Paul Raven

Butler Manville Story of Mary Marlin Li Yu Katherine Raht Front Page Farrell Martha 1945 Hope Summers Arnold Grimm's Daughter 1941 Erin O'Brien Moore David Harum Jone Allison Light of the World 'Joseph' Astra Cliff Soubier Ann Thomas Career Girl Bill Baker Win Your Lady Mr Maldon Affairs of Anthony Horace Biddle Story of Mary Marlin Mac Girl Alone Irish butler Guy Sorel Road of Life Dr Ferdinand Yates

THE WOMAN IN WHITE" has been on the air since January 3, 1938. Karen Adams, graduate nurse, is the central figure of the story. A modern-day Florence Nightingale, Karen has devoted her life to the service of others. Although faced with a problem of her own, her love for a man who has contracted an incurable disease, she nevertheless carries on unselfishly her ideals and philosophy. Another problem in Karen's life concerns her young sister, Betty, infatuated with a wealthy young man -about -town, Bob Banning. Betty's association with Banning has brought unhappiness into the lives of Aunt Helen and Uncle Bill Spalding, with whom Karen and her brother, John, make their home. Written by Irna Phillips, top-ranking radio author, "The Woman In White" is aired over NBC, Mondays through Fridays, 10:45 a.m. EDT. KAREN ADAMS, played by Luise Barclay, is about 30 years old, understanding and sympathetic. yet. despite her long experience with people, she has a tendency to take herself and life itself too seriously. This attitude, unusual though it is in so young a woman, is understandable, because since the death of her parents many years ago Karen has more or less assumed the responsibility of bringing up her sister, Betty. and her brother, John. Her motto is: "I expect to pass through this life but once. If, therefore, there is any kindness I can show, or any good I can do to any fellow being, let me do it now-for I shall not pass this way again." To a nurse, whose daily life is a constant round of ministration to the sick and unfortunate, such a philosophy is a fortress of strength; but to Karen it is more than merely an aid in her daily toil; it is a way of life; everything else in secondary BETTY ADAMS is Karen's younger sister. She is 20. bright, cheerful, and affectionate. However. as is so often the case with young people, she is impatient of restraint, sure that she knows enough about life to manage her own affairs. Toni Gilman plays the role JOHN ADAMS. played by Willard Farnum, is a gifted violinist. He is several years older than Karen. He has one ambition in life -to carve out a great musical career for himself. Despite frequent differences of opinion, he and Karen share a deep, undying love ALICE DAY has been Karen's roommate and her closest friend during the years of training they both underwent in order to become nurses. She lives with Karen, at the Spaldings'. Her carefree attitude toward life is a factor in Karen's life. Ruth Bailey's role ROY PALMER, a young Englishman who has worked with Bryant Chandler in India, plays an important role in "The Woman in White." To him, Bryant has confided that he will not marry Karen so long as he faces the prospect of a life of invalidism. Frank Behrens plays Palmer. Meanwhile, in India, SYBELLA MANSFIELD, a half-caste, attractive and intelligent, a friend of both Palmer and Chandler, waits for Bryant's return. She is in love with Bryant, but she knows of his love for Karen. Lois Marley plays Sybilla. BOB BANNING, played by C. Henry Nathan is wealthy young man -about -town who is currently paying much attention to Betty Adams. ROSEMARY HEMINGWAY, Betty's close friend, warns her against him. Genelle Gibbs plays Rosemary. THOMAS HAWKINS, wealthy and elderly eccentric, is characterized by Phil Lord. AUNT HELEN SPALDING is played by Henrietta Tedro. Since the death of their own child, Aunt Helen and Uncle Bill Spalding have taken care of the orphaned Adams children. They consider the children as their very own. BRYANT CHANDLER, played by Dave Gothard, is deeply in love wiith Karen Adams. But for three and a half years he was in India, there he contracted incurable blackwater fever. Now in America, he wants to return to India DR. LEE MARKHAM is an old friend of the Spalding family. He met Karen when she was in training loves her, has great influence over her. Macdonald Carey plays the role.

Spooky ... some of those radio names I am researching right now!

Never Too Young Freddie Cannon performed 'What Do I Hear? June 24th 1966

Please tell me that Ron Raines is playing Daddy Warbucks in Annie.

