The signal oil program, the Whistler. That whistle is your signal for the signal oil program, the Whistler. I am the Whistler and I know many things for I walk by night. I know many strange tales 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. Yes friends, it's time for the signal oil program, the Whistler. Rated by independent research, the most popular West Coast program. In gasoline, you know, it takes extra quality to go farther and signal is the famous go farther gasoline. So look for the signal circle sign in yellow and black that identifies signal service stations from Canada to Mexico. And now the Whistler's strange story. 8 to 12. At 3 o'clock that afternoon, Danny Brine had been riding high. The top crime reporter in San Francisco with a nice apartment on Russian Hill. 200 a week from the Express and a lot more on the side. At 4 o'clock he was nobody, just another newspaper man out of a job. He'd walked into the club nocturn just after dinner, decided he might as well give it to Teddy right from the shoulder. He'd know about it sooner or later anyway. By 9 he'd had four martinis, wasn't caring too much what he said one way or another. A job? Well I'm still a reporter baby. Brother Graves doesn't like my work, there are plenty of others who do. Graves is an important guy, they'll all listen to him. He's a stuffed shirt. I help put him where he is and he knows. Wait a minute Danny. Napoleon they call him down there. I'd like to ring his scrawny neck. Danny. Hello Danny. Huh? Oh Stan, oh boy. Teddy darling, this is Stan McIntosh, one of my erstwhile colleagues. Teddy Eldridge and Stan. Hello. Sit down. Let's talk over old times on the Express. I've only got a minute. Oh? What's on your mind? What about... Oh go ahead, go ahead. Teddy knows the story. Oh I see. Just wanted to tell you, Graves called us all into the office this afternoon. You want to know what he said? I got a rough idea. He said you were taking hush-up dough from the dame in that murder case across town. Said you put the bite on her. That's why you got canned. Oh, anything else? Told us he was gonna make an example of you, that's all. That self-righteous little jerk, I could kill him. Danny. Sure I could throttle him with my bare hands right now. Now take it easy Danny, you better go home and sleep at all. Oh shut up, I don't care who knows. Doesn't matter what you think, keep it to yourself. I tell you I could kill him. Well does that shock you Stan, huh? I could snuff him out right now like that. Tell that to the boys in the city room and tell them not to worry about Danny Brine. There are plenty of other jobs Stan, plenty of jobs. But there aren't plenty of jobs either Danny. Three other papers in town and you can tell by the way the city editors look across the desk at you that Martin Graves has been there first. That though it's all very polite and friendly, they're part of a closed corporation. And if Graves has given the word the answer is no. By the following Saturday night you're afraid that he's licked you, though you won't admit it to anyone, not even to Teddy. Danny. Yeah? Oh Danny I've got good news. Mr. Merrill called me in this afternoon, raised me to a hundred and a quarter. Say that's great. Oh it's more than they've ever paid for a girl singer. And Danny I just want you to know if, well if you need any money. Now wait a minute what are you talking about? Well since you're not working. Listen baby get this through your head. I'm not out of a job. I'm taking a rest. That's all. When I want a job I'll get one like that. Oh don't try and kid me Danny. I know how it is. I want you to remember I'll do anything for you Danny, anything. Sure baby I know that. But just forget about the job business will you? I'm not worrying. Why should you? Excuse me. Oh yeah? What is it Mike? There's a telephone call for you. Mr. Graves. He says it's important. Graves? Thanks Mike. You see Teddy? Nothing to it huh? Just like that. Yes Mr. Graves? Right. Yeah what is it? I want to talk to you about your job. Where are you? My apartment. Been laid up with the cold. Come up tonight? When? Well what time is it now? My clock's haywire up here. Don't know whether it's night or day. Oh wait a minute it's uh nine fifteen. Well what about ten? I don't know. I'll think it over. It better decide tonight. I may feel different tomorrow. Well Danny, he finally came around. But it's a matter of pride now isn't it? You deliberately stay at the club for another hour knowing it won't hurt to let Graves know you're taking your time. It's ten thirty when you walk up to the door of his apartment. Drop him a cordial nod as he lets you in and shows you to a chair and pours a drink. He wasn't kidding about the cold. The air is strong with eucalyptus oil. He's wearing a wool robe, a heavy towel around his neck. Five minutes later he gets to the point. Well Danny there's no use kidding each other. You're a great reporter. We need you on the Express. Oh thanks. You ought to come back. I've made up my mind. There are a lot of other jobs you know. Not in San Francisco. Why not? You ought to know. You've been to the Chronico, the Examiner of the News. They all turned you down. Well they're other towns. But you ought to stay here. You belong here. Oh maybe. I don't want to go into what you did Danny. I'm only to forget it if you are. I think you learned a lesson. Hey look, let's not even talk about that huh? All right. You