Suspense - Black Death [episode 0] Broadcast Unknown

Summary

Old Time Radio Stories | Old Time Radio

Episode: Suspense - Black Death
Broadcast: Unknown (Aired: May 24, 2026 on podcast)
Host: Old Time Retro Radio

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Episode Overview

This episode of Old Time Radio Stories presents the vintage radio thriller, "Black Death," originally created for the classic series Suspense. The story follows Charles and Nora, a married couple who break down on a desolate road, seek shelter in a mysterious manor run by an enigmatic scientist known only as "the Master," and become entangled in experiments dealing with the absolute essence of blackness and death. The atmosphere swings from mere discomfort to abject terror as the couple confronts supernatural phenomena, scientific arrogance, and the ghostly aftershocks of a long-ago tragedy.

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Key Discussion Points & Plot Breakdown

Stranded on the Moors (00:47 - 03:54)

• Inciting Incident: Charles and Nora, delayed by Nora forgetting to check the car battery, stall in a rainstorm and are left stranded miles from civilization.
• Decision to Seek Shelter: After deliberation, they choose to walk for help, encountering Jacob, a servant who reluctantly leads them to a large, forbidding manor.

“Well, we can sit in the car and hope another car comes along. But the chances of that happening here are remote. We might be better off to walk to help.”
— Charles (01:46)

The Master's House: Science & Suspicion (03:54 - 07:56)

• The Master Introduced: The Master is stern and unwelcoming, but relents when he learns Charles is a doctor.
• Atmosphere: The house is cold, impersonal, filled with strange diagrams, white mice, and a bizarre machine.
• Philosophy of the Master: The Master elaborates on his contempt for human empathy and sentiment, favoring cold, “inhuman efficiency.”

“You noticed my man Jacob, of course. ... I have no feeling for him. I treat him civilly, pay him, but I never concern myself with him as a human being.”
— The Master (06:32)

The Science of Black (07:56 - 10:46)

• Black as Elemental Force: The Master claims black is a positive, active essence—a destructive force, not the absence of light as commonly understood.
• Demonstration: He uses his machine—a device emitting the "element black"—to make a white mouse vanish before their eyes, stunning and frightening Nora and Charles.

“Black is absolute. … You're at grips with the positive element of the universe. A force apparent whose work is death.”
— The Master (09:05)

• Skeptical Reaction: Charles tries to rationalize it as an old stage trick.

Apparitions and the Supernatural (10:46 - 15:18)

• Testing Scepticism: The Master grows increasingly agitated at scientific incredulity, ranting about the refusal to acknowledge the existence of ghosts and apparitions.
• Escalation: He brings in Damon, his old hound, and apparently makes the dog vanish too.
• Escape Plan: With the storm over, Charles and Nora are desperate to leave. The Master offers to guide them to a nearby train—the “local”.

“Seventeen years ago I ran away from you scientific fellows and your proof. Oh, you and your proof. You think I'm a little mad, don't you, Doctor?”
— The Master (15:31)

The Ghost Train (15:18 - 18:12)

• Departure: Charles and Nora board the solitary, dimly-lit coach.
• Horrifying Discovery: Nora notices all the other passengers seem to be asleep, only to realize they are, in fact, dead.

“Everybody seems to be asleep in this coach. Look at them.”
— Nora (17:19)

• Supernatural Twist: Charles recalls a train crash that occurred on this branch years before.

Back to the Manor: Revelation & Escape (18:12 - 22:04)

• Return: Jacob and the Master retrieve the shaken couple, explaining the “train” was a re-enactment of a ghostly tragedy induced by the Master’s power over apparitions.
• Final Threat: The Master prepares to conduct his “most noble achievement”—implied to be using humans as the next subject.
• Jacob’s Change of Heart: Swayed by the mounting danger, Jacob helps Charles and Nora escape, leading them away from the Master’s dark ambitions.

