Episode 362: The First Year

[00:00:16] Speaker A: The Mysterious Old Radio Listening Society podcast. Welcome to the Mysterious Old Radio Listening Society 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. [00:00:36] 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. [00:00:43] Speaker A: For our first new episode of 2025, we compiled a list of New Year themed old time radio productions and selected [00:00:50] Speaker C: one at random and the hand of fate decreed that we listened to the First Year from the Whistler. [00:00:58] Speaker B: The Whistler ran on CBS from May 16, 1942 to September 22, 1955. It was another in a crowded field of crime based anthology programs. But what made it unique was the narrator, a mysterious figure known only as the Whistler. Each episode began with the Whistler's solitary footsteps accompanied by a melancholy whistle. Although he never appeared in the stories, the Whistler made his presence felt. His tone was sardonic and occasionally mocking, making his narration feel less like exposition and more like a jeering taunt. [00:01:28] Speaker A: Many notable actors portrayed the Whistler over the course of its 13 year run, including Joseph Kearns, Gale Gordon and Bill Johnstone. The longest serving Whistler and the only actor to receive an on air credit for the role was popular radio announcer Bill Foreman. The distinctive opening tune was composed by Wilbur Hatch and whistled by a young woman named named Dorothy Roberts. [00:01:51] Speaker C: The Whistler was sponsored for most of its run by Signal Oil Company, the largest independent oil company on the West Coast. This meant that the Whistler was broadcast only on the west coast with the exception of two short East coast runs as a 1946 summer replacement for Campbell Soup's the Jack Carson show and from March 26, 1947 to September 29, 1948 for household finance. Despite its limited reach, the Whistler was popular enough to spawn a series of B movies from Columbia Pictures and a short lived television adaptation. [00:02:28] Speaker B: Now let's listen to First Year from the Whistler starring Gerald Moore and Betty Lou GERSON. Originally broadcast December 31, 1947 it's late [00:02:37] Speaker A: 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. [00:02:53] Speaker D: The Signal Oil Program the Whistler. That whistle is your signal for the Signal Oil Program the Whistler. [00:03:34] Speaker E: I am the Whistler and I know many things for I walk by night. I know many strange tales hidden in the 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 tops in popularity for a longer period of time than any [00:04:02] Speaker D: other west coast program in radio history. And Signal Gasoline is tops too. [00:04:07] Speaker E: Tops in quality. [00:04:09] Speaker D: It takes extra quality, you know, to [00:04:10] Speaker E: give you extra mileage. [00:04:12] Speaker D: And Signal is the famous Go Farther Gasoline. [00:04:16] Speaker E: So look for the Signal Circle sign in yellow and black that identifies friendly dealer owned signal stations from Canada to Mexico. [00:04:26] Speaker D: And now, the Whistler's strange story. The first year. [00:04:39] Speaker E: The story of Lydia Winters falls naturally into two parts, separated by exactly one year almost to the minute. Her marriage to Elliot Larkin ended, of course, on New Year's Eve, somewhere around midnight at a place called Silver Lake Lodge. The circumstances surrounding its ending are a matter of record now in the files of the police department Homicide Division. The beginning is another story, a personal one. Just a year before, early on New Year's morning, Lydia Winters had stood at the door of her uncle's apartment with Elliot, listening to the whistles ushering in the new year. [00:05:24] Speaker D: Darling, listen. [00:05:26] Speaker F: It's official now. [00:05:27] Speaker D: A brand new, brand new life. [00:05:30] Speaker F: I better go in now, Elliot. [00:05:31] Speaker D: Look, Lydia, let's go together. You can speak your piece and I'll back you up. [00:05:34] Speaker F: I already told you I want to talk to Uncle Philip alone, darling. [00:05:37] Speaker D: Oh, but why waste New Year's Eve? Good Lord, woman, it'll only take a minute. [00:05:41] Speaker F: I love you, dear, and I'm gonna marry you. But you might as well learn right now. When I make up my mind, I mean it. [00:05:46] Speaker D: So Marty tells me. [00:05:48] Speaker F: Poor Marty. [00:05:49] Speaker D: Yeah, poor Marty. Looked like you hit him with a pole axe when you told him tonight. [00:05:53] Speaker F: He'll get over it. They all do. [00:05:55] Speaker D: I wonder if we will. [00:05:57] Speaker F: Maybe. But it'll be fun while it lasts. [00:06:00] Speaker D: Lydia, why are you marrying me? [00:06:04] Speaker F: Oh, you dance well. You're good looking. You have charm of a sort. [00:06:10] Speaker D: And of course, my money. [00:06:12] Speaker F: Your money. I'm tired of depending on Uncle Philip. [00:06:16] Speaker D: Ah, you're a worldly woman, but very practical. [00:06:18] Speaker F: Kiss me, darling. Good night, Elliot. [00:06:22] Speaker D: I'll pick you up tomorrow at noon. We can be married in Greenville and run up to Silver Lake Lodge for a couple of weeks, huh? [00:06:27] Speaker F: You're so capable, darling. All figured out for me. [00:06:29] Speaker D: Yeah, except Uncle Philip. [00:06:30] Speaker F: Just leave Uncle Philip to me, dear. Good night. [00:06:33] Speaker D: Good night. Happy New Year. [00:06:40] Speaker F: Well, Uncle Philip. Oh, it's you, you old darling. Waiting up for me? [00:06:45] Speaker G: There's a very good reason, Lydia. I want to talk to you seriously for once. [00:06:50] Speaker F: Oh, And I know just what it's about. You don't approve of Elliot, do you, dear? You think he's a fortune hunter, irresponsible, unworthy of me. And I'm so hard and thoughtless and gullible. [00:07:01] Speaker G: You through? [00:07:02] Speaker F: Yes. [00:07:03] Speaker G: Good. Then please understand this. If I have any concern about Elliot Larkin, it's on his account and not yours. [00:07:11] Speaker F: Is that so? [00:07:11] Speaker G: Exactly. In the proper hands, he might, just might, understand you. Grow up into a decent human being. With you, he hasn't a chance. [00:07:19] Speaker F: Now, wait a minute. If you think you can tell me. [00:07:22] Speaker G: Let me finish. That's beside the point anyway. You're just like your mother was, Lydia. The same selfishness, the same abysmal ignorance of the true meaning of marriage. You're not in love with