Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
The Signal Oil program. The Whistler. That wistle is your
signal for the Signal Oil programs.
Speaker 2 (00:22):
The Whiztler.
Speaker 3 (00:41):
I am the whistler, and I know many things.
Speaker 2 (00:45):
Or I walk by night.
Speaker 3 (00:47):
I know many trained tails hidden in the hearts of
men and women who have stepped into the shadows. Yes,
I know the nameless terrors of which they dare not speak.
Speaker 1 (01:02):
Yes, friends, it's time for the Signal Oil program. The
Whistler rated tops in popularity for a longer period of
time than any other West Coast program in radio history.
And Signal Gasoline is top two tops in quality. It
takes extra quality, you know, to give you extra Miley
and Signal is the famous go farther gasoline. So look
(01:24):
for the signal circle sign in yellow and black that
identifies friendly dealer owned signal statan from Canada to Mexico
and now the Whistlers. Strained stories come.
Speaker 3 (01:38):
Back even on Fifth Avenue. He was a distinguished looking figure,
this handsome man in his mid fifties. His clothes were
a little outdated, perhaps though Hugh would notice that, and
as he rolled along chinlifted swinging a stick, there were
(02:00):
curious glances and whispers in his wake.
Speaker 2 (02:03):
Wasn't that John Maynord, the old.
Speaker 3 (02:05):
Matinee idol, They'd say, not quite sure, of course, they
knew him better on Broadway, stopped and spoke to him
on his good day, pretended not to see him on
the other one, when his eyes were bloodshot and his
gait unsteady. For then he was out for a touch,
looking for a dollar or two for the bottle that
turned the dreary present back to the day when John Maynard,
(02:27):
if not the King of Broadway, was surely the crown prince.
On Fifth Avenue above forty fifth Street, he entered an
office building, rode to the fourteenth floor, finally walking past
the secretary and through a door massed Oliver Stanley Theater Production.
Speaker 2 (02:43):
Good morning, Oliver.
Speaker 4 (02:45):
Well, just how did you get past my secretary?
Speaker 2 (02:50):
My nerve?
Speaker 5 (02:51):
Sorry, my boy, I knew you wouldn't see me, so
I had to do it this way. Do you mind
if i'd it down?
Speaker 4 (02:55):
That's easy what you're doing, you know, John, I think
you'd have had too much pride to do this pry
coming to me with your hand out, that's what you're doing.
Speaker 5 (03:05):
Your No, that's just where you're wrong, Oliver. I'm here
to help yourgens that you need me very badly. But
the part of hubbarding you on you play bonnie human
who's hurting you? Let me read the script, so you.
Speaker 4 (03:16):
Come to help me. I see, I'm sorry, John, I'm
very big.
Speaker 2 (03:19):
Wait, tell me how do I look?
Speaker 4 (03:22):
Unusually good? I say, However, are you finished?
Speaker 2 (03:25):
Oliver?
Speaker 5 (03:26):
Take a look at a man who's had his last
break in this veil of misery. Don't smile, my boy.
I'm not jesting. John.
Speaker 4 (03:35):
Have you ever kept track of the number of times
you said that this time it happens to be true?
What's happened to your sense of humor?
Speaker 5 (03:44):
I don't blame you, Oliver, and I've let you down.
I've let every produce it down, and above.
Speaker 4 (03:50):
All, you've let yourself. Don John, you are one of
the finest actors, that kind of us, all the old
bottle and that holy temperament of your tinnergy.
Speaker 5 (03:58):
Let me prove my I'll Oliver one time successful again.
There won't be any temptation to drink.
Speaker 4 (04:04):
Yeah, make a bargain with that.
Speaker 5 (04:05):
Accept any conditions you care to make. I'll meet the test.
I know I can say you've read the park. I
know most of it already.
Speaker 2 (04:11):
If you give me a reason, you won't be necessary.
Speaker 4 (04:13):
I know you can know it. I suppose I'll get
to horse laugh from everyone. But I'm going to give
you one last change.
Speaker 2 (04:26):
I don't know what to say.
Speaker 4 (04:27):
I'm going to say, here's a script. For the first
time in theater history, a character man's going to have
an understudy. Lewis Cook will always be up in the pot. John,
ready to take your place at the moment's not. You'll
never get a chance. I'm not you realize, of course,
what this play means to me. I'm not only producing it.
I'm most of the star. Yes, yes, yes, Oliver, you're
(04:49):
the star eleven and John about the bargain, it's this
part of yours. If I hear of you taking even wondering,
you're true and believe me, you'll never regret this decision,
My boy, John rested up to you.
Speaker 3 (05:15):
You bow and leave, and as you walk down the
hallway to the elevator, there's a new triumphant sound in
your ears. The applause of opening nights, the crowds raving
about your comeback.
Speaker 2 (05:26):
The review is.
Speaker 3 (05:26):
Saying, you told the show from a mediocre star.
Speaker 2 (05:30):
Do you do anything. But that wouldn't you, Johnny.
Speaker 3 (05:32):
You'd even resort to murder for the pleasure of forcing
Oliver Stanley to crawl back to you for a job.
But that won't be necessary. Now you knew the minute
you read that part said here is a play with
one rewarding role, the part of Hubbards, and the rest
completely second rate. You know the show will flop, john
(05:52):
but not you. And the next morning at the theater,
you're confident. As the rehearsal moves into the last sack,
now comes your big team with all of them.
Speaker 4 (06:03):
Who are you?
Speaker 2 (06:04):
What are you doing?
Speaker 4 (06:05):
I've come to see you about Nancy horber smr. Why
are you?
Speaker 5 (06:10):
A very practical reason for the master you and what
I've come here for.
Speaker 4 (06:15):
I can't risk being recognized.
Speaker 2 (06:17):
Listen to us.
Speaker 4 (06:18):
We can work this thing out reasonably without.
Speaker 5 (06:26):
Oh, I've taken your life. I've given up my sweet
That seem a bad bargain. It your life for mine,
But mine was gone. You know mine was gone the
moment you took.
Speaker 2 (06:45):
Nancy from me.
Speaker 4 (06:49):
And so.
Speaker 5 (06:51):
Like gentlemen, we've come to term. We've taken hands.
Speaker 6 (07:03):
Goodbye, Edward, goodbye.
Speaker 4 (07:14):
One of the other actors approach you. You know you'll go,
thank you. That'll be all casting. Back at seven, go gun,
I want to see you a moment down.
Speaker 2 (07:23):
You're marvelous. Oh man, Well what did I tell you? You know? However,
I think we've got a hit.