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Notable Quotes & Memorable Moments

• On Human Relations:
  “Affection? Affection. How disgusting. That sounds disgusting.”
  — The Master (07:33)

• On the Nature of Black:
  “Black is not… an absence of color or light. It is a prime essence, a vital being. … Black, I say, you’re at grips with the positive element of the universe. A force apparent whose work is death.”
  — The Master (08:25, 09:05)

• On Apparitions:
  “For 23 years I have been investigating the supernatural and that I know past all doubt that ghosts, apparitions and supernatural beings exist…”
  — The Master (13:52)

• Nora's Realization on the 'Train':
  “Oh, Charles, they're not asleep. They're all dead. They're dead! Oh, Charles. In heaven’s name, what’s happening?”
  — Nora (17:29)

• Jacob's Final Line:
  “I've long since given up trying to understand the master.”
  — Jacob (20:00)

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Key Timestamps for Important Segments

• Stranded and Seeking Shelter – 00:47–03:54
• Arrival at Master’s House – 03:54–05:14
• Philosophical Clash on Humanity – 06:12–07:56
• Demonstration of the Black Device (Mouse Vanishes) – 09:05–10:17
• Escalation and Talk of Apparitions – 10:46–15:31
• Boarding the Ghost Train – 15:18–17:41
• The Dead Passengers Reveal – 17:19–17:41
• Train Crash Flashback/Return to Mansion – 18:12–19:58
• Jacob Aids Their Escape – 21:01–21:53

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Tone & Atmosphere

Throughout, the tone is tense and foreboding, building from a mildly ominous inconvenience to existential and supernatural terror. The Master is portrayed with icy detachment and profound arrogance, while the sound design (though not described in the transcript) underscores the storm, the haunted house atmosphere, and the ghostly climax.

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Summary

“Black Death” exemplifies old-time radio’s talent for transforming simple domestic foibles and scientific curiosity into chilling cautionary tales. The narrative pivots on the contrast between rational skepticism and the uncanny, blending science fiction and horror with a moral warning about the dangers of hubris and dehumanization. The ambiguous conclusion, laced with escape and uncertainty, leaves listeners pondering what is real and what lies beyond the veil of our understanding—the realm of the absolute black.

For listeners: If you enjoy suspense, gothic science, and vintage radio drama with a supernatural twist, this beautifully restored episode is a haunting showcase from the golden era of audio storytelling.

Transcript

[Charles]

You are listening to Old Time Retro Radio. For full access to our archive, visit patreon.com old time RetroRadio

[The Master]

and now a

[Charles]

tale well calculated to keep you in

[The Master]

suspense. In a moment. Act one of Black Death, written especially for suspense by Mercer McLeod and starring

[Charles]

Christopher Carey, currently featured in Camelot.

[Nora]

Lorraine. Is it getting worse?

[Charles]

Well, it's not getting any. I can't understand why the light should be so dim.

[Nora]

Dear.

[Jacob]

What?

[Nora]

That might be my fault.

[Charles]

Why do you say that?

[Nora]

When I took the car, you remember, you said, be sure and have the battery check.

[The Master]

Oh, say no more.

[Nora]

Yes, I'm afraid I forgot.

[Charles]

Then that's it. If I stall, I don't think we'll get started again.

[Nora]

I'm sorry, darling. What was that?

[Jacob]

I don't know.

[The Master]

I hit something.

[Charles]

Can hardly tell whether we're on the road or not.

[Nora]

Don't you think we should? Are we stalled?

[The Master]

We are.

[Charles]

Well, here goes. Well, that's it.

[Nora]

Oh, Charles. And it's all my fault.

[Charles]

Now, don't feel bad about it. I don't think we should have made it anyhow. If we were on a main highway, we might be all right. But these small by roads, miles from anywhere.

[Nora]

But what can we do?

[Charles]

Well, we can sit in the car and hope another car comes along. But the chances of that happening here are remote. We might be better off to walk to help. I'd hate not to make our appointment

[Nora]

in dwelling in this rain.

[Charles]

It's a cold night, Nora. If we keep walking, we can at least keep warm. We're almost certain to find a farmhouse or something. Are you game?

