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The Whistler - "Still Death" (Old Time Radio, 1948) · The Whistler | Old Time Radio

• 0:00
  Speaker 1: September 22, 1948 brings us to The Whistler, episode 328,
• 0:05
  Speaker 1: Still Death, heard on the CBS Pacific Network with Signal
• 0:09
  Speaker 1: Oil as sponsor. A mysterious woman engages an artist to
• 0:14
  Speaker 1: paint her portrait. Before long, she and her husband are
• 0:17
  Speaker 1: facing sudden physical incapacity, and the portrait becomes part of
• 0:21
  Speaker 1: an unsettling mystery. William Conrad is listed among the cast
• 0:26
  Speaker 1: for this half-hour broadcast. The Whistler remains one of radio's
• 0:29
  Speaker 1: familiar late evening voices, inviting us into another tale from
• 0:33
  Speaker 1: its West Coast microphone. And now we return to the
• 0:36
  Speaker 1: original broadcast.
• 0:40
  Speaker 2: And now for the Signal Oil program, The Whistler, the
• 0:43
  Speaker 2: mystery program that is unique among all mystery programs.
• 0:46
  Speaker 3: Because you know who's guilty.
• 0:47
  Speaker 4: You see his every move.
• 0:48
  Speaker 3: You know his complete plans, even his innermost thoughts.
• 0:51
  Speaker 2: Yet the final curtain always brings a startling surprise.
• 0:55
  Speaker 4: In the Signal Oil program, The Whistler.
• 1:11
  Speaker 2: That whistle is your signal for the Signal Oil program,
• 1:16
  Speaker 2: The Whistler.
• 1:36
  Speaker 5: I am The Whistler, and I know many things, for
• 1:39
  Speaker 5: I walk by night. I know many strange tales hidden
• 1:43
  Speaker 5: in the hearts of men and women who have stepped
• 1:45
  Speaker 5: into the shadows. Yes, I know the nameless terrors of
• 1:50
  Speaker 5: which they dare not speak.
• 1:55
  Speaker 2: Yes, friends, it's the whistler for the tops in entertainment.
• 1:59
  Speaker 2: And for the tops in gasoline quality, it's Signal. It
• 2:02
  Speaker 2: takes extra quality, you know, to give you extra mileage.
• 2:05
  Speaker 2: And Signal is the famous go-farther gasoline. So look for
• 2:09
  Speaker 2: the signal circle sign in yellow and black that identifies
• 2:13
  Speaker 2: friendly independent signal stations from Canada to Mexico. And now
• 2:19
  Speaker 2: the whistler's strange story.
• 2:22
  Speaker 4: Still Death.
• 2:23
  Speaker 5: Still Death. Even with the moonlight through the big window,
• 2:34
  Speaker 5: the studio room seemed dark to him as he let
• 2:37
  Speaker 5: himself in quickly and leaned back against the door. It
• 2:41
  Speaker 5: was like moving in a nightmare somehow. Everything vague, out
• 2:44
  Speaker 5: of focus. He didn't know how long he'd been standing
• 2:48
  Speaker 5: there when it came. That soft knock on the door.
• 2:52
  Speaker 5: He didn't even hear it at first.
• 2:53
  Speaker 4: Didn't respond.
• 2:55
  Speaker 5: Until it was repeated urgently, demandingly. Then he came out
• 2:59
  Speaker 5: of his day sufficiently to hurry across the studio to
• 3:02
  Speaker 5: the easel by the window. Quickly, he removed the painting,
• 3:05
  Speaker 5: slipped it behind the desk. Then he turned to answer
• 3:09
  Speaker 5: the door. The man facing him was a total stranger,
• 3:15
  Speaker 5: but he called him by name.
• 3:17
  Speaker 4: Leonard Miles? That's right. You're standing in the dark, Mr. Miles. Oh, well,
• 3:25
  Speaker 4: I was just leaving.
• 3:26
  Speaker 6: Sure.
• 3:27
  Speaker 7: You mind if I come in?
• 3:29
  Speaker 4: What do you want? I'd like to take a look around. Now, look,
• 3:33
  Speaker 4: it's late. My studio's closed. I... Do you know Ann Hamilton, Mr. Miles?
• 3:39
  Speaker 4: Ann Hamilton? Uh, no. No, I don't. Funny. That's about
• 3:46
  Speaker 4: the only answer I get out of this neighborhood. Oh,
• 3:49
  Speaker 4: I'm sorry, Mr. Miles. I'm Lieutenant Meehan. Homicide. Homicide? You
• 3:54
  Speaker 4: mind putting on the lights? Ah, that's better. Well, you've
• 4:01
  Speaker 4: worked on some interesting subjects, Mr. Miles. What is it, Lieutenant?