Speaker 4 (07:28):
Going to put you back in circulation in a hurry now,
and that last year. I'm afraid we'll have to cut.
Speaker 2 (07:37):
Most of your clothing seed, got.
Speaker 5 (07:41):
It, my dear man, you heard the cast applot.
Speaker 4 (07:44):
I don't know. I'm not a hand John, but after all,
I am supposed to be the star.
Speaker 3 (07:50):
Oliver, I think you're being on hurry.
Speaker 4 (07:52):
They won't have any of that. I know what I
wanted my own children. Get your dinner and be back
at seven.
Speaker 2 (07:58):
I'll have a cut figured out very well on us.
Speaker 4 (08:03):
Anything you say.
Speaker 3 (08:06):
Now, he's beginning to wake up, John, starting to realize
the danger of having an actor like you and the cat.
But it won't matter after all, because on opening nights
you intend to read the full speech anyway it belongs there. John,
(08:29):
in that one scene, the careful development of Public's character
reaches its climax, and you'll read it all alone on
the stage, regardless of Oliver or anyone else. So for
the next few weeks you avoid argument with Oliver. Everything
goes smoothly until one night Lewis Cook, you're understudy, meets
you at the stage entrance as you start.
Speaker 2 (08:49):
Out of the theater for dinner.
Speaker 4 (08:52):
Hello, John, hold Lewis, I waited for you.
Speaker 2 (08:55):
Probably might have dinner together.
Speaker 4 (08:57):
Good.
Speaker 2 (08:57):
How about the automatic. Let's make it, Mike. Well, I'll
even grab the checks. It's not that it's just a
see Mike has a bar and all afraid of bar.
Speaker 5 (09:11):
All right, Louise, let's make it Mike.
Speaker 2 (09:24):
Ah, that's better. One of the great joys of peace.
Speaker 4 (09:28):
Time, John, A man can get good scotch again.
Speaker 2 (09:32):
You know something? Want I admire you. They tell me
you hit the bottle pretty hard in your time. Hole
off and non, I suppose, and now you can take it.
You'll leave it alone. I'll like tonight as the lemonade
you ordered. Oh it's lemonade.
Speaker 4 (09:49):
You're on the.
Speaker 2 (09:50):
Wagon for good, eh, bosses? Or oh no, you don't
mean he went into that too. That's right. You know
I've hated that guy on general principles for years now.
At last, I gotta read, Louis. Could you could.
Speaker 3 (10:04):
You keep a secret?
Speaker 2 (10:05):
Sure? I think a drink could do me good. One
can't hurts me All bosses orders. One drink leads to another.
Just don't say anything going on. Well, I'd be the
last one in the world to red on you. John,
You know that good.
Speaker 4 (10:22):
Yes, sir, make it a double scotch.
Speaker 1 (10:35):
With the prologue of comeback. The Signal Oil Company is
bringing you another strange story by the whipler. Since last week, Whistler,
you know your car has aged a whole year, Yes,
even those shiny nineteen forty sevens and now last year's model.
But after all, the important thing is not the year
(10:57):
your car was made, but rather the care it receives.
That's what determines how long and how well it's going
to hold up. And that's why if you want your
car's performance to stay young, it's so important for it
to receive the more thorough, more conscientious service car's depth
at dealer own signal service station. For example, when a
(11:20):
signal dealer lubricates your car, he doesn't take any chances
on memory to locate the many different lubrication points. Instead,
he checks against the official factory chart that shows exactly
a which of signals nine specialized lubricants each part should
have for long trouble free service. And then, just to
(11:40):
make double sure not a single part has been missed,
your signal dealer checks the whole job again, which explains
why we call it signal double check. Lubrication of this
is typical of the many little extra services you get
from signal dealers, because each one owns his own business
and has a person of all interest in keeping your goodwill.
(12:03):
Typical of signal service designed to help your car run better,
look better, and last longer.
Speaker 2 (12:12):
Now back to the cliffler.
Speaker 3 (12:30):
Oh, it'll be a real comeback, John. Here in this
mediocre play, Oliver Stanley has put a new career in
your hands, a solid chance to pull yourself in one
flashing performance out of the cold, lonely pit of frustration
and cheap liquor. Yes, all that matters now is opening
nights and the reviews that are certain to.
Speaker 4 (12:50):
Come with your brilliance in the role of Hubbards.
Speaker 2 (12:53):
Back to the theater. After dinner, you go to your
dressing room.
Speaker 3 (12:56):
The scotch is wearing off now and you feel a
little left down.
Speaker 2 (13:00):
Come in, How are you feeling now, John? All right,
Toddan Louis, you look almost sober. Huhromly kiddy? Is he
that drink? Did you good? And who's the wiser?
Speaker 5 (13:14):
The idea of that guy telling I wish I had
another one right now he's been set Oh, I don't.
Speaker 2 (13:19):
Think you'd better John.
Speaker 4 (13:21):
If Oliver happened to get suspicious, you know, I.
Speaker 5 (13:24):
Guess no point in thinking about it anyway. There isn't
a drop within a block of the sea at all.
Let's not go that far. You mean there is some
just happen to have a bottle in my overcoat, Potli,
I'm sure another one wouldn't know.
Speaker 2 (13:37):
Sir, I don't want the boss accuse you.
Speaker 5 (13:39):
Want anything about it. Come on, it would be reasonable if.
Speaker 2 (13:41):
We settle for one back at Mike.
Speaker 3 (13:43):
You might smell it on your brain.
Speaker 4 (13:44):
A pack of mintia, please, Lewis, Well, just one, sure, Shore,
just one?
Speaker 1 (13:52):
H h okay, you better get out there and now
already to start?
Speaker 5 (13:58):
Yes, thanks, Luisi.
Speaker 2 (14:01):
I needed that one, not at all, anything for Abel.
Speaker 3 (14:11):
Your nerves are steadier now, and through the first two
acts of the rehearsal you give a wonderful performance. There's
a big audience of theater people out there watching you,
and the murmurs of approval only make you more confident
that the opening night, we'll see you back at the top.
At the end of that two Oliver breaks for inside.
Speaker 4 (14:30):
They're calling here minutes, Henry, you're jumping your cues again.
I know, Oliver.
Speaker 2 (14:36):
I'll I'll watch it and the last.
Speaker 4 (14:39):
Entrance with the type of glow keeping first right on hindsign.
Speaker 6 (14:42):
I'll try.