[Nora]

Well, I think I am.

[Charles]

Then bundle up and let's get on with it, old girl.

[Nora]

Right.

[Charles]

Well, come on. I'm afraid we won't make grolding tonight. This is beginning to look a little ominous.

[Nora]

Yes, we'd better try calling out Charles.

[Charles]

All right.

[Jacob]

Hello. Hello there.

[Nora]

Hi. I think I'm a little frightened, Charles.

[Charles]

Come on, let's both call out.

[Jacob]

Hello? Hello,

[Nora]

Charles, it looks as if we.

[Charles]

Quiet, Nora. Now, where that dog is, there must be shelter.

[Nora]

Yes. There's a light blinking over there.

[Charles]

That's for us.

[The Master]

Come on.

[Jacob]

Who's there?

[Nora]

Oh, thank goodness.

[Charles]

Are we glad to see you.

[Jacob]

Why? Why?

[Charles]

Why? Because we're lost, that's why.

[Nora]

How far are we from doling?

[Jacob]

No, about 20 miles.

[Charles]

Where do you live?

[Jacob]

Just over the hill there. But it's no use. He won't let you in. Not him.

[Charles]

Who are you talking about?

[Jacob]

The master.

[Charles]

And who is the master? Now, wait a minute. You can't Leave us here.

[Nora]

Wait.

[Jacob]

Yes.

[Charles]

Now, listen, you. Whether you like it or not, we're coming with you. And whether the master likes it or not, he's going to give us she. You go on ahead.

[The Master]

We are following you. Come along.

[Nora]

Oh, look, Charles, Look. A huge, forbidding house.

[Jacob]

Here we are. What little good it'll do you.

[Charles]

Yeah.

[The Master]

Take this for your trouble. Yes.

[Jacob]

Hold this light when I find the key.

[Charles]

All right. We'll be inside soon, Nora.

[Jacob]

And don't say that I let you in. Now, go straight to that second door past the staircase. Thanks.

[The Master]

Yes.

[Charles]

Well, here goes.

[The Master]

What is the meaning of this? Who let you in?

[Charles]

We lost our way on the moors.

[The Master]

My home is not an inn. Yes, but surely.

[Nora]

Just a minute, Charles. If we were drowning and your boat happened by, we'd try to save ourselves by clinging to it. And look at us. We're practically drowned.

[The Master]

That's scarcely my concern.

[Nora]

Furthermore, my husband is a doctor you scheduled a lecture in.

[The Master]

Oh, a doctor, eh? Well, a scientific man, huh?

[Nora]

Well, yes.

[The Master]

You need dry things. There's food on the buffet here, and I'll get hot coffee. Do sit down. Make yourselves comfortable.

[Nora]

Do you mind if we hang our coats in front of the fire?

[The Master]

A capital idea.

[Nora]

Give me your coat, Charles. I'll spread it out.

[The Master]

Thanks, Nora.

[Nora]

I'm going to take my shoes off too.

[Jacob]

Yes, sir.

[The Master]

Oh, more coffee, Jacob?

[Jacob]

Very good, sir.

[The Master]

What are you finding so interesting, Doctor?

[Charles]

These strange diagrams drawn on the walls and floor.

[The Master]

Oh, yes, yes. Those are the nuclei of my science.

[Charles]

Hmm. White mice in the cage. And what's this contraption?

[The Master]

What does it look like to you?

[Charles]

It bears a rough resemblance to a huge camera. But the side all this multicolored glass, I don't know. I'm quite baffled.

[The Master]

In there, my friend, is the element black. Black? Black. One of the greatest destructive forces in the universe. But how about you two eating something, eh? Just help yourselves. Coffee won't be long.

[Charles]

Very nice.

[The Master]

Thank you. It may interest you to know that yours are the first strange faces I've seen here in four years.

[Charles]

Really?

[The Master]

I spend most of my time hard at work. Very, very hard at work. The results of this work may well benefit humanity.