• 4:05
  Speaker 4: What's on your mind? Your work, Mr. Miles.
• 4:09
  Speaker 7: Your paintings. I'd like to look at them. They're all
• 4:13
  Speaker 7: that I've had on my mind since learning about Anne Hamilton.
• 4:17
  Speaker 7: In case you didn't know, she's dead.
• 4:25
  Speaker 5: You just stand there, don't you, Leonard, facing the police lieutenant,
• 4:29
  Speaker 5: not even hearing your own voice as you tell him
• 4:31
  Speaker 5: to go ahead and examine the canvases. You're almost not
• 4:35
  Speaker 5: aware of him as he moves about the room because
• 4:38
  Speaker 5: your mind is spinning rapidly, going over it all again,
• 4:41
  Speaker 5: reliving each week, day, and hour that you spent with
• 4:44
  Speaker 5: Ann Hamilton, the girl he's asking about. You'd like to
• 4:48
  Speaker 5: tell him about it, tell him the kind of person
• 4:51
  Speaker 5: she was, but you don't. Because there's still Mary to
• 4:55
  Speaker 5: think about. There's always been Mary. Before Anne, before everything,
• 5:00
  Speaker 5: there's always been Mary, your wife. How well you remember
• 5:05
  Speaker 5: the day you and Mary discussed the exhibition.
• 5:07
  Speaker 3: Feel better now?
• 5:10
  Speaker 6: Delicious tea, Mary. Thanks so much. Oh, not at all, Connie.
• 5:14
  Speaker 3: So good of you to pose for Leonard.
• 5:16
  Speaker 6: Oh, I love it. He's taught me more in these
• 5:18
  Speaker 6: past weeks than a semester of art school. You going
• 5:21
  Speaker 6: to work any more this afternoon, Mr. Miles?
• 5:23
  Speaker 4: No, Connie, that'll be all for the day.
• 5:25
  Speaker 6: Oh, I'll be running on then. I've got a class tonight.
• 5:27
  Speaker 4: You'll pay heed to this young lady, Mary.
• 5:29
  Speaker 8: She'll graduate from that art school in a year or
• 5:32
  Speaker 8: so and run me out of business.
• 5:33
  Speaker 6: Oh, in a year you'll be so famous no one
• 5:35
  Speaker 6: will buy from anyone else.
• 5:38
  Speaker 5: Good night, Mary.
• 5:39
  Speaker 6: Mr.
• 5:39
  Speaker 4: Miles.
• 5:40
  Speaker 6: Good night, Connie.
• 5:40
  Speaker 2: Good night, Connie.
• 5:42
  Speaker 4: She's a wonderful girl. Yes.
• 5:45
  Speaker 3: You know, Lennox, Sometimes I wonder why you stay with me.
• 5:49
  Speaker 4: Oh, please, Mary.
• 5:50
  Speaker 5: No.
• 5:51
  Speaker 3: I'm not a help to you. It's a struggle for
• 5:54
  Speaker 3: an artist anyway.
• 5:55
  Speaker 4: With an invalid wife... Now, stop it, Mary. You help
• 5:59
  Speaker 4: me more than you'll ever know. It's just that... Well,
• 6:03
  Speaker 4: I wish I could do more for you. Take you
• 6:05
  Speaker 4: away somewhere. Let you live in the kind of place
• 6:07
  Speaker 4: that you should.
• 6:09
  Speaker 6: I'm happy with you, Leonard.
• 6:13
  Speaker 4: Mary, I was offered that job again.
• 6:16
  Speaker 6: No, Leonard.
• 6:17
  Speaker 4: There's really nothing wrong with doing magazine illustrations, and it
• 6:20
  Speaker 4: means money. We could try to save... It's what you
• 6:22
  Speaker 4: want to do.
• 6:23
  Speaker 6: You know that. What about the exhibit? You haven't completed
• 6:25
  Speaker 6: your work.
• 6:27
  Speaker 4: The exhibit isn't going to mean anything. Never has.
• 6:30
  Speaker 3: Perhaps it will this time. Let's wait and see. I
• 6:33
  Speaker 3: have a feeling about it, Leonard.
• 6:35
  Speaker 6: Promise me you'll wait until after the exhibit. Please, Leonard?
• 6:41
  Speaker 4: All right, Mary, darling.