Can we add Anthony Pena Tony Randall Mary Jane Higby Hope Summers

Joseph Julian Kate Hopkins Angel of Mercy Blackie James Lipton Strange Romance of Evelyn Winters 1947 Romance of Helen Trent 1948 Herb Nelson His Kitty Keene role was Bob Jones Leona Powers Betty and Bob Mrs Gardner replacing Selena Royle for the final 8 weeks of the program Barry Jenner Search for Tomorrow

Nov 1982 Guiding Light' loses another head writer BY LYNDA HIRSCH A LITTLE OVER a month ago, Pat Falken Smith was hired to replace Doug Marland as head writer of "The Guiding Light," after Marland quit the show due to less-than-cordial relations with the show's producer, Alan Potter. Last week, Falken Smith was removed from the post with the official word being "it just didn't work out." L. Virginia Browne, who spent nine months as one of Marland's writers on "Guiding Light," takes over head writing duties, with her first work showing up on the air Nov. 29. It is believed some characters will be written out in the next few months, but there's no word on who. Most likely, Browne will return to many of Mar-land's storylines as well as instituting a few of her. own. But first she must clear up the plots that Falken Smith started. Browne did an excellent job when she served as head writer for "Another World" a while back; she managed to bring many characters together in strong central units, and produced witty, down-to-earth dialogue

Sam Wanamaker Front Page Farrell 1948 Boris Aplon Backstage Wife DA Patterson 1951 Patricia 'Patsy' Bruder True Confessions 1958 Bernadine Flynn Thunder Over Paradise Margaret Hamilton The Egg and I

Feb 1968 'The Edge of Night' Same Actress,Blonde Wig SINCE the character of platinum-haired, sultry nightclub singer Julie Jamison made her debut on the CBS Television Network daytime drama, "The Edge of Night," viewers have been asking questions. Is the actress playing Julie on the program, seen Mondays through Fridays, the same young woman who last year portrayed Laura Hillyer, a brunette socialite whose love for a blackmailing disc jockey resulted in their deaths on the serial? Their features are similar, necessarily so because this resemblance is essential to the plot development, but Julie is blonde and she also has a southern drawl. Producer Erwin Nicholson is not too surprised at the viewer reaction because, he laughs, "even organist Paul Taubman, who had worked with Laura for an entire year on the show, wanted to know who the new blonde actress playing Julie Jamison was the first time she went before the cameras." So to settle all neighborhood controversies, Nicholson has decided to set the record straight "Millette Alexander played Laura Hillyer last year and she's playing Julie Jamison this year," he says. "Same actress, only she's now wearing a long platinum wig and speaking with a southern drawL" 'Miss Alexander, who Is married to James Hammerstein, youngest son of Oscar Hammerstein II, eight years ago played the role of Gail Armstrong, girl commercial artist, on ."The Edge of Night," and two years ago she was Nurse Sylvia Hill on "As the World Turns," another CBS Television Network serial. , "My husband and children like me in the new wig," she laughs. "It gives me an entirely different personality especially by dawn's early light when I'm slinking around that big old kitchen making breakfast for the entire family."

