Episode 380: The Ten Years

[00:00:16] Speaker A: The Mysterious Old Radio Listening Society Podcast welcome to the Mysterious Old Radio Listening Society, a podcast dedicated to suspense, crime and horror stories from the golden age of radio. I'm Eric. [00:00:36] Speaker B: I'm Tim. [00:00:37] Speaker C: And I'm Joshua. [00:00:38] Speaker B: We love mysterious old time radio stories, but do they stand the test of time? That's what we're here to find out. [00:00:42] Speaker C: Today's episode is the 10 years from suspense radio's legendary theater of Thrills. I chose this episode for its merits as a radio drama, which we will discuss later, but it also has a fascinating backstory involving the eccentricities and of its leading lady, Joan Crawford. [00:01:03] Speaker A: The legendary star suffered from what she called mike fright and requested that her suspense appearance be transcribed. In other words, pre recorded. Up to this point, Suspense had always been performed live. CBS was eager to have Crawford appear, but was reluctant to invest the time and expense required to make a transcribed performance possible. [00:01:24] Speaker B: Crawford changed the network's mind by agreeing to pay the $900 transcription cost about $12,000 in today's money. She also transformed her microphone phobia into a wealth of publicity in the newspaper columns across the country. Crawford framed her appearance as a brave and innovative step forward for radio, claiming that tape performances allowed actors the same creative freedom they enjoyed in film. [00:01:44] Speaker C: Suspense had a star, now they needed a story. The original plan was to air a brand new script called the Hand, written by Mel Danelli, a frequent Suspense contributor to and a close personal friend of Crawford's. Donelli was on a hot streak after his successful screen adaptation of the Cornell Woolrich story the Boy Cried Murder, retitled for the silver screen as the Window. [00:02:10] Speaker A: Danelli's idea for the Hand leaned more into horror than suspense. A woman hitchhiking is picked up by a man who attacks her and in the ensuing struggle the car crashes and the man's hand is severed but remains gripping her wrist. It was too intense for Suspense's sponsor, Autolite, who objected to the violent crash scene as well as several references to addiction. They rejected the script in its entirety, forcing CBS to find a last minute replacement. [00:02:37] Speaker B: Enter Tale of Two Sisters, a Dinelli penned story originally broadcast on suspense in 1945. Starring Claire Trevor and Nancy Kelly. It was reworked and retitled the 10 years. The change was never publicly acknowledged and CBS publicity repackaged it to the press as a brand new story. [00:02:54] Speaker C: The final broadcast turned out to be a patchwork of live and recorded elements. Crawford's dramatic performance was Pre recorded on May 2, but the commercials, music and announcements were likely done live, including a brief and awkward exchange between Crawford and announcer Harlow Wilcox in which she called him Harlow Wilcock. [00:03:15] Speaker A: If you want to read more about behind the scenes drama on suspense, we recommend visiting the Suspense Project blog. The source of the information we just shared. It's meticulously researched and lovingly presented. We'll share a link in the show notes. [00:03:29] Speaker B: And now let's Listen to the Ten Years from Suspense. Originally broadcast on June 2, 1949. [00:03:35] Speaker C: It's late at night and a chill has set in. You're alone and the only light you see is coming from an antique radio. Listen to the sounds coming from the speaker. Listen to the music. And listen to the voices. [00:03:58] Speaker D: Now Autolite and its 60,000 dealers and service stations present suspend tonight Transcribed Autolyte brings you Miss Joan Crawford in the 10 years a suspense play produced and directed by Anton M. Lieder. Friends, are you saving up for that vacation? Well, here's a way to save while on vacation. Replace those worn out narrow gap spark plugs with a set of revolutionary new wide gap auto light resistor spark plugs. Your motor will idle smoother. Yep. And give better performance on leaner gas mixtures. Yes, sir, he actually save gas. What's more, Auto Light resistor spark plugs with the exclusive, exclusive Auto Light built in resistor cut down on radio and television interference. So folks, see your Autolite dealer and have him replace old worn out narrow gap spark plugs with a set of the sensational new wide gap auto light resistor spark plugs. You can tell the difference in your car. Remember, you're always right with Autolite. And also remember to see the outstanding suspense television show in many parts of the country every Tuesday night. Brought to you by Auto Light. And now, Autolight presents Joan Crawford in a tale well calculated to keep you in suspend. [00:05:28] Speaker E: Everyone is so good to me. I like being here. But some of the others don't, I guess. Do you hear? They scream sometimes like that. In the night. Maybe they scream because they remember things. But I remember things too. Especially when people come out from town to see me. To bring me things. But there's nothing. Nothing that I want. They can't bring back. My sister. My beautiful sister, Adele. They came today. And with them they brought back memories of Adele when we were children. The night that mother died. The night we made the promise. [00:06:24] Speaker F: Don't cry anymore, Adele. I'm afraid. Afraid? Clara. We're alone. We're not alone. But if something happened to you. Nothing's going to happen, Dunny. I'm going to take care of you. But that's what mother said. And now she's left us, too. But, Adele, Mother didn't know that she. She wouldn't have left us if she could have helped. Promise me you won't die, Clara. And that whatever I do, you'll do. And that. And that you'll never leave me. I promise. And we'll be together always and forever. Always and forever. I promise. [00:07:12] Speaker E: And for years I kept that promise. Adele and I were as close as anyone could be wearing. We had few friends, but I didn't mind, as long as she was happy. But sometimes I was frightened at the way she clung to me after we were grown. I was afraid of what would happen to her. In case anything ever happened to me. And then something did happen. I met Douglas Foley. Adele liked him. Until she realized that I'd fallen in love with him. Then she hated him in a childish, vicious way. He tried to win her over, but it was no good. And then he asked me to marry him. And I said yes. That night, after he'd gone. Adele was waiting for me in my room. Adele. [00:08:02] Speaker F: Clara. Douglas told me. [00:08:05] Speaker E: Adele, you're so white. You're ill. [00:08:08] Speaker F: But you promised me. [00:08:09] Speaker E: But, Adele, I'm not leaving you. You're