• 6:52
  Speaker 5: Yes, Leonard, your wife Mary had a feeling that the
• 6:55
  Speaker 5: art exhibit was going to make a difference. But it
• 6:58
  Speaker 5: wasn't really different from the others before it. You still
• 7:01
  Speaker 5: heard the same remarks as you moved about among the
• 7:04
  Speaker 5: little group of onlookers. Then they were gone, the curious,
• 7:07
  Speaker 5: the mocking, and the few real patrons. You're alone now,
• 7:12
  Speaker 5: standing there, looking around at a room full of paintings,
• 7:16
  Speaker 5: Paintings that no one wanted to buy. You stare at
• 7:19
  Speaker 5: one you were certain they would like. A girl's face
• 7:22
  Speaker 5: with that curious light across it. Then you're startled suddenly
• 7:26
  Speaker 5: at the sound of a girl's voice.
• 7:27
  Speaker 3: Hello.
• 7:28
  Speaker 5: You almost believe your mind is playing tricks and then
• 7:31
  Speaker 5: she speaks again.
• 7:31
  Speaker 3: Hello.
• 7:32
  Speaker 4: Why, hello.
• 7:34
  Speaker 3: I didn't mean to startle you.
• 7:37
  Speaker 4: I thought everyone had gone.
• 7:39
  Speaker 5: Yes.
• 7:40
  Speaker 3: I waited until they had. I liked your work, Mr.
• 7:44
  Speaker 6: Miles.
• 7:45
  Speaker 8: Oh?
• 7:45
  Speaker 3: I like it very much. I may like it well
• 7:49
  Speaker 3: enough to buy.
• 7:51
  Speaker 4: Well, everything you see is for sale, Miss... Hamilton.
• 7:54
  Speaker 3: Ann Hamilton.
• 7:56
  Speaker 4: Yes. Well, was there something in particular?
• 7:59
  Speaker 3: I'd like some time to study them.
• 8:03
  Speaker 4: Oh, the exhibit's over, but these will all be brought
• 8:06
  Speaker 4: back to my studio.
• 8:07
  Speaker 3: I suppose I could come over there. That is, if
• 8:13
  Speaker 3: the transaction can be kept Private.
• 8:17
  Speaker 4: Private?
• 8:18
  Speaker 3: I wouldn't want any talk, Mr. Miles.
• 8:21
  Speaker 4: Well, I'm sure the mere fact of your buying a
• 8:23
  Speaker 4: picture wouldn't concern... It.
• 8:24
  Speaker 3: Might concern some people. You're a very attractive man, Mr.
• 8:31
  Speaker 4: Miles. I trust my wife finds me so.
• 8:37
  Speaker 3: I'm sure she does. My car is across the street.
• 8:41
  Speaker 3: I wonder if we could continue this over a cocktail.
• 8:45
  Speaker 3: I know. You're expected home. Couldn't you make a call?
• 8:51
  Speaker 3: It's business, Mr.
• 8:52
  Speaker 6: Miles.
• 8:56
  Speaker 4: Yes, I can call.
• 8:57
  Speaker 8: I'll do it right away. Look, Miss Hamilton, about the paintings...
• 9:10
  Speaker 8: You said you'd call me Ann.
• 9:12
  Speaker 4: All right, Ann.
• 9:12
  Speaker 5: Ann?
• 9:13
  Speaker 4: What about the.
• 9:14
  Speaker 3: The painting.
• 9:15
  Speaker 7: Yes.
• 9:15
  Speaker 4: Is it the girl, the one I was looking at
• 9:17
  Speaker 4: when you.
• 9:17
  Speaker 6: The girl?
• 9:18
  Speaker 3: No, Leonard, I wouldn't want that. Someone else posed for you.
• 9:22
  Speaker 8: No.
• 9:24
  Speaker 3: Leonard, I... I want you to paint me.
• 9:30
  Speaker 6: Oh?
• 9:30
  Speaker 3: Will you do it?
• 9:32
  Speaker 4: Naturally, portrait painting is my business.
• 9:34
  Speaker 5: Good.
• 9:35
  Speaker 3: But I should warn you, I'm going to want something unusual.
• 9:39
  Speaker 3: I'd like a painting of myself just as I am, Leonard.
• 9:42
  Speaker 3: No pretty lights or shadows. No painting out the lines.
• 9:46
  Speaker 4: That should be easy. And there aren't any lines.
• 9:50
  Speaker 3: You noticed, didn't you? You've noticed a lot about me.
• 9:52
  Speaker 4: Well, yes, of course. I make a habit of studying subjects.
• 9:56
  Speaker 3: You're perfect for what I want, Leonard.
• 9:59
  Speaker 8: Oh.
• 10:01
  Speaker 3: You'll paint me exactly as I am.
• 10:03
  Speaker 4: Well, I'll try, Anne. And it isn't such an unusual request.
• 10:09
  Speaker 3: No. Leonard, someone once told me that I should be
• 10:17
  Speaker 3: painted killing someone. Or something. You don't believe that, do you?