[Charles]

Oh, I'm glad to hear.

[The Master]

Don't misunderstand me. I don't give a rap about humanity. However, I'm more productive to your humanity than I should be if I were full of gush as the sentimentalists speechifying to get murderers out of prison. Do you follow me? Well, yes. You noticed my man Jacob, of course. He's a perfect servant. Makes me Comfortable? I have no feeling for him. I treat him civilly, pay him, but I never concern myself with him as a human being. I know nothing of his character except what I read of it in his last employer's letter. There are, you see, no truly human relations between us. Would you imagine his work would be better done if I'd made him like me personally? Oh, I would decidedly. And certain it would not be so. He'd trade on any relationship to my disadvantage. But if a crisis. A crisis?

[Charles]

Yes. If you needed his help, not only the servant. Well, supposing you were sick in need. You'd never get from your relationship what can be prompted only by affection.

[The Master]

Affection? Affection. How disgusting. That sounds disgusting. The coffee. Just put it down.

[Jacob]

Yes, sir. Will that be all, sir?

[The Master]

For now, yes.

[Jacob]

Very good, sir.

[The Master]

Splendid. Inhuman efficiency.

[Nora]

I think I'd go mad in such an atmosphere.

[Charles]

Never mind, Nora.

[The Master]

Now, how do you take your coffee? Black, please.

[Nora]

Me too.

[The Master]

Black, huh? Black. Very good. Who gazes on black, stares at death. I beg your pardon? You scientists are quite naive, I find.

[Charles]

I fail to see you.

[The Master]

Let me explain. I find that black is not, as it is commonly defined, an absence of color or light. It is a prime essence, a vital being. And light, on the contrary, is mere activity.

[Charles]

Well, this black coffee tastes good. I'm glad we're not out in that black light.

[The Master]

There you go again.

[Charles]

I don't understand.

[The Master]

You think night comprehends black? Night is never so dark that you cannot distinguish grades of darkness. There is no black in the darkness at night. Black is absolute.

[Charles]

You mean to say that blackness.

[The Master]

Who said anything about blackness? I've been talking about black, not blackness. The one is a positive term, the other a weak, indefinite call. Blackness, darkness. And the phraseology will be much nearer. But when you come to black. Black, I say, you're at grips with the positive element of the universe. A force apparent whose work is death.

[Charles]

Then one ought to be afraid to go home after dark.

[The Master]

If you had the faintest realization of the infinite significance of the words you use, you turn as pale, as pale as this stammers cloth. Here. You see this white mouse? I take it out of its cage, hold it by its tail and set the black to work. I place it in front of the fatal black ray. And.

[Nora]

Where did it go? It vanished.

[The Master]

Exactly. It vanished. And you, doctor, what do you have to say?

[Charles]

I believe I saw something like that years ago at the Palace Theater in New York.

[The Master]

You stupid, stupid man of science. I'll show you. Jacob. Jacob. Palace Theater in New York?

[Jacob]

Yes, sir.

[The Master]

Jacob, bring in Damon, immediately.

[Charles]

The.

[The Master]

The dong, sir. That's what I sent the old hound dog. Damon, that is the old one, isn't it?

[Jacob]

Yes. Then quickly, quickly.

[The Master]

Bring it here. Yes, sir.

[Jacob]

Right away.

[The Master]

Doctor, you look at me with the eye of a diagnostician. You would condemn me as a hysteric or a madman, wouldn't you, Doctor? How would you put it? Suffering from delusion. That would be your diagnosis, wouldn't it? Why, I. Exactly. And having placed a tag on me, you'd wash your hands of the whole business. Oh, I know you men of science.

[Jacob]

Ah.

[The Master]

Jacob, bring that hound over here. Leave us, Jacob.

[Jacob]

But, sir, not Jacob.

[The Master]

I said leave us.

[Jacob]

Yes,

[The Master]

Yes, I know, Damon. You dislike me, don't you? You all do. Sense of the animal. Now, as before, Doctor, we set the black to work. See the six cents of the animal.

