Lights Out: The Devil's Due (April 26, 1939)

Setting: A contemporary (1939) American city, likely urban, with scenes in a warehouse, city streets, and possibly a seedy bar or hideout. The episode employs sound effects like footsteps, creaking doors, eerie whispers, and ominous knocks to create a tense, supernatural atmosphere, emphasizing the haunting presence of an avenging force.
Plot:
Introduction: The episode opens with the Lights Out theme, a dissonant organ or orchestral score, followed by announcer Arthur Kohl introducing the show with its signature call to turn out the lights for maximum fear. The narrator sets the stage for “The Devil’s Due,” a tale of criminals facing supernatural retribution, promising a chilling narrative in line with Wyllis Cooper’s formula.

The Premise: The story follows two small-time hoodlums, likely named Joe and Mike (common for such characters), who have just pulled off a heist—possibly a robbery or extortion job. Seeking shelter in an abandoned warehouse, they encounter a third man, an ambitious crook aware of their crime, who proposes joining their gang for a bigger score. Their uneasy alliance is disrupted by a mysterious stranger, a ghostly or demonic figure who seems to know their sins and stalks them with relentless purpose, embodying the “devil’s due” they owe for their crimes.

Escalating Horror: As the trio plans their next move, the stranger’s presence grows more menacing. He might appear suddenly, speak in a cryptic or accusatory tone, or trigger supernatural phenomena—lights flickering, doors locking, or voices echoing their guilt. The episode uses stream-of-consciousness dialogue, a hallmark of the series, to convey the hoodlums’ rising panic and paranoia. Key scenes include a tense confrontation in the warehouse, where the stranger’s taunts reveal details of their crimes, and a desperate attempt to flee, marked by sound effects like running footsteps or a ghostly knock. The supernatural element, possibly a vengeful spirit or devilish enforcer, ties to Cooper’s style of blending crime with ghostly retribution.

Climax and Resolution: The climax likely occurs when the stranger corners the criminals, forcing them to face their guilt. The hoodlums might turn on each other, driven by fear, or meet a grim fate—perhaps killed by the stranger’s supernatural power or driven to madness. The resolution is typically bleak, with the stranger vanishing, leaving the criminals’ fate as a warning against evil deeds. The announcer, Arthur Kohl, closes with a reflection on the inevitability of justice, urging listeners to tune in next week, leaving a lingering sense of dread.

Themes: The inevitability of retribution, the weight of guilt, and the supernatural as a moral enforcer. The episode reflects Lights Out’s shift under NBC’s 1938–1939 writers toward tamer ghostly tales after Oboler’s departure, yet retains Cooper’s formula of crime meeting supernatural punishment.

Cast and Roles:
The Stranger (The Devil): Played by Arthur Kohl, doubling as announcer, voicing the mysterious, possibly demonic figure with a chilling, authoritative tone, blending menace and judgment.

Joe (Hoodlum): Played by Bob Jellison, portraying a tough but nervous criminal, voiced with gritty bravado that cracks into fear as the stranger’s presence intensifies.

Mike (Hoodlum): Played by an unnamed actor, likely a Chicago radio veteran, voicing a similar crook with a mix of arrogance and panic, complementing Jellison’s performance.

Third Crook: Played by June Travis, an unusual casting choice for a female actor in a male role, voicing the ambitious newcomer with cunning and desperation, adding tension to the trio’s dynamic.

Announcer: Arthur Kohl, delivering the opening and closing remarks with a foreboding tone, setting the stage for horror and reinforcing the episode’s moral.

Note on Cast: Lights Out relied on Chicago’s skilled radio actors, with Kohl, Jellison, and Travis confirmed for this episode per BackerKit records. Performances were intense, aligning with the series’ dramatic style, though less gory than Oboler’s scripts due to NBC’s 1939 direction.

Production Details:
Music: A haunting organ or orchestral score, likely composed by NBC’s in-house musicians, opens and closes the episode, with eerie stings accentuating suspenseful moments, enhancing the ghostly mood.

Writer: Hobart Donovan, a regular contributor in 1938–1939, crafting a ghostly revenge thriller in keeping with Wyllis Cooper’s formula, supervised by NBC Chicago continuity editor Ken Robinson.

Director: Wyn Wright, noted as producer, ensuring tight pacing and effective sound design for the 25-minute episode, per BackerKit records.

Sound Effects: Essential to the episode, including footsteps, creaking doors, eerie whispers, knocks, and possibly wind or ghostly echoes, creating a vivid, haunting soundscape. Cooper’s signature effects, like snapping carrots for bones, might be toned down for this tamer script.

Sponsor: Unsponsored during its 1938–1939 NBC run, Lights Out aired late Wednesday nights (often midnight), supported by the network’s experimental programming, allowing creative freedom within limits.

World and National Events Around April 26, 1939:
To provide context for the broadcast, here are key world and national events occurring in late April 1939, reflecting the pre-war climate that shaped listeners’ perspectives:
World Events:
Spanish Civil War Ends: On April 1, 1939, Francisco Franco’s Nationalist victory ended the Spanish Civil War, with radio news covering his fascist regime’s alignment with Germany and Italy, heightening fears of global authoritarianism, resonating with the episode’s theme of retribution.

Nazi Germany’s Aggression: Germany, under Hitler, occupied Czechoslovakia (March 15, 1939) and annexed Memel (Klaipėda) from Lithuania (March 23). By April, tensions over Poland escalated, with Britain and France pledging support, a frequent radio topic foreshadowing World War II (began September 1, 1939).

Italian Invasion of Albania: On April 7, 1939, Mussolini’s Italy invaded Albania, consolidating Axis power. U.S. radio reported Axis expansion, echoing the episode’s moral battle against evil.

Holocaust Intensifying: Nazi anti-Jewish policies worsened, with forced emigration and property seizures. Limited U.S. awareness via radio sparked refugee policy debates, aligning with the episode’s grim tone.

National Events:
Economic Recovery: The U.S. was emerging from the “Roosevelt Recession,” with unemployment at 17% but improving due to New Deal programs. The Fair Labor Standards Act (1938) set a 25-cent minimum wage, boosting morale, covered in radio news.

Roosevelt’s Neutrality: President Franklin D. Roosevelt maintained U.S. neutrality while expanding defense spending. His April 14 radio address urged peace amid European tensions, reflecting the episode’s call for moral order.

Entertainment and Morale: Hollywood and radio thrived, with films like The Wizard of Oz (in production) and radio shows like The Shadow dominating. Lights Out’s midnight horror offered escapism from global fears.

Sports and Culture: The 1939 MLB season began, with the New York Yankees favored. Billie Holiday’s “Strange Fruit” (recorded April 20, 1939) addressed racial injustice, reflecting cultural shifts covered on radio.