Just discovered that Search for Tomorrow was adapted for radio in Canada, using the TV scripts. Corinne Conley (Phyllis Anderson Curtis, Days) played Joanne. This article is from 1957.I'll try and find out when it began and ended. Esse Ljungh Offers Time-Honored Soap Operas By Jim Gonsalves "I find that a lot of people deride sentiment because they are afraid of being branded as sentimental themselves. You may call it a sort of defence mechanism." Thus Esse Ljungh dismisses people who turn up their noses at that time-honored radio institution, the daytime serial Irreverently known as the soap opera. It's quite hard not to listen to Ljungh's defence of "soaps" because the Swedish-born CBC producer has ample proof that he knows what he's talking about. In his twenty years in the business he has stacked up an Imposing collection of drama awards, including many coveted Ohio State firsts. As long ago as 1942, two years after becoming a producer In the CBC's Prairie Region, he was honored for out-Ljungh standing work in the development of drama in Canada In constant demand as a staff producer on CBC Radio, Toronto, Ljungh finds time to handle "Search for Tomorrow", a five-a-week adaptation on the CBC's Trans Canada net of a TV serial originally done in the U.S. "Most soap operas today are exceedingly well done," Ljungh maintains, "and when well done, they do represent a specific style in dramatic radio presentation. A soap opera poses the same problems and laxes a producer's ingenuity as much or more than any other form of dramatic presentation." "Admittedly it isn't great literature," he continues, "but it is a dramatized picture of life, the sort of life you'd see if you looked into your next door neighbour's living room window. It takes a great deal of skill on the part of writer, producer and actor to achieve that form of naturalism that isn't dependent on a series of understatements." Who listens to "soap operas"? Ljungh points out that in this age of television the bulk of listeners to radio serials comes from the mature group of housewives who grew up with the "soap opera". "For this very reason," he says, "you'll find that the main characters in "Search for Tomorrow" aren't kids. They're mature adults with whom the audience can easily identify themselves. "This brings us to audience participation, not the sort of participation which gives rise to bagfulls of money and free washing machines, but that unique participation peculiar to the radio listener. The listener plays' as much as the actors. Her imagination gives form to the voices and translates sound into action." Ljungh feels that in television the viewer has to be spoon-fed whereas the radio listener, over the past twenty years, has developed the sense of participation to such an extent that the radio serial, unhampered by the need to underscore the obvious, is able to move along at a much faster clip. Ljungh adapts and rewrites the TV scripts of "Search for Tomorrow" himself. A television writer usually tries to get away with as little dialogue as possible, relying more on the picture to tell the story. It's the opposite in radio, but where lines have to be added, Ljungh is able to cut out much unnecessary action. He sometimes boils down two TV episodes to one on radio. The tightening up process which goes on in converting "Search" to radio pays off for the sponsor as well as the audience. The show moves so fast and Ljungh keeps his plot so tight that the listener literally can't afford to miss an episode without losing the thread of the story. While some critics claim to be able to get along well without "soap operas", most actors will readily sing a different tune. So far, over 40 Canadian actors have been used on "Search for Tomorrow", many of them top rated triple-threat players (stage-TV-radio). The female lead on "Search" is played by Corinne Conley. a familiar personality on CBC-TV, whom director David Greene once described as "the most convincing actress I have ever known". The cast of top-notchers also included Paul Kligman, actor-writer Tommy Tweed, Doug "Hap" Masters, Iris Cooper, James Doohan, William Needles and veteran Frank Peddie. Ljungh insists that his actors approach their roles in "Search" with the same degree of intensity as they would for a "CBC Stage" production. "And it's hard work," he says. "We record the shows In advance. Every Thursday we start at nine in the morning and work through to five-thirty. That way we can do five shows. The artists' contract allows 75 minutes per show. They get an hour off for lunch and fifteen minute break between each episode." "Soap opera" critics often claim that if the serials went they could be replaced by more "worthwhile" programs. Ljungh shrugs this off easily. "The housewives don't want great literature while they're doing the ironing or vacuuming the rug. People still gossip. In the country they still listen in on the party lines."

Some more story info Concerning Miss Marlowe. Her first marriage ended in heartbreak. Daughter of a Chicago motorman, she married a wealthy Winnetka boy against his parents' wishes. But he dies of pneumonia just before their daughter is born. Broke and without a job, she gives the child to husband's parents, who are loaded. Later, her mother-in-law takes the girl to Paris and is " swallowed up in the confusion in France when the Germans took over in World War II." She never hears from her daughter again. As the series opens, Miss Marlowe, played by Louise Albritton of the movies and stage, begins a new romance with Jeff Howard, an international lawyer. Ronald Anderson, her English suitor died suddenly a few days before.

Looks like Chris used the wallpaper from the Brooks' for her blouse!

