By the 1950s, however, a few who submitted plot
proposals and scripts were seeking vengeance for their
rejected submissions. They filed lawsuits against the
producers and the networks whenever they heard a program of
similar nature, claiming their ideas were “stolen” without
due compensation. The networks began enforcing policies, in
agreement with radio and television producers, not to review
or accept any outside submissions. For scriptwriters offering
their work in the hopes of making a sale it became a bit more
complicated.
The success of the Dr.
Christian radio script led to multiple
attempts on Serling’s part to submit more proposals to other
coast-to-coast radio programs.
“I just kept on,” he recalled years later to a
newspaper columnist. “I had to earn a living and took a
staff writing job on a Cincinnati radio station; but during
every spare moment I turned out more free-lance scripts.
Finally, I sold three others, but for each play accepted there
were at least three or more turned down.”
Serling began writing scripts that were dramatized not
on a national coast-to-coast hookup, but in the local Ohio
listening area. “The Colonel’s Coin” was a script in
memorandum to Memorial Day. On may 8, 1948, he completed a V-E
Day script which was regarded by the stationmanager as “the first script this year that kept me
on the edge.” In 1948, Serling scripted Party Line, a
short-run program sponsored by theArmy Recruiting
Headquarters. Serling played himself in a number of skits he
composed, including the lead role of Cooper. On one episode of
this program, the announcer stepped aside from his normal
duties to inform the radio audience that Miss Carol Kramer was
engaged to Rod Serling, announced by her grandparents and the
marriage to be on July 31.
But with success came the eventual edge of defeat. On
September 8, 1949, Serling’s radio script “Potter’s
Paradise” was rejected by the advertising agency,
Wallace-Ferry-Hanly Company, for the First Nighter Program.
Ira L. Avery, producer for Armstrong’s Theatre of
Today, rejected his script “The
Memory” in October, because “in the handling of familiar
plots and themes, selection needs to be placed on a level
determined by the volume and quality of submissions. We regret
that, in the light of heavy competition, we do not find this
story suited to our current needs.”
After peddling a football script titled “Cupid at
Left Half ” to Curtain
Time and finding that
script
rejected, he wrote to Myron Golden, script editor of the radio
program, to ask why he had
failed to
sell a single script to Curtain Time.
On October 10, 1949, he sent the following candid reply:
“This particular script lacks a professional quality.
The dialog is spotty, the plot is loose, and the whole thing
lacks verisimilitude . . . It appears to be a standard plot
that writers somehow or other manage to pluck out of the
public domain.” *
* Two
of Serling’s earliest attempts to sell scripts to a national
radio program are evident in “Look to the Sky,” dated July
13, 1947, and “The Most Dangerous Game,” dated June 22,
1947. The latter script was adapted from the Richard Connell
short story of the same name.
On August 10, 1949, producer/director Martin Horrell of
Grand
Central Station rejected Serling’s
prizefight script titled “Winner Take Nothing.” The script
was “better than average” Horrell admitted, but the ladies
who listened to his program on Saturday afternoons “have
told us in no uncertain terms that prize fight stories
aren’t what they like most.” In a letter, Horrell offered
him what may have been the best advice given to the young Ohio
resident. “I have a feeling that the script would be far
better for sight than for sound only, because in any radio
presentation, the fights are not seen. Perhaps this is a baby
you should try on some of the producers of television
shows.”
“Those
were discouraging, frustrating years,” he told a columnist
in early 1960. “I wanted to quit many times. But there was
something within me that made me go on. I continued writing
and submitting scripts without pay and, what is even worse,
most of the time, without recognition. Then at last I came up
with two plays that were bought by the old Grand
Central Station series on CBS Radio. I
thought that now surely I was in. But I wasn’t. Day after
day, I continued to pound the
typewriter,
with no result.”
Grand Central Station was
a radio anthology consisting of light comedies and fluffy
romance. Serling’s first sale to the program was “The
Local is a Very Slow Train.” Broadcast on September 10,
1949, under the new title of “Hop Off the Express and Grab a
Local,” the story concerned two young men, Joey and Steve,
who became involved in a murder case while trying to escape
the slums of the city where they live. His second sale for the
series was “The Welcome Home,” broadcast on December 31,
1949, and concerned the story of Bill Grant, a crusading
reporter for the fictional New York Globe.
While his first sale was the prize-winning Dr. Christian script,
the first script to be dramatized nationally on radio was the
September 10, 1949 broadcast of Grand Central Station.
In early November, his luck hung on long enough for him to
receive a letter from Rita Franklin of the Dr. Christian program,
alerting him that his prize-winning “To Live a Dream,”
would finally be broadcast on December 7, 1949. Scheduling
conflicts pushed the script ahead a week to November 30, 1949,
and Rod Serling’s name was once again referenced on the Dr. Christian radio
program. *
* Serling
later submitted a second script to the Dr.
Christian radio program that was originally
titled “The Power of Abner Doubleday” (for reasons unknown
the title changed to “The Power of Willie Doubleday”) but
failed to make the sale.