this man. He's not in love with you. [00:07:36] Speaker F: You're pretty sure of yourself, aren't you? [00:07:38] Speaker G: Of course I'm sure. To get to the point, Lydia, I will not approve your marriage to Elliot Larkin or any other man. Until you indicate some small understanding of what the word means. Until you're able to look upon it as a sacred contract instead of an adventure. [00:07:54] Speaker F: I see. Now, I'd be grateful if you'd step off the soapbox while I tell you something. I don't care what you think. [00:08:02] Speaker G: Listen to me, Lydia. [00:08:03] Speaker F: I'm through listening to you. I'm of age, Uncle Philip. Tomorrow afternoon I'm marrying Elliot, whether you approve or not. I don't care about you or your money or anything else. It's my life, and I can deliver it as I please. I am leaving at noon tomorrow, Uncle Philip, and there's nothing you can do about it. [00:08:19] Speaker G: Hmm. Nothing I can do about it, eh? Yeah. Hello, Ballinger? Yes? Phil Ridgely. I hate to get you up, old man. Oh, not at all. [00:08:40] Speaker D: New Year's, you know, we're having a little party. [00:08:42] Speaker G: I want to see you right away, Ballinger, about my will. [00:08:45] Speaker D: Oh. [00:08:46] Speaker G: How about tomorrow morning? I said right away. Now. Good Lord, Phil. You can't do a thing like this. Now. Why not? Why, it's. It's vicious. If there's any chance for success of Lydia's marriage, it's destroyed by this. This thing. You can't play with people's lives as if they were puppets. It's my money, Ballinger. I can do with it what I please. Now, get this again. The new will is to provide that if Lydia and Elliot Larkin lived together as man and wife. Under the same roof for a period of 10 years, they are to receive the principal legacy of $500,000 jointly, or half to each other, as they may choose. That failing, it goes to the Children's Relief Fund. Got that? [00:09:36] Speaker D: That's clear enough. [00:09:37] Speaker G: Now, if at any time during those 10 years, either one of them die by any means, the entire sum is payable to the survivor immediately. Look here, Philip. I realize I'm in no position to question your moral code, but this thing is fiendish. Why, it'll set them at each other's throats. Perhaps it will, Ballinger. Perhaps it will. It's a sort of a test, you know. If I'm right, if their marriage means nothing to either of them, it will destroy them. On the other hand, if I'm wrong, it will be a real reward. Yes, but don't you see? It's not a will, Philip. It's a weapon. Maybe. I know I won't live to see it work out, but you'll see it. Ballinger. You're to acquaint them with the provisions the moment I die. There's a comfortable retainer in there for you to see. It's followed to the letter. You know, I envy you, Ballinger. It should prove very interesting. [00:10:48] Speaker D: With the prologue of the first year. The Signal Oil Company is bringing you another strange story by the Whistler. [00:10:58] Speaker E: But now a brief suggestion to help you enjoy new driving pleasure during the new year. To be sure of the tops in [00:11:06] Speaker D: gasoline quality, there are just two things to remember. [00:11:10] Speaker E: One, in gasoline, it takes extra quality quality to go farther. [00:11:15] Speaker D: And two, Signal is the famous go farther gasoline. And now back to the Whistler. [00:11:40] Speaker E: Yes, Lydia. It began on a New Year's Eve at a party with Elliot Larkin, when suddenly, impetuously, you decided that here was the answer to Uncle Philip's tyranny, an avenue to freedom. And it's worked out fairly well, hasn't it? It's not a storybook marriage, of course, but you didn't expect that. Still, Elliot is fairly presentable, reasonable and charming. And you're sure he's wealthy enough to keep. Keep you well dressed and entertained. And until something better comes along, you're content. It was an evening in October that changed all that. The two of you had just arrived home from a football game. [00:12:19] Speaker D: Old Johnny Gates. Can you imagine running into him that way? [00:12:21] Speaker F: I felt like a lost sheep with the two of you huddled together all that. [00:12:24] Speaker D: Well, I haven't seen him since college. Oh, here, let me take your coat. There. It was a lucky break running into him that way. [00:12:30] Speaker F: You know, wear the cigarettes. [00:12:31] Speaker D: Oh, a minute. Oh, here you are. Catch. [00:12:33] Speaker F: Thanks. What do you mean lucky break? You didn't pay any attention to the game. [00:12:39] Speaker D: Well, he's leaving his job. He's going to the Orient. [00:12:41] Speaker F: Oh, yeah. [00:12:42] Speaker D: He represents some cordial outfit. Liqueurs, that sort of thing, you know. Well, I mean, that's the job he's leaving. It's a pretty good job. [00:12:49] Speaker F: What's that got to do with you? [00:12:50] Speaker D: He says he'll recommend me to replace him if I want it. [00:12:52] Speaker F: You? You mean you're going to work? [00:12:55] Speaker D: Well, why not? I can't be a playboy all my life. [00:12:58] Speaker F: Elliot. Elliot, darling, what in the world got into your head? [00:13:01] Speaker D: What's so funny, huh? [00:13:03] Speaker F: Elliot. Elliot, you working? [00:13:05] Speaker D: Yeah. Well, you better answer the phone. [00:13:07] Speaker F: Yeah. [00:13:07] Speaker D: Excuse me, dad. [00:13:10] Speaker F: Hello, Mrs. Larkin? Yes? [00:13:13] Speaker G: This is Mr. Ballinger, your uncle's lawyer. [00:13:16] Speaker F: I'm not at home to my uncle, Mr. Ballinger. You can tell him. [00:13:19] Speaker G: Just a minute. Mrs. Larkin, I'm calling to tell you that your uncle passed away this afternoon. [00:13:25] Speaker F: I see. [00:13:26] Speaker G: It's my duty as his executor to read to you the terms of his will. [00:13:30] Speaker D: Who is it, honey? [00:13:30] Speaker F: Just a minute, please. Uncle Philip's dead. Something about the will. [00:13:34] Speaker D: Oh, let me talk to him. [00:13:35] Speaker F: I'll handle it. Mr. Ballinger, perhaps you don't quite understand my relationship with Uncle Philip. [00:13:39] Speaker D: Wait a minute, Elliot. Give me that phone. [00:13:41] Speaker F: How do you think you're doing? [00:13:42] Speaker D: It's time I knocked some sense into your head, angel. You may as well know it now. We're broke. [00:13:45] Speaker F: We're what? [00:13:46] Speaker D: Or as close to it as you can get without selling the furniture. That's why I took Johnny up on the job. Hello, You. [00:13:51] Speaker F: You had money. A lot of