Thanks for posting. I guess that episode was during the writers strike. MJ fussing over Jerry...nothing came of that relationship. Back to the 60's. July 1964 Fans Kept Her From Being Killed By Script Writers When a character on a serial drama becomes too lovable to write out of the script, what can you do? That's the dilemma which veteran actress Ruth McDevitt presented to the producer of NBC-TV's The Doctors (Monday through Friday, 2:30 p.m. on channels 4 and 5). First of all, you call the lady's agent and find out if she is signed for a Broadway play in the fall. When she is (as Miss McDevitt is signed to star in "The Absence of a Cello"), you agree to write around her for many a long week provided she will return from time to time. Ruth McDevitt signed to play Mrs. McMurtrie, an elderly Irish housekeeper for Chaplain Sam Shafer. The lovable lady of the script was supposed to expire of a kidney ailment but the warmth of the on-the-air relationship with the chaplain drew so much appreciative fan mail, that neither the producer (Jerry Layton) nor the writer could bear to eliminate dear Mrs. McMurtrie. She survived her kidney operation and after a few weeks returned to her duties as the chaplain's housekeeper. The chaplain is portrayed by Fred J. Scollay, whom the actress holds in high regard. "Fred is a very good actor," she says. "But then in daytime television you've GOT to be fast, accurate and good. They don't have time to fool around with people who have to try things a dozen ways before they're right. Some of the best acting on television is done in the daytime. "I think many actors make a bad mistake if they look down their noses at daytime drama. It's a great mistake." Although Mrs. McMurtrie is a woman of impeccable behavior, Miss McDevitt often plays ladies who are somewhat less inhibited. "In my new play," she points out, "I will be seen as an elderly lady named Emma Littlewood who drinks, swears and gambles... but she IS a lady, despite that." Miss McDevitt wagged her head and said firmly, "Don't underestimate Mrs. McMurtrie. She may not drink, smoke and gamble, but I think she is more than a meddlesome old woman in a daytime serial. She's a simple honest woman of keen insight who feels too much responsibility toward human nature. The only reason she seems meddlesome, I guess,' is that she tries to get everything fixed up for everybody before her life span runs out. I like Mrs. McMurtrie." Other people like Mrs. McMurtrie, too, as the fan mail arriving at Studio 3B in New York's RCA Building amply indicates. "So glad to see you," writes a fan who has enjoyed Miss Mc-Devitt's work on Alfred Hitchcock's nighttime TV show. "I've always enjoyed your work," wrote another woman who recalled Miss McDevitt as Mrs. Gamadge the national commit-teewoman, in the Broadway production of "The Best Man."

Re Pam Peters/Peggy From Tune In Tomorrow news column Oct 77 Peggy was confirmed as an 'infrequent cast member' Pam says she quit the show five months ago but agreed to return from time to time.It says she was brought back for Jennifer's death and funeral.

For the record, Joe Gallison debuted as Tom Edwards Mon July 7 1969

Eileen Letchworth began her role of Sharon Ferris with 3 appearances August 19, 22 and 25 1966 'Then we will talk contract' she said in an interview at the time. At that point she was also understudy for Lauren Bacall in Cactus Flower on Broadway.

Maybe that was to do with Chris suggesting Les get a makeover to boost her self esteem. Perhaps Les going to Jill's workplace was a coincidence? they might have made the connection when Jill recognized Leslie? Or maybe Chris organized because she knew Jill worked there. Also interesting that Bruce was on the show in the first few months. I wonder if Bill still had plans to introduce the Hendersons.?

Jone Allison This Small Town 1941 Ivor Francis Just Plain Bill Leslie Groves 1949 Stella Dallas Oliver Faxon 1951 Vinton Hayworth Romance of Helen Trent 1946 Rose of My Dreams 1947 Butler Manville Scattergood Baines Judd Armstrong

She's Veteran of 'Soaps' Virginia Dwyer Likes Daytime Show By HARVEY PACK NEW YORK - The most successful daytime drama on NBC, "Another World" has just passed the five-year mark and gives every indication of being around as long as network television. Virginia Dwyer, a veteran of daytime serials who started back in the radio days, has been orbiting on "Another World" as Mary Matthews since the series started and the fact that she has chosen to renew her contract at every option time surprises even Miss Dwyer. "I've had running roles on other shows ("The Secret Storm," "Guiding Light" and "Young Dr. Malone") but there was always a desire to move on to something else. Here, every day is a new challenge and I think that's why we're so successful." VIRGINIA, a very attractive woman has been at it so long she has seen herself suffering dramatically first as an ingenue and in recent years as a "mature" woman. She has also seen daytime dramas mature during that period. "I think the half-hour format motivated the change. It gave the writers more time to develop sub-plots and the actors and directors also responded to the ex pansion of ideas." Since the daytime serial is the last outpost of live drama on TV, it has the advantage of drawing its cast from the best actors trodding the Broadway rounds and "Another World" is no exception. "I was doing very well as a radio actress when the 10-inch tube arrived on the scene," she recalled. "But I went over to New York's Channel 5, then known as WABD Dumont, and volunteered to work in live drama for little more than the experience. The lights were so hot my make-up melted on my leading man's clothes but I was a television actress, and I've been at it ever since; "I WAS LUCKY. Today's youngsters are so talented it's frightening. I watch them on our show bringing their experience with the 'method or improvisational theater into play and inspiring all of us with their vitality. "But eventually they must leave and prove themselves in theater or motion pictures and it's a very rough road." Virginia points out that today's contracts for daytime actors are quite liberal about time off for ether theatrical ventures. Her husband on "Another World" is played by Broadway veteran Shepherd Strudwick who is currently appearing in London as one of the stars of Arthur Miller's "The Price." "The writers simply eased him out and can bring him back as soon as he winds up in the play," explained Miss Dwyer. "He's a tax accountant in our story and, according to the script, he's off on a world tour for business and you can imagine how long that can take." ONE OF THE principal factors in what Virginia considers the turnaround in daytime serials from old fashioned soap operas to top dramatic entertainment is respect for the audience. "There was a time when they laughed at the housewives at production meetings and practically tossed the scripts together. Now we think our daytime viewers are extremely intelligent and not just people seeking vicarious emotional thrills. Naturalism is the trend in daytime drama and the audiences appreciate the quality." When she's on call, Virginia works from 7:45 a.m. until 5 p.m. but they pick us all up with a cab," she smiled. On radio she was often a mean, conniving you girl but on TV her face and demeanor have typed her as a nice lady. "I think I'll stick with it," she concluded. "Because after all the years in front of a camera, I'm finally learning how to relax when that red light is on." Copyright. 1969, by TV Key