• 10:24
  Speaker 4: Well, I don't know, Anne. But you'll paint me. Yes.
• 10:28
  Speaker 3: Just as I am. We'll work together until it's exactly
• 10:31
  Speaker 3: like me.
• 10:34
  Speaker 7: Yes, Anne.
• 10:35
  Speaker 4: Until it's exactly like you.
• 10:49
  Speaker 2: With the prologue of Still Death, the Signal Oil Company
• 10:52
  Speaker 2: brings you another strange story by the Whistler. But now
• 10:58
  Speaker 2: two announcements of unusual importance to all Contract Bridge players. One,
• 11:03
  Speaker 2: the first changes in the rules of Contract Bridge since
• 11:06
  Speaker 2: 1941 were just made on the first of this month
• 11:08
  Speaker 2: at the Culbertson Teachers' Convention. And two, a copy of
• 11:12
  Speaker 2: all these new bridge rules is already waiting for you
• 11:15
  Speaker 2: at your nearest Signal service stations.
• 11:18
  Speaker 4: Yes, that's right.
• 11:19
  Speaker 2: The only new developments in bridge in the last seven
• 11:22
  Speaker 2: years have now been boiled down into convenient, easy-to-understand form
• 11:26
  Speaker 2: by Signal's own bridge expert, Robert Lee Johnson. These are
• 11:30
  Speaker 2: completely separate from the six lessons in Contract Bridge now
• 11:33
  Speaker 2: being distributed by Signal dealers. So whether you're collecting these
• 11:37
  Speaker 2: Signal bridge lessons or not, if you play Contract Bridge
• 11:41
  Speaker 2: at all, you'll want this handy summary of the new
• 11:44
  Speaker 2: rules in Contract Bridge. Naturally, it's yours for the asking.
• 11:48
  Speaker 2: And the place to ask for it is at your
• 11:51
  Speaker 2: friendly neighborhood signal dealer. Friends, before returning to the Whistler,
• 11:57
  Speaker 2: here is an important announcement for Whistler fans in California only.
• 12:02
  Speaker 2: Next Wednesday, the Whistler will be heard in California one
• 12:05
  Speaker 2: hour later at 8.30 p.m. Remember, this is in California only.
• 12:10
  Speaker 5: And now back to the Whistler. It was like a nightmare,
• 12:33
  Speaker 5: wasn't it, Leonard? From the moment you met Ann Hamilton
• 12:36
  Speaker 5: there in the empty art gallery. The way she seemed
• 12:39
  Speaker 5: to step out of the shadows into your life. From
• 12:42
  Speaker 5: the first, there was something that told you to stay
• 12:44
  Speaker 5: away from her. To turn and run.
• 12:46
  Speaker 2: But you didn't.
• 12:47
  Speaker 5: And the following evening.
• 12:48
  Speaker 4: You made excuses to marry.
• 12:50
  Speaker 5: Left her in the apartment. walked down the long corridor
• 12:53
  Speaker 5: and across the patio to the room that served as
• 12:56
  Speaker 5: your studio. Stood in the half-darkness, smoking a cigarette while
• 12:59
  Speaker 5: you waited. That deep urge to call it all off
• 13:03
  Speaker 5: is there again for an instant, isn't it, Leonard? And
• 13:05
  Speaker 5: then it all swept away, and you're over the brink
• 13:09
  Speaker 5: as you find yourself with Anne. Oh, Leonard.
• 13:12
  Speaker 3: It's just as I thought it would be, your studio.
• 13:16
  Speaker 3: It's as if I'd been here many times before.
• 13:19
  Speaker 5: Leonard. Yes?
• 13:21
  Speaker 3: Did your wife like to come here?
• 13:23
  Speaker 4: Unfortunately, my wife can't come here. She's an invalid. Oh?
• 13:27
  Speaker 4: She was in an accident.
• 13:29
  Speaker 3: That's too bad.
• 13:30
  Speaker 4: She used to come here all the time before she
• 13:31
  Speaker 4: was hurt, but she's still very interested in my work.
• 13:35
  Speaker 3: So am I. Can we start our painting tonight?
• 13:40
  Speaker 4: Well, Ann, you wanted to come here to see the studio,
• 13:41
  Speaker 4: but I wouldn't recommend working this way. At night, I mean.
• 13:45
  Speaker 4: The light's all wrong.
• 13:46
  Speaker 3: You'd rather I came in the daytime?
• 13:49
  Speaker 4: And I don't get all this secrecy. There's no reason
• 13:52
  Speaker 4: that you shouldn't come here any time. I'm a professional artist.
• 13:56
  Speaker 4: Many women have their portraits painted.