Serling began working at radio stations such as WJEL in
Springfield, Ohio, and WMRN in
Marion,
Ohio. Months later, in the spring of 1950, he graduated from
college, and his first job was
at WLW in
Cincinnati, the Crosley Broadcasting Corporation’s flagship
station. The college radio
work had
paid $45 to $50 a week, but WLW was offering $75 weekly and
the young playwright accepted the job. Members of the
program’s casts were students of the radio department at the
College of Music in Cincinnati, and he often found himself
playing a role or two for some of the broadcasts.
It should be noted that among the leaders of the
entertainment industry who began their careers at WLW were
Rosemary Clooney, Betty Clooney, Red Skelton, Red Barber, Jane
Froman, The Mills Brothers, Virginia Payne, Doris Day, Durward
Kirby, Eddie Albert, and Janette Davis.**
** The
Crosley Broadcasting Corporation, founded by radio
manufacturing pioneer Powel Crosley, Jr., was an early
operator of radio stations in the U.S. During World War II, it
operated as many as five shortwave stations, using the call
signs WLWK, WLWL, WLWO, WLWR and WLWS. In 1945, the Crosley
interests were purchased by the Aviation Corporation. The
radio and appliance manufacturing arm changed its name to Avco,
but the broadcast operations continued to operate under the
Crosley name. From the 1950s through the 1970s, Crosley (or
Avco) operated a small television network in which programs
were produced at one of its stations and broadcast on the
other Crosley stations in the Midwest, and occasionally by
non-Crosley stations.
Sometime in 1950 or 1951, Serling sold Crosley a number
of scripts for dramatization on both radio and television. It
is not clear whether the dramas made it to the airwaves, but
he did revise the scripts slightly and sold them to various
television anthologies. Among the scripts were “Grady
Everett for the People,” “Law Nine Concerning
Christmas,” “The Sands of Tom,” “The Time Element,”
“The Carlson Legend,” “The Face of Autumn,” “The
Hill,” “A Time for Heroes,” “The Keeper of the
Chair,” “Aftermath” and “The Steel Casket.”
Serling also composed a number of radio scripts for a
proposed radio series titled It
Happens to You. Among the scripts for this series
were “Mr. Finchley Versus the Bomb” and “You Be the Bad
Guy” (both of which were later dramatized on The Lux Video Theater);
“And Then Came Jones,” about the mishaps of Wendell Jones,
who had papers claiming ownership to all the area within six
and a half miles of Times Square; “The Gallant Breed of
Men,” about Captain Peter Bruce, an ex-captain in the
Merchant Marine with a conscience; and “Law Nine Concerning
Christmas,” details of which can be found under the episode
entry for “The Obsolete Man.”
From October 14, 1950 to February 17, 1951, Serling
authored a weekly program titled Adventure
Express, which dramatized the exciting
travels of Billy, Betty and their Uncle Jim, who traveled by
train across the country seeking high adventure. Each week
they stopped at a different town and got involved with the
locals. One episode, for example, took place in the wooded
countryside of Kansas, and another took place in the state of
Florida.
When Serling first proposed this to the station
manager, his proposal was titled Conducted Tour Through
America, described as “a radio fantasy-drama.” The
initial concept was about a little boy named Stephen Crane and
a little girl named Loretta Dijon who join the ethereal
express operated by an old man named Abraham Goldschmidt.The kids died from the war, and were now looking across
America from the train windows, giving their opinions of human
character as witnessed through the eyes of a child.
From July 23, 1951 to August 23, 1951, he wrote a
number of scripts for a weekly program titled Leave
it to Kathy. From September to October of 1951,
Our America presented
historical biographies of American historical figures such as
Jefferson Davis, General Custer and Lewis and Clark. From
November 24, 1951 to December 8, 1951, a similar radio program
titled Builders of
Destiny gave him the opportunity to
dramatize biographies of Zane Grey and General Philip
Sheridan. *
* Author
Note: The dates of broadcast are accurate
in this paragraph, but may not necessarily be the exact
premiere and concluding airdates. A complete set of scripts
was not available during research and it was determined to
list the earliest and latest known dates of broadcast for
those particular series.
Among the cast of the Cincinnati radio broadcasts was
Jay Overholts, who headed a large number of radio scripts
penned by Serling. The two became good friends and in 1959,
Serling arranged for Overholts to come to California as a
stock actor for a number of Twilight Zone episodes --
including the pilot episode, “Where is Everybody?”
On November 25, 1949, John Driscoll, story editor for The Cavalcade of America,
rejected Serling’s plot outline titled “Father of the
Common School,” which he would later rewrite for an episode
of the short-run historical dramas broadcast over WLW.
“From a writing point of view, radio ate up ideas
that might have put food on the table for
weeks at a
future freelancing date,” he later said. “The minute you
tie yourself down to a radio or TV station, you write around
the clock. You rip out ideas, many of them irreplaceable. They
go on and consequently can never go on again. And you’ve
sold them for $50 a week. You can’t afford to give away
ideas – they’re too damn hard to come by. If I had it to
do over, I wouldn’t staff-write at all. I’d find some
other way to support myself while getting a start as a
writer.”
“No Christmas This Year” was an unproduced radio
script (written circa 1949-1951), and told the tale of a
civilization that dispenses with Christmas. No one knew
exactly why this was so, they just knew it was happening, and
the mayor of the town claims someone high up was responsible
for the decision. Santa, up at the North Pole, has his own
problems. The elves are on strike. The factory no longer
manufactures toys – they produce crying gas, heavy bombs,
fire bombs, and atomic bombs. Worse, he’s been shot at when
he flies over Palestine and China, and one of his elves got
hit by shrapnel over Greece.