going to live with us. [00:08:12] Speaker F: No. It won't be the same. You promised always and forever. [00:08:16] Speaker E: But we were children, Adele. [00:08:18] Speaker F: You promised we'd be together always and forever. [00:08:22] Speaker E: But, Adele, I. [00:08:24] Speaker F: You. You see, Clara, if you marry him, I'll never speak to you again. [00:08:35] Speaker E: But we were married. And we believed that Adele would forgive us in time. But she didn't. She refused to see us, and letters went unanswered. Then, when we learned that my husband's new job was to take us to Europe. Our first thought was of Adele. If she would only go with us. But when we drove to her house, she refused even to come to the door. And we were forced to sail without her. My son Doug was born in Europe. And I wrote Adele a long letter telling her about him. But the letter was returned unopened. When Doug was just 10, we returned to America. I went directly from the station to Adele's house. She was working in the garden when we drove up. I was shocked at her appearance. Her hair had turned almost white. And there was a strange look about her. I sent Doug to the gate to introduce himself. She looked at him in a puzzled manner. Then she saw us sitting in the car. And she turned and walked into the house. The next thing I remember was that day, one month after my return home. When I was put on trial for murder for my husband's murder. [00:10:00] Speaker D: Mrs. Foley, will you tell us again what happened the night of your husband's murder? [00:10:06] Speaker E: My husband was working in the garden all day. When it began to grow dark, I called him in, but he insisted that he had something to finish. I called him several times after that and then I became irritated and I gave up. I had my dinner alone and I went up to my bedroom. [00:10:21] Speaker D: Then you do admit that you quarreled with him the night of the murder? [00:10:24] Speaker E: We didn't quarrel. I was irritated, but I said nothing to my husband. [00:10:29] Speaker D: I see. Your husband's death was caused by a deep, narrow wound in the vicinity of the heart. It is the opinion of this court that the instrument used might have been an ice pick. Mrs. Foley, have you any other ideas as to what might have inflicted this wound? [00:10:46] Speaker E: No. [00:10:47] Speaker D: Had your husband Any enemies, Mrs. Foley? [00:10:50] Speaker E: No. And so I was acquitted that day because of insufficient evidence. I thought Adele would come to see me during those awful days, but she didn't. I saw her in the courtroom, but she never looked my way. I believe it was about two months after the trial that my son and his friend Roy went on an all day hiking trip to the beach. They were late getting back. It was almost dark when I saw Roy coming up the street. He was alone and he was running. [00:11:28] Speaker F: Mrs. Foley. Mrs. Foley. [00:11:30] Speaker E: Roy. Where's Doug? [00:11:30] Speaker F: He's down at the beach with her. [00:11:33] Speaker E: With whom? [00:11:33] Speaker F: Your sister. [00:11:35] Speaker E: My sister? Oh, for heaven's sake, Roy, will you tell me what this is all about? [00:11:38] Speaker F: Well, you see, Mrs. Foley, Doug and I went down to the beach. [00:11:43] Speaker E: It's. It seemed that Roy and Doug had forgotten to take along their drinking water. And they hadn't missed it until they'd come to a very deserted strip of the beach. [00:11:52] Speaker F: Come on, Doug. Maybe we can get some water at that little house over there. Funny place for a house, isn't it? Yeah. Come on. Looks like nobody lives here. All the better. We can just drink out that faucet in the yard. We won't have to ask nobody. Come on. Sure run down, ain't it? Maybe the faucet isn't working. The garden's all dead. Sure it's working. See? Someone's just plain lazy then. Or maybe no one lives here. Sure they do. There's a mailbox. Maybe there's a name on it. Look. Ms. Adele Norris. That's Mom's sister. Yeah. Let's drop in and see her. She wouldn't even know who I was. You could tell her, couldn't you? Say, maybe she'd give us some cake or something. No, she's mad at me and mom. Come on, let's get out of here. Hey, Doug, look at all those dead leaves on the porch. Let's have a look around. No, she might come out. Oh, she can't hurt you, can she? Let's peek in the window. No, Roy. Look, Doug, the place is all upset. It's all dirty and everything. Let's look in the rest of the windows. There's no one around. Here's the kitchen. Hey, look at all the dirty dishes piled up. Say, maybe my aunt's sick. Look, someone's coming to the window. Oh, what do you want? We wanted to see if you were all right. Go away. Don't you recognize me? No. Are you sick? No, I. I'm your nephew, Douglas Foley. Go away. Whoever you are. I'd like to help you. Go away, I said. Mother wouldn't want me to leave you here like this. Who is your mother? I told you. Don't you remember? She's your sister. I have no sister. My sister died when I was 18. Roy, you go home and get my mother. My aunt's sick. I'll climb through this window and I'll see if there's anything I can do. [00:13:55] Speaker E: You stay out of this house. [00:13:57] Speaker F: Doug, let's both go. She doesn't want you here. She's sick. You go for my mother and her. If you come into this house, you'll be sigh if you dare to. Did you say your name is Douglas Foley? Yes, that's right. Douglas Foley is dead forever and ever. No, don't you see? The one who died was not Douglas Foley. Became between two sisters and then he died. Yeah, but I'm trying to tell you my mother. And if he isn't dead, then I guess he'll have to die again. That's it. Yes, he'll have to die again. He'll have to die again. He'll have. Look, you're sick. You need help. I'm sick? Yes. Don't you want me to come in? Yes, come in. Douglas Foley. [00:15:13] Speaker D: For suspense Autolyte is bringing you Joan Crawford in radio's outstanding theater of thrills. [00:15:21] Speaker E: Suspense. [00:15:29] Speaker D: Hello, Harlow. Say, are you going Hollywood? Why the doc. Listen. Well, Hap, you see, there were two gals having an argument. So I told them, naturally, you've got to replace old narrow gap spark plugs with wide gap auto light resistor spark plugs. [00:15:42] Speaker F: Naturally. [00:15:42] Speaker D: Yes. I said to the blonde, the those wide gap auto light resistor spark plugs make your engine idle smoother, give better performance on leaner gas mixtures. Actually save gas. Sound perfectly sound. Turning to the brunette, I said auto light resistor. Spark plugs have the newly developed 10,000 ohm auto light resistor found in no other automotive type spark plug. Oh, by the way, what were they arguing about? I don't know. But it gave me a wonderful opportunity to tell them. Those new 10,000 ohm exclusive autolite resistors increase electrode life 200% and