it. [00:13:52] Speaker D: Just never mind that now. Just tell Mr. Ballinger you'll be glad to talk to him, you hear? Go on, take the phone. [00:13:56] Speaker F: Hello? Hello, Mr. Ballinger? Yes, we'll be over right away. [00:14:03] Speaker D: How'd it taste, dear? [00:14:04] Speaker G: What? [00:14:05] Speaker D: Humble pie. [00:14:06] Speaker F: I'm not in the mood for that sort of thing. Elliot, why didn't you tell me you were broke? [00:14:09] Speaker D: You didn't ask. You just went along with what everyone believed about the lock and folks. [00:14:13] Speaker F: You think that was fair to me? [00:14:14] Speaker D: Well, it works two ways, angel. After all, I was under the impression your Uncle Phillip's worldly goods, well, practically in your pocket. [00:14:20] Speaker F: I see. Well, I guess I'd better make this clear. Elliot, I don't love you. I never did. [00:14:25] Speaker D: Oh, now, take it easy. [00:14:26] Speaker F: And bright and early tomorrow morning, I'm leaving this house and I'm not coming back. [00:14:29] Speaker D: Really? Well, I'm going to miss you terribly. Where are you going? [00:14:33] Speaker F: Does it matter very much? [00:14:35] Speaker D: No, not really. Tomorrow's up to you, Lydia. Tonight, on the other hand. [00:14:39] Speaker F: I'll see Mr. Ballinger alone. [00:14:41] Speaker D: Uh, we're going together. Darling. Somehow I'm just a little curious about your uncle's will. [00:14:53] Speaker F: You? You mean this thing forces us to love each other? [00:14:57] Speaker G: More or less. That is, if you want the money. You will live together under the same roof for 10 years. [00:15:03] Speaker D: Yes, I heard it the first time, Ballinger. Now, are you sure it'll hold up under probate? [00:15:07] Speaker G: It's quite legal, if that's what you mean. [00:15:09] Speaker F: Naturally, you didn't know Uncle Philip very well, Elliot. Most efficient man in the world. [00:15:13] Speaker G: Well, that's it. Is there any questions, Lydia? [00:15:17] Speaker F: No, no, it's all very clear. Oh, come on, Elliot. [00:15:21] Speaker G: Well, then, good night. [00:15:23] Speaker E: Good night. Lock in. [00:15:24] Speaker D: Good night. [00:15:28] Speaker F: Amusement, Elliot, or the beginning of hysteria? [00:15:31] Speaker D: A little of each, I suppose. You know, you must admit the old boy had a sense of humor. [00:15:35] Speaker F: Must I? [00:15:35] Speaker D: Ten years, nine to go. Well, I guess there was a time when I'd be willing to do anything for a half million dollars. Right now, I don't know. [00:15:44] Speaker F: It won't make any real difference. Elliot, I want that money. You live your life, I'll live mine. No questions, no answers. [00:15:50] Speaker D: Except to the watchdog, Ballinger. [00:15:52] Speaker F: Yes, we can handle him. [00:15:53] Speaker D: I suppose it's worth a try. All right, dear, what's the first move? [00:15:58] Speaker F: Your friend, Johnny Gates. Johnny, you'll need that job now. You have a wife and home to support, remember? [00:16:14] Speaker E: At that moment, you're forced to admit something to yourself, aren't you, Lydia? That Uncle Philip was right. That your marriage to Elliot Larkin is a farce. A hollow, mocking thing that was never meant to be. And there's something else, Lydia. The strange will. As the weeks pass, you know it for what it really is. An instrument of torture. A weapon striking back at you from the grave. Yes. Uncle Philip might as well be alive and laughing at you, telling you that you can't win. But through it all, you're determined that somehow, someway, you'll defeat Philip on his own ground. Then, on New Year's Eve, the night marking your first year together, Elliot calls [00:16:55] Speaker G: you at the apartment. [00:16:58] Speaker F: Yes, Lydia. [00:16:59] Speaker D: I thought you might be interested. I've got that job. [00:17:01] Speaker F: Johnny's? [00:17:02] Speaker D: Yeah, he's giving it up. Leaving right away. [00:17:03] Speaker F: Oh, nice. Tonight I can drink champagne that's paid for. [00:17:06] Speaker D: Oh. Oh, about that. I won't be able to make dinner until later. I'm helping Johnny celebrate. [00:17:10] Speaker F: Oh, don't worry about that. I Meant to tell you. We can skip the dinner plans. I'm meeting Marty Bell at the Zebra Club. [00:17:15] Speaker D: Marty Bell, huh? Well, true love never dies. Good old Marty. [00:17:20] Speaker F: Don't tell me you object, darling. I'll see you tomorrow. Elliot. [00:17:24] Speaker D: You'll see me tonight. If you insist on going there with Belle, I'll come down to the Zebra Club. [00:17:27] Speaker F: And what? Don't play the jealous husband, Elliot. That's really overdoing it. Goodbye, Lydia. [00:17:33] Speaker D: Lydia. [00:17:45] Speaker F: Marty. [00:17:46] Speaker E: Marty, you're very amusing, but I mean it, Lydia. I love you. [00:17:51] Speaker F: Does anyone really mean that? [00:17:53] Speaker G: I want you to go away with me, Lydia. [00:17:55] Speaker D: Leave Elliot. [00:17:56] Speaker F: Please. Marty. Trying to break up the perfectly matched adoring Larkin. [00:18:00] Speaker G: It isn't breaking anything up and you know it. [00:18:02] Speaker D: You're not fooling me, Lydia. [00:18:04] Speaker E: Stop it, Marty, you don't care a hang for Elliot. [00:18:06] Speaker F: I said stop it. [00:18:07] Speaker B: Hello. [00:18:08] Speaker F: There's someone coming over to our table. An old friend. [00:18:10] Speaker D: Really? [00:18:11] Speaker G: I don't see anyone. [00:18:12] Speaker F: Mr. Ballinger. What an unexpected surprise. [00:18:15] Speaker G: Yes, I dare say. [00:18:16] Speaker F: I'd like you to meet Marty Bell, an old friend of Elliot. Marty. Mr. Ballinger. [00:18:20] Speaker D: How to do, Marty? [00:18:21] Speaker F: Marty's keeping me company while I wait for Elliot. But he has an appointment. Maybe you'd sit in for a while, Mr. Ballinger. [00:18:25] Speaker G: Glad to. [00:18:26] Speaker F: But then Marty won't have to waste any more time. [00:18:28] Speaker E: I'm not wasting time. [00:18:29] Speaker F: All right. You've been a dear, Marty. I'll tell Elliot now than long. [00:18:33] Speaker G: Nice to meet you, Bill. [00:18:34] Speaker D: Yeah, same here. Goodbye, Lydia. [00:18:36] Speaker F: Bye, Marty. And thanks so much. He's such a dear. [00:18:41] Speaker G: Lydia, I've been intending to bring this up for some time. I. I've been disturbed about things that I've been hearing. [00:18:49] Speaker F: Things? What things? [00:18:51] Speaker G: About you and Elliot. You know, when there's any sign of trouble between you, you're