DIANA VAN DER VLIS, who plays Kate Hathaway in Where The Heart Is, agrees. Among her dilemmas are learning her lines and skirt lengths. At heart she's a designer, does her own sewing. At heart she's opposed to the midi and refuses to wear it, off screen, that is. On screen she'll have to wear what the wardrobe department supplies her since her show is taped only six days before it goes on the air and the director will decide what a New England unmarried lady who hopes to get married soon should be wearing. Diana works from 8:30 to 4 p.m. four days a week and must memorize about 19 minutes of dialogue for each show. She admits to falling back on the teleprompter at times. When she goes home at night with the next day's script, she learns it by having her husband read cues to her. Her husband is Roger Donald, an editor for . Little, Brown & Co., publishers. DIANA'S TRUE-LIFE story would make a series, too. She was born in Canada and went to London to study acting. She met Roger on board the Queen Elizabeth en route. She didn't see him again for four years and then, after an extended courtship was married to him 10 years ago. She made her Broadway debut in The Happiest Millionaire. Lou Nova of Iowa, a top heavyweight at the time, got her in physical shape for the production by teaching her boxing and she still hates the memory of the mouthpiece she had to wear. ' Where the Heart Is is her first venture into daytime television and she hopes her "nice" character will be altered soon to give her more of a challenge. But she has no eye out for a Hollywood film. "I agree with Walter Kerr that people should put their clothes back on and have fun with sex again," Diana says.

Oct 1967 Barbara Rodell enters Another World as actress Barbara Rodell didn't have to be brought up to date on the storylines of "Another World" when she was selected by.producer Mary Harris to take over the role of Lee Randolph. "I was a regular viewer of the program for several years before I had any idea I'd ever play in it," says the pert, pretty brunette. The New York-born actress took over the role from Gaye Huston, who left the show after several years to accompany her husband, an actor, to Hollywood. She had previously appeared on the serial "Flame in the Wind" on ABC. She also has played in "The Nurses," J,'The Defenders," "Mr. Broadway" and others. She was seen with Suzy Parker in "Behind the Glass." When Miss Rodell started her career as an actress it was in a Summer stock company in State College, Parshe has appeared in a number of other stock companies and in workshop, but as yet to make it on Broadway. Making of commercials and doing some modeling; has also taken some of her time to date. She "Now that i have this wonderful part in 'Another World I'd love to get something on Broadway. I want to do everything -- TV, films, the theatre, i -just love to act. And I'm willing to take things one step at a time."

So from that Australian photo spread we see Jill giving Les a beauty treatment. So they interacted early on.