more. And it's these electrodes that carry the spark to your engine. I see. And then what happened? Redhead came along and I forgot to duck. You forgot. Here's suspense. And now Autolyte brings back to a Hollywood soundstage. Ms. Joan Crawford as Clara in the Ten Years by Mel Danelli. A tale well calculated to keep you in suspend. [00:16:41] Speaker E: You see how clearly I remember things. I remember so well the horror of that moment when Doug's little friend finished telling me how he had left Doug there alone with my sister Adele. And I even remember what Roy said at the end. [00:16:53] Speaker F: So I came back to tell you, Mrs. Foley, on account of Doug made me. Now I wish I hadn't left him there with her. I know she's your sister and all, but I saw her face when she came to the window. She looked awful, Mrs. Foley. She looked awful crazy. [00:17:16] Speaker E: I followed Roy's directions and I went by foot north along the ocean. I must have walked a good mile before I came to the house. The front door was standing open. There was a lamp burning on the table. Adele. She lay on the bed. I couldn't see her very clearly by the candlelight, but I could see that she was fully dressed. Her hair was undone and it spilled down over the pillow. For a moment I thought. I thought she was dead. [00:17:55] Speaker F: What do you want, Adele? What do you want? [00:18:00] Speaker E: It's me, Clara. Where's Douglas? [00:18:03] Speaker F: He's dead, Adele. Your husband is dead. [00:18:07] Speaker E: I don't mean my husband. I mean my son. Where is he? [00:18:10] Speaker F: He was murdered with a long shot. [00:18:13] Speaker E: Be still. You don't know what you're saying. Where is my son? [00:18:18] Speaker F: I haven't seen him. [00:18:19] Speaker E: You have. He was here. I know that. [00:18:21] Speaker F: I haven't seen him. [00:18:23] Speaker E: Yes, you have. Try and remember. Where is he? [00:18:25] Speaker F: I don't know. [00:18:26] Speaker E: Yes, you do know. What have you done to him? [00:18:29] Speaker F: Was he your son? [00:18:31] Speaker E: Yes. Adele, please. [00:18:34] Speaker F: I hated him. [00:18:35] Speaker E: I know. Where is he, Adele? [00:18:37] Speaker F: He went away. [00:18:38] Speaker E: Where? Where did he go? [00:18:41] Speaker F: He went to the village for a doctor. [00:18:45] Speaker E: Are you telling me the truth? [00:18:47] Speaker F: Yeah. [00:18:48] Speaker E: How long ago did he leave? [00:18:50] Speaker F: I don't remember. Will you stop questioning me? Can't you see that I'm sick. I tell you, he went for a doctor. Why do you come here, Clara? After 10 years? [00:19:07] Speaker E: I've come to help you. I don't need your help, Adele. Did Doug really go for the doctor? [00:19:14] Speaker F: You think I'm lying? [00:19:16] Speaker E: I don't know. But if he isn't back soon, I'm going for the police. [00:19:21] Speaker F: The police? Those sack fools. I'm so sick, Clara. [00:19:29] Speaker E: No. I'm going to take your things off, Adele. You'll be more comfortable then when the doctor comes. If he comes. [00:19:38] Speaker F: Don't you touch me. [00:19:40] Speaker E: I'm sick, Adele. Let me take your things out. [00:19:42] Speaker F: No. [00:19:42] Speaker E: No. [00:19:43] Speaker F: Can't you leave me alone? [00:19:46] Speaker E: Leave me alone. [00:19:47] Speaker F: How do you know what's good for me after all these years? I'm in pain, Clara. I have a heavy pain here by my heart. When I'm tightly laced, I can almost bear it. [00:20:02] Speaker E: All right. All right, darling. We'll leave it till the doctor comes. [00:20:06] Speaker F: Will the doctor help me, Claire? [00:20:08] Speaker E: Of course he will. [00:20:10] Speaker F: Douglas Foley came between two sisters. [00:20:13] Speaker E: Shh. Oh, dear. [00:20:15] Speaker F: He worked in the garden, bending down low. I'm so tired, Clara. [00:20:23] Speaker E: I know. Try and rest, Adele. Close your eyes. [00:20:27] Speaker F: He was working in the garden, and I was on my way home. I saw him there, Clara. He looked the same after 10 years because he had your strength to draw from. But I was alone. I had grown old and he had stayed young. [00:20:53] Speaker E: And then she seemed to doze off. Her breathing was so labored. And I thought, perhaps she'll rest more easily if I undress her. And I went over to the bed. She was wearing a corset. I reached over and I began to unhook it. She started mumbling something in her sleep. [00:21:10] Speaker F: You broke your palms. Always and forever you had sad. [00:21:17] Speaker E: But she didn't wake up always. I finally managed to take her corset off. But as. As I went to place it on a chair, I noticed something sticking out of the material. At first I thought it was a broken stay, but it was round and one end was sharp. I looked closer. It was a steel knitting needle. A long steel one. And there was rust on it. Or was that brown stain rust? Adele had concealed a knitting needle. And there was proof. Of what? I guess I'd always known that Adele had murdered my husband. I dropped the needle to the floor. Then something caught my eye. There was a hand sticking out from beneath the bed. It was white and still. It was a child's hand. I fell to my knees. Oh, Doug. [00:22:08] Speaker F: Doug. [00:22:08] Speaker E: And just as I reached out for him, I. I felt a sharp Blow on the back of my hip. [00:22:17] Speaker F: And I fell uncon. [00:22:33] Speaker E: I dreamed. I dreamed that Adele and I were children again. That she was laughing. And we were playing an old game of ours. Where we tied each other up with our bathrobe cords. And then we waited for a knight in armor to rescue us. And then. I think it was the odor of kerosene that brought me to. The room was filled with it. My head was pounding. I couldn't seem to focus my eyes. I tried to raise myself to my feet. But I couldn't seem to move my arms, my legs. Suddenly I realized why I was tied with a bathrobe cord. I was a child again. Adele and I were playing our games again. My husband. And everything that had happened between Adele and me. Had been nothing but a bad dream. A feeling of relief swept over me. Suddenly I heard footsteps. And the door creaked slowly open. And then I knew that what had happened had not been a dream. For Adele stood there in the doorway. Not Adele, the child who would rescue me. But Adele with gray hair. Who hadn't spoken to me for all those years. She wore a long dressing gown. She was barefoot. Her long hair streaming about her shoulders. There was a vacant, stupid smile on her face. She carried a bucket in her hand. And the odor of kerosene filled the room. Room. She didn't seem to notice me as she went past me. She threw the liquid from the bucket onto the bed. Adele. No. Adele. But she paid no attention to me. She left the room again. I struggled. I struggled wildly. But it was no