ought to come back. Okay chief. When? You report Monday morning to Stan McIntosh. McIntosh? What do you mean? You're a rewrite man now. Rewrite? Who do you think you're talking to? You heard what I said. Rewrite? Why you two bit Napoleon. You think you can run me like a monkey on a string. Wait a bit of bright. Well you picked the wrong guy Graves. You can pull the strings only I don't jump. Take your hands off me. I always wanted to tell you off. Let go of me bright. Oh hit me will you? Oh you want to play rough do you? Okay Napoleon. Get away from me. Bright. Let go bright. You Graves I'll kill you. You forget where you are. Everything stops. There's nothing inside you but a blind red rage. The ends of the towel around his neck tight in your hand. It's quiet now Danny. No sound but the blood pounding in your head. And then things begin to get clearer. The room comes into focus again. A chair overturned. The desk swept clean. It's vase of flowers. The clock. The statuette smashed on the floor. And on the floor too is Martin Graves lying very still. You don't have to look any closer Danny. As a crime reporter you've seen murdered men before. Lots of them. You sit down let your head clear a little. Look at your watch. 1045. You know it's hopeless Danny. That you'd have a better chance of getting out of this one if you'd murdered Martin Graves in the middle of the Union Square at high noon. A motive. The opportunity. Everything's there. All ready for the police. You find yourself thinking of Teddy. Of what you're going to tell her. And then you think of something else. I want you to remember I'll do anything for you Danny. Anything. That's it. Teddy. With the prologue of 8 to 12 the Signal Oil Company brings you another strange tale by the Whistler. Remember those trick radio voice effects I demonstrated on the Whistler a few weeks ago. Well since then many of you have written in asking about other effects. So tonight I'll show you a couple more. I'll speak into the flutter box and say in gasoline it takes extra quality to go farther and signal is the famous go farther gasoline. But listen it comes out like this. In gasoline it takes extra quality to go farther and signal is the famous go farther gasoline. On the other hand through the public address system it sounds like this. In gasoline it takes extra quality to go farther and signal is the famous go farther gasoline. But after all the important thing is what you say not how you say it. And in gasoline the important thing is it takes extra quality to go farther and signal is the famous go farther gasoline. You see you get those quick signal starts that fast signal pick up and smooth knock free signal power because signal helps your engine run more efficiently and naturally the more efficiently your motor runs the more mileage you get. That's why signal says in gasoline it takes extra quality to go farther. And remember signal is the famous go farther gasoline. And now back to the whistler. Yes Danny standing there over the body of Martin Gray. You know there's only one thing that can save you an alibi Danny. You've got to have a sworn statement from Teddy Eldridge that you couldn't have been up here in Graves apartment that you were with her at the club nocturnal evening. Just as always from eight to 12. You get up start for the phone and then stop remembering the switchboard operator. And as you turn you hesitate to decide to answer. Put your handkerchief over the mouthpiece lower your voice. The cold Martin Graves had a bad cold. Yes. Martin. Yes. This is Stark at the city desk. How did you come out with Danny Bryant. Oh he. He hasn't showed up. Looks like he might not come at all. Just as well. You'd have a hard time making him eat crow. That coal sounds pretty tough. How do you feel. Oh not so good. Just going to bed. Oh better not bother you then. Plenty of rest you know. Keep warm. Maybe a hot toddy. That's right. Good night Martin. Good night. Yes Danny. There's only one way out to somehow leave the apartment without being seen. Find Teddy and get the questions answered before they're asked. You take care of your fingerprints. Then walk to the door. Open it. The halls vacant. You step out quietly. Close the door behind you. And tiptoe down to the back stairway. On the main floor you walk up to the side door opening onto the alley. It's locked. You've got to leave by the main entrance now. Knowing if anyone sees you here you might as well drive up to headquarters and confess. The lobby is empty. You hurry across it out the main door. Well Mr. Brian. Oh you remember me. Name's Bleecker. Horace Bleecker. Met you while I go through Mr. Graves. I live in the same apartment house. Is something wrong? Oh no no nothing's wrong. You startled me. Oh I'm sorry. I'm on my way to the airport leaving tonight for Los Angeles. Seems the streets are full of taxis until you really want one. You waiting for a taxi? That's right. Look let me give you a lift. I have my car. Oh no no I wouldn't think of putting you... Oh not at all. Come on. I insist. That's all I insist. You help Bleecker into your car. Start south across Market Street. Gripping the wheel hard to keep from shaking. Tense, nervous. A sick tight feeling in your stomach. You know you've got to kill Bleecker too. There's no other way. By the time you hit the fringe of the city you know how it's going to happen and where. But there's really no hurry Mr. Brian. My