Speaker 4 (14:44):
I think we'll go right into the last rag now, oh, John, Yes, Oliver,
why am I think of it? I'm going to make
another simple cut near the end, As you know, you
walk off stags right after you shoot mate. Of course
that point the plays over as far as Yourgan's n
(15:04):
don't I come back to the scene with a servant.
I mean, after I've taken off the man. No, I
believe it will be more effective if you stay off.
I see Nasa, you'll kill me. I'll remain on stage
until the final curtain. There, Yes, Alan, quite please.
Speaker 3 (15:33):
You turn and walk away the hyde your contempt another
of your themes, gone John, to satisfy Oliver's unbelievable ego.
But you're not worried because.
Speaker 2 (15:44):
Tomorrow's triumph will put you back on top. The critics
will single you out you're sure.
Speaker 3 (15:48):
Of it, and you can leave Oliver and his ridiculous
play for good. At two in the morning, the grind
of the rehearsal is over. You hurry back to your
dressing room, tired and nervous from the strain, And then
you notice something. Lewis is over coat hanging next to
yours in the closet. You hurry over and lock the door,
then go to the closet.
Speaker 2 (16:14):
Door.
Speaker 4 (16:19):
Hold up, just a minute, coming the door?
Speaker 2 (16:27):
Ut, Sorry, ol come in.
Speaker 4 (16:33):
It's a murder.
Speaker 2 (16:34):
Why not a thing?
Speaker 4 (16:35):
I must have flipped the catch on the door by Actually,
I don't know why.
Speaker 2 (16:39):
May I come in? John? Well, Oliver and I talk
the girl? I just wanted to get my crew.
Speaker 4 (16:44):
No, I mean, I'll get it for you.
Speaker 2 (16:46):
Lewis, there's no trouble for me.
Speaker 4 (16:48):
What's the matter with you?
Speaker 5 (16:51):
Maybe a little nervous from all the rehearsal, not nothing more.
Speaker 2 (16:54):
Hey, what the liquor?
Speaker 3 (16:57):
Oliver Lewis's coat off the hooks of the bottle, peather
that doll.
Speaker 4 (17:02):
Not a drop of liquors filling on the coat. I'm
afraid that is old John broke in our agreement, haven't you.
Speaker 2 (17:11):
The bottle belongs to Lewis doesn't do it?
Speaker 3 (17:13):
Ask him all of a heel ten you do?
Speaker 4 (17:15):
It's my bottle. But you've been drinking a John.
Speaker 5 (17:18):
Now, look, Oliver, I haven't committed a murder.
Speaker 2 (17:20):
You can.
Speaker 4 (17:21):
You're out of this theater and don't come nearer on
me again.
Speaker 2 (17:25):
I'm surprised you do a thing like this, old man.
Why you're the very one?
Speaker 3 (17:29):
Don't start blaming me if you can't control your liquor.
You belong on a rest all nothing a broadway.
Speaker 4 (17:34):
So why you why you get up?
Speaker 2 (17:38):
You have that? Yes, held it out.
Speaker 4 (17:42):
I wouldn't breathe the same air with either of you.
Don't hurt for Mike much cheaper in bottles at the liquors.
Speaker 3 (17:50):
All consciousness is finally breaking through, John, and things start
(18:14):
to make a little sense. You're lying on the bed,
you're ill and weak, but you lunge forward to knock
an empty bottle of side. But you're over it now, John,
And you can't bear even the sight of a bottle
For a while. You look about the dreary, detorted rooms,
(18:39):
wonder what time it is, what day it is. The
crack wavy mirror shows a haggard old.
Speaker 2 (18:45):
Face staring back at you.
Speaker 3 (18:47):
Her face covered with gray stubbles, with patches of grease
paint still clinging in places. It's a horrible syking you
turn away.
Speaker 2 (18:55):
They did this to you, didn't they?
Speaker 3 (18:57):
John, Oliver Stanley and Lewis Cook your friends. You wonder
how you can strike back. You're still thinking about it.
If you make your way to a tiny lunchom for
a few cups of black coffee. A calendar in back
of the counter tells you that four days have gone by.
Four days Oliver's show is open without you, with Lewis
(19:17):
playing your part, moving about the stage in the row that.
Speaker 2 (19:20):
Belongs to you.
Speaker 3 (19:27):
That's when it comes to you, isn't it, John, a
simple effective plan for revenge against the two men you hate.
You get up, pay your check, and hurry downtown to
a hardware store. That evening, you're back at the theater,
standing on the fringe of the small crowd as they
pour out into the lobby between the second and third act.
Speaker 4 (19:45):
That way, I can agree with you.
Speaker 2 (19:47):
It's a thing.
Speaker 1 (19:48):
I wonder what John Maynard would have done with that
part they gave Lewis Cook.
Speaker 3 (19:51):
I don't know why did I make the sweet well?
Speaker 4 (19:53):
I heard it was the same old reason.
Speaker 3 (20:00):
Yes, John, my last act. You smile coldly at the
thought as you walk back to the stage door flip
inside unnoticed. You know that Lewis is on stage if
the curtain goes up, so you're quite confident, but you'll
be alone when you enter his dressing room. You close
(20:21):
the door softly, find the gun that hues near the
end of the play, and then seat yourself behind the
screen to wait.
Speaker 2 (20:36):
Call me in fifteen minutes with your head. I don't
want to miss my jube.
Speaker 5 (20:40):
I'm afraid you're going to miss your cue, Lewis.
Speaker 2 (20:43):
J Yes, the man you had thrown.
Speaker 5 (20:44):
Into the alley with you had thirty cheap tricks, and
I quite await Lewis.
Speaker 4 (20:50):
Look, I don't want any trouble with you, but if
you don't get out of here, you.
Speaker 2 (20:54):
Won't have any trouble with me.
Speaker 5 (20:55):
And I'm going very shortly.
Speaker 2 (20:59):
We'll go now.
Speaker 5 (21:00):
I have nothing to say that I have something to
say to you, Lewis. I've come to take over your
part in the last act, my part. I should say
some matter with you.
Speaker 3 (21:09):
I've had enough of this.
Speaker 2 (21:10):
I'm going to call Alliver down Zawiss.
Speaker 5 (21:12):
While I locked this door You can't threaten me with
that a prop gun no longer a prop, Lewis. I've
loaded it with the real thing. What's very simple to do,
just a little trip to a hardware store this afternoon.
Speaker 4 (21:24):
Then you can't get away with amusing, isn't.
Speaker 2 (21:27):
It, Lewis?
Speaker 5 (21:28):
All the things you've been doing imitating my style, It'll
make it so much easier.