on dangerous ground. [00:18:58] Speaker F: Why, Mr. Ballinger, I don't know what you're talking about. We're getting along beautifully. [00:19:03] Speaker G: Where is Elliot? Lillian, it's New Year's Eve. You two should be together. [00:19:07] Speaker F: Of course we should. But the night's only beginning, Mr. Ballinger. Why, I talked to Elliot only a little while ago. He's going to be here. [00:19:14] Speaker G: Do you mind if I wait? [00:19:16] Speaker F: I know I'd appreciate it if you would wait. There he is now. He just came in. Would you excuse me a minute? I'll tell him where we are. Excuse me. Would you let me through, please? [00:19:30] Speaker D: I'm sorry, Elliot. [00:19:31] Speaker F: Pardon me. [00:19:31] Speaker G: It's okay. [00:19:32] Speaker D: Elliot. [00:19:33] Speaker F: Elliot. [00:19:34] Speaker D: Oh, there you are. Where's Marty? I want to talk to him. [00:19:36] Speaker F: He's not here, Elliot. Come over to the table with me. [00:19:38] Speaker D: He ran out, huh? [00:19:39] Speaker F: I sent him away. Ballinger's here. [00:19:41] Speaker D: Ballinger. [00:19:42] Speaker F: Smile, darling. He's looking right at us. Oh, would you let us through, please? [00:19:46] Speaker D: Excuse us. [00:19:47] Speaker E: We're sorry. [00:19:48] Speaker F: Right here, darling. Right here. Here he is. Mr. Ballinger. My st. Dear, you remember Mr. Ballinger. [00:19:56] Speaker E: Hello, Larkin. [00:19:57] Speaker D: Yes. How are you, Ballinger? [00:19:59] Speaker G: Sit down, my boy. I just ordered a round of drinks. [00:20:01] Speaker F: Why, how nice. [00:20:03] Speaker G: If you'll permit me, I'd like to offer a toast on your anniversary. One year, isn't it? [00:20:09] Speaker D: That's right. [00:20:09] Speaker F: Ah, One beautiful year. [00:20:11] Speaker G: Yes, well, we can drink to that. And, of course, to your future. May you remain as happy as you are tonight. [00:20:31] Speaker E: Right now, Lydia, as you lift your glass and touch it to the others, listen to Ballinger's hollow toast. You realize that this can't go on. That nine more years seem impossible. But it's impossible too, Lydia, to sacrifice the money, Isn't it? The money? The defeat of Uncle Philip on his own ground. Is uppermost in your mind. All you can think of an hour later as you sit beside Elliot in the car. [00:20:54] Speaker F: I hope Mr. Ballinger doesn't think it odd our leaving so early. [00:20:59] Speaker D: I explained to him I have to drive a friend to the airport. [00:21:01] Speaker F: Oh, Johnny Gates? [00:21:03] Speaker D: Yeah. He's flying to Seattle on the midnight plane. What I didn't tell Ballinger is that I'm going too. [00:21:08] Speaker F: Your what? [00:21:09] Speaker D: Got my ticket. Suitcase in the back. [00:21:11] Speaker F: Elliot, you can't do this. [00:21:13] Speaker D: Why not? [00:21:13] Speaker F: Because of what it might mean. Ballinger's suspicious now. What'll he think when he hears you've gone flying off somewhere on our anniversary? [00:21:19] Speaker D: Does that matter? [00:21:20] Speaker F: Of course it matters. It's got the power to cancel everything. You can't do it, Elliot. Wait a few days at least. [00:21:25] Speaker D: I'm sorry. It's my first assignment on the new job. Company expects me to wire them from Seattle in the morning. [00:21:32] Speaker F: Why did you agree to such a thing? [00:21:33] Speaker D: Maybe I've had all I can stand. Lydia. [00:21:35] Speaker F: For half a million dollars. Don't be a fool, Elliot. Look, look, I'll do anything you say. I'll stay away from Marty. Anything, Elliot. Just give me a chance. [00:21:45] Speaker D: Well, another helping, huh? [00:21:47] Speaker F: What? [00:21:48] Speaker D: Same humble pie? [00:21:50] Speaker F: Oh, Elliot, please. Please, be reasonable. [00:21:53] Speaker D: Oh, Johnny's expecting me, Lydia. I don't see how I can change things now. I'm supposed to be there. [00:21:57] Speaker F: There must be a way. Elliot, you'll regret this yourself. I know you will. [00:22:00] Speaker D: Well, I wonder. [00:22:02] Speaker F: What? What are you thinking? [00:22:04] Speaker D: Maybe Johnny can help us. Come on up with me. We'll talk to him. Maybe I'm a little dumb tonight. Elliot, give me another rundown on that, will you? Well, now, look, Johnny, it's simple. I'd just like an extra day here, that's all. You're flying north anyway. Couldn't you send that wire for me to cover you with the company? That's right. Now, you see, that way Lydia and I can be together on our anniversary. And I'll be up there in a day or two. Well, I don't suppose there'll be much doing over the holiday anyway. Oh, not a thing. It's just that I don't want to beg off on my first assignment. No, that wouldn't be so good. Okay, pal, I'll handle it for you. [00:22:39] Speaker F: Oh, I swear, Johnny, I appreciate this, too. [00:22:42] Speaker D: I. Forget it. Elliot's done plenty for me. Oh, Johnny, there's one more thing. I don't like the idea of turning in my plane ticket. You know, just in case the company should check. Oh, I don't think they will. Well, I'd rather not take a chance. Now, look, if it doesn't matter to you, you're leaving the company anyway. Couldn't you turn yours back and go in my place? All the way through? Well, if you'll feel safer, Johnny, I really would. Okay, let's have it. Say, I'll even check into your hotel for you. Oh, fine. [00:23:05] Speaker G: We better get going. [00:23:06] Speaker D: Yeah, right away. [00:23:07] Speaker G: Well, I'll finish packing. [00:23:08] Speaker D: Be with you in a minute. Satisfied, Lydia? [00:23:13] Speaker F: Perfectly. [00:23:14] Speaker D: Look, as long as we're gonna make it look good to Ballinger, maybe we can go the whole hog. [00:23:19] Speaker F: How do you mean? [00:23:20] Speaker D: Well, after we drop Johnny at the airport, how about driving up to Silver Lake Lodge? [00:23:23] Speaker F: Wonderful. [00:23:25] Speaker D: Remember the first time we were there? A brand new year. A brand new life. [00:23:28] Speaker F: I remember it perfectly. Elliot, I'd love to go. I think it's exactly what Mr. Ballinger would like. [00:23:42] Speaker E: Well, Lydia, for the moment, you've won. But the worry of the future is on your mind. Driving down to the airport and watching Johnny Gates off on Flight 27 and all the way up to Silver Lake Lodge, you wonder about those nine long years ahead. It isn't going to be easy, Lydia. But somehow you're determined to make Elliot continue to see it your way. A few miles below the lodge, you ask him to stop at a roadside store. [00:24:12] Speaker