• 13:57
  Speaker 3: But that's just it. You see, I want this painting
• 13:59
  Speaker 3: to be a surprise. If anyone knew I was seeing you,
• 14:02
  Speaker 3: it might get into the paper.
• 14:04
  Speaker 4: The paper?
• 14:05
  Speaker 3: You don't understand, do you? Then I don't think you're
• 14:08
  Speaker 3: really trying to. Oh, nothing to worry about. I'm not
• 14:12
  Speaker 3: front page copy. But I am a society column item.
• 14:20
  Speaker 4: Look, Ann, now that you've seen the place... You're nervous, Angela.
• 14:23
  Speaker 3: I make you nervous.
• 14:24
  Speaker 5: Well.
• 14:25
  Speaker 3: It's all right. We'll go. I don't want to rush things, Anna.
• 14:30
  Speaker 3: I don't ever want you to do anything with me
• 14:33
  Speaker 3: that you don't want to do.
• 14:34
  Speaker 9: Lower your left arm a little, will you?
• 14:46
  Speaker 3: Like this?
• 14:47
  Speaker 4: No, a little more. Now, that's it.
• 14:52
  Speaker 3: Why don't you let me talk?
• 14:54
  Speaker 4: Not while you're posing.
• 14:55
  Speaker 3: But, Leonard, I want to talk.
• 14:58
  Speaker 4: Please, Ann, I can't concentrate on what I'm doing.
• 15:01
  Speaker 3: Do I affect you that way?
• 15:06
  Speaker 6: I want to. Please.
• 15:09
  Speaker 3: It's been a week. When can I see what you've done?
• 15:14
  Speaker 4: Well, when I'm finished. I want you to get the
• 15:18
  Speaker 4: total effect.
• 15:20
  Speaker 6: Oh.
• 15:21
  Speaker 3: Well, I want to see you. Dinner tonight?
• 15:27
  Speaker 4: I can't make it tonight.
• 15:29
  Speaker 6: Oh, but you must.
• 15:29
  Speaker 3: It's about someone I know. A woman who wants a
• 15:33
  Speaker 3: portrait of her daughter.
• 15:35
  Speaker 4: Oh? Oh, can't she see me here?
• 15:37
  Speaker 5: No.
• 15:38
  Speaker 3: No, I want to talk to you about it. Tell
• 15:40
  Speaker 3: you what to say. Please?
• 15:44
  Speaker 4: All right, Anne. Tonight, then. Dinner. Dinner.
• 16:00
  Speaker 3: Why are you stopping?
• 16:01
  Speaker 4: Anne, this whole thing has to stop somewhere. I want
• 16:05
  Speaker 4: to talk to you.
• 16:07
  Speaker 7: I know.
• 16:07
  Speaker 4: It's about Mary.
• 16:09
  Speaker 5: Yes, it is.
• 16:11
  Speaker 3: I was hoping you meant that everything is over between
• 16:13
  Speaker 3: you two. And you've told her.
• 16:15
  Speaker 4: That isn't what I mean.
• 16:17
  Speaker 3: I've been giving it a lot of thought. You know,
• 16:21
  Speaker 3: it isn't going to be easy, Leonard. So, divorce. Being
• 16:26
  Speaker 3: an invalid will put the sympathy of the court on
• 16:28
  Speaker 3: Mary's side.
• 16:29
  Speaker 8: Anne.
• 16:29
  Speaker 3: But we'll work it out, won't we, darling?
• 16:32
  Speaker 4: I don't know. A man just can't... You want us
• 16:34
  Speaker 4: to be together, don't you? Well, when I'm with you,
• 16:37
  Speaker 4: I do. But, Anne, I've got to have time to think.
• 16:41
  Speaker 3: Certainly, dear.
• 16:43
  Speaker 6: I love you.
• 16:44
  Speaker 3: You know that. But I don't want to wait forever.
• 16:48
  Speaker 3: And I know you don't either.
• 16:50
  Speaker 4: And if there was no one else to consider, if
• 16:53
  Speaker 4: Mary wasn't... Kiss.
• 16:54
  Speaker 3: Me, darling.
• 16:54
  Speaker 4: Well, I....
• 17:00
  Speaker 3: It's going to be all right.
• 17:11
  Speaker 4: Connie, what are you doing in the studio?
• 17:14
  Speaker 3: I just wanted to say hello.
• 17:15
  Speaker 6: I stopped in on Mary this morning.
• 17:17
  Speaker 4: Well, I'm sorry, Connie, but this work I'm doing is.
• 17:20
  Speaker 6: I peeked under the cover.
• 17:22
  Speaker 4: You what?
• 17:23
  Speaker 6: You haven't finished the face. Is she very beautiful?
• 17:28
  Speaker 4: I didn't want anybody to see it. Connie, you had
• 17:30
  Speaker 4: no right.
