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The Whistler - "Patroness of Murder" (Old Time Radio, 1949) · The Whistler | Old Time Radio

• 0:00
  Speaker 1: Paul Wilson's future as a sculptor may rest on the
• 0:03
  Speaker 1: judgment of Miles Hubbard, an influential critic arriving to inspect
• 0:07
  Speaker 1: his work. Wilson has the backing of his wealthy patron,
• 0:11
  Speaker 1: Martha Alden, but her nephew Don questions both the artist
• 0:15
  Speaker 1: and the arrangement that supports him. Then, a connection to
• 0:19
  Speaker 1: the Balkan sculptor Ivan Mestrovich brings further complications to Wilson's studio.
• 0:25
  Speaker 1: From December 18th, 1949, this is The Whistler, episode 394,
• 0:32
  Speaker 1: Patroness of Murder, heard on the CBS Pacific Network with
• 0:36
  Speaker 1: Bill Foreman as The Whistler. Here is the original broadcast.
• 0:41
  Speaker 2: And now, stay tuned for the program that has rated
• 0:44
  Speaker 2: tops in popularity for a longer period of time than
• 0:47
  Speaker 2: any other West Coast program in radio history, the Signal
• 0:51
  Speaker 2: Oil program, The Whistler.
• 1:04
  Speaker 3: S-I-T-M-A-L.
• 1:09
  Speaker 4: Signal, Signal Gasoline.
• 1:15
  Speaker 2: Signal, the famous go farther gasoline, invites you to sit
• 1:18
  Speaker 2: back and enjoy another strange.
• 1:20
  Speaker 5: Story by the Whistler.
• 1:23
  Speaker 2: For extra driving pleasure, the signal to look for is
• 1:26
  Speaker 2: the yellow and black circle sign that identifies signal service
• 1:30
  Speaker 2: stations from Canada to Mexico. And for Sunday evening listening pleasure,
• 1:35
  Speaker 2: the signal to listen for is this whistle that identifies
• 1:38
  Speaker 2: the signal oil program, the whistler.
• 1:42
  Speaker 5: I am.
• 1:46
  Speaker 6: The whistler.
• 2:02
  Speaker 7: And I know many things, for I walk by night.
• 2:06
  Speaker 7: I know many strange tales hidden in the hearts of
• 2:09
  Speaker 7: men and women who have stepped into the shadows. Yes,
• 2:13
  Speaker 7: I know the nameless terrors of which they dare not speak.
• 2:19
  Speaker 2: And now, for the Signal Oil Company, the Whistler's strange story,
• 2:24
  Speaker 2: Patroness of Murder.
• 2:26
  Speaker 8: Patroness of Murder.
• 2:32
  Speaker 7: Paul Wilson moved about his studio, adding the final touches
• 2:36
  Speaker 7: of preparation for two expected guests. Two very important guests.
• 2:41
  Speaker 7: One of them, Miles Hubbard, the aging sculptor turned critic,
• 2:45
  Speaker 7: could hold the key to the success of Paul's career.
• 2:49
  Speaker 7: His nod of approval could mean a future of security
• 2:52
  Speaker 7: and position. Without it, the world might never know the
• 2:56
  Speaker 7: talents of Paul Wilson, sculptor. And Paul was certain that
• 3:00
  Speaker 7: his second guest, Don Alden, had arranged this meeting for
• 3:04
  Speaker 7: the sole purpose of getting an expert's appraisal of his work.
• 3:08
  Speaker 7: But it was no gesture of friendship. Paul's meetings with
• 3:12
  Speaker 7: Don had never been friendly. This one would be no exception.
• 3:15
  Speaker 7: Paul was certain of that. Their cold exchange of glances
• 3:19
  Speaker 7: when Paul met them at the door proved that. The
• 3:23
  Speaker 7: forced pleasantries over with, Paul showed them to the studio.
• 3:28
  Speaker 9: And this gentleman is my workshop.
• 3:34
  Speaker 5: Fine studio, Wilson. Plenty of room. Good lighting.
• 3:40
  Speaker 10: Everything a room can offer the artist is here. The
• 3:44
  Speaker 10: rest is up to the man himself, eh, Wilson? Oh,
• 3:46
  Speaker 10: that's quite right, Mr.
• 3:47
  Speaker 5: Hubbard.
• 3:47
  Speaker 9: The rest is up to the man himself.
• 3:49
  Speaker 5: I hate to take too much of Mr. Hubbard's time, Wilson.
• 3:52
  Speaker 5: Can we see your work?
• 3:54
  Speaker 10: Whenever Mr. Hubbard's ready, I'll be glad to show him.
• 3:58
  Speaker 10: When one grows old, Wilson, one learns the great wisdom
• 4:01
  Speaker 10: of economy. Economy of time, economy of words, economy of emotion. Ah, yes,
• 4:07
  Speaker 10: it's a great lesson to learn. I tell you this
• 4:09
  Speaker 10: because when I look at your work, I shall have
• 4:12
  Speaker 10: an instant evaluation. Either it will be good or bad,
• 4:14
  Speaker 10: and I shall tell you immediately. It's an honor to
• 4:16
  Speaker 10: have you here, sir. I'm anxious for your opinion.
• 4:19
  Speaker 5: Yes, well then, may we see some examples of your sculpture? Now, please.
• 4:24
  Speaker 9: Right now. There you are, gentlemen.
• 4:30
  Speaker 5: My latest.