Speaker 2 (21:32):
Now, what are you talking about? Last act for you
and Oliver? Wait a minute, I'm beginning to get this.
You intend to go out on that stage and murder
all of them? Oh?
Speaker 5 (21:43):
You murdering, or at least an entire audience will think.
So we have the same size? Is a part called
for a mask? And I think I can read it
as badly as you would, even with all of its cuts.
Speaker 2 (21:54):
I've been rehearsing for hours.
Speaker 3 (21:55):
And just how do you expect to shut me?
Speaker 5 (21:57):
I forgive that too, Lewis. You hadn't fainted when you
coaxed me to take that drink. But what do you
intend to do? Whyre you wrapping that towel around the
gun getting the sound to some extent when I was talking.
That's her big screaming steam.
Speaker 2 (22:13):
That will help, So John, don't do it.
Speaker 4 (22:16):
You won't get away with it.
Speaker 2 (22:17):
I aren't like you.
Speaker 4 (22:18):
Good bye the ways.
Speaker 3 (22:27):
You stand there waiting five minutes, ten fifteen, and then
you're ones.
Speaker 4 (22:34):
Who are you? What are you doing here?
Speaker 5 (22:42):
I've come to see you about Nancy Hobbs.
Speaker 2 (22:47):
The mark.
Speaker 5 (22:48):
Why are you worringy practical reasons, but the mask it
would be in view.
Speaker 2 (22:52):
Of what I've come here for. I can't risk being recognized.
Speaker 4 (22:57):
We could work this thing out reasonably without.
Speaker 6 (23:00):
Hard Goodbye, ed with you. Goodbye.
Speaker 3 (23:17):
You walk quickly off the stage and back to the
dressing room, placed the gun in Lewis Cook's hands. Twenty
minutes later, you're away from the theater and entering the
dingy lobby of your hotel.
Speaker 1 (23:29):
Oh even, mister Maynard. Hello, Frank, I want to leave
a call for in the morning. No, it won't be
nu uh. I haven't found another play yet.
Speaker 2 (23:39):
Huh.
Speaker 1 (23:40):
No, I've been reading about mister Stanley's play. Seems to
me they made no aful mistake taking you out of
that part.
Speaker 2 (23:48):
Thank you, Frank.
Speaker 3 (23:50):
No, it wouldn't surprise me if the show folded up tomorrow.
Speaker 2 (24:01):
I think you have something there. Frighten, good night.
Speaker 1 (24:17):
The whistler will return in just a moment with the
strange ending to the night's story. Meantime, since most everyone
is concerned about getting maximum value out of today's shrinking dollars,
I'd like to give you a tip on how to
be sure you're choosing the gasoline that stops in quality.
Speaker 2 (24:37):
Just remember these two points.
Speaker 1 (24:39):
One in gasoline, it takes extra quality to go farther,
and two signal is the famous go farther gasoline. Yes,
it's a fact. Your best yardstick of gasoline quality is miling,
the thing signal gasoline is famous for. After all, in
order for a gasoline to give you more mile per gallon,
(25:01):
it has to help your motor run more efficiently. And
when your motor runs more efficiently, naturally you enjoy quicker starting, faster,
pickup smoother, not free power. In other words, the superior
performance you expect of a superior gasoline.
Speaker 2 (25:17):
That's why we say to be sure.
Speaker 1 (25:19):
Of the tops in gasoline quality, just remember two things.
One in gasoline, it takes extra quality to go farther,
and two signal is the famous go farther gasoline. And
now back to the whistler.
Speaker 3 (25:47):
It's overdone. The play your chance that it come back everything.
But now, sitting in your cheap hotel room blocks from
the theater, you take satisfaction from the knowledge that Oliver
Stanley and Lewis Cook, the men who took your opportunity away,
are dead and.
Speaker 2 (26:03):
You will kill them.
Speaker 3 (26:05):
You wish that you could be there with the others,
watching their expressions as they make the discovery that Oliver
is actually dead on safe, that his death scene was
well played for a simple reason that he had actually
been shot, and because of your own careful acting. Lewis
is the murderer who then took his own life. You
wish that you could tell that to them all, just
(26:27):
as you did the Lewis the moment before you kill them.
Speaker 2 (26:30):
But there's nothing.
Speaker 3 (26:31):
Left now is the perfect performance is over and this
time applause and acknowledgments will have to be a minute,
all right, or you want.
Speaker 2 (26:48):
I want to talk to you. My name is uncle Homicide.
All right, I don't understand, okay, man, and keep up
the performance. I see here.
Speaker 5 (26:58):
I've done nothing, oh wordy, even out of your room tonight. Well,
of course that was I went for a stroll, but
some stroll right on stage and into the third act
of the Flop play. Look, I haven't I think this
idea what you're talking about?
Speaker 4 (27:12):
Please please made that.
Speaker 3 (27:13):
I'm not sitting in the front row balcony. I'm dunkle homicide,
remember standing right here in your room.
Speaker 2 (27:20):
But why because all the evidence.
Speaker 7 (27:22):
In the world brought me here. That wasn't a murder
suicide We walked into the night.
Speaker 2 (27:28):
It was a.
Speaker 7 (27:28):
Double murder and you did it. No, I'll tell you how,
but you know that already, so I'll just.
Speaker 2 (27:35):
Tell you whay. You slipped up. It was your big scene.
Speaker 7 (27:39):
Oh boy, bad, very bad. You left out the best
part the speech right after the murder. Beautiful thing made it,
but speech was cut. I'll put the speech back right
after he threw you up. You see, he wasn't afraid
of the speech made it. He was only afraid of
(28:00):
you stealing the show with it.
Speaker 1 (28:23):
Let that whistle be your signal for the Signal Oil program.
The whistler each Wednesday night at the same time, brought
to you by the Signal Oil Company, marketers of Signal
Gasoline and motor oil and fine quality automotive accessory. Signal
has asked me to remind you to get the most
driving pleasure drive at sensible speed, be courteous and obey
(28:46):
traffic regulations. It may save a life, possibly your own.
Featured in Tonight's Where John Brown and Herbert Butterfield. The
Whistler was produced by George w Allen, with story by
Terry Shaw and John Moore and music by Wilbur Hat
(29:10):
and was transmitted to our coups overseas by the Armed
Forces Radio Service next Wednesday for a full hour of
mystery over most of these Satans tune in a half
hour earlier enjoy the Saints as well as the Whistler.