use. Oh, I was tied securely. Then I saw a still figure on the bed. It was dark. [00:24:35] Speaker F: Doug. [00:24:36] Speaker E: Oh, his face was so white. He was unconscious. And there was a deep gash at the side of his head. Then Adele came back into the room. She had filled that bucket to the brim. And she walked toward the bed again. [00:24:53] Speaker F: Clara. [00:24:55] Speaker E: Adele, untie me. [00:24:57] Speaker F: Untie you? Why? [00:24:58] Speaker E: Adele, listen to me. [00:25:00] Speaker F: This is your son, Clara. [00:25:01] Speaker E: Yes. [00:25:02] Speaker C: Yes. [00:25:02] Speaker E: Adele, untie me. [00:25:03] Speaker F: You were looking for him, and he was here all. [00:25:06] Speaker E: Please untie me, Adele. [00:25:08] Speaker F: I never knew your son. For years, I never knew him. How old is he? [00:25:14] Speaker E: He's only 10. He's just a boy. Adele, you're sick. Untie me and we'll go for a doctor. [00:25:21] Speaker F: You want me to be well, Clara? [00:25:23] Speaker B: Yes. [00:25:23] Speaker E: Untie me. [00:25:24] Speaker F: Are we friends again, Clara? [00:25:26] Speaker E: Yes, we're friends. [00:25:27] Speaker F: I want to help you, but I can't. Forget the 10 years, Clara. I must wash those years away before we can really be friends again. [00:25:36] Speaker E: Girl, forget those years. Let me Help you to untie me. [00:25:40] Speaker F: No. We can't forget them, Clara. We must wash them away. That's what I was doing. I was washing away the years. Your husband's gone. Your son is all that remains of him. Then we can be sisters again. [00:26:01] Speaker E: You don't know what you're doing. Untie me, Adele. [00:26:04] Speaker F: But this isn't water that I have in this. [00:26:07] Speaker E: No, you. You see, you're sick. [00:26:09] Speaker F: It's what I put into the lamps to make them burn. No. I could burn away the ears. Oh, that would be better. Oh, stopping. [00:26:20] Speaker B: No. [00:26:21] Speaker E: No, Adele, for the love of heaven. [00:26:23] Speaker F: Untimely, fade away these years that remain unabated. [00:26:27] Speaker E: No. Adele. [00:26:27] Speaker F: If I could do that with this candle, then you and I could really be friends again. Like when Mother was alive. We could be sisters again, always and forever. [00:26:41] Speaker E: We're sisters nowadays. [00:26:42] Speaker F: You're lying. We're not sisters. [00:26:44] Speaker E: But now listen to me. [00:26:48] Speaker F: We're children. [00:26:49] Speaker E: And you've tied me with this cord. And now you must untie me like you used to do when you left me too long and I cried. [00:26:57] Speaker F: You're lying. We're not sisters, and we haven't been for years. And now I'm going to punish you for lying. Just as Mother used to punish us when we were children. [00:27:09] Speaker E: Then she started walking unsteadily toward me. A lighted candle in one hand, the bucket in the other. The liquid slopping over a dressing gown as you walk. [00:27:18] Speaker F: Clara, do you remember the time Mother washed out my mouth with soap when she caught me in a fib? That's what I'm going to do to you now. Or perhaps it would be better if I burned you. Scream, Clara. To awaken your precious son, we must. [00:27:39] Speaker E: Adele. Adele, untie me. I promise you that I'll take Doug and we'll go away. You'll never have to see us again. [00:27:45] Speaker F: Oh, Clara. [00:27:47] Speaker E: And she kept moving towards me, holding the lighted candle close to her breast. [00:27:52] Speaker F: You mustn't ever lie to me again, Clara. [00:27:56] Speaker E: Adele. Adele, you're ill. You don't know what you're doing. [00:28:00] Speaker F: Wash away the years. Burn away the years. Oh. [00:28:08] Speaker E: Suddenly I saw a tiny flicker of flame on her breast. The frilly dress had gone. She had held a candle too close. Her entire dressing gown was a mass of flames that spread swiftly to her hair. In a moment, she was a blazing torch. And the odor of burning filled the room. I can see her face, surprised and contorted with pain. She turned and looked towards the bed a second, a bucket flaming in her hands. But then she went screaming out the door and towards the sea. Mrs. Foley. [00:29:03] Speaker A: Yes? [00:29:04] Speaker E: You mustn't scream like that. I wasn't screaming. That was my sister, Adele. Yes, I know. Try not to think about it, Mrs. Foley. You knew my sister was burned to death, didn't you, Mrs. Willard? Oh, she was so very beautiful. Yes, I know. Try and rest. Is there anything I can get you before I go to bed? No, thank you. Well, go to sleep then. I will. Good night. Good night. And pleasant dreams. Was that my sister, Mrs. Willard? No, no, Mrs. Foley. It's one of the others. [00:29:46] Speaker F: Oh. [00:29:47] Speaker E: They scream because they remember things. Yes. Yes, I suppose they do. Good night. Good night. I remember things, too. I remember. [00:30:03] Speaker F: Promise me you'll never leave me, Clara. And that whatever I do, you'll do. I promise. Always and forever. [00:30:13] Speaker E: Always and forever. I promise. [00:30:30] Speaker D: Thank you, Joan Crawford, for a magnificent performance. Oh, Ms. Crawford. [00:30:35] Speaker E: Yes, Mr. Wilcox? [00:30:36] Speaker D: Autolight also wishes to thank you for your cooperation in their look alike national magazine campaign. [00:30:42] Speaker E: Oh, yes, I've noticed that picture in several publications lately. [00:30:45] Speaker D: You had no trouble choosing which of the two was your own picture, I suppose? [00:30:49] Speaker E: Not at all. That's because I know Joan Crawford so well. Just as you'd have no trouble choosing an auto light resistor spark plug. [00:30:55] Speaker D: You mean because I know auto light resistor spark plugs so well. Well, and so do millions of car owners who know wide gap auto light resistor spark plugs are made by Autolight, which makes more than 400 products for cars, trucks, airplanes, boats in 28 auto light plants from coast to coast. Yes, siree. And Autolight also makes complete electrical systems for many makes of America's finest cars. Batteries, spark plugs, generators, starting motors, coils, distributors, all engineered to fit together perfectly, work together perfectly because they're a perfect team. The lifeline of your car. So, folks, don't accept electrical parts that are supposed to be as good. Remember, you're always right with Autolight. Now, here again is Ms. Crawford. [00:31:44] Speaker E: I want to thank Tony Leader and his wonderful cast of actors, especially Loreen Tuttle, who played my sister, for helping me to make my appearance on suspense. So very pleasant. Like all of you, I am a great suspense fan and I'm looking forward to hearing next week's story. It's another gripping study in suspense. [00:32:18] Speaker D: Ms. Crawford may currently be seen in the Warner Bros. Production