• 4:32
  Speaker 9: Mm-hmm.
• 4:33
  Speaker 5: Yes.
• 4:34
  Speaker 9: Yes.
• 4:35
  Speaker 10: There is promise here. There is not yet greatness, but
• 4:38
  Speaker 10: there is much promise. Much great promise.
• 4:41
  Speaker 9: Oh, thank you, sir. Thank you very much.
• 4:44
  Speaker 5: You mean it's... It's really worthwhile then, Mr.
• 4:48
  Speaker 3: Hubbard?
• 4:48
  Speaker 5: Worthwhile, yes.
• 4:49
  Speaker 9: Worthwhile. But promise, that's the word, darling. Mostly there is promise.
• 4:54
  Speaker 9: I'm afraid Mr. Alden has thought of me chiefly as
• 4:56
  Speaker 9: a stonemason or felt perhaps that I should carve soap.
• 5:00
  Speaker 6: I want her to be certain, that's all, for Aunt
• 5:01
  Speaker 6: Martha's sake. She's been financing your work for a long
• 5:05
  Speaker 6: time now.
• 5:05
  Speaker 9: She'll be repaid later.
• 5:07
  Speaker 5: Perhaps, if you're as good as you've made her think
• 5:10
  Speaker 5: you are.
• 5:10
  Speaker 9: Miss Alden thinks well of the young man's ability, John?
• 5:14
  Speaker 5: Very well.
• 5:15
  Speaker 6: She told me the other evening she's planning to leave
• 5:17
  Speaker 6: him half of her estate so that he can continue
• 5:19
  Speaker 6: his work if anything happens to her.
• 5:21
  Speaker 5: That's why your opinion is so important, Miles.
• 5:23
  Speaker 9: I see.
• 5:24
  Speaker 10: Well, he has the virility down. You can see it,
• 5:27
  Speaker 10: can't you? A strong feeling for material. There is much
• 5:32
  Speaker 10: of Mestrovic here. You studied with him.
• 5:35
  Speaker 5: Perhaps, Wilson?
• 5:36
  Speaker 9: Uh, not directly, no. Mestrovic?
• 5:39
  Speaker 5: Famous Balkan sculptor, oh, yes.
• 5:42
  Speaker 10: Mestrovic's work is very distinctive, entirely free from the French influence.
• 5:47
  Speaker 6: You didn't study abroad, did you, Wilson?
• 5:49
  Speaker 9: No, no, I didn't. I... Oh, it's you, Michael. Back
• 5:54
  Speaker 9: from your shopping so soon?
• 5:55
  Speaker 3: Yes. Oh, I'm sorry, Paul, your guest.
• 5:58
  Speaker 9: My houseman and helper, gentlemen, Michael Dubovich.
• 6:01
  Speaker 5: How do you do, Michael?
• 6:03
  Speaker 9: Well, we must go now, Wilson. Economy of time, you know.
• 6:13
  Speaker 7: Michael's entrance was ill-timed, wasn't it, Paul? You quickly looked
• 6:17
  Speaker 7: for meaning in Don's expression and then in Miles Hubbard's
• 6:20
  Speaker 7: placid face. but you find none. Perhaps they suspect nothing
• 6:24
  Speaker 7: after all. You grow more certain of that as you
• 6:28
  Speaker 7: see them to the door. Miles Hubbard repeats his appreciation
• 6:31
  Speaker 7: of your work, and you say your farewells. After your
• 6:35
  Speaker 7: guests leave, you turn angrily to Michael.
• 6:37
  Speaker 9: Why did you burst in like that without knocking?
• 6:40
  Speaker 3: I'm sorry, Paul. I didn't know you had guests.
• 6:42
  Speaker 9: But couldn't you hear us talking?
• 6:44
  Speaker 4: Well, I suppose I did hear you, but I assumed
• 6:47
  Speaker 4: your guests were merely friends who had dropped in.
• 6:49
  Speaker 9: My guests were merely Miles Hubbard, the greatest authority on
• 6:53
  Speaker 9: sculpture in the West.
• 6:54
  Speaker 3: Yes, I know.
• 6:54
  Speaker 9: And Don Alden, nephew of Miss Martha Alden, the lady
• 6:57
  Speaker 9: who was providing the money for us to continue our work.
• 7:00
  Speaker 3: Yes, Paul, I I didn't realize.
• 7:03
  Speaker 9: And you're supposed to be my houseman.
• 7:04
  Speaker 3: Yes, I know.
• 7:05
  Speaker 9: Well, then act like a houseman.
• 7:08
  Speaker 4: Yes, Paul, I'm sorry. In the future, you'll have no
• 7:11
  Speaker 4: cause to complain, however. I shall be a model gentleman's gentleman.
• 7:16
  Speaker 9: Okay, see that you do.
• 7:17
  Speaker 3: And never again shall I enter the studio unexpectedly.
• 7:21
  Speaker 4: And if there are guests present, I shall wait outside
• 7:24
  Speaker 4: for their departure, for hours if necessary.
• 7:27
  Speaker 9: Oh, I know it isn't pleasant playing houseman, but right
• 7:31
  Speaker 9: now it's Well, it's the only way I can explain
• 7:33
  Speaker 9: your presence. This studio, Miss Alden's help is important to
• 7:37
  Speaker 9: both of us.
• 7:38
  Speaker 4: Of course, Paul, and I want you to know I'm
• 7:41
  Speaker 4: very grateful. My food, my clothing, money to spend, a
• 7:46
  Speaker 4: place to live and work.