Another of Serling’s unsold scripts included “The
Scene of Lilaces,” a half-hour play about Jackie Evans who
was the victim of a murder.
On August 23, 1950, Rod Serling created a radio serial
titled The Jekins Clan, which he proposed to radio
station WLW. The series never came to be -- or at least, no
documented evidence has been brought to light to verify such a
show was broadcast. According to Serling’s proposal to the
station manager, the series would be designed for either
‘cross-the-board, five-day-a-week stint, or possibly three
times a week, The Jenkins Clan could be fitted for
either.In the
case of the former, the show would involve a weekly episode -
using the five shows to tell one complete story.For a 3-times-a-week stint, a complete episode might be
possible for each 15-minute sequence.In either case, The Jenkins Clan is primarily a
situation comedy using the husband and wife combination (Harry
and Alice Jenkins) with occasional inclusion of other
characters.
Serling’s proposal suggested the minimum use of two
actors, keeping the budget low for the network. Beginning with
the second season of The Twilight Zone and especially
during the final season, Serling would be subjected to a
number of request by the CBS Television Network to write
scripts requiring less actors -- strictly for budgetary
purposes.
On
July 31, 1950, through the advice of friends and rejection
letters, Rod Serling wrote to Blanche Gaines in New York –
an agent who specialized in handling about two dozen clients
attempting to sell scripts to both radio and television.
Blanche was the widow of Charles Gaines, who had died in 1947.
He was vice president of the World Broadcasting System, a
pioneer in the production of recorded radio series. Among her
clients were Frank Gilroy, Jerome Ross, Nelson Bond and Helen
Cotton. He included a few scripts (“Vertical Deep,” “The
Air is Free,” and “Look to the Sky”), as samples of his
work and a résumé of successful sales to Dr.
Christian and Grand
Central Station. Gaines reviewed the
material and gave her opinion regarding the plots and the
prose, suggesting a variety of programs for which to submit
them, most notably television’s Lights
Out! and the radio anthology, Suspense.
She agreed to handle his material on a 15 percent commission
basis. “It is more difficult to work with a writer who is
living so far away from New York,” she explained, “but I
think your stuff has merit and am willing to try and see what
I can do with it.”
Serling wrote back saying that he was concerned about
the 15 percent fee, but Gaines assured him that it was not
permanent. After the tenth sale by the same writer, she
reduced her commission to 10 percent, explaining that earliest
efforts often brought about more rejections, and the 5 percent
difference offset the costs involved. In the meantime, she
submitted scripts such as “Temptation,” “The Air is
Free,” “Look to the Sky” and “Vertical Deep” to
television’s Suspense,
which were all promptly rejected for various reasons. Formerly
radio scripts, Serling began adapting the unsold scripts into
feasible teleplays.
On April 21, 1951, the radio program Stars Over Hollywood featured
“Curtain Call for Carol” with Phyllis Thaxter in the title
role. When Carol Adams appears in a Broadway show backed by
her father, she was unmercifully panned by Bill Grant,
temporary drama critic for a large metropolitan newspaper. Her
anger was further increased when the same Grant offered to
teach her how to act, despite the fact that his real specialty
was as a sports writer.
The year 1952 promoted Serling to a level of success
that he failed to achieve the previous year. The major reason
was Blanche Gaines. For every script he finished, she sent a
formal submission to story editors and producers of radio and
television programs that were on her lists. Every script that
was rejected by one program was resubmitted to a different
program. No effort was wasted and sales started growing.
On January 2, 1952, the Dr.
Christian radio program presented “The Long
Black Night,” which was a major rewrite of Serling’s
earlier prize-winning script, “To Live a Dream.”
The
Keeper of the Chair
While these were some of Serling’s earliest attempts
at fantasy and science fiction for television, they would not
be his last. His love for this kind of stories was evident in
a number of early teleplays. In his unsold “The Keeper of
the Chair,” he told the tale of a condemned man named Paul,
who spends his last moments on death row talking to his
executioner, George Frank, about how many people Paul had put
to death, and how many Paul felt were guilty of murder and
deserved to die. However, a murder has occurred, the result of
a prank, and when the warden talks to a guard, looking over
the dead body, he questions why Paul shouted out “George
Frank” before he died. They had no guard named George Frank.
There was a convict by that name executed in 1942, and new
evidence presented in 1943 proved his innocence. Paul was the
state executioner, whose mind snapped over the years, having
been unable to cope with sending a man to the chair for a
crime he never committed, and he spent his remaining moments
hallucinating – a guilt complex in the form of his own
execution.
In late 1949, when Serling was still at Antioch
College, he submitted his radio play of the same name to John
Meston, the story editor for radio’s Suspense.
On December 1, 1949, Meston returned the script, explaining,
“After careful consideration, the Script Committee has
decided that the story is not suitable for Suspense.”
On April 27, 1950, John Meston sent another rejection letter
to Serling regarding the same script, as he had submitted it
for radio’s Escape.
By November of 1950, Rod Serling was living (at 5016 Sidney
Road) in Cincinnati, Ohio, and had adapted his radio script
into a teleplay, for television’s Lights Out! program.
