Suspense 1946

Joe Morgan Barry Sullivan is a drifter who has come to Los Angeles from New York, scruffy, broke, and desperate for work. He tries to land a job with Max George E. Stone, whose brother happened to know him back in New York, but the initial attempts fail and he walks away empty-handed. Worn down by luck and circumstance, he’s nudged toward a nearby theater featuring an ice show starring Roberta Elva Belita. The theater’s assistant Harry Wheeler introduces Morgan to the theater’s owner and show producer, Frank Leonard Albert Dekker. Leonard hires him to sell peanuts, and as Morgan watches Roberta perform, he is instantly captivated by her presence and skill, even as she remains distant.

Morgan makes a bold move to strike up a conversation after the performance, but Roberta’s guarded reaction pushes him back to the margins. Leonard makes it clear that the couple’s relationship is a problem for the show, and Morgan and Roberta’s chemistry remains off-limits in a workplace where Leonard can see only profit and routine. Harry reveals to Morgan that Roberta and Leonard are bound by marriage, a fact that fuels Morgan’s sense of competition and obsession. When Leonard grows frustrated by the lack of spark in Roberta’s act, Morgan proposes a daring change: a new routine in which Roberta leapfully speeds through a circle of long, sharp knives. The stunt earns Morgan a promotion to a managerial position, and the power shifts begin to tilt in his favor. Roberta, increasingly wary of Morgan’s advances, resists him more than once, until a heated kiss in Morgan’s office pushes the line beyond professional boundaries. Leonard departs for a Chicago business trip, leaving Morgan in charge of the theater and its show.

In the days that follow, Roberta continues to reject Morgan’s advances, but a grudging, complex attraction gradually emerges. The couple’s growing closeness unsettles Leonard, and when he returns from his trip, he suspects the affair between Roberta and Morgan. He arranges a winter retreat at a remote mountain cabin, hoping to sever the attraction with distance and perspective. Morgan—ever resourceful—arrives at the cabin with papers for Leonard to sign, a ploy designed to see Roberta again. Leonard invites him to spend the night since travel is impractical in the heavy snows, and the next morning the two men confront each other while Roberta practices nearby. Morgan accompanies Roberta to the frozen pond, and Leonard, watching from a mountainside with a hunting rifle, opens fire but misses, triggering an avalanche that sweeps him away.

Back in Los Angeles, Roberta is heartbroken but begins to feel watched and unsettled, a sense that someone is manipulating the events around her. Harry urges her to press on, and quickly the show goes back on the road with Morgan’s name blazing atop the marquee, signaling a shift toward fame and danger. Over the ensuing months, Morgan grows paranoid and distant, convinced that Leonard might still be alive somewhere and plotting a return. He notices Leonard’s ring in Roberta’s champagne glass at a party in her penthouse, a chilling clue that feeds his suspicions. Ronnie [Bonita Granville]—a jealous, restless former girlfriend from Chicago—becomes more entangled as she senses the storm growing around Morgan and Roberta, and she enlists Max to uncover why Morgan left New York so abruptly.

One night, a shadowy figure approaches Morgan’s office while Roberta hears strange noises from within. When she investigates, she finds Morgan sealing a large roll-top desk that had always stood open, and she spots a pipe identical to the kind Leonard smoked. Morgan swears the pipe is his, but the seeds of doubt have already taken root. Ronnie confronts him with her suspicions about his past, hinting that the truth will come out unless he acts. The tension erupts when Ronnie reveals what she knows and threatens that the consequences depend on him. This confrontation grips Morgan in a brutal moment of fear and anger, and a tense confrontation with Ronnie ends in violence: he assault’s her, and Harry, arriving to check on the uproar, notes red staining on his jacket.

The next day, Morgan tries to cover his tracks by claiming the old desk was moved and burned in the furnace, but Roberta’s suspicions deepen when she learns Leonard’s pipes were custom-made. Desperation grows as she descends into the basement to investigate and is caught by Morgan. The truth spills out: Morgan admits that he killed Leonard and had his body incinerated. Roberta refuses to betray him to the police, but she insists that he must confess himself; he refuses, deepening the trap he’s built for himself.

Paranoia tightens its grip as Roberta considers quitting the show, and Ronnie’s jealousy and rage leave her unmoored. Worried that Roberta will go to the authorities, Morgan toys with one of the long knives used in Roberta’s act, loosening it so that it could interfere with her jump. At the final moment of her performance, he hesitates, ripping the dangerous prop away instead of letting it sabotage her. She escapes through the stage door, but Ronnie blocks Morgan’s path and, in a final, devastating act, shoots him dead. The curtain falls as the marquee lights flicker and then go dark, the title “Joe Morgan” losing its glow and fading into the night. The theater—and the lives intertwined within it—are left in the quiet aftermath of a tragedy that began with ambition and desire and ended in a brutal reckoning.