• 7:48
  Speaker 3: I owe it all to you.
• 7:50
  Speaker 9: Not to me, Michael. To your undeveloped talent. I recognized
• 7:54
  Speaker 9: it instantly. Miles Hubbard simply confirmed my faith in you.
• 7:59
  Speaker 3: It's a very great honor.
• 8:00
  Speaker 9: Now, after one or two showings of your work, using
• 8:03
  Speaker 9: my name, my connections, I'll be proud to step aside
• 8:07
  Speaker 9: and announce you as the promising creator.
• 8:10
  Speaker 4: Yes, and then I shall tell them what a fine
• 8:12
  Speaker 4: friend and benefactor you have been.
• 8:15
  Speaker 9: I'm sure you will, but until then, for our sake,
• 8:17
  Speaker 9: for your sake, I mean, we must both treat our
• 8:19
  Speaker 9: arrangement with strictest confidence.
• 8:22
  Speaker 3: Of course, Paul.
• 8:23
  Speaker 9: By the way, did you study with Mestrovich?
• 8:26
  Speaker 3: Mestrovich?
• 8:27
  Speaker 9: Oh, yes.
• 8:28
  Speaker 3: It was a great privilege. The master himself.
• 8:31
  Speaker 9: I'm glad. I'm very glad, Michael. For you, of course.
• 8:43
  Speaker 7: That approach has always worked with Michael, hasn't it, Paul?
• 8:47
  Speaker 7: You've traded on his hunger, his fears, his insecurity in
• 8:50
  Speaker 7: a new land. You won't mind exploiting his promising talent
• 8:54
  Speaker 7: as your own. even though you've convinced him that his
• 8:57
  Speaker 7: obscurity is only for a little while. Yes, things are
• 9:01
  Speaker 7: moving along nicely, aren't they? And your situation looks brighter
• 9:05
  Speaker 7: than ever. A few days later, Linda Wells, attractive secretary
• 9:10
  Speaker 7: to Miss Martha Alden, your kindly elderly sponsor, phones you.
• 9:17
  Speaker 5: Hello?
• 9:17
  Speaker 6: Hello, Paul.
• 9:18
  Speaker 11: This is Linda.
• 9:19
  Speaker 3: Linda.
• 9:20
  Speaker 9: You should do this more often. I feel better already.
• 9:24
  Speaker 3: Ha, ha.
• 9:24
  Speaker 8: Well, you'll feel still better when I tell you the
• 9:26
  Speaker 8: reason for this call. Miss Alden's coming to the studio
• 9:29
  Speaker 8: to see.
• 9:29
  Speaker 11: You this afternoon.
• 9:30
  Speaker 12: You'll be there, of course.
• 9:33
  Speaker 9: Yes, yes, of course. But what's it all about, Linda?
• 9:35
  Speaker 9: She didn't say.
• 9:37
  Speaker 8: All I know is Miss Alden talked on the phone
• 9:39
  Speaker 8: with Miles Hubbard.
• 9:40
  Speaker 9: Miles Hubbard?
• 9:40
  Speaker 4: Mm-hmm.
• 9:42
  Speaker 7: And she seemed very pleased afterwards.
• 9:44
  Speaker 9: You're sure?
• 9:44
  Speaker 8: Quite sure. A few minutes later, she.
• 9:47
  Speaker 7: Ordered her car and asked me to phone you.
• 9:49
  Speaker 5: She'll be there at.
• 9:50
  Speaker 3: Three, Paul. Yes, I'll be here.
• 9:51
  Speaker 9: Thanks for calling, Linda.
• 10:00
  Speaker 7: Well, Paul, the critic, Miles Hubbard's visit to your studio
• 10:04
  Speaker 7: with Don Alden, Miss Alden's nephew, has rebounded to your interest,
• 10:08
  Speaker 7: hasn't it? You know that Don brought him to the
• 10:11
  Speaker 7: studio on the belief that the famous critic would brand
• 10:13
  Speaker 7: the sculpture as worthless. Instead, he praised it. And now
• 10:18
  Speaker 7: Miles Hubbard has told Miss Alden herself that it's good. Yes,
• 10:23
  Speaker 7: Michael is a fine sculptor, isn't he, Paul? And a
• 10:26
  Speaker 7: valuable houseman. You're curious as to what she'll have to
• 10:30
  Speaker 7: say and decide it will be just as well if
• 10:33
  Speaker 7: Michael is elsewhere during Miss Alden's visit. So you send
• 10:37
  Speaker 7: him off to buy supplies with instructions to take his time.
• 10:41
  Speaker 7: With Michael out of the way, you pace the studio
• 10:44
  Speaker 7: impatiently until Miss Alden arrives. Then you lead her through
• 10:48
  Speaker 7: the studio, past the small entrance leading to the kitchen,
• 10:52
  Speaker 7: enter the door to your combination den and living room,
• 10:55
  Speaker 7: and sit spellbound as Martha Alden enthusiastically explains the reasons
• 11:00
  Speaker 7: for her visit.
• 11:01
  Speaker 9: But Miss Alden, I can hardly believe you've left half
• 11:05
  Speaker 9: of your estate to me.
• 11:07
  Speaker 12: I've been thinking about it for a long time, Paul.
• 11:11
  Speaker 12: I've had such faith in you. That's why I was
• 11:13
  Speaker 12: so pleased when Don suggested that before I took definite action, Miles.