Viki Vola Mystery Man 'The Window at the White Cat' Marjorie Fleming 1941 Dr Kate Hopkins Nurse Lynne Miller Manhattan Mother Dale Locke Ever Since Eve 1954 Rex Ingram Joyce Jordan John the orderly 1940 Ernest Graves Road of Life 1956

THE OPINION HANDED down by the Illinois Appellate Court in the case of Emmons Carlson, appellant, vs. Irna Phillips, appellee, surpasses for sheer drama and entertainment anything to appear in The Guiding Light, the radio show which has involved the two Chicago radio personalities in litigation since August 1941. In the 24 -page opinion reversing the state district court's decision favoring Miss Phillips, Chief Justice Niemeyer not only displayed the legal knowledge which his position on the bench requires, but a flair for writing of which any radio scripter could well be proud. Briefly, this is the background of the argument as to just who owns, and in what amount, one of radio's most successful programs. It all began in December 1936 when Guiding Light, originally titled The Good Samaritan, first went on the air over NBC with Procter & Gamble as sponsor and Blackman Advertising Inc., New York, as the agency. Earlier, in September, Mr. Carlson contends, he discussed collaborating with Miss Phillips -he to do the writing, and she to supervise the story outlines and final revised scripts, with an alleged oral agreement on an equal division of the profits. It is at this point that Miss Phillips vehemently disagrees. At no time, she argues, did she ever agree, orally or in writing, to an equal partnership in The Guiding Light. She does admit that when the program first went on she paid Carlson $100 a week for 20 weeks. She maintains, however, that he actually wrote only five scripts which were aired. The Court opinion points out that Miss Phillips entered into a contract with P &G representing herself as sole owner of Guiding Light. The Court also notes that before the sale of Guiding Light in 1936, the only show Miss Phillips had sold to a sponsor was Today's Children, which became the leading daytime serial on the air and for which NBC paid Miss Phillips $1350 a week as a package. The Court adds that Today's Children was "substantially the same serial or drama" as Painted Dreams which Miss Phillips attempted un-successfully to claim as her own in a suit against WGN in 1939. In summing up the evidence submitted during nearly four years of litigation, Judge Niemeyer had this to say: "The credibility of the defendant (Miss Phillips) is impeached. That portion of her sworn answer that the presentation and audition script upon which the sale of the show was made 'were so inartificially prepared that it was necessary ... to make so many revisions as to amount to a totally new and different presentation ..: is shown to be . .. false. "Her persistence in testifying she knew nothing of the plaintiff's claim to a half interest in the show until someone told her of the present suit is indefensible in the face of her admission of having read and received the plaintiff's letter dated June 22, 1937 (claiming such an interest) and undisputed proof of her receipt of plaintiff's letter dated December 7. 1938," the court adds. The Court reprimanded Miss Phillips' attorneys for their manner of interrogation, during which, the Court said, they attempted to compel Mr. Carlson to give his conversations with Miss Phillips in reverse order -that is, to give the last statement of the conversation first and so on. It also pointed out that at the time Guiding Light first went on the air, Miss Phillips was not a successful script writer, with only Today's Children to her credit. Her attempts, the court found, with Ma Brown's Patchwork Quilt, Masquerade, Dear Diary and Black Earth had not been highly successful. The latter two had not been on the air at all, the court noted. The defense's argument that any partnership between the two parties was terminable at the will of either party, Judge Niemeyer found. ignores the show, Guiding Light as a literary property. Such dissolution, he declared, is not its termination. It continues, he adds, "until the winding up of partnership affairs is completed. In a court of equity a partner who after dissolution of a partnership carries on the business with partnership property is liable ... to account for the profits thereof." The defense also contended that the plaintiff could not recover because he did not come into equity "with clean hands," because the alleged partnership was a "violation of his obligations to NBC" and an attempt to "palm his novice writings off on the sponsors as those of 'the leading daytime serial writer' would have been a fraud and against public policy." The Court summed up this argument with "If the evidence supported this claim, defendant is in no position to take advantage of it." The State appellate court's decision, which attorneys for -Miss Phillips have declared they will appeal to the State Supreme Court, may prove an invaluable reference in future litigations by ambitious writers unaware of their property interests. Whatever the outcome, the case of Carlson vs. Phillips is for high stakes, with both parties equally confident of victory.` GUIDING LIGHT' SUIT NEARS FINAL STAGE ONE. OF THE MOST bitterly contested suits in radio history neared its final stage last week. Illinois Appellate Court reversed, Oct. 15, an Illinois Circuit Court decision in favor of Irna Phillips, Chicago scriptwriter, who was sued in 1942 by Emmons C. Carlson, promotion and advertising manager of NBC Central Division, for an equal division of profits for Guiding Light. Mr. Carlson brought suit against Miss Phillips in. August 1941, claiming that Guiding Light was his own creation and that he collaborated with her under its original title, The Good Samaritan. He claimed she agreed to divide the profits 50 -50 but refused to continue payments after giving him $2,000 for first 20 scripts. Counsel for Miss Phillips denied the charges.