plane doesn't leave till midnight and it's only eleven. Sure I know. I just wanted to give you a little leeway. And another thing your gasoline gauge looks almost empty. There's a signal oil station at the next corner. Perhaps we'd better stop. No no not now. I can't stop now. You better slow down. Speed limit twenty five. I just saw the sign. Look out! I didn't see him. I didn't... Why you. You cut right in front of that car. Look here comes the driver. Hey you. What's the idea? Hang on. Hey wait a minute. You bastard. My fender. Mr. Brian. You've got to stop. Forget it Bleecker. But that's hit and run. You can't... I said forget it. It's like a nightmare isn't it Danny. You don't think anymore. You only feel. And above everything else you know you and Bleecker must not be seen together now. He knows something's wrong. Out of the corner of your eye you see him hunched in the seat like a frightened rabbit. Ready to jump out if you slow down. Dear city. But that's not the way to the... I said I'd get you to the airport didn't I? But why not? We'll take Skyline Boulevard drop down to the airport at Milbrae. I... It's a little longer that way but faster. But I... You see there's no traffic. At eleven thirty you turn onto the Skyline Boulevard. Dark and deserted now. Winding through the trees and the crest of the hills overlooking the bay. And a moment later you make up your mind. Hold your breath. Pull over onto the shoulder of the road near an old water tower. What? Why are you stopping here? Ah. That fender I banged up it's scraping on the wheel. You pick up a rock from the edge of the highway. Pause a moment. Then... Ah... Bleecker. Yes? Give me a hand here will you? What's the matter now? Take a look down there. Huh? Where? Why I don't see anything. You carry his body to the foot of the embankment. Drop it in a depression behind some bushes. As you climb back up to the road the shale slides down in a rush. Covering it completely. That ought to do it. Come on. What's the matter? Oh. It won't start Danny. You reach for the choke and then your eye strikes the gas gauge and you turn cold inside as you realize what's wrong. Ah. I'm out of gas. Ten minutes to twelve Danny and you're stuck next to the water tower. With Bleecker's body lying in the ditch ten feet away. Teddy will leave the club nocturn at twelve thirty. And unless you get that call through to where the whole plan, the solid life saving eight to twelve alibi is gone. You've got to flag a car, get some gasoline. But the skyline boulevard is almost deserted at this time of night. Then at last at twelve fifteen a pair of lights round the bend in the distance and a small coupé pulls up to a stop. What's the matter buddy? You in trouble? I'm out of gas. Oh, you picked a great place mister. You got a hose or something? Could you let me have a little out of your tank? Brother, you don't know how lucky you are. Well, let's take a look. I'm in a hurry. I've been waiting here for almost a half hour. Oh, say you know that's dangerous. Never know who might be riding around here this time of night. Here let me get this turtle back open. But like I said, you're a lucky man. You mean you can. Siphon hose and the gas can. Never catch me on the road without them. Swell. You fumble around awkwardly trying to help him as he siphons a gallon of gas out of his tank. Twelve thirty. Teddy might be gone now. It seems a thousand years before he finally finishes up. Well, there you are pal. That ought to get you into the station anyway. Oh, I'm sure it will. Thanks a lot. Oh, here, here. Take one of my cards. Look me up sometime. Thanks. I better be going now. I'm in a hurry. Just a minute. What's the matter? The gas. I think fifty cents ought to do it. Fair enough, huh? Here, take my card. Before he's had time to get back in his car, you're pulling away from the spot. The accelerator down to the floor. Hoping you'll never have the bad luck to run into him again. Somewhere along the way you find you're still holding on to his business card. Then you toss it out the window. Yes, Danny. The only thing that counts now is Teddy. And ten minutes later you're on the phone, praying she hasn't left the club. Hello? Oh, Teddy? Danny, where are you? Never mind. Listen, listen, honey. Is Mike still there? I think so. You've got to help me. Mike too, if you think we can trust him. Oh, you've got to be sure. Danny, what's the matter? I can't tell you now. Just get this. You've got to swear I was at the Nocturne from eight to twelve that I didn't leave. Danny, Danny, what have you... You said you'd do anything for me, didn't you? You meant that, Teddy. Anything. Of course, darling. Then don't ask questions. Just do as I say. All right, Danny. I'll do it. Just as you say. Well, Danny, somehow the worst is over. The eight to twelve is going to be the answer. And you know Teddy will make it solid. You weren't at Grave's apartment. You never saw a bleaker. And that man on the highway couldn't have possibly seen enough of you in the darkness to identify you. You stay home all day Sunday, knowing it will be smart to keep away from Teddy now. You spend the morning and the afternoon listening to news reports, waiting, waiting. But it's not until ten o'clock Monday morning that the phone rings. It's your old friend Neil of Homicide, asking you to drop in at headquarters. Hello, Neil. Well, I'm Danny. What's this all about? Why are you... Teddy, Mike, what