• 11:18
  Speaker 13: Hubbard look at your work.
• 11:19
  Speaker 9: Well, I wondered about his visit.
• 11:21
  Speaker 13: And when Mr.
• 11:22
  Speaker 12: Hubbard verified my own opinion, I decided to go ahead immediately.
• 11:26
  Speaker 12: That's why I signed the documents this afternoon.
• 11:29
  Speaker 9: But your nephew Don, if he didn't even like the idea.
• 11:33
  Speaker 12: I haven't told him or anyone that I've actually drawn
• 11:36
  Speaker 12: a new will. And I don't intend to, for the.
• 11:40
  Speaker 13: Present at least.
• 11:46
  Speaker 7: Well, Paul, it's no longer a question of maybe. Martha
• 11:51
  Speaker 7: Alden has actually willed you half of her fortune. The
• 11:54
  Speaker 7: necessary documents are signed and sealed. It is hard to believe,
• 11:58
  Speaker 7: isn't it? After Miss Alden leaves, you return to your den,
• 12:03
  Speaker 7: light a cigarette, and gaze dreamily out of the window.
• 12:06
  Speaker 7: You look up startled at the sound of your name.
• 12:09
  Speaker 3: Paul.
• 12:09
  Speaker 6: Michael.
• 12:10
  Speaker 9: Michael. I didn't hear you come in.
• 12:13
  Speaker 3: I came back a little while ago. I went to
• 12:15
  Speaker 3: the kitchen. Did you? I got all the supplies. Paul,
• 12:18
  Speaker 3: you have a visitor in the studio. Mr.
• 12:21
  Speaker 9: Alden. Don Alden?
• 12:22
  Speaker 5: Yes.
• 12:23
  Speaker 9: Well, I'll see him right away.
• 12:30
  Speaker 5: Well, Mr.
• 12:32
  Speaker 9: Alden, this is a delightful surprise.
• 12:35
  Speaker 3: Is it?
• 12:35
  Speaker 9: Most assuredly. What's on your mind? I just wanted you
• 12:39
  Speaker 9: to know, Paul.
• 12:41
  Speaker 6: I've discovered the truth about you.
• 12:43
  Speaker 9: What do you mean?
• 12:44
  Speaker 6: That I'm certain you're a fraud and a cheat. In
• 12:47
  Speaker 6: a few days, I'll have the proof to expose you.
• 12:49
  Speaker 5: Publicly.
• 13:04
  Speaker 2: Tonight's $ 20 signal gasoline book goes to Mrs.
• 13:07
  Speaker 3: C.E.
• 13:08
  Speaker 2: Grindell of Seattle, Washington, for this limerick. Our old car
• 13:14
  Speaker 2: had all it could take. There wasn't a hill it
• 13:17
  Speaker 2: would make. Then with signal we gassed her. Now it
• 13:21
  Speaker 2: runs so much faster, we drive with one foot on
• 13:24
  Speaker 2: the brake.
• 13:25
  Speaker 10: Signal, signal, signal gasoline.
• 13:29
  Speaker 7: Your car will go far with go-father gasoline.
• 13:34
  Speaker 2: You may not actually have to keep one foot on
• 13:36
  Speaker 2: your brake after you switch to signal like the driver
• 13:38
  Speaker 2: in the limerick, but your accelerator foot will thrill to
• 13:42
  Speaker 2: signal smooth surges of lively responsive power. That's because peppy
• 13:46
  Speaker 2: performance just naturally goes hand in hand with Signal's good mileage.
• 13:51
  Speaker 2: So whether you're looking for economy or for sheer driving pleasure,
• 13:55
  Speaker 2: look no farther. Just drive into a Signal station and
• 13:59
  Speaker 2: fill up with Signal, the famous go-farther gasoline.
• 14:23
  Speaker 7: You reel under the impact of Don's words, don't you, Paul?
• 14:27
  Speaker 7: He's called you a fraud. He says he expects to
• 14:30
  Speaker 7: prove that you're a fraud. You return his steady gaze
• 14:34
  Speaker 7: and hope the fear and panic that you feel doesn't
• 14:36
  Speaker 7: show on your face.
• 14:38
  Speaker 9: You've got to keep your nerve, your composure.
• 14:42
  Speaker 7: You need it now more than ever as Don continues
• 14:44
  Speaker 7: to build his case against you.
• 14:46
  Speaker 6: It seems such a coincidence, Paul, that your work showed
• 14:50
  Speaker 6: a distinct Mestrovich influence. Especially since I've learned through his
• 14:54
  Speaker 6: immigration papers that your houseman, Michael, comes from virtually the
• 14:57
  Speaker 6: same section of the Balkans as the great sculptor himself.
• 15:00
  Speaker 9: As you say, a coincidence.
• 15:03
  Speaker 6: This cable I've just sent might interest you.
• 15:07
  Speaker 9: I doubt it.
• 15:07
  Speaker 5: I think it will.
• 15:09
  Speaker 6: It's addressed to Mestrovic in Belgrade, asking a very simple
• 15:12
  Speaker 6: but very important question. Was Michael Dubovich ever a student
• 15:17
  Speaker 6: of yours? Your answer important to his career.
• 15:20
  Speaker 5: Interest you?
• 15:21
  Speaker 9: It's too ridiculous.
• 15:22
  Speaker 6: When I get the answer I expect, I'm certain Aunt
• 15:24
  Speaker 6: Martha will see her protege in an entirely different light.