F: Sounds like they're having quite a time down in New Orleans. [00:24:14] Speaker D: Yeah. [00:24:15] Speaker F: I just want to get some cigarettes. Elliot, I'll be right back. [00:24:18] Speaker D: Take your time. [00:24:19] Speaker G: Moment. [00:24:30] Speaker D: Yes, ma'? [00:24:31] Speaker G: Am. [00:24:31] Speaker F: A pack of cigarettes, please. [00:24:32] Speaker D: Take Your pick. [00:24:34] Speaker F: Oh, these will do. Here you are. [00:24:36] Speaker D: Yeah, thanks. A brief announcement, then back to the New Year's Round the town celebration. [00:24:42] Speaker E: Flight 27 of Peerless Airlines northbound for Seattle, crashed and burned in an unexplained accident one hour ago. [00:24:50] Speaker D: All on board were killed. [00:24:56] Speaker E: That news comes suddenly, doesn't it, Lydia? The answer to everything. To Elliot. The money, Everything. Yes, Lydia, Elliot was on that plane. Even if it was in name only. At this very moment, as he waits for you in the car outside, he's officially dead. Certainly unidentifiable. And the words of Uncle Philip's will keep running through your mind. [00:25:18] Speaker G: If at any time either Lydia or Elliot Larkin die, the entire sum is payable immediately to the survivor. [00:25:27] Speaker E: You know how simple it can be. Now, Lydia. [00:25:29] Speaker G: Yes. [00:25:30] Speaker E: As you close the door behind you, walk through the bracing mountain air to the car, you realize that here is the opportunity of a lifetime. Freedom from Elliot and all of the $500,000 for yourself. And looking at Elliot, relaxed, waiting for you. You know you're going to kill him tonight. [00:25:52] Speaker F: Sorry to keep you waiting. [00:25:53] Speaker D: That's all right. [00:25:55] Speaker F: Just as I went into the store, there was some sort of news flash on the radio. You hear it? [00:26:01] Speaker D: News flash? No. Some other station, probably. [00:26:03] Speaker F: Yes, I suppose so. [00:26:05] Speaker E: Hey. [00:26:05] Speaker F: Hey. [00:26:05] Speaker D: I was enjoying that New Year's Eve in New Orleans. [00:26:08] Speaker F: Please, I'd like it quiet. We'll be up at the cabin in a few minutes. Right now I want to think. [00:26:20] Speaker E: Of course you want to think, Lydia. Of the loaded target pistol in the gun case at the cabin. How lonely it is there. Of how easy it'll be to disqualify of Elliot's body in that wilderness. Less than an hour later, you're at the cabin, ready to put your plan in operation. The pistol is just beneath your hand, stuck between the sofa cushions. As you sit before the fire. Elliot has built for the occasion. You steady your nerves and. [00:26:50] Speaker F: Elliot? [00:26:51] Speaker D: Just a minute, dear. I'm fixing the drink. [00:26:54] Speaker F: Hurry it up, will you? [00:26:56] Speaker E: You're tense. Now, bracing yourself. You'll wait until he's moved around and is standing right in front of you, holding the drinks on the tray. That way it can't go wrong. [00:27:14] Speaker F: Around this way, darling. Right near the. [00:27:33] Speaker D: The Whistler will return in just a [00:27:34] Speaker E: moment with the strange ending to tonight's story. Meantime, for Signal Oil Company and the almost 2,000 Signal dealers throughout the states of California, Oregon, Washington, Idaho, Nevada and Arizona, I want to wish you a very happy 1948. May your new Year be filled with peace, prosperity and the good health with [00:27:59] Speaker D: which to enjoy these blessings. And now back to the Whistler. [00:28:20] Speaker E: Yes, the marriage of Lydia Winters Larkin ended in murder on a New Year's Eve at a place called Silver Lake Lodge, where she and her husband, Elliot, had spent their honeymoon just a year before. There's a complete record now in the files of the Homicide Division. A record of a detective's curiosity over the crash of of a northbound airplane and the supposed death of a passenger named Elliot Larkin. Of an investigation that led to a quick arrest and a complete confession at police headquarters. Mr. Ballinger, the attorney, was remarkably philosophical as the lieutenant read the whole amazing story from a hurriedly prepared transcript of the confession. [00:29:00] Speaker G: I can't say that I'm surprised, Lieutenant. I was afraid from the beginning that Philip's will would lead to something like that. [00:29:06] Speaker D: Yes, the will, of course, gives us a solid motive. Although we already figured we'd find something like that. Oh, there's one more paragraph to the confession. You want to hear it? [00:29:15] Speaker G: Yes, Read on, please. [00:29:16] Speaker D: Well, it goes on to say, once I knew that Johnny Gates was on that northbound plane traveling as Elliot Larkin, the way seemed perfectly clear as soon as we got to the cabin. I got hold of a gun and waited for my opportunity. The first chance I had, I pulled the trigger twice without any warning, and it was all over. And then there's the signature. Of course. [00:29:36] Speaker G: The only thing I don't understand, Lieutenant, is how you were able to make the arrest so quickly. [00:29:41] Speaker D: A good hunch on the part of one of the boys. You see, when he found out that Larkin was due up in Seattle on that new job, he flew up there as a matter of routine. Well, after that, of course, the arrest was over. Oh, they're bringing in the prisoner now. Do you want to. [00:29:55] Speaker G: Yes, I'll stay. [00:29:57] Speaker D: All right. Sergeant, in here. [00:30:02] Speaker G: I. I don't know how you ever expected to get by with this slogan. [00:30:06] Speaker D: Does that matter now? Johnny Gates traveling in my name. I thought I had a perfect alibi, so I killed him. And until our man walked in on you in Seattle, you still didn't know that your alibi had blown up on that plane. Yeah. Funny thing, too. At night in the car, Liddy asked me if I'd heard a news flash. It must have been about that plane. I wonder why she didn't tell me. Let that whistle be your signal for [00:30:57] Speaker E: the Signal Oil program. The whistler. Each Wednesday night at the same time, brought to you by the Signal Oil Company. [00:31:04] Speaker D: Marketers of signal gasoline and motor oil and fine quality automotive accessories. Because this is New Year's Eve. The safety message with which we have closed every Whistler program during the past year has even more significance tonight to [00:31:19] Speaker E: get the most driving pleasure, drive at sensible speeds, be courteous and obey traffic regulations. [00:31:26] Speaker D: It may save