The script editor sent a rejection stating, “This is not
well written and does not sufficiently get around its basic
fallacy that the executioner, rather than the jury, is
responsible for the death of an innocent man.”
Radio Scripts Proposed for The Twilight Zone
“The Cold Equations” was first published in Astounding Magazine in
1954. Written by Tom Godwin, the short story tells of a
starship making the rounds of Earth colonies, delivering much
needed medical supplies to a frontier planet. When the pilot
discovers a stowaway on board, an 18-year-old named Marilyn,
who wants to see her brother at the colony, he realizes a
bigger problem ahead for them. The ship only has enough fuel
for the pilot and the cargo. Marilyn’s weight and mass will
prevent the starship from reaching its destination. Marilyn
accepts the consequences of her mistake, writes a farewell
letter to her parents, talks to her brother by radio, and then
enters the airlock – ready to be jettisoned into space.
While this story was never used on the original series,
the 1985-89 revival of The
Twilight Zone featured an adaptation of this short
story. On March 24, 1959, Sylvia Hirsch of the William Morris
Agency submitted an hour-long teleplay titled “Tomorrow is
Here” by Whitfield Cook. On March 25, Fred Engel proposed
“The Black Hound of Bailundu” by Paul I. Wellman. Serling
rejected both of these.
On April 7, 1959, the radio play “Return to Dust”
was considered for inclusion in the Twilight
Zone series. Originally broadcast on Suspense,
the George Bamber story concerned a biologist’s efforts to
decrease cancer cells, and through an accident in the lab,
found himself slowly shrinking in size. The majority of the
drama (making the most effective use for the medium of radio)
was the biologist’s effort to leave a recorded message
explaining his situation and where his lab associates could
find him, should they play back the recording. In the end,
however, the scientist is down to the size of a bug and still
shrinking, though he never gets to microscopic size because a
bird mistakes him for an insect and makes a feast of him.
On
June 29, 1959, Jack Stewart & Associates, representatives
of William N. Robson, wrote to Rod Serling, in care of Metro-Goldwyn-Mayer
Studios:
Dear Mr.
Serling:
William Robson, who is director-producer and sometime
writer for CBS’s Suspense, has a backlog of science stories
which he owns. You probably know Bill by reputation. He, along
with Norman Corwin and Arch Oboler, changed the whole
technique of radio with their wonderful shows. Recently Bill
won the Mystery Writers of America – Special Award – for
“Best Suspense Series.” Will you please let me know when
it would be convenient for you to talk to him?
Very
cordially yours,
Jack
Stewart
On July 8, 1959, Rod Serling replied, acknowledging
Robson’s reputation and confessed that he was a fan of the
producer/director. Unfortunately, at the moment, he had over
purchased the number of story materials beyond the actual
production commitments. He explained that it would be a waste
of time for the two to talk on what would be a very
problematical level, but offered a sympathetic and interested
ear. “Should our situation change and we are once more in
the market for material, I’d consider it a privilege to meet
Robson because I recognize it as a fact that he was doing
wonderful things when I was just still hoping.”
In
mid-late August of 1959, Russell Stoneham at CBS Television
forwarded to Bill Self a copy of a radio script penned by
Irving Reis, titled “Man of Tomorrow.” Self liked the
story, and passed it on to Serling for review. The script has
been performed twice on CBS Radio – the Escape broadcast
of August 23, 1953, and on Suspense on
September 1, 1957. Serling
rejected the idea and had the script sent back to CBS. The
story concerned an Air Force pilot who returns from Korea and
agrees to an immoral experiment that ultimately surpasses his
five senses, granting him the opportunity of experiencing a
sixth sense.
“The Devil and Sam Shay” had been dramatized for Buckingham Theatre in
1950, one of the most prestigious coast-to-coast Canadian
radio programs. Scripted by Robert Arthur of The Mysterious
Traveler fame, the short story was originally published as
“Satan and Sam Shay,” in the August 1942 issue of The Elks Magazine.
Arthur sold the rights for his radio script and short story to
Cayuga Productions for a possible third season entry on The
Twilight Zone. The episode never came to be, but when
Serling began considering stories for a sixth season, he
returned to the short story as a possibility. Since The
Twilight Zone only ran five seasons, the story was never
adapted for the program.
To promote The Twilight Zone’s premiere on
television, Rod Serling appeared before the radio microphone
to promote the television series. On a publicity tour in
September of 1959, Serling was a guest on a number of talk
shows: Tony
Weitzel’s radio program (Weitzel is a columnist for The
Chicago Daily News); Jack Eigan’s radio
program on WMAQ-NBC Radio; eight-minute interview with Don
McNeill of The
Breakfast Club on ABC radio network; and an
interview with Jack Remington on WKRC.
Old-Time
Radio Influences
Serling was a frequent listener of a number of radio
programs, especially of the fantasy and horror genre. Arch
Oboler and Norman Corwin were among the many playwrights
who’s craft Serling admired (he even named the protagonist
of “Night of the Meek” after Corwin). Many of Serling’s Twilight Zone episodes
resembled plots from radio thrillers, of which he was an
ardent listener, suggesting yet another link to radio dramas
as being an influence for this television series.
