For a nice quiet Tuesday’s listening . . .
mr. ace and JANE: Jury Duty (CBS, 1948)—Jane weighed in on the scales of justice at 105, wearing purple trunks and an off-the-face hat. In the other corner, in the black robe, her very capable opponent, the judge, at 178. That’s blood pressure.Which is also what’s likeliest to rise for (Goodman) Ace when Jane (Ace) gets a jury duty summons, and shiftless brother Paul (Leon Janney) turns up as a surprise witness in the trial to which she’s presumed to have been assigned. Assuming she can keep from jumping the scales of justice, that is. This is one of the episodes that eventually prods the Army and Air Force Recruiting Service to withdraw as the show’s sponsor, after an unidentified Congressional nitwit suggests the recruiting service encouraged “disrespect” for American justice by sponsoring stuff like this, which shows how prophetic that nitwit wasn’t . . . Himself: Ken Roberts (announcer). Sally: Florence Robinson. Additional cast: Everett Sloan, Edgar Staley, Ann Summers, Frank Butler, Gavin Gordon, Michael Abbott, Jo Carol Dennis, Cliff Hall. Writer/director: Goodman Ace.
Our Miss Brooks: Cafeteria Boycott (CBS, 1949)—Connie (Eve Arden) isn’t the only one at Madison High who’s fed up with the dubious quality of the cafeteria’s food, but barely-sympathetic Conklin’s request that she and Boynton (Jeff Chandler) to take a sense of the student body may be too late to block a student boycott. (This is the episode at the end of which Radio Mirror presents Eve Arden with an award for being chosen best comedienne by the magazine’s readers—prompting a legendary Arden wisecrack.) Mrs. Davis: Jane Morgan. Stretch: Leonard Smith. Walter: Richard Crenna. Harriet: Gloria McMillan. Mr. LeBlanc: Gerald Moore. Dunbar: William Conrad. Announcer: Bob LaMond. Music: Wilbur Hatch. Writer/director: Al Davis.
The Phil Harris-Alice Faye Show: Remley is Re-Hired (NBC, 1949)—Discharged at sponsor Scott’s (Gale Gordon) insistence, and a pain in the neck as a house guest, Remley (Elliott Lewis) finally drives Alice (Faye) and Phil (Harris)—who can’t find him a job anywhere else, either—mad enough to compel Scott to re-hire Remley . . . in a Rexall drugstore, to prove himself first. Even if you can guess how that little plan might go, you’re still going to have a blast. Julius: Walter Tetley. Additional cast: Unknown. Announcer: Bill Forman. Music: Walter Scharf, Phil Harris Orchestra. Director: Paul Phillips. Writers: Ray Singer, Dick Chevillat.
Box 13: Death is a Doll (Mutual, 1949)—Doris Gordon (Lurene Tuttle) draws Holiday (Alan Ladd) to her Louisiana turf with a letter claiming a man she knows believes he’ll be dead in five days for no evident reason . . . and one “fantastic” one. Only performances this understated could make a script this soapish, in its ersatz-noirish way, come to life without a hiccup. Or the incubator. Suzy: Sylvia Picker. Additional cast: John Beal, Frank Lovejoy. Director: Russell Hughes. Writer: Clark Wilbur.
Yours Truly, Johnny Dollar: The Clinton Matter, Part Two (CBS, 1956)—The apparent cover-up of an arson fire that destroyed Clinton, Colorado’s new school, killed its janitor, and provoked the savage beating of its architect (Herb Ellis) continues, to Dollar’s (Bob Bailey) increasing outrage . . . especially when the fire chief insists the cause was overheated and exploding building boilers—which were running on a day school wasn’t in session; the architect reveals details of the building that weren’t in his actual plans for it; and, the local sheriff tries to block Dollar from talking to the chief builder who may have violated the original specifications. Additional cast: Carleton Young, Bob Bruce, Jack Petruzzi. Announcer: Roy Rowan. Music: Amerigo Moreno. Director: Jack Johnstone. Writer: John Dawson.
Gunsmoke: Confederate Money (CBS, 1954)—Hard-nosed, reformed drinker Fate Ender (Harry Bartell) fires hard-drinking employee Neil Butler (Vic Perrin) publicly after a saloon incident—but after someone shoots Ender in the arm, Matt (William Conrad) and Chester (Parley Baer) have two possible killers to stop: Ender, who thinks Butler shot him in the arm from a distance; and, Butler, who knows the shooter’s identity but feels pressured to get Ender first. There isn’t another western, dead or alive, that could make that sound this believable. In any era. Kitty: Georgia Ellis. Doc: Howard McNear. Additional cast: James Ogg, Barney Phillips. Music: Rex Khoury. Director: Norman Macdonnell. Writer: John Meston.