• 17:31
  Speaker 6: No, I suppose not. But it made me think of something.
• 17:36
  Speaker 6: How beautiful Mary is. Even now. Thank you, Connie.
• 17:41
  Speaker 4: Mary.
• 17:41
  Speaker 6: Mary, you shouldn't be standing. I wanted to surprise you, Leonard.
• 17:46
  Speaker 3: I walked part of the way.
• 17:48
  Speaker 4: Look.
• 17:49
  Speaker 5: Darling, you'll fall.
• 17:51
  Speaker 4: Here. Bring the wheelchair, Connie.
• 17:55
  Speaker 3: I'm sorry, Leonard. I tried anyway.
• 18:01
  Speaker 4: Here now. Easy now. There.
• 18:05
  Speaker 6: Thanks, darling.
• 18:08
  Speaker 4: Oh, Mary.
• 18:10
  Speaker 3: I'll get it, Mr. Miles.
• 18:11
  Speaker 4: No. Connie, I'll get it. Uh, take Mary back to
• 18:16
  Speaker 4: the apartment.
• 18:17
  Speaker 8: Will you please?
• 18:18
  Speaker 6: Whatever you say.
• 18:25
  Speaker 4: Hello. Hello, darling. I can't talk to you now.
• 18:29
  Speaker 3: What is it, darling?
• 18:30
  Speaker 4: Never mind. You needn't come here today. It's all finished.
• 18:34
  Speaker 3: The painting?
• 18:35
  Speaker 4: Everything.
• 18:37
  Speaker 6: Oh.
• 18:38
  Speaker 3: Well, whatever you want, darling. But I must see you
• 18:43
  Speaker 3: once more.
• 18:43
  Speaker 4: No, Anne, it's over. I know for the first time
• 18:45
  Speaker 4: in weeks. I'm sure now.
• 18:46
  Speaker 3: Tonight at my home, you know the address.
• 18:48
  Speaker 4: Anne, I'm not going.
• 18:49
  Speaker 6: Just this one.
• 18:51
  Speaker 3: I'll be expecting you, darling. Eight o'clock.
• 19:03
  Speaker 4: Now, what is it, Anne? I told you I didn't
• 19:04
  Speaker 4: want to come here.
• 19:05
  Speaker 3: Please, darling, don't be upset. Come along. I want you
• 19:09
  Speaker 3: to meet someone. In here.
• 19:15
  Speaker 4: What's that?
• 19:16
  Speaker 3: I'll put on the light.
• 19:18
  Speaker 4: There.
• 19:20
  Speaker 3: And now let me introduce you to the man who
• 19:23
  Speaker 3: has given me everything money can buy. My dear, devoted husband.
• 19:29
  Speaker 4: Your husband?
• 19:30
  Speaker 3: Now you know why I couldn't be seen with you.
• 19:33
  Speaker 4: Anne, he's in pain.
• 19:34
  Speaker 3: Yes, poor darling. He had a stroke just last month.
• 19:38
  Speaker 3: But he won't suffer long.
• 19:40
  Speaker 4: You You talk like this in front of him?
• 19:43
  Speaker 3: He can hear me. Yes. But he can't speak or move.
• 19:49
  Speaker 4: I'm going to do something, Anne. I'm going to call
• 19:51
  Speaker 4: a doctor. Don't bother.
• 19:52
  Speaker 3: He has the best doctors and a fine nurse. She'll
• 19:54
  Speaker 3: be back in a little while. Besides, darling, you wouldn't
• 19:59
  Speaker 3: want Mary to know about us, would you? She's an invalid, too,
• 20:03
  Speaker 3: and the shock.
• 20:03
  Speaker 4: No, no, I never want Mary to know about us.
• 20:09
  Speaker 4: All right, then. What do you want from me?
• 20:13
  Speaker 3: I want you to finish that painting. It was my
• 20:17
  Speaker 3: husband here who suggested I should be painted killing something.
• 20:22
  Speaker 4: I see.
• 20:24
  Speaker 3: I thought you would.
• 20:26
  Speaker 10: Let's adjourn to the library, shall we? Good night, dear.
• 20:37
  Speaker 10: You are going to paint me now, aren't you?
• 20:39
  Speaker 4: Yes, and I'm going to paint you now.
• 20:45
  Speaker 6: My arm, let go.
• 20:47
  Speaker 5: Sit down.
• 20:48
  Speaker 4: Now give me that purse. I'll paint you now.
• 20:53
  Speaker 8: Now.
• 20:54
  Speaker 5: My ear.