In “Escape Clause,” a man signs his soul to the
devil in exchange for immortality. After a few weeks, he
becomes bored with life. Poison tastes like lemonade and the
thrill of jumping in front of the subway trains only secures
him payments from the insurance companies. After going to
trial for the murder of his wife, hoping to give the electric
chair a whirl, he discovers that his sentence is life
imprisonment.
The premise of a man becoming immortal and then being
sentenced to life imprisonment was done previous on Inner
Sanctum Mystery, a radio crime thriller
broadcast from 1941 to 1952. On the evening of February 12,
1946, a script by Emile C. Tepperman titled “Elixir Number
Four,” was dramatized with Richard Widmark as a young man
who murders a brilliant chemist, so he can steal and drink an
experimental elixir that grants immortality. His plan goes
afoul, however, when the murder is uncovered, and the young
man is sentenced to life imprisonment.
In “The Hitch-Hiker,” a woman driving cross-country
is terrorized by the sight of a little man who continues to
appear off the side of the road in front of her. Days without
sleep come to a conclusion when she discovers that she is dead
-- the result of a blowout on the Pennsylvania Turnpike. And
the mysterious figure that continues to haunt her is Death
himself.
The original radio script, as chilling as the Twilight Zone screen
adaptation, was dramatized on three separate occasions with
Orson Welles playing the lead for each performance. The first
time was on a summer filler called Suspense,broadcast on September 2, 1942. The popularity of that
particular Suspense broadcast
demanded a repeat performance, so Welles obliged a month later
on The
Philip Morris Playhouse, on October 15, 1942. Four
years later, Orson Welles restaged the same radio play for The
Mercury Summer Theater on the Air on June
21, 1946.
It is not clear which of the broadcasts exposed Rod
Serling to the chilling story, but he certainly remembered it
and wanted to adapt it for The
Twilight Zone. Lucille Fletcher was represented
by the William Morris office, so Buck Houghton made
arrangements to negotiate the price.
“In view of the prominence of this particular play, I
think it unlikely that we will get it for under $1,000,”
Houghton wrote. “May I suggest that we start at $750 and
move to $1,000, if we must.”
One week later, the offer was rejected and Houghton
wrote to Rod Serling, asking how desperate he wanted the
story. “Lucille Fletcher has turned down $2,000 for ‘The
Hitch-Hiker,’ when Alfred Hitchcock offered it,” Houghton
explained. “I don’t know how much further we would have to
go to get the property, but I think it is too high for us to
explore.” Leo Lefcourt, the attorney
for Cayuga
Productions, however, was able to secure a firm price for the
story through the William
Morris
Agency, and completed the purchase for The
Twilight Zone. The price was $2,000 and a
standard W.G.A. percentage rerun pattern based on $1,100. The
story had not been done on television, either live or on film,
giving The
Twilight Zone an exclusive.
The main protagonist of the radio play was a man, but
Serling changed the sex to a woman, “because it’s
pertinent and it’s dramatic to make it a woman,” he
explained. “Nan” was a nickname of one of his daughters,
Anne. If a press release from early January 1960 is accurate,
Serling wrote the teleplay under six hours.
When Richard Matheson submitted the story proposal for
“The Last Flight,” a tale of a WWI fighter pilot who lands
on a modern-day airfield and finds himself displaced out of
time. When Serling learned of Matheson’s proposal, he
brought to light a radio anthology titled
Quiet,
Please, scripted by Wyllis Cooper. On
November 21, 1948, the program offered a similar story titled
“One for the Book,” about an Air Force major who hit Mach
12 in an experimental rocket plane in 1957 and found himself
as an Air Force sergeant in 1937. Serling remarked that
Matheson’s story “was down-the-line almost a twin,” and
the two considered tracking down Wyllis Cooper to purchase the
rights and cover their bases, but unable to do so, the
teleplay went into production without further consideration.
The fact was the stories were similar, but not exactly
the same. But to purchase the rights of Cooper’s script was
to prevent a possible infringement. No rights were ever
purchased and no lawsuit ever came from the broadcast.
In “The Monsters Are Due on Maple Street,” a
mysterious power outage causes the folks of a friendly
neighborhood to turn into a murderous frenzy. The cause of the
power outage was a scientific experiment conducted by visitors
from outer space, studying the effects of human nature and
how, after taking away some of the modern conveniences, resort
to self-preservation at the destruction of others. The
discussion exchanged between the outer space visitors is
similar to the conclusion of a 1951 science-fiction radio
script Serling wrote titled “The Button Pushers.”
Set in a future Earth, 1970. Huge television screens
substituted for advertising
billboards
in Times Square, air-way rocket trains carried commuters
overhead, and the fear of rival nations separated by a large
ocean covered the front page headlines. A bloodthirsty general
urges a brilliant scientist to complete the development of a
new weapon, best described as a “doomsday bomb.” The enemy
overseas, reportedly, has already developed a similar weapon.
The general asks the scientist to complete the weapon so that
it could be fired with the push of a single button – no
secondary protocols required. The scientist, fearing his
weapon could start a war that would erase the existence of
mankind on the entire planet, contemplated the centuries of
progress – ancient civilizations that built the pyramids,
the deserted Mayan temples and the skyscrapers of today. After
15 minutes contemplating the beauty and wonder Earth had to
offer, he completes the weapon and the Army takes over.