This is Marvin Miller speaking. This is CBS for Columbia
Broadcasting System
The Signal Oil program. The Whistler. That wistle is your
signal for the Signal Oil programs.
Speaker 2 (00:22):
The Whiztler.
Speaker 3 (00:41):
I am the whistler, and I know many things.
Speaker 2 (00:45):
Or I walk by night.
Speaker 3 (00:47):
I know many trained tails hidden in the hearts of
men and women who have stepped into the shadows. Yes,
I know the nameless terrors of which they dare not speak.
Speaker 1 (01:02):
Yes, friends, it's time for the Signal Oil program. The
Whistler rated tops in popularity for a longer period of
time than any other West Coast program in radio history.
And Signal Gasoline is top two tops in quality. It
takes extra quality, you know, to give you extra Miley
and Signal is the famous go farther gasoline. So look
(01:24):
for the signal circle sign in yellow and black that
identifies friendly dealer owned signal statan from Canada to Mexico
and now the Whistlers. Strained stories come.
Speaker 3 (01:38):
Back even on Fifth Avenue. He was a distinguished looking figure,
this handsome man in his mid fifties. His clothes were
a little outdated, perhaps though Hugh would notice that, and
as he rolled along chinlifted swinging a stick, there were
(02:00):
curious glances and whispers in his wake.
Speaker 2 (02:03):
Wasn't that John Maynord, the old.
Speaker 3 (02:05):
Matinee idol, They'd say, not quite sure, of course, they
knew him better on Broadway, stopped and spoke to him
on his good day, pretended not to see him on
the other one, when his eyes were bloodshot and his
gait unsteady. For then he was out for a touch,
looking for a dollar or two for the bottle that
turned the dreary present back to the day when John Maynard,
(02:27):
if not the King of Broadway, was surely the crown prince.
On Fifth Avenue above forty fifth Street, he entered an
office building, rode to the fourteenth floor, finally walking past
the secretary and through a door massed Oliver Stanley Theater Production.
Speaker 2 (02:43):
Good morning, Oliver.
Speaker 4 (02:45):
Well, just how did you get past my secretary?
Speaker 2 (02:50):
My nerve?
Speaker 5 (02:51):
Sorry, my boy, I knew you wouldn't see me, so
I had to do it this way. Do you mind
if i'd it down?
Speaker 4 (02:55):
That's easy what you're doing, you know, John, I think
you'd have had too much pride to do this pry
coming to me with your hand out, that's what you're doing.
Speaker 5 (03:05):
Your No, that's just where you're wrong, Oliver. I'm here
to help yourgens that you need me very badly. But
the part of hubbarding you on you play bonnie human
who's hurting you? Let me read the script, so you.
Speaker 4 (03:16):
Come to help me. I see, I'm sorry, John, I'm
very big.
Speaker 2 (03:19):
Wait, tell me how do I look?
Speaker 4 (03:22):
Unusually good? I say, However, are you finished?
Speaker 2 (03:25):
Oliver?
Speaker 5 (03:26):
Take a look at a man who's had his last
break in this veil of misery. Don't smile, my boy.
I'm not jesting. John.
Speaker 4 (03:35):
Have you ever kept track of the number of times
you said that this time it happens to be true?
What's happened to your sense of humor?
Speaker 5 (03:44):
I don't blame you, Oliver, and I've let you down.
I've let every produce it down, and above.
Speaker 4 (03:50):
All, you've let yourself. Don John, you are one of
the finest actors, that kind of us, all the old
bottle and that holy temperament of your tinnergy.
Speaker 5 (03:58):
Let me prove my I'll Oliver one time successful again.
There won't be any temptation to drink.
Speaker 4 (04:04):
Yeah, make a bargain with that.
Speaker 5 (04:05):
Accept any conditions you care to make. I'll meet the test.
I know I can say you've read the park. I
know most of it already.
Speaker 2 (04:11):
If you give me a reason, you won't be necessary.
Speaker 4 (04:13):
I know you can know it. I suppose I'll get
to horse laugh from everyone. But I'm going to give
you one last change.
Speaker 2 (04:26):
I don't know what to say.
Speaker 4 (04:27):
I'm going to say, here's a script. For the first
time in theater history, a character man's going to have
an understudy. Lewis Cook will always be up in the pot. John,
ready to take your place at the moment's not. You'll
never get a chance. I'm not you realize, of course,
what this play means to me. I'm not only producing it.
I'm most of the star. Yes, yes, yes, Oliver, you're
(04:49):
the star eleven and John about the bargain, it's this
part of yours. If I hear of you taking even wondering,
you're true and believe me, you'll never regret this decision,
My boy, John rested up to you.
Speaker 3 (05:15):
You bow and leave, and as you walk down the
hallway to the elevator, there's a new triumphant sound in
your ears. The applause of opening nights, the crowds raving
about your comeback.
Speaker 2 (05:26):
The review is.
Speaker 3 (05:26):
Saying, you told the show from a mediocre star.
Speaker 2 (05:30):
Do you do anything. But that wouldn't you, Johnny.
Speaker 3 (05:32):
You'd even resort to murder for the pleasure of forcing
Oliver Stanley to crawl back to you for a job.
But that won't be necessary. Now you knew the minute
you read that part said here is a play with
one rewarding role, the part of Hubbards, and the rest
completely second rate. You know the show will flop, john
(05:52):
but not you. And the next morning at the theater,
you're confident. As the rehearsal moves into the last sack,
now comes your big team with all of them.
Speaker 4 (06:03):
Who are you?
Speaker 2 (06:04):
What are you doing?
Speaker 4 (06:05):
I've come to see you about Nancy horber smr. Why
are you?
Speaker 5 (06:10):
A very practical reason for the master you and what
I've come here for.
Speaker 4 (06:15):
I can't risk being recognized.
Speaker 2 (06:17):
Listen to us.
Speaker 4 (06:18):
We can work this thing out reasonably without.
Speaker 5 (06:26):
Oh, I've taken your life. I've given up my sweet
That seem a bad bargain. It your life for mine,
But mine was gone. You know mine was gone the
moment you took.
Speaker 2 (06:45):
Nancy from me.
Speaker 4 (06:49):
And so.
Speaker 5 (06:51):
Like gentlemen, we've come to term. We've taken hands.
Speaker 6 (07:03):
Goodbye, Edward, goodbye.
Speaker 4 (07:14):
One of the other actors approach you. You know you'll go,
thank you. That'll be all casting. Back at seven, go gun,
I want to see you a moment down.
Speaker 2 (07:23):
You're marvelous. Oh man, Well what did I tell you? You know? However,
I think we've got a hit.