a life, possibly your own. [00:31:44] Speaker E: Featured in tonight's story were Betty Lou Gerson and Gerald Moore. Whistler was produced by George W. Allen with story by Joel Malone and Harold Swanton and music by Wilbur Hatch, and was transmitted to our troops overseas by [00:31:57] Speaker D: the Armed Forces Radio Service. [00:31:59] Speaker E: Next Wednesday for a full hour of mystery over most of these stations. Tune in a half hour earlier. Enjoy the Saint as well as the Whistler. This is Marvin Miller speaking. [00:32:09] Speaker D: This is cbs, the Columbia Broadcasting System. [00:32:14] Speaker A: That was the first year from the Whistler here on the Mysterious Old Radio Listening Society podcast once again. I'm Eric. I'm Tim. [00:32:22] Speaker C: And I'm Joshua. [00:32:23] Speaker A: And we decided to do a New Year's show, as we told you in the opening. And we reached into the old Perkins wish well and pulled this out and [00:32:35] Speaker B: I wanted a spider ring [00:32:39] Speaker A: and randomly selected this. It's interesting. Every time I listen to the Whistler, these thoughts come into my head. That is a great name for a show. That is a great vehicle for a host. I'm this disembodied voice. And that whistle theme is really cool. The train sound, all of it. I love the concept with Mysterious Traveler. [00:33:05] Speaker C: There's no train sound, is there? [00:33:06] Speaker A: Is there no train sound on this one? [00:33:08] Speaker G: Yeah. [00:33:08] Speaker B: I think Josh was correct. [00:33:09] Speaker A: Yeah. Okay. So there's always a train sound in my head. [00:33:13] Speaker B: I mean, you live near a train. It's totally possible you. [00:33:16] Speaker A: But the other things were true. Right. When I'm on the right track. [00:33:18] Speaker D: Oh, yeah. [00:33:19] Speaker A: See Track. See what I did there? I can't get off the train thing. [00:33:21] Speaker B: I mean, it's a whistle played by a lady who whistles. [00:33:24] Speaker D: But. [00:33:24] Speaker A: Yeah. But anyway, I always like, oh, this concept, but it is a crazy hit and miss program. Mostly miss. [00:33:31] Speaker C: You just almost read verbatim from my notes. [00:33:34] Speaker A: Oh, did I? [00:33:35] Speaker C: Yes, that. It just has such a wonderfully sinister and Sardinia hedonic quality in the opening. And the stories struggle to live up to that tonal promise of the intro. [00:33:48] Speaker A: That's a great way to put it. It's got such promise. It feels like, oh, this is going to be really cool. I will say this. I enjoyed this. I think this is one of the better Whistlers I've ever heard. [00:33:59] Speaker C: This really encourages me to have low expectations going into episodes going forward. [00:34:05] Speaker B: Yeah. It had that same bonus for me of like starting out of. I'm not excited about seeing how this ends. And then at end they're like, oh, that's pretty good. [00:34:14] Speaker C: I think the first thing to recognize about the Whistler or something I have come to recognize about the Whistler is that it is an extremely plot driven show. The plot is the star of each episode to one degree or another. And it hinges on whether or not each complication is compelling, whether or not the final twist is well, obscured or not. And the characters are slaves to the plot and they are usually rather thin and they are often quite unlikable because they don't need to be likable because you're just waiting to see what happens to them. [00:35:00] Speaker A: Right. It's not about caring about the characters, about caring about the plot. [00:35:06] Speaker C: It's an aesthetic experience. To some degree. You are enjoying it with an emotional distance. I mean. [00:35:13] Speaker A: Yeah. [00:35:13] Speaker C: Unlike something like suspense, which I think tries in 30 minutes to have its cake and eat it too. Provide all the compelling plot twists, but also make relatable, realistic characters. They often try to put you in the shoes of the killer and feel for them, at least on some base animal level. But here I think it's all just intellectual. Yeah. [00:35:36] Speaker B: And I mean in that vein of low expectations. I was on board. Like, I get what's happening. I see this is happening and was not invested and it sucker punched me. [00:35:47] Speaker A: If that wasn't the twist ending. Right. [00:35:49] Speaker B: Yeah. [00:35:50] Speaker A: I would have still enjoyed it. I think it's an interesting premise. It's old. It's not like, you know, stay in this haunted house for 24 hours and you inherit all the money. [00:36:00] Speaker C: Like extra fun. When that haunted house is your marriage. [00:36:03] Speaker A: Is your marriage and it's 10 years out. There's nothing. [00:36:09] Speaker C: Marriage is calling from inside the house. [00:36:13] Speaker A: There's nothing new about the concept of you'll get rich if you go through something that's that will make you suffer. But I thought it was pretty well done. I like the acting. But first and foremost, one of the reasons without the twist, which I'm sure we'll talk about. Right. What if we didn't? [00:36:32] Speaker C: I'm on a twist strike. I'm not talking about it. [00:36:35] Speaker A: This is the best production quality of a whistler I've heard. There is a moment in this wonder [00:36:42] Speaker C: if we're going to talk about the same scene. [00:36:44] Speaker A: Walking up to the convenience store with the music playing. Not until she gets close enough to the store. You hear the music, gets to the door of the convenience store, opens it up. It gets just a little louder. Walks in Buys the cigarettes, walks out. Right. There's a couple of moments, scenes that I could point out. I'm using that one. But from a directorial production standpoint, really well done understanding radio drama and putting me there in my own head. [00:37:13] Speaker C: The ability to convey space through sound is really strong in this. And the example you just gave is one. There's also just a great scene. I think it's when they come back from the football game and Lydia is looking for a light for her cigarette. And you can just see the space of the living room they are in. And she lights the cigarette. And then Betty Lou Gerson, I think that's her name. She even talks a little out of the side of her mouth. Not over the top, but just enough to know that as she's speaking, you hear the click of the lighter. And then that same scene has a telephone call in which you are hearing the telephone call. You're also hearing the couple in the room speaking back and forth