Flamingo Road. Tonight's suspense play was written by Mel Dinelli with music composed by Lucian Morowek and conducted by Lud Gluskill. The entire production was under the direction of Anton M. Leader. In the coming weeks Suspense will present such stars as Agnes Moorhead, Ralph Edwards and Joseph Cotton. Make it a point to listen each Thursday to suspense radio's outstanding theater of thrills. And next Thursday, same time, hear John Lund in Lunch Kit. [00:32:58] Speaker E: You can buy Autolite resistor spark plugs, Autolite staple batteries, Autolite electrical parts at your neighborhood Autolite dealers. Switch to Autolite. Good night. [00:33:09] Speaker D: Suspense was transcribed over CBS, the Columbia Broadcasting System. [00:33:15] Speaker A: That was the 10 years from suspense here on the mysterious old Radio Listening Society podcast once again. I'm Eric. [00:33:23] Speaker B: I'm Tim. [00:33:23] Speaker C: And I'm Joshua. [00:33:25] Speaker A: And I'm fascinating information to receive in my head in that introduction. And I was said, we told our listeners this before when we're reading those intros, I'm reading them for the first time and so I'm learning as we go. And I'm going, oh, interesting. Oh, I didn't know that. No, I don't write the intros. I don't do anything for this podcast. I show up. So you gave me a ride. I gave you a ride today. So there's that. It's interesting to listen to it and just without any preconceived information, notion, anything, you know, just like here, knowing all that information about her mic fright and all of that, I would have been just really angry this whole episode, like get over yours. And I'm not a big fan, I'm not a big fan of hers to begin with. And so when I listened to this, I went, yeah, not bad. Pretty good performance. I would have been instead going, ah, you coward. [00:34:23] Speaker C: Well, I read about the behind the scenes first and I thought, oh, that's such a fascinating story. That's really interesting. I bet the episode won't be that good, right? And then I listened to her. I went, oh, no, I really like this episode. Not to. I don't know why I wouldn't not give away during the discussion what I think because that's the point of this discussion. I was really pleasantly surprised by the. So you liked it? [00:34:47] Speaker A: I did. [00:34:49] Speaker C: You got me. I liked it. [00:34:51] Speaker A: Tim, tell him star. It's all over now. [00:34:54] Speaker C: I thought, oh great. It's got a interesting backstory and I feel I can defend the actual drama itself as well. Let me ask, should I need to. [00:35:04] Speaker A: Let me ask you this. You knew going in that she was pre recorded, transcribed and some of it was live, which I didn't know. I didn't catch any kind of production quality that I went, oh, that was an odd transition or that was weird. I also didn't even think that her Other than calling him Harlow Wilcock, I didn't think that's him from now on. Yeah, I didn't think will travel. Right. I didn't think that their exchange at the end was awkward. So I didn't catch any. And the reason I didn't think it was awkward, cause I'll be honest with you, any one of those exchanges at the end of suspense where they're talking to the actors all are awkward to me. They're all weirdly stilted. [00:35:43] Speaker C: I say awkward in that on live radio in 1949, she called him Hancock. That's where the awkwardness came from. [00:35:51] Speaker A: But she handled it okay as far as not. Not intended. Wow, the mysterious old radio 10 year old podcast society. [00:36:07] Speaker C: You've done this before. Joan Grober. [00:36:11] Speaker B: Check the spark plugs too. [00:36:16] Speaker A: Yeah, all of those conversations at the end are always weirdly stilted and odd and like people don't know how to talk to each other normally and sexualized. But did you notice anything production value wise, knowing that that you could tell the difference between live and pre record? I couldn't. [00:36:32] Speaker C: Here's the main reason I brought this honestly is because I went into listening with this whole backstory and the production itself just turned off my analytical mind. I was just sucked in from that first haunting, terribly distressing wail. And I just felt like this was something a little different from the kind of story suspense usually does. And as it progresses and gets to the end, I realized, oh, wow, there's no suspense twist here. [00:37:04] Speaker A: There's no twist. [00:37:05] Speaker C: This is straight horror. It's that irony. [00:37:08] Speaker A: It's straight, just sad. It's just a sad story of this terrible woman's life. And ugh. I don't mean ugh as in this is terrible. I mean ugh as in that's hard. Listen. Right, yeah, that's just. Oh my God, everything bad is happening to her and. And there was no twist. I'm sorry to say that again, but. [00:37:28] Speaker C: I would argue there is a twist and it's a subtle one in that you get to the end and you realize the protagonist is the sister played by Loreen Tuttle. She wins. She succeeds in erasing the 10 years. The very last image, last audio in this play is Joan Crawford's character flashing back to their childhood and it's like none of it happened. [00:37:56] Speaker A: Right. [00:37:57] Speaker C: I could dig even deeper what I think structurally is fascinating about this. And I first cued into it with the interesting choice I thought, to not cast the husband and give him any spoken words or lines of dialogue and then I realized, oh, he's been erased. And that's her goal, she says to wash or burn those 10 years away. And then the strangest thing is that Doug Jr. Disappears from the story after she dies. [00:38:27] Speaker A: I'm assuming he burned up, but it's. [00:38:29] Speaker C: A strange thing to not speak to it. [00:38:32] Speaker A: Right. [00:38:32] Speaker C: We don't know she survived. It's just that she snapped and now doesn't even remember Doug. Has he been washed away? Has he been. [00:38:40] Speaker A: But wasn't Doug hit in the head? We knew he was injured. Yeah, he was alive, but he might have died from that too. I kind of assumed that. [00:38:47] Speaker C: I assume the other way. Joan Crawford's character has just snapped and doesn't remember him at all. She refers to a they. So multiple people who had visited her. It might be Doug, they, Doug and his wife. But it's strange for suspense to not do a coda and tell you that this character, kind of the stakes character, whether he lives or dies, leaves us guessing. [00:39:12] Speaker A: Right. [00:39:13] Speaker B: The first time I listened through this, I was like, oh, oh, okay. That's kind of tepid for suspense. And then listen to it again. And made me want, did I listen to this the first time? Because I. There's so much that I really enjoy. [00:39:29] Speaker A: Did you think you were listening to