Against his warnings, the button is pushed. The enemy does the
same, and the countdown for contact begins.
The ending featured a series of explosions on the
surface of planet Earth, and two aliens on another planet
across the universe start the following discussion:
VOICE 1: Ah, Verus . . . Have you see the little planet – Earth?
VOICE 2: Why no . . . come to think of it, Felovius I haven’t seen
it . . . In a few hundred light
years.
Seems to have just disappeared all of a sudden.
VOICE 1: Ah . . . Then I win my bet.
VOICE 2: Bet?
VOICE 1: Yes, I bet the keeper of the North Star that the little Earth
would destroy itself before the
next
billion years had gone by . . . and she has. She seems to have
just blown herself up . . . disintegrated. . . she no longer
exists. Tch, tch . . . Pity . . . she was a lovely little
planet.
Wonder what
caused it?
VOICE 2: That is a question . . .
VOICE 1: Oh, what am I thinking of . . . I know what destroyed it. It
had human beings on it. I’d
forgotten.
VOICE 2: Well then, that explains it . . . Those pesky little things
can’t live side by side very long.
Shall we go
back and tell the others?
VOICE 1: Why take the trouble? As if anyone cared about tiny Earth . .
. So unimportant a speck
. . . so
insignificant a dot in the universe. Who cares?
VOICE 2: I guess you’re right. (sighs) Nice night . . . So quiet . .
. So uneventful.
In “A Passage for Trumpet,” a trumpet player named
Joey drowns his sorrows with a bottle, and commits suicide
when he fails to get a job playing the trumpet. Soon
discovering that he is in limbo, between life and death, it
takes a bit of spiritual guidance to intervene and reveal just
what Joey has been missing in life. The script was an
adaptation of a number of teleplays, which in turn were
revisions of a 1949 radio script titled, “The Local is a
Very Slow Train.” Serling submitted the idea to the
producers of the radio anthology, Grand
Central Station, who purchased the script
and re-titled it “Hop Off the Express and Grab a Local.”
The story concerned two young men of the slums, Joey and
Steve, who get involved in a murder. Joey comments not once,
but twice, about how depressed he became when he was reminded
of the social group in which he grew up, having been raised in
the slums of the big city. The episode was broadcast over the
CBS Radio Network on September 10, 1949.
In 1950, Serling wrote a radio script titled “The
Dust By Any Other Name,” concerning
a
character named Abner Bodner, who attempts to build a chemical
plant that would produce a magic dust. When breathed, the dust
would make mortal enemies forget their hatred. As a result of
his efforts, Bodner has an accident that costs him his life,
proving to everyone in town that a man who dies in his belief
of peace leaves a larger mark on society. He believed in his
dream – not the dust. The radio script was rejected weeks
after being submitted to the Dr.
Christian radio program.
On June 19, 1958, CBS presented an episode of Playhouse 90,
titled “A Town Has Turned to Dust,” scripted by Serling.
This version told the story of the lynching of a 19-year-old
Mexican boy by a mob spurred on by a young merchant, whose
hatred of the victim stemmed both from his wife accepting the
affection of the doomed boy and from a deep-rooted prejudice
against Mexicans. It was also the story of the town sheriff,
who gives in feebly to the lynching mob, but stands firm when
it comes to hanging the victim’s brother after he defies the
Jim Crow standards of the town. The brother is saved by the
sheriff who, after killing the merchant and also is dying from
the merchant’s bullet, tells of the time, years ago, when he
had led a mob in the ugly lawless murder of another man.
In July of 1960, Serling took the Playhouse
90 script and shortened the length (and
the title), making a number of revisions. In combining both
the Dr.
Christian and Playhouse
90 scripts, he explored the motivation
of the mob and eliminated any reference to a prior hanging for
an episode of The Twilight Zone titled “Dust.”
The plot of a man going back in time to 1865 and given
the opportunity to prevent the course of events leading to the
assassination of Abraham Lincoln has been explored not once
– but twice – on radio. The first attempt was on
Mutual’s The
Mysterious Traveler. On the evening of February
7, 1950, “The Man Who Tried to Save Lincoln” dramatized
the story of a scientist who figures how to transfer a man’s
thoughts back into time and occupy another man’s body. In
this version, the time traveler finds himself in the body of
John Wilkes Booth. Booth, managing to get the better of the
voice in his head, makes a successful effort to assassinate
Lincoln. This same script was dramatized again years later for
Suspense.
This same theme was explored on The Twilight Zone in
the episode, “Back There.”
In “Static,” Ed Lindsay, one of the tenants at
Vinnie’s boarding house, longs for the days when radio was a
medium of entertainment. He tires of watching everyone else
stay fixated to the television programs that insult his
intelligence. Digging out the old radio from the basement,
Vinnie carries the unit up to his room and plugs it in. He
soon discovers that broadcasts of the past are coming through
the speakers. Every time he tries to get someone else to
listen with him, however, all that comes through the speakers
is static. Vinnie, his old flame, believes Ed is getting
sentimental for the past, during their romantic days. But 20
years later, they apparently missed their chance. Avoiding the
rest of the tenants, Ed retires every day to the radio to
listen to Let’s
Pretend and Kay Kyser, but is heartbroken
when he returns from the grocery store one afternoon to find
the radio had been sold to a junk dealer. Ed sets out to find
the radio and buy it back. He succeeds and, returning the
radio to his bedroom and turning it on, finds himself
transported back to 1940 where he is 20 years younger – and
so is Vinnie.