Speaker 4 (07:28):
Going to put you back in circulation in a hurry now,
and that last year. I'm afraid we'll have to cut.
Speaker 2 (07:37):
Most of your clothing seed, got.
Speaker 5 (07:41):
It, my dear man, you heard the cast applot.
Speaker 4 (07:44):
I don't know. I'm not a hand John, but after all,
I am supposed to be the star.
Speaker 3 (07:50):
Oliver, I think you're being on hurry.
Speaker 4 (07:52):
They won't have any of that. I know what I
wanted my own children. Get your dinner and be back
at seven.
Speaker 2 (07:58):
I'll have a cut figured out very well on us.
Speaker 4 (08:03):
Anything you say.
Speaker 3 (08:06):
Now, he's beginning to wake up, John, starting to realize
the danger of having an actor like you and the cat.
But it won't matter after all, because on opening nights
you intend to read the full speech anyway it belongs there. John,
(08:29):
in that one scene, the careful development of Public's character
reaches its climax, and you'll read it all alone on
the stage, regardless of Oliver or anyone else. So for
the next few weeks you avoid argument with Oliver. Everything
goes smoothly until one night Lewis Cook, you're understudy, meets
you at the stage entrance as you start.
Speaker 2 (08:49):
Out of the theater for dinner.
Speaker 4 (08:52):
Hello, John, hold Lewis, I waited for you.
Speaker 2 (08:55):
Probably might have dinner together.
Speaker 4 (08:57):
Good.
Speaker 2 (08:57):
How about the automatic. Let's make it, Mike. Well, I'll
even grab the checks. It's not that it's just a
see Mike has a bar and all afraid of bar.
Speaker 5 (09:11):
All right, Louise, let's make it Mike.
Speaker 2 (09:24):
Ah, that's better. One of the great joys of peace.
Speaker 4 (09:28):
Time, John, A man can get good scotch again.
Speaker 2 (09:32):
You know something? Want I admire you. They tell me
you hit the bottle pretty hard in your time. Hole
off and non, I suppose, and now you can take it.
You'll leave it alone. I'll like tonight as the lemonade
you ordered. Oh it's lemonade.
Speaker 4 (09:49):
You're on the.
Speaker 2 (09:50):
Wagon for good, eh, bosses? Or oh no, you don't
mean he went into that too. That's right. You know
I've hated that guy on general principles for years now.
At last, I gotta read, Louis. Could you could.
Speaker 3 (10:04):
You keep a secret?
Speaker 2 (10:05):
Sure? I think a drink could do me good. One
can't hurts me All bosses orders. One drink leads to another.
Just don't say anything going on. Well, I'd be the
last one in the world to red on you. John,
You know that good.
Speaker 4 (10:22):
Yes, sir, make it a double scotch.
Speaker 1 (10:35):
With the prologue of comeback. The Signal Oil Company is
bringing you another strange story by the whipler. Since last week, Whistler,
you know your car has aged a whole year, Yes,
even those shiny nineteen forty sevens and now last year's model.
But after all, the important thing is not the year
(10:57):
your car was made, but rather the care it receives.
That's what determines how long and how well it's going
to hold up. And that's why if you want your
car's performance to stay young, it's so important for it
to receive the more thorough, more conscientious service car's depth
at dealer own signal service station. For example, when a
(11:20):
signal dealer lubricates your car, he doesn't take any chances
on memory to locate the many different lubrication points. Instead,
he checks against the official factory chart that shows exactly
a which of signals nine specialized lubricants each part should
have for long trouble free service. And then, just to
(11:40):
make double sure not a single part has been missed,
your signal dealer checks the whole job again, which explains
why we call it signal double check. Lubrication of this
is typical of the many little extra services you get
from signal dealers, because each one owns his own business
and has a person of all interest in keeping your goodwill.
(12:03):
Typical of signal service designed to help your car run better,
look better, and last longer.
Speaker 2 (12:12):
Now back to the cliffler.
Speaker 3 (12:30):
Oh, it'll be a real comeback, John. Here in this
mediocre play, Oliver Stanley has put a new career in
your hands, a solid chance to pull yourself in one
flashing performance out of the cold, lonely pit of frustration
and cheap liquor. Yes, all that matters now is opening
nights and the reviews that are certain to.
Speaker 4 (12:50):
Come with your brilliance in the role of Hubbards.
Speaker 2 (12:53):
Back to the theater. After dinner, you go to your
dressing room.
Speaker 3 (12:56):
The scotch is wearing off now and you feel a
little left down.
Speaker 2 (13:00):
Come in, How are you feeling now, John? All right,
Toddan Louis, you look almost sober. Huhromly kiddy? Is he
that drink? Did you good? And who's the wiser?
Speaker 5 (13:14):
The idea of that guy telling I wish I had
another one right now he's been set Oh, I don't.
Speaker 2 (13:19):
Think you'd better John.
Speaker 4 (13:21):
If Oliver happened to get suspicious, you know, I.
Speaker 5 (13:24):
Guess no point in thinking about it anyway. There isn't
a drop within a block of the sea at all.
Let's not go that far. You mean there is some
just happen to have a bottle in my overcoat, Potli,
I'm sure another one wouldn't know.
Speaker 2 (13:37):
Sir, I don't want the boss accuse you.
Speaker 5 (13:39):
Want anything about it. Come on, it would be reasonable if.
Speaker 2 (13:41):
We settle for one back at Mike.
Speaker 3 (13:43):
You might smell it on your brain.
Speaker 4 (13:44):
A pack of mintia, please, Lewis, Well, just one, sure, Shore,
just one?
Speaker 1 (13:52):
H h okay, you better get out there and now
already to start?
Speaker 5 (13:58):
Yes, thanks, Luisi.
Speaker 2 (14:01):
I needed that one, not at all, anything for Abel.
Speaker 3 (14:11):
Your nerves are steadier now, and through the first two
acts of the rehearsal you give a wonderful performance. There's
a big audience of theater people out there watching you,
and the murmurs of approval only make you more confident
that the opening night, we'll see you back at the top.
At the end of that two Oliver breaks for inside.
Speaker 4 (14:30):
They're calling here minutes, Henry, you're jumping your cues again.
I know, Oliver.
Speaker 2 (14:36):
I'll I'll watch it and the last.
Speaker 4 (14:39):
Entrance with the type of glow keeping first right on hindsign.
Speaker 6 (14:42):
I'll try.