Dr. Tim detective? [00:39:32] Speaker B: I just wish there was, like, a little education in there. And the main thing, like, my favorite thing in this show is that last speech by Lord Tuttle. [00:39:44] Speaker C: Oh, yeah. [00:39:44] Speaker B: Where she starts out as a kid, and as she talks, she ages up. [00:39:48] Speaker A: Yeah. [00:39:50] Speaker C: Really cool. Lorraine Tuttle's performance is just amazing throughout. It's completely over the top, and she's insane. But it's also very subtle and it's very, very disturbing. It's not just scenery chewing. [00:40:06] Speaker B: Yeah. [00:40:07] Speaker A: Here's another thing that's really difficult about this story, and that is justice. Meaning it is unjust what her sister did to her. [00:40:17] Speaker C: Which way? [00:40:18] Speaker B: What Adele did. [00:40:19] Speaker A: Adele did to Clara by your husband killing her child. Yeah. But not only that. Not letting her have her life and not seeing that she should let that go or be more supportive of that. And there's an unjustness to that that is difficult to listen to or hear as a story. It's frustrating. Like, come on. I know I promised you that as a kid, and I know that was hard. And we've asked you to move in. You want to move with us across. We're doing everything we can, but I got to have that frustration of that is also infuriatingly difficult. [00:40:58] Speaker C: The implication is that some of her mental Illness had started before Clara married. Because there are a couple lines that describe that as Adele aged, she stayed in this childlike state of dependency on her and kept that childhood promise as something far more literal than Clara meant it to be. To me, I love the structure of it where Clara is returned to the childlike state of that promise in the end. [00:41:27] Speaker A: Yeah. [00:41:28] Speaker C: And that's the tragedy of it. [00:41:29] Speaker B: Yeah. That she never does escape the promise. [00:41:31] Speaker A: Do you know who else is a dick? Doug's friend. Yeah. I don't want to go in there. I don't want to go in there. I don't want to go in there. Come on. Can we just go home? Can we? No, we're going in there. Come on. Let's see. Just look, Eric. Yeah. [00:41:44] Speaker C: She might give them cake, Right? [00:41:48] Speaker A: Maybe she's got cake. This is actually true. And it ended sometime in the 70s, but for a lot of us. My mom had coffee and cake ready just in case. [00:41:58] Speaker B: People showed us everyone who's listening to this podcast, if you come into my house, maybe 40% cake, 60%. I kill a child. [00:42:15] Speaker A: My house always had coffee and cake going. Always. Just in case someone showed up. [00:42:20] Speaker C: Yeah. But I think it is redeemed a little by his just horror, Doug's friend, when he shows up and tells Clara what has happened. And that's the other thing that expresses. [00:42:30] Speaker B: How bad this is. [00:42:31] Speaker C: Yeah. Yeah. He's learned his lesson. I also love structurally, again, the time jumps are the mini twists within this, where we described the beautiful 10 years that they had. And a child was born and they came back and they tried to visit Adele and she wouldn't see them. [00:42:51] Speaker A: Sure. [00:42:51] Speaker C: And then I was put on trial for my husband's murder. [00:42:54] Speaker A: Right. [00:42:55] Speaker C: Yeah, I love that. The same thing with Doug Jr. The child, where we start that scene flashing forward to the friend showing up going, doug's with a strange woman down by the beach. And you know exactly who that strange woman is. And that's where it achieves suspense, I think. [00:43:14] Speaker A: Small thing that bothers me in this structurally, I'm going to throw this out there to see how you react to it. There are better ways to get those two boys to Adele's house other than completely by accident. Like, out of all the houses and all the places in all the world, they run out of water and they go to that house because nobody knew where Adele lived. You know what I mean? They didn't know where she was. The house that they picked happened to be Adele's. Right. It could have worked better. Just a small thing where he Said we're out of water. Oh. You know, my aunt, who I've never really met, actually lives in the house. Maybe. You know what I mean? Something where it wasn't randomly picking house, but it's. [00:43:56] Speaker C: It's not random. She's that close to them because it's on their property. [00:44:02] Speaker A: No, it's down the way. [00:44:04] Speaker B: Yeah, it was a. [00:44:05] Speaker A: It's hidden in the middle of a. [00:44:06] Speaker B: Far enough hike that they had run out of water. [00:44:08] Speaker A: But all I'm getting at is to get the kid to the aunt's house instead of it being ran a really tiny thing. You understand what I'm saying? [00:44:17] Speaker B: Yeah, I do. [00:44:18] Speaker A: Tiny thing. [00:44:18] Speaker B: But it makes me crazy fulfilling the scene where the Adele does not know who this child is, doesn't recognize him at all. And that suspense and tension in him telling her like, you're my aunt and he's not getting it and she's not getting it and then she's got it. I love that scene. And you still could have that. The kid knows where his aunt lives even if he's been told never go there. [00:44:46] Speaker A: Well, and there's another problem. When they go into the house and she comes to the window and it's Adele. They missed a great opportunity to just have her go. Hello. Waiting all day for that. Got Tim. Didn't get you. Damn. [00:45:03] Speaker C: I get it. [00:45:05] Speaker B: No, no, because it's like the singer Adele. [00:45:08] Speaker C: I do actually get it. [00:45:09] Speaker B: No, because her name is Adele. [00:45:10] Speaker C: Okay. [00:45:11] Speaker B: And she would come to the window. [00:45:12] Speaker C: Oh, so it's Dr. Adele detective now. [00:45:14] Speaker A: I get it. Yes. Just. And I thought that was gold. If you like the joke, please write. [00:45:25] Speaker B: Joshua's face. [00:45:31] Speaker C: It didn't bother me. I didn't even think about it again. [00:45:33] Speaker A: It's a tiny thing. But I don't like deus ex machina. I get that sometimes fate and destiny are just happenstance. It just lucky. But I don't like it. [00:45:43] Speaker B: Each story gets one coincidence. [00:45:46] Speaker A: Maybe. [00:45:46] Speaker C: Yeah. And I guess I'm not that bothered by it. In suspense, it's a genre that runs on coincidence. If you remove all coincidences from suspense, you have almost no. No plays left. Especially in a 30 minute format. [00:45:58] Speaker A: Sure. [00:45:58] Speaker C: I mean, the sense of fate. [00:46:00] Speaker A: Right. [00:46:01] Speaker C: Plays a huge role in this genre. And so if you don't accept that, you're going to be locked out of a lot of great suspense. [00:46:07] Speaker B: If