over the call and hushed tones. It's one of those things that it's done well enough that you probably don't notice it unless you're doing a telecast and you have to listen to it more than once. [00:38:09] Speaker A: But here's the deal. You do notice it when it's not done right. [00:38:13] Speaker D: Yeah. [00:38:14] Speaker A: And you don't notice it when it's done right. And you say, oh, I'm just really there. It seems so simple. It's one of the most difficult things of this discipline of theater is to convey that what Joshua was just talking about, it's so hard to do. And I notice it right away. [00:38:33] Speaker B: Yeah, well, yeah, it's. It's painting with nuanced sound. [00:38:37] Speaker A: And it's a different type of acting. You know, you gotta be aware of that. And your approach and how you do things is slightly different. It's not straight on theater performing. [00:38:50] Speaker C: Yeah. And it really grounds a larger than life, plot driven style show like this to make it feel believable that it exists in a real physical space. [00:39:03] Speaker A: And again, for those that don't like Dragnet, that's why I love Dragnet. That's what they create constantly. Let's talk about Dragnet. [00:39:13] Speaker B: Actually, I want to retract some of my pooh poohing on the basic plot before the twist. I think that idea of like, I'm so against your marriage, I'm going to use my will to pit you against each other. Like one of you should kill the other. That's cold blooded. [00:39:29] Speaker C: Oh, yeah. [00:39:31] Speaker B: Not your typical move in a story. [00:39:34] Speaker A: Right. [00:39:34] Speaker C: That plays into this whole idea of motivation and stakes and power, I think, because it's strangely aware in moments, this production of the different stakes for Lydia as a woman than for the other characters. Because when the Whistler's sardonic, sarcastic voice comes in, he says, here was the answer to Uncle Philip's tyranny and avenue to freedom. And there's other variations on that. And the stakes for her seemed to be she's buying some kind of agency, whereas Philip is buying a good time. [00:40:14] Speaker A: Right. [00:40:14] Speaker C: The uncle is buying revenge and she is buying escape and freedom. I'm not saying that this is a feminist manifesto, but it shows some awareness that I think is worth noting. And she's still as awful a person as everyone else here. And I think that's what's fun about this is it doesn't force you to feel much. [00:40:38] Speaker A: Right. [00:40:39] Speaker C: And I think that's intentional. I don't think it's trying to and failing. It's just like what happens when these three different people of various amoral intentions all collide. [00:40:49] Speaker B: Yes. Well, yeah. The actions are kind of all the peace motivations that have different. [00:40:54] Speaker A: So the twist was really fun. [00:40:58] Speaker B: Yeah. [00:40:59] Speaker A: Sitting down in a room, bring in the prisoner. You know what's happened. So she's going to walk in, she's going to sit down, and she got busted for shooting him. Right. And then you hear his voice and it's that wonderful moment of, ah, yeah, Right. We just heard two gunshots and they cut away. Yeah. And then the explanation as to how he set this up was not only plausible, but really nice. [00:41:27] Speaker B: It explains his odd behavior. [00:41:29] Speaker D: Right? [00:41:29] Speaker A: Right. [00:41:30] Speaker C: For me, it starts even earlier because I thought I had guessed the twist. Because as soon as he says hey to his business friend, hey, can you take my ticket? And just to make it easier, just go as me. [00:41:44] Speaker D: Yeah. [00:41:45] Speaker C: I went, oh, he's got an alibi. That's the twist. And I was a little disappointed. And then we hear that the plane crashed. And I was like, I was totally wrong. This is so exciting. And then the final twist comes again. I was like, I was right, but they tricked me. [00:42:03] Speaker A: And I. When he said, go as me, no spidey sense tingling at all. I went, oh, yeah. Because they want to prove to this guy that on their anniversary they're happily married. And let's just get through tonight. I'll go up there tomorrow. And you're right. We need that money. So I didn't even think. [00:42:18] Speaker C: I mean, wow. Airport security was lax. I got turned it in. The plot. [00:42:26] Speaker A: I got turned away. Wednesday. I Had to go all the way back to the Delta desk because instead of 5 16, 15 for my birthday, it's at 5 16. That's not correctable easily. Almost missed my flight. [00:42:39] Speaker C: Wow. Because of that, you couldn't just pretend to be some other friend of yours who was born on the right date. [00:42:50] Speaker B: But, yeah, the rhythm of the writing was such that after the arrest happens, it cursed me. Like, I haven't heard her voice or name in a certain length of time. That makes it point that they're not saying it. As soon as that thought enters my head. You hear his voice. I hear his voice. So, yeah, that's like perfect script timing for me. I get it as it happens. [00:43:10] Speaker C: Yeah. And I like the even mini twist at the end that Philip doesn't get it. He's like, I wonder why she didn't tell me about the plane crash. He feels betrayed by the wife he was going to kill. [00:43:25] Speaker A: Right, Right. Well, what other thoughts do we have on this? [00:43:29] Speaker C: I enjoyed the commitment to amoral characters in here. To the point that the lawyer is the first character to have some kind of voice of moral revulsion. Right. The uncle. You can't do that. [00:43:47] Speaker B: That's terrible. [00:43:47] Speaker C: Turns your will into a weapon. How could you? But as soon as the uncle's dead, he follows through on his orders that he absolutely does not have to. To the point that he, like, dogs them and spies on them. Like, what, The Whistler has corrupted your morality as well. [00:44:06] Speaker A: Yeah. That's how you're gonna spend your next 10 years. [00:44:08] Speaker C: There must be some clause where, you know, he gets some cut. The lawyer of the fortune. [00:44:13] Speaker B: If you guess which one will kill the other. [00:44:15] Speaker A: Here's the loophole, though. If he just cuts a deal with those two, who would know? [00:44:20] Speaker D: Yeah. [00:44:21] Speaker C: So maybe he is the still the most virtuous character because he is going to keep his commitment to his client despite its. [00:44:31] Speaker A: Despite his client being immoral. [00:44:32] Speaker C: Yeah. [00:44:33] Speaker B: Pending