Speaker 4 (14:44):
I think we'll go right into the last rag now, oh, John, Yes, Oliver,
why am I think of it? I'm going to make
another simple cut near the end, As you know, you
walk off stags right after you shoot mate. Of course
that point the plays over as far as Yourgan's n
(15:04):
don't I come back to the scene with a servant.
I mean, after I've taken off the man. No, I
believe it will be more effective if you stay off.
I see Nasa, you'll kill me. I'll remain on stage
until the final curtain. There, Yes, Alan, quite please.
Speaker 3 (15:33):
You turn and walk away the hyde your contempt another
of your themes, gone John, to satisfy Oliver's unbelievable ego.
But you're not worried because.
Speaker 2 (15:44):
Tomorrow's triumph will put you back on top. The critics
will single you out you're sure.
Speaker 3 (15:48):
Of it, and you can leave Oliver and his ridiculous
play for good. At two in the morning, the grind
of the rehearsal is over. You hurry back to your
dressing room, tired and nervous from the strain, And then
you notice something. Lewis is over coat hanging next to
yours in the closet. You hurry over and lock the door,
then go to the closet.
Speaker 2 (16:14):
Door.
Speaker 4 (16:19):
Hold up, just a minute, coming the door?
Speaker 2 (16:27):
Ut, Sorry, ol come in.
Speaker 4 (16:33):
It's a murder.
Speaker 2 (16:34):
Why not a thing?
Speaker 4 (16:35):
I must have flipped the catch on the door by Actually,
I don't know why.
Speaker 2 (16:39):
May I come in? John? Well, Oliver and I talk
the girl? I just wanted to get my crew.
Speaker 4 (16:44):
No, I mean, I'll get it for you.
Speaker 2 (16:46):
Lewis, there's no trouble for me.
Speaker 4 (16:48):
What's the matter with you?
Speaker 5 (16:51):
Maybe a little nervous from all the rehearsal, not nothing more.
Speaker 2 (16:54):
Hey, what the liquor?
Speaker 3 (16:57):
Oliver Lewis's coat off the hooks of the bottle, peather
that doll.
Speaker 4 (17:02):
Not a drop of liquors filling on the coat. I'm
afraid that is old John broke in our agreement, haven't you.
Speaker 2 (17:11):
The bottle belongs to Lewis doesn't do it?
Speaker 3 (17:13):
Ask him all of a heel ten you do?
Speaker 4 (17:15):
It's my bottle. But you've been drinking a John.
Speaker 5 (17:18):
Now, look, Oliver, I haven't committed a murder.
Speaker 2 (17:20):
You can.
Speaker 4 (17:21):
You're out of this theater and don't come nearer on
me again.
Speaker 2 (17:25):
I'm surprised you do a thing like this, old man.
Why you're the very one?
Speaker 3 (17:29):
Don't start blaming me if you can't control your liquor.
You belong on a rest all nothing a broadway.
Speaker 4 (17:34):
So why you why you get up?
Speaker 2 (17:38):
You have that? Yes, held it out.
Speaker 4 (17:42):
I wouldn't breathe the same air with either of you.
Don't hurt for Mike much cheaper in bottles at the liquors.
Speaker 3 (17:50):
All consciousness is finally breaking through, John, and things start
(18:14):
to make a little sense. You're lying on the bed,
you're ill and weak, but you lunge forward to knock
an empty bottle of side. But you're over it now, John,
And you can't bear even the sight of a bottle
For a while. You look about the dreary, detorted rooms,
(18:39):
wonder what time it is, what day it is. The
crack wavy mirror shows a haggard old.
Speaker 2 (18:45):
Face staring back at you.
Speaker 3 (18:47):
Her face covered with gray stubbles, with patches of grease
paint still clinging in places. It's a horrible syking you
turn away.
Speaker 2 (18:55):
They did this to you, didn't they?
Speaker 3 (18:57):
John, Oliver Stanley and Lewis Cook your friends. You wonder
how you can strike back. You're still thinking about it.
If you make your way to a tiny lunchom for
a few cups of black coffee. A calendar in back
of the counter tells you that four days have gone by.
Four days Oliver's show is open without you, with Lewis
(19:17):
playing your part, moving about the stage in the row that.
Speaker 2 (19:20):
Belongs to you.
Speaker 3 (19:27):
That's when it comes to you, isn't it, John, a
simple effective plan for revenge against the two men you hate.
You get up, pay your check, and hurry downtown to
a hardware store. That evening, you're back at the theater,
standing on the fringe of the small crowd as they
pour out into the lobby between the second and third act.
Speaker 4 (19:45):
That way, I can agree with you.
Speaker 2 (19:47):
It's a thing.
Speaker 1 (19:48):
I wonder what John Maynard would have done with that
part they gave Lewis Cook.
Speaker 3 (19:51):
I don't know why did I make the sweet well?
Speaker 4 (19:53):
I heard it was the same old reason.
Speaker 3 (20:00):
Yes, John, my last act. You smile coldly at the
thought as you walk back to the stage door flip
inside unnoticed. You know that Lewis is on stage if
the curtain goes up, so you're quite confident, but you'll
be alone when you enter his dressing room. You close
(20:21):
the door softly, find the gun that hues near the
end of the play, and then seat yourself behind the
screen to wait.
Speaker 2 (20:36):
Call me in fifteen minutes with your head. I don't
want to miss my jube.
Speaker 5 (20:40):
I'm afraid you're going to miss your cue, Lewis.
Speaker 2 (20:43):
J Yes, the man you had thrown.
Speaker 5 (20:44):
Into the alley with you had thirty cheap tricks, and
I quite await Lewis.
Speaker 4 (20:50):
Look, I don't want any trouble with you, but if
you don't get out of here, you.
Speaker 2 (20:54):
Won't have any trouble with me.
Speaker 5 (20:55):
And I'm going very shortly.
Speaker 2 (20:59):
We'll go now.
Speaker 5 (21:00):
I have nothing to say that I have something to
say to you, Lewis. I've come to take over your
part in the last act, my part. I should say
some matter with you.
Speaker 3 (21:09):
I've had enough of this.
Speaker 2 (21:10):
I'm going to call Alliver down Zawiss.
Speaker 5 (21:12):
While I locked this door You can't threaten me with
that a prop gun no longer a prop, Lewis. I've
loaded it with the real thing. What's very simple to do,
just a little trip to a hardware store this afternoon.
Speaker 4 (21:24):
Then you can't get away with amusing, isn't.
Speaker 2 (21:27):
It, Lewis?
Speaker 5 (21:28):
All the things you've been doing imitating my style, It'll
make it so much easier.