I get it, it begs the question of like, is there a reason? [00:46:12] Speaker A: Right. It begs that question. Also as a writer, if it's an easy fix, then I'm fixing it, you know? [00:46:19] Speaker C: Yeah. But and maybe I fill it in because as a parent and a pet owner, like, dogs and pets will always find a way. The thing that you think that could never happen, you're like, sure. Holy smokes. Seriously. [00:46:31] Speaker A: We had a cat find us after we moved 20 miles away, showed up on our deck. We didn't leave the cat behind on purpose. We couldn't find it all the way across town and showed up on our deck. Isn't that crazy? [00:46:44] Speaker C: Yeah. [00:46:44] Speaker A: Like, I don't know how they do that. [00:46:46] Speaker C: Oh, my daughter's cats just got fixed, and I went over to help to get the cones on them because the stitches can't get wet. They can't lick them at all. It's big deal. Get this cone. And she couldn't get these cones on these kittens because, of course, you can't get a cone on a kitten. And I'm like, I can do this. Don't worry. I put the cone on the kitten. It shakes its head, backs up, and sits right in the water dish, like, within second. Like, of course, we're in a gigantic living room and there's a tiny little bowl of water. [00:47:24] Speaker A: And you found it. [00:47:24] Speaker C: Found it going backwards with a cone on its head. The one thing it's not supposed to do. And we're sitting there dabbing this kitten's privates, desperately trying to get the water off of it. So that's why this coincidence didn't bother me in this suspense episode. Because children will always, always end up where they're not supposed to be. And for the best reason, from their perspective, doing the dumbest thing, I assume. [00:47:52] Speaker B: To Adele had, like, six houses in the area. [00:47:55] Speaker C: Yes. [00:47:56] Speaker A: That, by the way, you just described is episode three of Dr. Tim Detective. The dabbing of the neutered kitten. [00:48:04] Speaker B: The mystery of the dabbing. [00:48:07] Speaker C: But back to back, Tim's point about negotiating Adele's memory. Those are strangely, to me, suspenseful and frustrating scenes, particularly when Clara shows up and is trying to ask where Doug is, and Doug's dead and heavily implies that she killed him. And. No, not that Doug. And so it has this, like, life and death. Who's on first quality. That should be kind of funny. But it's just terrifying in that moment because we don't know where Doug is. And then that also the moment where she sees the child's hand coming out from under the bed. I mean, it's just filled with these horrific moments or the realization that you come to, I think, as the listener before the characters do. That's not water in the bucket. Yeah. [00:48:53] Speaker B: Yeah, Right. [00:48:54] Speaker C: And it's just perfectly timed. You figure it out before them. [00:49:00] Speaker A: Dennelli did get his hand in this with the hand under the belt. [00:49:04] Speaker C: Oh, you're right. Yeah. He never ended up selling that script. He never did anything with that script. [00:49:09] Speaker A: It became a campfire lore story. [00:49:12] Speaker C: Yes. [00:49:12] Speaker A: And the hook was still on the car. [00:49:15] Speaker C: And Dennelli, maybe we've listened to some other scripts by him, but the one he's probably the most famous for and that we have discussed in this podcast and has similar intensity to it, is to find help. [00:49:28] Speaker A: Oh, yeah. [00:49:29] Speaker C: That was written by him as well. [00:49:30] Speaker A: Really? [00:49:30] Speaker C: Yep. [00:49:33] Speaker A: I know the answer to this, but I just want to make triple sure. She's in an asylum. Beginning and end. That's what that is. And the cries are of the other inmates. But there was a part of me that thought, or is she hearing that? Is she hearing that? [00:49:49] Speaker C: Because at the end she says, is that Adele? [00:49:51] Speaker A: Yeah. Is that why I was saying from. [00:49:53] Speaker C: Knowing Adele is dead to again, as she slowly works her way back to that childhood memory? Maybe Adele's here screaming, or. No, she's in the past. [00:50:03] Speaker A: That's why I asked where she goes to live. Or is it either way? [00:50:06] Speaker B: Yeah. [00:50:08] Speaker A: I like it better that she's in the asylum. And it's a horror fest, too, as. [00:50:14] Speaker B: Well, especially with the dialogue of, like, each of us has some story about the same. So each of us takes a crack at screaming our heads off in the. [00:50:21] Speaker C: Middle of the night, but also we hear those screams, and we're like, what is this? And then the first line of dialogue is, everything is so good here. Everyone is so good to me. I really like it here. And then a chorus of whales comes in. Just as a hook, It's. And as a piece of audio, amazing to hook you. It's really distressing when I will tell. [00:50:45] Speaker A: You that when I listened last night, I was like, I'm going to listen to one of these. [00:50:50] Speaker C: To fall asleep. [00:50:51] Speaker A: To fall asleep, to go to bed. And I looked at our list for this recording session, and I went, nope, I brought that one. Nope, I'm not listening. I'm going down the list. And I went, oh, suspense will be good. [00:51:03] Speaker B: Ten years, probably a slow, calm little think piece. [00:51:07] Speaker A: I knew for a fact I didn't want to listen to Nightfall, which was also on our list. And it starts. And I went, oh, my God, this is stressful. I also said, yeah. And I also said, oh, God, Joshua, what have you brought? This is. You are absolutely right. It is possibly. I know we're not voting Yet I'm hard pressed to think of any radio show drama that has a better opening. [00:51:35] Speaker C: It's a great opening. [00:51:36] Speaker A: That's a great. Oh, my God, what's happening? It's so distressing. [00:51:41] Speaker C: And it's from a literary point of view. It's a fun remix of a lot of familiar tropes, like the mad woman in the attic, the Bertha from Jane Eyre. She mishabishams herself when she lights herself on fire, which is a great description. When she just sees the one bright orange spot on the front of her dress, and you're like, uh, oh, no. Oopsie. Yeah. And I think that's where all of the suspension, everything that draws you in is how Dennelli manages to telegraph things just right when they need to be telegraphed. And deciding when the listeners should tweak something before the characters and when the characters should be the ones that inform you and you should have the revelation after the characters. And so it's just, I think, pretty masterfully done in that way. And I think both performances are really strong, but I think Laureen Tuttle hits it out of the park. But I think Joan Crawford is really good in this. [00:52:43] Speaker A: Should we