[Nora]

Jacob, David, keep us on quiet to get out of here. Father, no.

[Charles]

As soon as we can.

[The Master]

Now we can proceed. You see, the larger the subject, the more power we need.

[Nora]

Subject?

[The Master]

Yes. Humans will require even more power.

[Nora]

Humans?

[The Master]

Why, yes. That will be my most noble achievement.

[Charles]

Now, Damon, sit.

[The Master]

The six heads of the animal. Now, I'm a little tired. I think I could use a drink. Yes, I'm really quite tired.

[Jacob]

Yes, sir.

[The Master]

Bring me a brandy, will you? For our guests, too.

[Jacob]

Oh, very good, sir.

[The Master]

You don't understand, do you, doctor? No, you don't understand at all. That's why I became disgusted with you men who call yourselves scientists.

[Charles]

Yes.

[The Master]

You condemn everything that resists experiments. You reject as false any theory which cannot be proved in the laboratory or the dissecting room. You refuse even to consider my findings in regard to apparitions. Apparition? Ghosts, if you like. For thousands of years, mankind has persisted in believing that apparitions are fact. But mention them to you scientists.

[Charles]

But there's never been conclusive.

[Nora]

Conclusive proof.

[The Master]

If I were to tell you that for 23 years I have been investigating the supernatural and that I know past all doubt that ghosts, apparitions and supernatural beings exist, what would you think, huh? That I have lost my mind?

[Charles]

Well, unless, of course, you could show me an apparition or some supernatural.

[The Master]

Show me. Show me. Proof, Proof, proof.

[Jacob]

The grandest.

[The Master]

Put it down.

[Jacob]

The storm is over, sir.

[The Master]

Has it now? Has it?

[Jacob]

Yes.

[Charles]

Nora, did you hear that? The storm.

[The Master]

It's over.

[Nora]

Yes, I heard.

[Charles]

I think we should get out of here as quickly as we can.

[Nora]

So do I.

[Charles]

Take a good swig of brandy. It'll help.

[Nora]

I. I did.

[Charles]

I don't know how you feel, but I'm ready for that 20 mile walk to dwelling. Those two demonstrations have convinced me, darling.

[Nora]

I'm ready.

[The Master]

Wolding, did you say?

[Charles]

Yes.

[The Master]

Why walk?

[Charles]

I don't follow you.

[The Master]

Why not take the local?

[Charles]

The local? Yes. Do you mean local train?

[Nora]

Of course.

[Charles]

I didn't know there was one.

[The Master]

Just one a day. It carries mostly freight. Just one passenger coach about a mile from here. 11:10. I'll show you the way.

[Nora]

This is splendid, Charles. You'll be able to give your lecture after.

[Charles]

A scientific lecture?

[The Master]

Well, sort of, yes. With proof, doctor.

[Jacob]

Of course.

[The Master]

You know, 17 years ago I ran away from you scientific fellows and your proof. It seems Funny that one should walk in on me tonight. Oh, you and your proof. You think I'm a little mad, don't you, Doctor?

[Charles]

I shouldn't say that, sir.

[Nora]

I. I'll get our co.

[The Master]

There's where you catch it, down by the stone pets.

[Charles]

Thank you, sir. Leave everything to Jacob.

[The Master]

Good night.

[Charles]

Thank you for your trouble.

[Nora]

Thank you, sir.

[Charles]

I'm glad to be out of the whole mad mess.

[Nora]

Oh, me too.

[Charles]

How do you feel?

[Nora]

Fine. The brandy helps. Good job.

[Charles]

Come on. It's right on time. Well, things turned out a bit better, eh?

[The Master]

Ah, here.

[Charles]

Here we are. Come up.

[The Master]

That's it.

[Charles]

Now we can relax.

[Nora]

Oh, I'm so happy to be out of there. Do you think he's a mental case?

[Charles]

Oh, I certainly do. Utterly and completely mad. All that business about black. Absolute nonsense.