• 15:29
  Speaker 6: The instant I hear from Nestrovich, I will tell Aunt
• 15:31
  Speaker 6: Martha everything. You'll be finished, Paul. You'll be completely finished.
• 15:44
  Speaker 7: Don's been quite thorough, hasn't he, Paul? He's always hated you.
• 15:48
  Speaker 5: You've known that.
• 15:49
  Speaker 7: But you didn't know the lengths he'd go to to
• 15:51
  Speaker 7: ruin you with Miss Alden. You must stop Don. Somehow
• 15:56
  Speaker 7: you're certain of that.
• 15:57
  Speaker 5: But how?
• 15:59
  Speaker 7: Hours later, you're still wondering and thinking. It's a sleepless
• 16:04
  Speaker 7: night for you, isn't it? What are you going to do?
• 16:07
  Speaker 3: Leave?
• 16:09
  Speaker 7: Disappear before Mestrovic's answer can come? By morning, you know
• 16:13
  Speaker 7: that if you leave, all your dreams of money, the inheritance,
• 16:17
  Speaker 7: leaves with you.
• 16:19
  Speaker 5: Your mind is tired from thinking and indecision.
• 16:23
  Speaker 7: You have no answer, have you, Paul? By noon, you
• 16:25
  Speaker 7: still have no answer, and then.
• 16:29
  Speaker 7: The phone startles you, but you manage to answer.
• 16:31
  Speaker 9: Yes, hello?
• 16:35
  Speaker 5: Hello?
• 16:37
  Speaker 13: Miss Alden, Paul.
• 16:38
  Speaker 9: Oh, yes, yes, Miss Alden.
• 16:40
  Speaker 7: How are you?
• 16:41
  Speaker 13: I'd like you to come to the house, Paul, as
• 16:43
  Speaker 13: soon as possible, if you will.
• 16:44
  Speaker 9: Why, yes, of course. Is something wrong? I don't want
• 16:48
  Speaker 9: to talk about it on the phone.
• 16:49
  Speaker 12: Can you come here right away?
• 16:51
  Speaker 9: Of course, Miss Alden.
• 16:59
  Speaker 5: You're breathless when you arrive.
• 17:01
  Speaker 7: Miss Alden takes you to her upstairs sitting room where
• 17:04
  Speaker 7: she asks a question of her own.
• 17:06
  Speaker 13: Paul, who is Michael Dubovich?
• 17:10
  Speaker 9: So Don has told you. You can't believe him. It
• 17:12
  Speaker 9: isn't true. I've done the work, Miss Alden.
• 17:15
  Speaker 5: I've done it all.
• 17:16
  Speaker 9: Michael is just what he seems to be. He's a student.
• 17:19
  Speaker 9: Where is Don?
• 17:20
  Speaker 13: I've tried to locate Don. I don't know where he
• 17:23
  Speaker 13: is right now. But he has told me nothing, Paul.
• 17:27
  Speaker 9: Yes, but then how.
• 17:28
  Speaker 13: This cablegram addressed to Don. I opened it.
• 17:31
  Speaker 12: He's never received a cablegram before. I thought it might
• 17:34
  Speaker 12: be important. It seems to be very important.
• 17:37
  Speaker 9: You don't understand, Miss Alden. You must let me.
• 17:39
  Speaker 13: I didn't understand any of it at first, Paul. I'm
• 17:43
  Speaker 13: just beginning to realize. And it isn't easy to admit
• 17:47
  Speaker 13: I've been a fool. But I have, haven't I?
• 17:51
  Speaker 9: Please, Miss Alden, you must believe me.
• 17:52
  Speaker 12: Paul, how can I? Your own first words when you
• 17:56
  Speaker 12: came in told me the story. It had never even
• 17:59
  Speaker 12: occurred to me that you were using Michael.
• 18:01
  Speaker 9: What are you going to do, Miss Alden?
• 18:04
  Speaker 13: You haven't left me any choice, Paul. I'll change my will,
• 18:08
  Speaker 13: of course, but.
• 18:09
  Speaker 9: Change your will?
• 18:10
  Speaker 13: Of course.
• 18:11
  Speaker 9: Surely you don't expect me to... You're not going to
• 18:14
  Speaker 9: change that will, Miss Alden.
• 18:16
  Speaker 7: Paul. Paul, what are you going to do?
• 18:19
  Speaker 9: You're not going to get a chance to change that will,
• 18:23
  Speaker 9: Miss Alden.
• 18:28
  Speaker 7: Martha Alden's will can't be changed now, can it, Paul?
• 18:33
  Speaker 7: It's beyond the reach of any change.
• 18:35
  Speaker 5: Yes.
• 18:36
  Speaker 7: She met her death when you pushed her down the stairs.
• 18:40
  Speaker 7: And her position will make her death appear to.
• 18:43
  Speaker 9: Be an accident.
• 18:44
  Speaker 7: You descend the stairs slowly. That's when you see the
• 18:48
  Speaker 7: cablegram crumpled at her side. The cablegram from the great Mestrovic,
• 18:53
  Speaker 7: the Don Alden, stating that Michael Dubovitch, your houseman, had
• 18:58
  Speaker 7: been one of his prized students. Quickly you snatch it.