While not a Serling script, this Twilight Zone
episode was the brain child of Ocee Ritch and his short story,
“Tune in Yesterday.” The story certainly appealed to
Serling, who was responsible for the final decision regarding
story selection, and felt the nostalgic chance to go back to
the by-gone days was perfect hunting ground for The
Twilight Zone. Days before the episode went
before the cameras, he wrote to Ed Wynn, explaining they were
doing a show called “Static,” which involved the use of
famous radio programs of the past. “Since ‘The Fire Chief
’ is an integral as well as beloved part of the memorabilia
of the time, it is essential that it be included. So in
addition to your permission, I wonder if you could give us or
tell us where we might obtain records or transcriptions of any
of your old radio shows.”
Wynn replied by phone, explaining to Serling that while
he had no problem of The
Twilight Zone featuring sound clips from existing
recordings, he himself had none in his possession. He
recommended Serling contact Texaco, the sponsor of the series.
Buck Houghton, upon learning the sad news, explained to
Serling that time was of the essence, and instead, used a
recording of The Fred Allen Show in
its place. The F.D.R. address to the nation, heard in the
soundtrack of this episode, was a recording from his fireside
chat of April 28, 1935. The
Fred Allen Show segment with Fred and
Portland arriving at “Allen’s Alley,” was a broadcast
from January 6, 1946. Radio Station WPDA, heard over the radio
from one of the recordings was referencing radio station WPDA
in Cedarburg, New Jersey.
For custom recordings for this production, the role of
the real estate salesman on the television set is played by
Eddie Marr, a veteran of numerous radio broadcasts from the
‘40s and ‘50s. According to a production report dated
November 18, the voice of the radio disc jockey is that of Bob
Crane, who would later play the starring role of
television’s Hogan’s Heroes.
Though Crane is heard and not seen, this episode technically
marks his television debut. Crane was a local morning disc
jockey on a Los Angeles radio station at the time, and he was
offered the proposal of supplying the voice needed in the
soundtrack.
The episode “The Obsolete Man” explored a future
society in which the State regulated the occupations of man
and those deemed unworthy of advancement are classified
“obsolete” and promptly executed. When a librarian faces
off against the Chancellor regarding the usefulness of books
(banned by the State as nonsense), he devises a way to reveal
to the State just who should the judge - God himself.
This episode of The
Twilight Zone may just have been Serling’s
attempt to dramatize the foolishness of a state under
dictatorship. The script was a combination of two previously
written scripts. he earliest dates back to the early 1950s,
when Serling was writing scripts for radio station WLW in
Ohio, where he proposed an anthology series titled It
Happens to You, featuring stories the radio
listeners would become engrossed in, whimsical tales not too
dissimilar to The
Twilight Zone. Episode 7 titled “Law Nine
Concerning Christmas,” explored the notion of a future
society in which an unnamed town had a law passed which
abolished Christmas, a law against Christ. The church was
declared off-limits to the entire village. The mayor, acting
much like the chancellor in this Twilight
Zone episode, tries to explain why such a
law has been put into effect. The state did not recognize any
such deity, and therefore, neither should the people. Yet, he
faced resistance when a crowd gathered at the front door of
the church for midnight mass on Christmas Eve. After judging
them each for their crimes against the State, he attempts to
pass sentence – until a little girl named Pat reminds the
mayor that Christ died for a principle, too.
“Well, Rod and I were residents of Ohio. We both
wrote for the Dr. Christian program
and
when I
left a job in Cincinnati, he took the position,” recalled
Earl Hamner. “Years later, I went to
Hollywood
and Rod introduced me at a party once as the man who gave him
his first job. [laughs]
That
really wasn’t how it was, but I let it go at that. He had
success with The
Twilight Zone and I
had a
problem getting into television,” recalled Hamner. “I had
written for radio, I had written for live television, and I
wrote a few novels. But I could not sell anything for
television.”
In a 1977 issue of Writer’s
Yearbook with columnist and interviewer Ted
Allrich, Hamner remembered, “I had known Rod Serling
slightly in New York. One day I called Rod and said I would
like to submit some stories for his Twilight
Zone series. He said that it was an
awfully hard market to crack, but to give it a try. He
promised that all the right people would read my ideas. His
producer
called back a few days after I submitted some, a nice guy
named Buck Houghton. Buck
had read
the stories and liked them. But he also said, ‘I understand
you don’t write film. Would you like to write these up as
little plays?’
“I said, ‘No. I’d like to write them up as little
television shows.’ And I did, and I have not been out of
work since.”
In the Twilight Zone episode “In Praise of
Pip,” a dying man strikes a deal with God -- to exchange his
life for that of his son, who was dying from wounds inflicted
at Vietnam. On December 24, 1950, Serling’s radio script,
“Choose One Gift,” was broadcast over radio station WLW in
Ohio and explored the same theme later used for “In Praise
of Pip.” The holiday story concerned a soldier named Rierden,
who suffered life-threatening wounds while stationed overseas
during the Korean War. The doctors and nurses do not have much
hope for the soldier, but their primary concern is the number
of wounded that continues to grow every day. Their emotions
are stretched to the breaking point, and they pray to God for
relief. Towards the end of the drama, it appears a little
Divine intervention prevails as the wounded soldier recovers
and brings them a most welcome gift for Christmas – the gift
of hope.
