James Poe

In which Vincent Price starred in William N. Robeson's production of Three Skeleton Key.

Written by George Tudous and adapted for suspense by James Poe.

In just a moment, the names of the supporting players and a word about

next...

Escape is produced and directed by William N. Robeson.

Tonight we have presented Flood on the Good Winds by David Devine, adapted for radio by James Poe.

Featured in the cast were Jack Edwards as Dundas, Will Geer as Uncle Mac, and Barton Yarborough as the Nazi.

Also heard were Betty Lou Gerson and Eric Snowden.

Escape is produced and directed by William N. Robeson.

Tonight we have presented Three Skeleton Key by George Tudus, adapted for radio by James Poe.

Featured in the cast were Elliot Reid as Jean, Bill Conrad as Louis, and Harry Bartell as Auguste.

Special music was arranged and conducted by Del Castillo.

On November 1st, 1956, Suspense presented Three Skeleton Key, Episode 1.

James Poe's radio adaptation of Georges Gustave Toudouze's short story takes us to a small lighthouse key off the coast of French Guiana.

There, three isolated keepers, Jean, Auguste, and Louis, see a crewless, derelict ship driven onto the reef beside their bare, rocky outpost.

What comes ashore turns the lighthouse into a siege.

Suspense.

Suspense was directed in Hollywood by William N. Robson.

Three Skeleton Key was adapted by James Poe from the story by George G. Tudous.

Leith Stevens composed and conducted the original score.

Suspense was directed in Hollywood by William N. Robeson.

Three Skeleton Key was adapted by James Poe from the story by George G. Tudos.

Leith Stevens composed and conducted the original score.

Sound pattern by Cliff Thorsness, Gus Bays, and Ray Kemper.

Um, it was before Sydney Pollack got involved, and based on, on my husband's, uh, passion for the idea, I, I then read the book, uh, which I, I loved, and, um, then I began to realize how the script that I had at the time was not particularly good.

But shortly, like a month and a half after I gave birth, I went over to Hollywood from France and began to work on it with, with James Poe.

But it wasn't until Sydney Pollack came onto the project, um...

And I was a hired hand.

And basically because, uh, we got turned down by everybody we thought would be right for it except Jane Fonda, we went after Jane Fonda.

And as it turned out, uh, she had an agent by the name of Dick Clayton at the time, and, um, we approached Dick and said we wanted to give the script to Jane.

This was all with James Poe, obviously.

And, uh, Clayton said, uh, he would be happy to give it to her, but, uh, it was 1968 and she was living in outside of Paris with Roger Vadim, her husband.