• 19:01
  Speaker 7: and the bright flame of the library fireplace destroys it
• 19:04
  Speaker 7: into meaningless ashes. You must continue to act quickly. You
• 19:09
  Speaker 7: must get out of the house, and you must not
• 19:10
  Speaker 7: be seen. You turn to go and you hear voices.
• 19:13
  Speaker 7: Someone is coming.
• 19:14
  Speaker 5: This won't take long, Michael. Don't worry about it.
• 19:18
  Speaker 3: But I don't understand. Why did you bring me here, Mr.
• 19:21
  Speaker 8: Ogg?
• 19:22
  Speaker 6: I just want to ask you some questions, Michael, and
• 19:24
  Speaker 6: I want Aunt Martha to hear your answers.
• 19:27
  Speaker 7: Done with Michael. You whirl around. It's too late to
• 19:31
  Speaker 7: reach the door without being seen. Quickly, you open the
• 19:34
  Speaker 7: basement door, step inside, and hurry down into the musty darkness.
• 19:39
  Speaker 7: You feel your way cautiously across the basement to the
• 19:42
  Speaker 7: back door. You find it locked. You stop and listen
• 19:47
  Speaker 7: to their footsteps overhead. Then you hear them move into
• 19:51
  Speaker 7: the library. It's only a matter of minutes until they
• 19:54
  Speaker 7: discover the body of Miss Martha Alden.
• 19:57
  Speaker 9: Softly, you move up the stairs again.
• 20:00
  Speaker 7: Open the door. You can hear them, but you don't
• 20:03
  Speaker 7: dare run for the front door, do you, Paul?
• 20:05
  Speaker 3: Perhaps we should not disturb Miss Alden. I... I don't
• 20:08
  Speaker 3: want to answer any questions.
• 20:10
  Speaker 5: The answers won't hurt you, Michael. I'm sure of that.
• 20:12
  Speaker 3: Now, you just sit here.
• 20:14
  Speaker 5: Aunt Martha and I'll be down in a minute. Please, Mr.
• 20:16
  Speaker 3: Alden, I don't like this. I have nothing to say.
• 20:18
  Speaker 3: And Paul.
• 20:19
  Speaker 5: Don't worry about Paul.
• 20:22
  Speaker 10: Michael. Hmm?
• 20:23
  Speaker 5: Quick, it's Aunt Martha.
• 20:25
  Speaker 3: Oh. Is she.
• 20:27
  Speaker 5: She's dead.
• 20:28
  Speaker 8: Oh, no.
• 20:29
  Speaker 5: No, I... Stay here, Michael. No. I've got to phone
• 20:31
  Speaker 5: the doctor.
• 20:32
  Speaker 3: Michael!
• 20:38
  Speaker 5: Michael seems to be running now, out of the house, Paul.
• 20:42
  Speaker 7: And as Don hurries in the other direction to phone,
• 20:45
  Speaker 7: the side door is free for your escape. You dash
• 20:49
  Speaker 7: out into the winter darkness. Michael will be going home,
• 20:51
  Speaker 7: and you must be there first, Paul. You race down
• 20:55
  Speaker 7: the dimly lit street. Hail a taxi at the next boulevard.
• 20:58
  Speaker 7: Nothing matters now, Paul, so much as beating Michael home.
• 21:03
  Speaker 7: And you do it. You're stretched out reading when he
• 21:07
  Speaker 7: enters and pours out the tragic story of finding Miss
• 21:10
  Speaker 7: Alden's body. You stand up well under the shock that
• 21:15
  Speaker 7: Michael's overcome.
• 21:17
  Speaker 3: Poor Miss Alden. It was so terrible, Paul. And Mr. Alden,
• 21:22
  Speaker 3: I'm so sorry.
• 21:23
  Speaker 9: I don't quite understand why you were with Don, Michael.
• 21:27
  Speaker 4: Well, I don't really know. He picked me up in
• 21:30
  Speaker 4: his car and drove me straight there. He said there
• 21:32
  Speaker 4: were questions. Paul, what will we do?
• 21:35
  Speaker 9: For now, I think we'll do nothing. Don's taking you there.
• 21:39
  Speaker 9: It's so strange. That's it, Michael. We'll do nothing. We'll
• 21:44
  Speaker 9: say nothing. We wouldn't want to get Don in any trouble.
• 21:54
  Speaker 7: You're still certain Miss Alden's death will be called an accident.
• 21:58
  Speaker 3: What if it isn't?
• 21:59
  Speaker 7: If it's called murder, you're sure that you can put
• 22:02
  Speaker 7: the blame on Don. You'd enjoy that, wouldn't you, Paul?
• 22:06
  Speaker 7: His taking Michael to the house will make it seem
• 22:09
  Speaker 7: that Don Alden was badly in need of a witness
• 22:12
  Speaker 7: to discover the body with him. That's quite a coincidence,
• 22:16
  Speaker 7: isn't it? And there was a strong motive for Don, too.
• 22:20
  Speaker 7: He could have killed his aunt to prevent her from
• 22:22
  Speaker 7: changing her will to leave you half of her fortune,
• 22:26
  Speaker 7: a substantial half that would have belonged to him. And
• 22:29
  Speaker 7: best of all, No one knows that Miss Alden had
• 22:32
  Speaker 7: told you she'd already changed her will. It's perfect for you,
• 22:36
  Speaker 7: isn't it, Paul? It will seem that you had no
• 22:39
  Speaker 7: motive whatever that it was to your interest for Miss
• 22:41
  Speaker 7: Alden to live. You turn on the radio to await
• 22:45
  Speaker 7: developments an hour later.