• 20:56
  Speaker 4: Rouge. Lots of it. Smeared on both cheeks. A little
• 21:01
  Speaker 4: purple for the eyelids. Lots of purple. And red, deep
• 21:06
  Speaker 4: blood red for the lips. A straight red gash. This
• 21:11
  Speaker 4: is the painting for you.
• 21:12
  Speaker 8: Go on.
• 21:14
  Speaker 4: Look at yourself in the mirror. Take a good look.
• 21:22
  Speaker 3: All right, Leonard. Do it this way. I'll still be
• 21:27
  Speaker 3: at your studio tomorrow. You can finish it.
• 21:31
  Speaker 4: And then.
• 21:33
  Speaker 3: Then I'll finish with you.
• 21:43
  Speaker 5: You wait anxiously all the next day. Near evening, you
• 21:46
  Speaker 5: go to the uncompleted painting.
• 21:48
  Speaker 4: Stare at it.
• 21:49
  Speaker 5: Suddenly take a brush and start to work. Slowly at first,
• 21:53
  Speaker 5: and then rapidly until you complete it. Yes. This is Anne,
• 21:58
  Speaker 5: isn't it? The way you see her. Then as you
• 22:01
  Speaker 5: set aside your brush... You're aware of her presence.
• 22:05
  Speaker 6: It's beautiful, Leonard.
• 22:08
  Speaker 4: It's the way you are, Anne. Why, Anne, you're hurt.
• 22:14
  Speaker 3: Yes. I've been shot.
• 22:17
  Speaker 4: Shot?
• 22:19
  Speaker 3: Funny. Very funny. I didn't think it would be this way.
• 22:26
  Speaker 3: But I told you I'd finish things for us, Leonard.
• 22:30
  Speaker 4: And I will.
• 22:33
  Speaker 3: And the police arrived. You find me here, dying in
• 22:39
  Speaker 3: your arms.
• 22:53
  Speaker 2: The Whistler will return in just a moment with a
• 22:55
  Speaker 2: strange ending to tonight's story. Meantime, a special word to
• 23:00
  Speaker 2: you folks who did some traveling throughout the Pacific Coast
• 23:02
  Speaker 2: states this summer. In addition to interesting scenery, you no
• 23:06
  Speaker 2: doubt noticed two other things. One, that wherever you drove,
• 23:10
  Speaker 2: you found friendly signal dealers. And two, that from Canada
• 23:13
  Speaker 2: to Mexico, signal gasoline is known as the go-farther gasoline. Now, naturally,
• 23:20
  Speaker 2: we're plenty proud of signal's good mileage. But even more so,
• 23:23
  Speaker 2: we're proud of what makes that mileage possible... I'm talking
• 23:27
  Speaker 2: about the extra efficiency today's signal gasoline coaxes from your motor,
• 23:31
  Speaker 2: which naturally means more thrilling pickup, more silent responsive.
• 23:34
  Speaker 4: Power for your car.
• 23:37
  Speaker 2: Extra performance, you see, goes hand in hand with mileage,
• 23:40
  Speaker 2: the very thing signal gasoline is famous for. That's why
• 23:44
  Speaker 2: we say, to be sure of the tops in gasoline quality,
• 23:48
  Speaker 2: there are just two things to remember. One, it takes
• 23:51
  Speaker 2: extra quality to go farther. And two, signal is the
• 23:56
  Speaker 2: famous go farther gasoline. And now back to the whistler.
• 24:15
  Speaker 5: It's a terrible moment, isn't it, Leonard? The climax of
• 24:19
  Speaker 5: a nightmare as you hold the dying Ann Hamilton in
• 24:22
  Speaker 5: your arms. A thousand confused thoughts crowd into your mind.
• 24:26
  Speaker 5: You can't understand what's happened.
• 24:28
  Speaker 4: And who did this? Who shot... Where did you get
• 24:32
  Speaker 4: that gun? I.
• 24:35
  Speaker 3: I guess my husband wasn't as much of an impolite
• 24:39
  Speaker 3: as I thought.
• 24:40
  Speaker 4: Your husband?
• 24:41
  Speaker 6: Yes. I.
• 24:45
  Speaker 3: I shot him. Then when I... put the gun in
• 24:49
  Speaker 3: his hand to make it look like suicide. He shot me.
• 24:55
  Speaker 4: Oh, no, Ann.
• 24:57
  Speaker 3: And I saw the suicide angle wouldn't work. I brought
• 25:02
  Speaker 3: the gun up here to pin the whole thing on you, darling.
• 25:11
  Speaker 5: Quickly, you pick her up. Carry her down the back
• 25:13
  Speaker 5: way and then bring her car around. Moments later, you're
• 25:16
  Speaker 5: racing toward the nearest hospital. Ann, slumped in the seat
• 25:20
  Speaker 5: beside you, continues to mumble incoherently. Then she's silent. On
• 25:25
  Speaker 5: a darkened side street, you stop the car, walk around
• 25:28
  Speaker 5: the corner to a drugstore, and slip into a phone booth.