vote? [00:52:44] Speaker C: Sure. [00:52:45] Speaker A: Listen, I'm going to start. I think it's really good. I don't. This is where this discussion might go longer. I don't consider it horror, and I don't consider it suspense. I consider it a terrible story of terrible things that happen to people. [00:53:02] Speaker B: This is a tragedy. [00:53:03] Speaker A: It's a tragedy. Thank you. That's the word I was looking for. It's already been made up for you, Eric. That word exists in literature. It's just tragedy. I didn't find it suspenseful or what's gonna happen next or the horror. Yes. The horror of just. Absolutely. Oh, my God. [00:53:18] Speaker C: You had already decided it was a tragedy during the scene that she was negotiating. So, I mean, in the moment, you had to feel some suspense. [00:53:26] Speaker A: You're right. [00:53:27] Speaker C: You're talking more about where my conclusion is. [00:53:29] Speaker A: Where it lands is like, oh, man, that's just a story of a lot of hard luck and terrible things. So with all that being said, it doesn't matter what genre I put it in. Do. If I consider it just a Shakespearean tragedy, which it really is, I say, yeah, that's a great piece of work. I thought it was well acted, well produced. Yeah, I would have. All right, I'll say it. I would have loved a twist. I would have loved a suspense twist. I was waiting for it, and I was like, turns out she's Santa Claus. I don't know. You know something? [00:54:03] Speaker C: That's what I loved about it is, you know, again, it defied expectations yet satisfied. And that is what a good twist should do. So it fulfilled this sensation that a good twist gives me. Right, Right. Because it felt whole at the end. [00:54:22] Speaker A: Yeah. I would say overall, production wise and everything. I say, this is a classic, especially with the backstory, too. I'll go with classic. [00:54:30] Speaker B: I was gonna call this a low key classic. [00:54:32] Speaker A: Thank you. I'll go with that. [00:54:33] Speaker B: That helps the context sort of elevates the depth and texture of listening to it. But if you're just listening to it normal, like, this is a good story, incredibly well performed, but it really rewards thought and, yeah, it rewards analysis. We should do like a podcast. So it's not big and flashy. It's. I don't know that this is gonna be on anybody's, like, top, maybe top 10 suspense episodes. I don't know, maybe. But it's very rewarding and excellently executed. [00:55:06] Speaker C: So my initial instinct is to say, what are you talking about, Tim? It's rewarding and it's layered and it's not a classic. But then you gave me pause to think, well, when this was originally aired, there was no notion that you would ever hear this again. Maybe they would do another production. So it lives and dies in the moment. Unlike a piece of great literature that you go back to over and over again to pull out the complexity, to reexamine it. It has to speak everything it has to say in the moment and compete with whatever's going on in your house at that time. So I will not respond peevishly to you, but I will say, for me, living in the 21st century and having the ability analyze the literary quality that it has is very appealing to me. And I just like in a good book, I love getting to the last sentence of a book and going, oh, now I need to read it again. Right now I see what it was doing. [00:56:10] Speaker B: Like, this will someday be examined in more depth than radio shows are right now. [00:56:16] Speaker C: So for me, it's certainly a classic today because I really just appreciate that about it. The performances, I think, are fantastic. Lorraine Tuttle is just an incredibly underrated actor. She was so good. Now, remember, Loreen Tuttle is also who was the woman in the tip, the one where she's held hostage by the man claiming to kill her husband. [00:56:41] Speaker B: Am I thinking the right one? Who was like, in box 13? I thought she also played some ditzy secretary kind of role. [00:56:47] Speaker C: It's not her. Why am I. Is it Jeanette Null? I can't remember. People are screaming at this podcast right now because we can't remember who we're talking about. Who played Effie in the Adventures of Sam Spade. [00:57:00] Speaker A: Right. [00:57:01] Speaker C: The other thing that Laureen Tuttle, while Tim is looking this up so we won't embarrass ourselves, played was the wife who was brought back to life in. [00:57:10] Speaker B: You know, who played Effie in the Adventures of Sam Spade. Lorraine Tuttle. [00:57:13] Speaker C: Really? [00:57:14] Speaker B: Yes. [00:57:14] Speaker E: Yes. [00:57:15] Speaker B: Tim is wrong show, but I had the right idea. [00:57:18] Speaker A: Yes. [00:57:21] Speaker C: Yeah. So she's so versatile. Amazingly versatile. [00:57:25] Speaker A: So classic. [00:57:26] Speaker C: Classic for sure. For me. I was so surprised by it. [00:57:30] Speaker A: Lorene, tell them stuff. [00:57:32] Speaker B: Please go visit ghoulishdelights.com that is the home of this podcast. You can certainly find this podcast anywhere you get podcasts, we make sure of that. But if you go to ghoulishdlights.com, you can leave comments, you can vote in polls, let us know what you thought about these episodes. You can also find a link to our store. If you're like, I'm having such a good time, I want to wear a T shirt with this logo. That's how jazzed I am about this podcast. And you put a link to our Patreon page. [00:58:00] Speaker C: Yes. Go to patreon.com themorals if you're really jazzed. Give us some money. Don't buy a T shirt with that money. Oh, no. Support this podcast and buy the T shirt. Do them both. I'm wrong about everything today. [00:58:18] Speaker A: If you'd like to see the mysterious old Radio Listening Society Theater Company performing live on stage. Classic old time radio dramas and a lot of our own original work. Come see us performing radio plays by going to ghoulishdelights.com and there you'll find out where we're performing, what we're performing and how to get tickets. Ghoulishdelights.com come see us put our money where our mouth is. You know, sometimes we rip stuff. So then we go on stage and we do drama and so see if we're any good. That's it. And then you can judge us at the end and you can vote. You can vote. We should let them vote at the end. [00:58:58] Speaker C: Is this a classic or do you want your money back? There are only two categories and you're not getting your money back, FYI. [00:59:08] Speaker A: Yeah. What's coming up next? [00:59:10] Speaker C: Next, we will be joined by our patron, Jeff, who is bringing an episode to the podcast from escape entitled the 13th Truck. [00:59:22] Speaker A: Until then, Tim's having the best day of his life. Being right. [00:59:28] Speaker C: I'll give it all to Tim. Dr. Tim. [00:59:32] Speaker A: Detective radio Drama Detective.