• 22:46
  Speaker 8: Police have announced that the death of wealthy Miss Martha Alden,
• 22:50
  Speaker 8: previously tabbed accidental, is now believed to be murder. Details
• 22:54
  Speaker 8: are fragmentary, but the position of the body and identifying
• 22:58
  Speaker 8: marks on the staircase have prompted police to begin questioning
• 23:01
  Speaker 8: all concerned.
• 23:08
  Speaker 5: They call it murder now, Paul.
• 23:11
  Speaker 7: They've been questioning everyone concerned and they're making a sudden decision. Well,
• 23:16
  Speaker 7: you've got to go to the police before they come
• 23:18
  Speaker 7: to you. You have a story to tell them, haven't you, Paul?
• 23:22
  Speaker 7: A story you're certain will convince them that you're innocent.
• 23:25
  Speaker 7: And Don Alden is guilty of Martha Alden's murder. Reaching homicide,
• 23:31
  Speaker 7: you stage a nice act. You came in the interest
• 23:34
  Speaker 7: of justice, and the lieutenant seems interested. That's why I
• 23:37
  Speaker 7: came as soon as I heard, Lieutenant Hengstrom.
• 23:40
  Speaker 9: I want to help all I can.
• 23:41
  Speaker 11: Thanks.
• 23:42
  Speaker 5: You know Mr.
• 23:43
  Speaker 9: Alden here, I suppose? Don Alden. I'm glad you have
• 23:47
  Speaker 9: him here, Lieutenant.
• 23:48
  Speaker 5: There's your man, Lieutenant. Paul Wilson. My honor.
• 23:50
  Speaker 11: Now, just a minute. I'll do all the accusing here.
• 23:54
  Speaker 11: Either of you could have done it. Under the circumstances,
• 23:57
  Speaker 11: I'm sure one of you did.
• 23:58
  Speaker 5: Now, look here, Lieutenant.
• 23:59
  Speaker 9: Now, just a minute.
• 24:01
  Speaker 11: The more I look at this thing, the more I'm
• 24:03
  Speaker 11: sure it's a matter of motive. Find the motive, and
• 24:06
  Speaker 11: you find the man. Don has all the motive in
• 24:09
  Speaker 11: the world. He knew Miss Alden was going to change
• 24:11
  Speaker 11: her will and leave me half of her estate.
• 24:14
  Speaker 9: Before she could do it, he... Yes, it's true. He
• 24:16
  Speaker 9: told me so himself.
• 24:18
  Speaker 5: That's true.
• 24:19
  Speaker 9: You see, I had no motive at all. I had
• 24:21
  Speaker 9: everything to gain by her living. She was planning to
• 24:24
  Speaker 9: make me one of her heirs.
• 24:26
  Speaker 5: What about that, Mr.
• 24:27
  Speaker 3: Alden?
• 24:27
  Speaker 5: Wilson had to kill her. Before she discovered he was
• 24:30
  Speaker 5: a fraud, I had the evidence.
• 24:31
  Speaker 9: I'm not a fraud. And even if I were, what
• 24:33
  Speaker 9: good would it have done me to kill Miss Alden?
• 24:35
  Speaker 9: Her living would have given me exactly what her death
• 24:38
  Speaker 9: gave you.
• 24:39
  Speaker 5: Her money.
• 24:40
  Speaker 9: Alden was there. He even took Michael along as a
• 24:43
  Speaker 9: witness to help him discover the body.
• 24:45
  Speaker 7: He had the motive. What more do you want, Lieutenant?
• 24:48
  Speaker 5: Not much. You know, Mr.
• 24:50
  Speaker 11: Alden, if I were you, I'd be thinking up some
• 24:53
  Speaker 11: answers for the D.A.
• 25:06
  Speaker 2: While watching some Christmas shoppers the other day, I couldn't
• 25:09
  Speaker 2: help feeling it's too bad folks aren't as careful in
• 25:12
  Speaker 2: selecting their motor oil as they are in selecting Christmas gifts.
• 25:16
  Speaker 2: If they were, a lot more drivers would switch to
• 25:19
  Speaker 2: Signal Premium Compounded Motor Oil, the improved type oil that
• 25:23
  Speaker 2: does so much more than just lubricate. You see, because
• 25:27
  Speaker 2: Signal Premium combines scientific compounds with 100% pure paraffin base,
• 25:32
  Speaker 2: it does things for your motor which the finest oil
• 25:35
  Speaker 2: alone cannot do. One of these compounds, for instance, specifically
• 25:40
  Speaker 2: prevents destructive corrosion inside your motor. Another compound in Signal
• 25:44
  Speaker 2: Premium actually washes out harmful carbon. And still other compounds
• 25:49
  Speaker 2: help in other important ways to keep wear down and
• 25:53
  Speaker 2: performance up. So if you want to keep your motor young,
• 25:57
  Speaker 2: get your next oil change at a Signal service station.
• 26:01
  Speaker 2: Change to the improved type oil that does so much
• 26:04
  Speaker 2: more than just lubricate. Signal Premium Compounded Motor Oil.
• 26:21
  Speaker 5: You're in the clear now, Paul.
• 26:24
  Speaker 7: You're certain Lieutenant Hegstrom is convinced of Don's guilt. Find
• 26:27
  Speaker 7: the motive and you find the man. That's what he said, Paul.