[Nora]

But darling, what about that dog and the mouth? They've really disappeared, you know.

[Charles]

An old magic trick. You know, disappearing rabbit and all that. Just hocus pocus.

[Nora]

Carl, have you noticed that the lights are so dim?

[Charles]

Nora, what are you staring at?

[Nora]

Everybody. Everybody seems to be asleep in this coach. Look at them.

[Charles]

Yes, they do seem to. Nora, what is it?

[Nora]

Oh, Charles, they're not asleep. They're all dead. They're dead. Oh, Charles. In heaven's name, what's happening?

[Charles]

Wait, Nora. Easy now.

[Nora]

Holy Charles.

[Charles]

This branch line, Remember? Years ago, an accident. The train jumped the bridge into the valley.

[Jacob]

Over here, sir.

[The Master]

Just jacob.

[Jacob]

Over here.

[Charles]

How are they?

[Jacob]

A little shook up, but both in one piece.

[The Master]

Think we can get them to the house?

[Jacob]

I think so. Can you help the woman?

[The Master]

I think so.

[Jacob]

All right. Up we go now. There. There.

[The Master]

There.

[Jacob]

Now. Can you walk?

[Charles]

Yes, yes. Yes.

[Jacob]

That's the way. Now off we go.

[The Master]

There.

[Jacob]

It feels better, doesn't it? Here, have another sip. You too, sir.

[Charles]

You all right, Nora?

[Nora]

Yes.

[Charles]

Where are we?

[Jacob]

We are in the sun room of the master's house.

[Charles]

Back here again?

[Jacob]

Yes. You're both Very lucky. Bruised and shook up a bit. Could have been lots worse.

[Charles]

Am I.

[The Master]

Am I dreaming all this?

[Charles]

And what about that train?

[Jacob]

That's what you were ranting about when I brought you in. There was no train. There's no line. There hasn't been one for years. There was a bad accident there years ago. Train jumped the bridge into the valley. Hasn't been used since.

[The Master]

But you and your wife were in that accident. I brought it back to demonstrate another power of black. Doctor. Listen carefully. I made it happen again. Remember what I said about my findings regarding apparitions? Well, what do you think now? And now, if you'll excuse me.

[Charles]

Now, what's going on?

[Jacob]

Couldn't tell you, sir. I've long since given up trying to understand the master. Well, you're both looking much better. Let me pour you some more brandy.

[Charles]

We'll both feel much better when we can be on our way.

[Jacob]

Here you are.

[Charles]

Thank you.

[Nora]

Oh, I'm dreadfully tired. Charles.

[Charles]

What's he doing with that contraption now?

[Jacob]

Don't know, sir. He said something about his most noble achievement.

[The Master]

What, child?

[Nora]

He means humans.

[Charles]

Listen, Jacob. We've got to get out of here, and quickly. You understand?

[Jacob]

I. I cannot go against the master's order.

[Charles]

Jacob. I want to start with a dog.

[The Master]

Bring me one of the older hounds.

[Charles]

Jacob.

[The Master]

Jacob.

[Jacob]

Yes, sir. A dog.

[Charles]

You heard what I said, Jacob. We've got to get out of here.

[Jacob]

I think we'd all better get out. Follow me.

[Charles]

Come along, Nora.

[Nora]

Where are we going?

[The Master]

Any place, as long as it's away from here. He wants dog.

[Jacob]

Follow me. Down this corridor. We shall have a dog, all right.

[Nora]

What's happening to us?

[Charles]

I don't know yet.

[The Master]

Now stand inside of the door.

[Jacob]

Open this cage. They won't harm you.

[Charles]

They won't eat.

[Nora]

Now, down there.

[The Master]

His most noble achievement.

[Jacob]

Shall we see about getting you both?

[Charles]

Now?

[The Master]

Suspense. Foreign. You've been listening to Black Death, written especially for suspense by Mercer McLeod and starring Christopher Carey.

[Charles]

Currently featured in Camelot.