What the
Devil?
On June 11, 1963, Arch Oboler wrote a teleplay for the
fifth season of Twilight Zone titled, “What the
Devil?” Millie and Frank, driving a Jaguar across the
desert, witness a hellish hit-and-run that kills the driver of
one of the vehicles. In shock, the two start to suspect the
fleeing driver may have seen them and now set his sights on
the witnesses. Their suspicions are confirmed when, further
down the road, the huge truck takes chase. The words
“Danger, High Explosives” are on the side of the vehicle,
but the driver misses his mark and the couple manages to get
away. Frank tells Millie he caught a glimpse of the driver,
and she laughs when he tells her it was the Devil. In a game
of cat and mouse, they manage to switch vehicles, hoping the
driver is looking for the Jaguar and not a station wagon.
Millie, meanwhile, discovers that Frank committed a brutal act
before leaving on the trip, and the driver may be a form of
conscience. Ultimately, the truck catches up and once again,
gives chase, hits-and-runs, this time taking the lives of
Millie and Frank, the police arrive on the scene to find the
car flattened. One of the officers is puzzled when he points
out to his partner the hoof prints burned in the pavement,
“like something walked around watching them burn!”
From
1942 to 1943, Oboler scripted a total of 52 episodes for a
horror program titled Lights Out!,
sponsored by Ironized Yeast and broadcast over the CBS. The
premiere episode, aired on October 6, 1942, was a radio play
titled “What the Devil?” and this Twilight
Zone teleplay was a faithful adaptation
of the radio version. Gloria Blondell and Wally Maher played
the leads for the radio version. Serling insisted the script
be purchased from Oboler, and Bert Granet went along with
Serling’s decision. (A letter dated October 2, 1963, from
Granet to Serling, suggests that this arrangement was a
fiasco, and Granet disliked the idea from the start, keeping
silent to please Serling for a decision that ultimately never
went before the cameras.)
Assigned a production number on June 11, 1963, the
television script was clearly intended to be filmed for the
fifth season of The Twilight Zone.
The attempt was short-lived. An M-G-M work order dated August
13, 1963 announced the cancellation of this production, and
most of the copies of the scripts were returned to Oboler.
Serling retained at least two copies for his records, and
donated one to UCLA. According to tax paperwork and financial
records, secretarial and other expenses cost Cayuga
Productions a total of $420.47. No paperwork has been found to
verify how much Arch Oboler was paid (if he was paid at all)
for his teleplay, which would have been an additional expense
to Cayuga.
The
Twilight Zone Radio Dramas
On March 4, 1965, a variation of the Twilight Zone episode,
“A Nice Place to Visit,” aired on the radio program, Theater
Five. “The Land of Milk and Honey”
was an almost mirrored copy of the same story, right down to
the final surprise ending. In March of 1974, Rod Serling was
in Houston, in association with Mutual Broadcasting System,
during the National Association of Broadcasters Convention. He
was promoting his new radio program, Zero
Hour, which he was heavily involved
with. This short-run program was Serling’s attempt at
another anthology program -- and possibly his chance to retain
control of his own program without the interference of both
the network and the movie studios.
The
December 21, 1960 issue of The Hollywood Reporter reported
Serling’s sale of a radio program to CBS, suggesting the
network wanted to broadcast a radio series adapted from
television scripts of The
Twilight Zone. This is not a farfetched notion as
some might ponder, because the television series Have
Gun – Will Travel had been adapted to radio two
years previous on the CBS Radio Network. This concept never
fleshed into radio dramas until four decades later when
producer Carl Amari decided to present new dramatizations
based on this classic program. A lifelong fan of old-time
radio, Amari decided to revive the series not as a nostalgic
recreation of radio as it once was. Instead, Amari
commissioned fresh radio adaptations based on the original 156
teleplays along with new story ideas never seen or heard on The Twilight Zone.
Among the prolific writers responsible for adapting the
teleplays into 160 History of The Twilight Zone feasible
radio scripts are World Fantasy Award-winning writer Dennis
Etchison. Recorded in digital stereo, narrated by Stacy Keach
and starring a remarkable cast of actors, these exciting
productions take the art of audio drama to an audience that
may not have seen the Twilight Zone productions
when they were first telecast from 1959 – 1964.
Among the radio dramas are adaptations of teleplays
written by Charles Beaumont and Jerry Sohl that were
commissioned but never produced, such as “Free Dirt” and
“Who Am I?” The program has been syndicated across the
country on XM and Sirius Satellite Radio, as well as a number
of local radio stations. They can also be presently heard over
the Yesterday USA Network on the internet, and CD box sets are
available commercially.
Special thanks to: Terry Salomonson, Earl Hamner,
Bill Bragg, Walden Hughes and Carl Amari for their assistance
with this article.
Martin Grams Jr. is
the author and co-author of more than a dozen books on
old-time radio and retro television. Selected excerpts from
his recent publication, The Twilight Zone: Unlocking the
Door to a Television Classic was reprinted with permission
from the publisher.