• 26:32
  Speaker 7: You're pleased, aren't you? And you know the story by
• 26:35
  Speaker 7: heart that will convict Don as you tell it to
• 26:38
  Speaker 7: the police stenographer for the permanent record. You've just finished
• 26:42
  Speaker 7: and started to go and.
• 26:44
  Speaker 9: Just one more detail, Wilson. Come back a moment, will you?
• 26:47
  Speaker 7: Of course, Lieutenant. Glad to.
• 26:50
  Speaker 9: By Michael.
• 26:51
  Speaker 3: Yes, Paul. Paul, I've been so worried about you.
• 26:55
  Speaker 9: Michael seems to be a very loyal servant, Wilson.
• 26:57
  Speaker 13: Yes.
• 26:58
  Speaker 9: Yes, he is. You needn't have worried, Michael. I'm just fine. Oh,
• 27:03
  Speaker 9: but he has worried, Wilson. He's worried a great deal.
• 27:06
  Speaker 11: He even thought we might be holding you for the murder.
• 27:10
  Speaker 11: And he came here with something he says proves you
• 27:12
  Speaker 11: couldn't have done it.
• 27:13
  Speaker 9: Well, that's very nice, I'm sure, but.
• 27:16
  Speaker 5: Go on, Michael.
• 27:17
  Speaker 9: Tell him what you just told me.
• 27:19
  Speaker 3: Yes, sir.
• 27:19
  Speaker 7: That.
• 27:20
  Speaker 4: I told him you could not have done it, Paul.
• 27:23
  Speaker 4: I told him you wouldn't have done it. How much
• 27:26
  Speaker 4: you thought of Miss Alden after she'd been so kind.
• 27:29
  Speaker 4: How she'd changed her will, left you half of her money.
• 27:32
  Speaker 5: But, Michael... Go on, Michael.
• 27:35
  Speaker 11: Tell Wilson how you knew Miss Alden had already changed
• 27:38
  Speaker 11: her will.
• 27:39
  Speaker 3: You remember, Paul?
• 27:40
  Speaker 4: You told me not ever to burst in on you
• 27:42
  Speaker 4: when you had guests. So that day Miss Alden came
• 27:45
  Speaker 4: to see you, I waited outside the room. I did
• 27:48
  Speaker 4: not burst in, but I couldn't help hearing her tell
• 27:51
  Speaker 4: you she changed her will that afternoon to give you
• 27:54
  Speaker 4: half her money.
• 27:56
  Speaker 3: Paul? Paul, have I done something wrong?
• 28:01
  Speaker 9: I'll answer that, Michael. You've done something right. Alden told
• 28:06
  Speaker 9: the truth. He's the one without a motive. You lied, Wilson.
• 28:10
  Speaker 9: You had the motive. But, Lieutenant, I.
• 28:12
  Speaker 11: You knew Miss Alden had already put you into her will.
• 28:15
  Speaker 11: You killed her to keep her from cutting out of
• 28:17
  Speaker 11: your will, out of your inheritance. Like I said, find
• 28:21
  Speaker 11: the motive and you'll find the murderer.
• 28:42
  Speaker 2: Let that whistle be your signal for the signal oil program,
• 28:45
  Speaker 2: The Whistler, each Sunday night at this same time. Brought
• 28:49
  Speaker 2: to you by the Signal Oil Company, marketers of Signal
• 28:51
  Speaker 2: gasoline and motor oil, and fine automotive accessories. Remember, if
• 28:56
  Speaker 2: you would like the fun of having your friends hear
• 28:58
  Speaker 2: a limerick of yours on the Whistler, the address to
• 29:01
  Speaker 2: which to send it is the Signal Oil Company, Los
• 29:04
  Speaker 2: Angeles 55, California. All limericks become the property of the
• 29:08
  Speaker 2: Signal Oil Company. Those selected for use on the Whistler
• 29:12
  Speaker 2: will be chosen by our advertising representatives on the basis
• 29:15
  Speaker 2: of humor, suitability, and originality.
• 29:17
  Speaker 5: So of course they must.
• 29:18
  Speaker 3: Be your own composition.
• 29:25
  Speaker 2: Featured in tonight's story were John Hoyt, Paul Avery, Gloria Gordon,
• 29:30
  Speaker 2: and Paul Freese.
• 29:31
  Speaker 5: The Whistler was produced and directed by George W.
• 29:34
  Speaker 2: Allen, with story by David Ross, music by Wilbur Hatch,
• 29:37
  Speaker 2: and was transmitted to our troops overseas by the Armed
• 29:39
  Speaker 2: Forces Radio Service. The Whistler is entirely fictional, and all
• 29:43
  Speaker 2: characters portrayed on The Whistler are also fictional. Any similarity
• 29:46
  Speaker 2: of names or resemblance to persons living or dead is
• 29:49
  Speaker 2: purely coincidental. Remember at the same time next Sunday, another
• 29:54
  Speaker 2: strange tale by The Whistler.
• 30:08
  Speaker 3: S-I-G-N-A-L. Signal.
• 30:14
  Speaker 6: Signal Gasoline.
• 30:18
  Speaker 2: Marvin Miller speaking for the Signal Oil Company. This is CBS,
• 30:22
  Speaker 2: the Columbia Broadcasting System.
• 30:26
  Speaker 1: Our visit with the whistler, Patroness of Murder, comes to
• 30:29
  Speaker 1: a close. Follow the whistler for more classic broadcasts.