this conversation. Post this conversation. Post this conversation. I feel like, really, my only complaint with it is I wish the setup had been established in a more compelling way. I feel like the setup was kind of slowed by the numbers. And then once it was going, I was interested in investing, which is less of a complaint than I thought I had going into this conversation. [00:44:54] Speaker C: It didn't bother me. In fact, I think that helped it a little. It lulled me into this sense of security. Like, oh, okay, I think I know where this is going. [00:45:04] Speaker B: Fair enough. [00:45:04] Speaker C: It's gonna be a murder the uncle scenario. [00:45:08] Speaker B: Elope the clown. [00:45:10] Speaker C: That old scene. [00:45:11] Speaker B: Sell umbrellas For a living. Yeah, you know the classics. [00:45:13] Speaker A: Clown eloping. [00:45:16] Speaker C: I also think it was helped in those early couple scenes by Gerald Moore and Betty Lou. I keep forgetting her name. I love Gerald Moore. He's obviously the voice of Philip Marlowe to most old Time radio fans. But I didn't realize this until I looked it up and then forgot to put it in the intro. But she is the voice of Cruella De Vil in the original Dalmatians movie. [00:45:38] Speaker A: Oh, look at that. Speaking of chestnuts, Heiss, I couldn't remember [00:45:43] Speaker C: how many Dalmatians were in there, so I just looked at the Dalmatian movie. [00:45:46] Speaker A: 101. [00:45:47] Speaker C: 101, that's it. [00:45:49] Speaker B: You could say any number under 101 and be correct. There are. [00:45:53] Speaker A: Which is 101 more than you ever want as a pet. [00:45:56] Speaker C: Yeah, it's looked of Dalmatians. [00:46:00] Speaker A: They're dog. [00:46:02] Speaker B: That was the first title of the film that was rejected. [00:46:06] Speaker A: Voting time. [00:46:07] Speaker D: Yeah, sure. [00:46:08] Speaker A: I, I, I'll start with this Stand the test of time. It is a classic of the Whistler in the sense of this is the best Whistler I've ever heard. This is the best one and I like it a lot and but it's not a classic of oldtime radio. It's, it's not groundbreaking, but it certainly is extremely well done. [00:46:31] Speaker B: I will say it Stand the test of time. There are a lot of elements to it that are old Chestnut, which is undoing a little bit of what I said. But it's good, it's enjoyable and good. Solid show. [00:46:42] Speaker C: I always think of the Whistler as the mushy middle between the Mysterious Traveler and Inner Sanctum, two other shows that are also extremely plot driven over character driven. But I always think, oh, the Mysterious Traveler. When it is good, it's really good. And I have never stumbled across a Whistler that is up there with behind the Locked Door or Good Die Young Random episode Generator. [00:47:08] Speaker B: Like yeah, we did it pretty good. [00:47:09] Speaker C: Yeah, I think that's pretty darn good. So I think this is not a classic of Old Time radio, but I think it's a really solid installment of the Whistler. And like I said, it's made me want to give the Whistler more of a chance in the future. And it's also, like I said, a victory for low expectations. [00:47:31] Speaker A: I believe we have a tradition coming out of that December break. Just reaching the old wishing well of New Year's shows. Pull one out and make it random every year. [00:47:42] Speaker D: Yeah. [00:47:43] Speaker C: Wasn't it Country Kitchen? That had one too. [00:47:44] Speaker A: They had one too. The other one I remember Perkins and Country Kitchen. We are very regionalizing this podcast right [00:47:52] Speaker C: now by saying Country Kitchen. [00:47:53] Speaker A: Country Kitchen and Perkins. I don't know if Perkins is outside of our borders at all. This is Minnesota Talk. Yeah, Country Kitchen. Yeah, they hit the wishing well. [00:48:03] Speaker C: I think they all Denny's. [00:48:04] Speaker B: I got grilled cheeses at Denny's. [00:48:07] Speaker C: Every region has that restaurant. [00:48:09] Speaker A: Yeah, they're just different names. [00:48:11] Speaker C: Sodium encrusted, Heart attack on a plate Food and classic definitely Stand the test of time free crap for the kids. [00:48:20] Speaker A: The Country Kitchen in Bemidji has a fruit full bar. All right, Tim, tell them. [00:48:24] Speaker C: So I think it's legal for your kids to drive you home in Bemidji if you've had too much to drink. So it's a different town. [00:48:31] Speaker B: Please go visit ghoulishdelights.com, home of this podcast. You'll find other episodes there, a little archive you can search by the series. If you want to do that. You can find out about all kinds of other things. You can join. I'm getting this out of order. I got to do this right. You can find other things there. You can find a link to our store, buy some swag. Some information biographical about your hosts here. You can also link to our Patreon page. [00:48:57] Speaker C: Yes, go to patreon.com themorals and support this podcast. Many of you have heard two free previews of Patreon content that we released the last two weeks. And that is just a smidge of the. There's a lot free content. There is 101 Dalmatians worth of content on our Patreon page. So please become a patron. You'll be glad you did. [00:49:26] Speaker A: If you'd like to see us performing live, the Mysterious Old Radio Listening Society Theater company performs classic old time radio shows and a lot of our own original work live on stage once a month, sometimes more than that. You can see where we're performing and what we're performing and how to get tickets by going to ghoulishdelights.com and we also record those, the audio. And so if you're a Patreon and you can't make it to our live show, you get the audio recording of our show. But if you can make it, come see us. We're at crooners here in 2025, so come see us there. Great food, great atmosphere. What's coming up next? [00:50:07] Speaker C: Next is your pick, Eric. [00:50:09] Speaker A: Holy crap. What? What did I pick? [00:50:13] Speaker B: You picked an episode of the Chase called Iron Curtain Express. [00:50:18] Speaker G: Wow. [00:50:18] Speaker C: Did I? [00:50:19] Speaker A: Sweet. That sounds awesome. Until then. [00:50:22] Speaker B: Yeah, the plot gets more fun after it's done. Of like, if he had heard the plane crash, he's like, oh, my alibi's gone. [00:50:29] Speaker C: Yeah. [00:50:32] Speaker A: Yep. Sorry. Yeah, tim. [00:50:44] Speaker C: Well, that's the problem with the podcast, where you have to say the obvious stuff out loud.