are you doing here? We can skip the act, Danny. You must have seen the papers on the way here. Oh, you mean Grave's? I mean Grave's. Well, so I didn't like the guy. Does that mean I killed him? According to Stan McIntosh, you were a hot prospect a few nights ago. Oh, sure. A guy has a few drinks. He's sore, but... But you didn't do it, huh? No, I didn't do it, Neil. Well, Mike and Teddy have you covered from eight to twelve on the night it happened. That right? I didn't put my nose out of the club until midnight. That's the truth, Mr. Neil. Mike and I were with him all the time. It's just like I told you, Lieutenant. He was right there in the corner booth early time. We've been through that once. Let's leave it there. Well, what about it, Neil? Well, I guess there's no argument about that, Danny. You were at the club that night from eight to twelve. The Whistler will return in just a moment with a strange ending to tonight's story. But now, in place of the message about signal gasoline usually heard at this time on the Whistler, Signal Oil Company has asked me to talk with you about something much closer to your heart, about the less fortunate individuals you'll want to lend a helping hand to this year through the American Red Cross. Who are they? Why, they're the victims of disasters such as fire, wreck, tornado, hurricane, or epidemic. Disasters that can strike any one of us anywhere, anytime without warning. Who else? Over one million discharged veterans got a helping hand from the Red Cross last year. And don't forget the 80,000 hospitalized veterans who may depend on the Red Cross for a long time to come for their recreation and entertainment, their letter writing, shopping, and other assistance. These are just a few of the hundreds of ways the Red Cross is called upon to help every day. It's going to take $60 million to answer all the calls for help the Red Cross will receive this year. So give as generously as you can, remembering you're the lucky one to be in a position to give help rather than to need help. And now back to the Whistler. Well, Danny, you're in the clear. You feel it. Know it as your friend Neil of the Homicide Division leans back in his chair and studies the three of you. Teddy and Mike really came through. Insisted you couldn't have killed Graves because you weren't out of their sight from 8 until 12. And you know only too well that Graves died at 1030. So you put it over, Danny. It took two murders instead of one, but your alibi is airtight. Bleecker, the only man who saw you come out of Graves' apartment house, is lying dead outside of town by the old water tower. You haven't a thing to fear, Danny. Not a thing. You know, this sort of thing isn't too easy when you're dealing with old friends. You're right, Neil. But since you've just heard that I couldn't have had anything to do with the murder, well, let's forget all about it, huh? I wish I could, Danny. Only I can't figure you're in the clear. Now you said you left the club at 12. Yes. But I told you, Mr. Neil. Mike and I were with him right up till then. I heard you, Miss Eldridge. I'm sorry, it doesn't mean anything. You see, we've placed the time of the murder at 12.15. Huh? 12.15? On the nose. During the struggle, an electric clock on Graves' desk was disconnected. Oh, wait a minute. You're wrong, Vic. Go on, Danny. What's wrong? Everything's wrong, isn't it, Danny? They've made a terrible mistake. What time is it now? My clock's haywire up here. I don't know whether it's night or day. Don't sit there with your mouth hanging open, Danny. You kept that appointment with them, didn't you? Only at 12.15 and you killed them. No, no, no. Wait a minute. I did keep the appointment, but not at 12.15. I went up there a little after 10. I left at 10.30. You expect me to swallow that? Who saw you leave? Who saw you come out of that apartment? You're in a corner now, gulping as Neil pounds at you. Who can you turn to now, Danny? Who can prove you weren't in that apartment at 12.15? You remember me? Named Bleecker. Horace Bleecker. He's dead, Danny. Where you left him under two feet of shale on the Skyline Boulevard. Hey, wait a minute, mister. You bashed in my fender. Lost in the heart of the city, in the maze of streets south of Market. I'm waiting, Danny. Let me think. There was one more, another guy. What are you talking about? Yeah, another guy. I didn't get his name, but... Uh, the gas? I think 50 cents ought to do it. Fair enough, huh? Here, take my card. His card. I took his card. I threw it away. Will you get to the point? Where were you at 12.15? Did you hear what I said? Yeah, yeah, I heard you. I, uh, I guess I haven't got the answer. Let that whistle be your signal for the Signal Oil Program, the Whistler, each Monday at 9. Brought to you by the Signal Oil Company. Marketers of signal gasoline and motor oil and fine quality automotive accessories. Signal has asked me to remind you to get the most driving pleasure, drive at sensible speeds, be courteous, and obey traffic regulations. It may save a life, possibly your own. Featured in tonight's story were Joseph Kearns and Doris Singleton. The Whistler was produced by George W. Allen with story by Joel Malone and Harold Swanton, music by Wilbur Hatch, and was transmitted to our troops overseas by the Armed Forces Radio Service. This is Marvin Miller speaking for the Signal Oil Company. This is CBS, the Columbia Broadcasting System.