Speaker 2 (21:32):
Now, what are you talking about? Last act for you
and Oliver? Wait a minute, I'm beginning to get this.
You intend to go out on that stage and murder
all of them? Oh?
Speaker 5 (21:43):
You murdering, or at least an entire audience will think.
So we have the same size? Is a part called
for a mask? And I think I can read it
as badly as you would, even with all of its cuts.
Speaker 2 (21:54):
I've been rehearsing for hours.
Speaker 3 (21:55):
And just how do you expect to shut me?
Speaker 5 (21:57):
I forgive that too, Lewis. You hadn't fainted when you
coaxed me to take that drink. But what do you
intend to do? Whyre you wrapping that towel around the
gun getting the sound to some extent when I was talking.
That's her big screaming steam.
Speaker 2 (22:13):
That will help, So John, don't do it.
Speaker 4 (22:16):
You won't get away with it.
Speaker 2 (22:17):
I aren't like you.
Speaker 4 (22:18):
Good bye the ways.
Speaker 3 (22:27):
You stand there waiting five minutes, ten fifteen, and then
you're ones.
Speaker 4 (22:34):
Who are you? What are you doing here?
Speaker 5 (22:42):
I've come to see you about Nancy Hobbs.
Speaker 2 (22:47):
The mark.
Speaker 5 (22:48):
Why are you worringy practical reasons, but the mask it
would be in view.
Speaker 2 (22:52):
Of what I've come here for. I can't risk being recognized.
Speaker 4 (22:57):
We could work this thing out reasonably without.
Speaker 6 (23:00):
Hard Goodbye, ed with you. Goodbye.
Speaker 3 (23:17):
You walk quickly off the stage and back to the
dressing room, placed the gun in Lewis Cook's hands. Twenty
minutes later, you're away from the theater and entering the
dingy lobby of your hotel.
Speaker 1 (23:29):
Oh even, mister Maynard. Hello, Frank, I want to leave
a call for in the morning. No, it won't be
nu uh. I haven't found another play yet.
Speaker 2 (23:39):
Huh.
Speaker 1 (23:40):
No, I've been reading about mister Stanley's play. Seems to
me they made no aful mistake taking you out of
that part.
Speaker 2 (23:48):
Thank you, Frank.
Speaker 3 (23:50):
No, it wouldn't surprise me if the show folded up tomorrow.
Speaker 2 (24:01):
I think you have something there. Frighten, good night.
Speaker 1 (24:17):
The whistler will return in just a moment with the
strange ending to the night's story. Meantime, since most everyone
is concerned about getting maximum value out of today's shrinking dollars,
I'd like to give you a tip on how to
be sure you're choosing the gasoline that stops in quality.
Speaker 2 (24:37):
Just remember these two points.
Speaker 1 (24:39):
One in gasoline, it takes extra quality to go farther,
and two signal is the famous go farther gasoline. Yes,
it's a fact. Your best yardstick of gasoline quality is miling,
the thing signal gasoline is famous for. After all, in
order for a gasoline to give you more mile per gallon,
(25:01):
it has to help your motor run more efficiently. And
when your motor runs more efficiently, naturally you enjoy quicker starting, faster,
pickup smoother, not free power. In other words, the superior
performance you expect of a superior gasoline.
Speaker 2 (25:17):
That's why we say to be sure.
Speaker 1 (25:19):
Of the tops in gasoline quality, just remember two things.
One in gasoline, it takes extra quality to go farther,
and two signal is the famous go farther gasoline. And
now back to the whistler.
Speaker 3 (25:47):
It's overdone. The play your chance that it come back everything.
But now, sitting in your cheap hotel room blocks from
the theater, you take satisfaction from the knowledge that Oliver
Stanley and Lewis Cook, the men who took your opportunity away,
are dead and.
Speaker 2 (26:03):
You will kill them.
Speaker 3 (26:05):
You wish that you could be there with the others,
watching their expressions as they make the discovery that Oliver
is actually dead on safe, that his death scene was
well played for a simple reason that he had actually
been shot, and because of your own careful acting. Lewis
is the murderer who then took his own life. You
wish that you could tell that to them all, just
(26:27):
as you did the Lewis the moment before you kill them.
Speaker 2 (26:30):
But there's nothing.
Speaker 3 (26:31):
Left now is the perfect performance is over and this
time applause and acknowledgments will have to be a minute,
all right, or you want.
Speaker 2 (26:48):
I want to talk to you. My name is uncle Homicide.
All right, I don't understand, okay, man, and keep up
the performance. I see here.
Speaker 5 (26:58):
I've done nothing, oh wordy, even out of your room tonight. Well,
of course that was I went for a stroll, but
some stroll right on stage and into the third act
of the Flop play. Look, I haven't I think this
idea what you're talking about?
Speaker 4 (27:12):
Please please made that.
Speaker 3 (27:13):
I'm not sitting in the front row balcony. I'm dunkle homicide,
remember standing right here in your room.
Speaker 2 (27:20):
But why because all the evidence.
Speaker 7 (27:22):
In the world brought me here. That wasn't a murder
suicide We walked into the night.
Speaker 2 (27:28):
It was a.
Speaker 7 (27:28):
Double murder and you did it. No, I'll tell you how,
but you know that already, so I'll just.
Speaker 2 (27:35):
Tell you whay. You slipped up. It was your big scene.
Speaker 7 (27:39):
Oh boy, bad, very bad. You left out the best
part the speech right after the murder. Beautiful thing made it,
but speech was cut. I'll put the speech back right
after he threw you up. You see, he wasn't afraid
of the speech made it. He was only afraid of
(28:00):
you stealing the show with it.
Speaker 1 (28:23):
Let that whistle be your signal for the Signal Oil program.
The whistler each Wednesday night at the same time, brought
to you by the Signal Oil Company, marketers of Signal
Gasoline and motor oil and fine quality automotive accessory. Signal
has asked me to remind you to get the most
driving pleasure drive at sensible speed, be courteous and obey
(28:46):
traffic regulations. It may save a life, possibly your own.
Featured in Tonight's Where John Brown and Herbert Butterfield. The
Whistler was produced by George w Allen, with story by
Terry Shaw and John Moore and music by Wilbur Hat
(29:10):
and was transmitted to our coups overseas by the Armed
Forces Radio Service next Wednesday for a full hour of
mystery over most of these Satans tune in a half
hour earlier enjoy the Saints as well as the Whistler.
This is Marvin Miller speaking. This is CBS for Columbia
Broadcasting System
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