• 25:34
  Speaker 4: Police Department. Sergeant Donald.
• 25:38
  Speaker 5: Hello?
• 25:40
  Speaker 4: There's a blue convertible parked on Shell Street, off Kelton.
• 25:44
  Speaker 8: You.
• 25:44
  Speaker 4: Find a woman in the front seat. She's dead. Who
• 25:48
  Speaker 4: is this?
• 25:50
  Speaker 5: Hello?
• 25:51
  Speaker 4: Who is this?
• 25:57
  Speaker 5: Ten minutes later, you're back at the studio, alone, exhausted,
• 26:01
  Speaker 5: leaning weakly against the door. You're in the clear now,
• 26:04
  Speaker 5: aren't you, Leonard? Certain the police won't be able to
• 26:07
  Speaker 5: connect you with the deaths of Ann Hamilton and her husband.
• 26:10
  Speaker 5: And most important, your wife Mary will never know about Ann. Yes,
• 26:15
  Speaker 5: that's the most important thing in your life, isn't it?
• 26:18
  Speaker 9: Mary.
• 26:19
  Speaker 5: Her happiness, now and always. For a long while, you
• 26:23
  Speaker 5: stood there in the dark studio. Then the knock came.
• 26:27
  Speaker 5: The soft knock on the door that brought Lieutenant Meehan
• 26:29
  Speaker 5: of Homicide. The quiet questions about Anne that sent your
• 26:33
  Speaker 5: mind spinning. As you watched the lieutenant move about the studio,
• 26:37
  Speaker 5: examining each can.
• 26:39
  Speaker 4: We traced her to this building.
• 26:42
  Speaker 7: Officer Farrell gave her a ticket earlier this evening for
• 26:45
  Speaker 7: going through a red light. Her car was weaving, so.
• 26:48
  Speaker 4: He followed her here.
• 26:50
  Speaker 7: Then when he heard over the police radio that we
• 26:53
  Speaker 7: were looking for Ann Hamilton, he called us.
• 26:56
  Speaker 4: You were looking for her? Yeah.
• 27:00
  Speaker 7: You see, she called headquarters an hour or so ago.
• 27:04
  Speaker 7: Said someone had killed her husband. Said she thought the
• 27:08
  Speaker 7: killer might be a man who had been painting her portrait.
• 27:14
  Speaker 4: Didn't say who he was. But then when she came
• 27:17
  Speaker 4: to this building... Well, you're the only artist around here.
• 27:25
  Speaker 6: See what I mean?
• 27:27
  Speaker 4: I don't know any Ann Hamilton, Lieutenant.
• 27:30
  Speaker 5: Uh-huh.
• 27:30
  Speaker 4: So you said before.
• 27:31
  Speaker 2: Have you finished looking around, Lieutenant?
• 27:35
  Speaker 4: Huh? Huh?
• 27:37
  Speaker 7: Yeah.
• 27:38
  Speaker 4: Yeah, I guess so. Nice pictures. Well, thanks. I'll be
• 27:45
  Speaker 4: on my way. What's the matter? I almost overlooked one
• 27:51
  Speaker 4: of your paintings, Mr.
• 27:52
  Speaker 7: Miles.
• 27:54
  Speaker 4: This one behind the desk. Interesting work, Mr. Miles. You
• 28:05
  Speaker 4: like it? I said it was interesting. You know, Miles,
• 28:10
  Speaker 4: it's lucky for you I didn't find a portrait of
• 28:13
  Speaker 4: Ann Hamilton here. I never can figure out you guys.
• 28:19
  Speaker 7: Now take this canvas. You paint a beautiful dame with
• 28:24
  Speaker 7: a figure like that. Then instead of a face, you
• 28:29
  Speaker 7: top it off.
• 28:29
  Speaker 4: With a death's head.
• 28:50
  Speaker 2: Let that whistle be your signal for the Signal Oil program,
• 28:54
  Speaker 2: The Whistler. Friends, let me repeat. Here is an important
• 28:57
  Speaker 2: announcement for Whistler fans in California only. Next Wednesday, The
• 29:01
  Speaker 2: Whistler will be heard in California one hour later at 8.30. Remember,
• 29:06
  Speaker 2: this is California only. The Whistler is brought to you
• 29:10
  Speaker 2: by the Signal Oil Company, marketers of Signal gasoline and
• 29:13
  Speaker 2: motor oil and fine quality automotive accessories. Signal has asked
• 29:17
  Speaker 2: me to remind you To get the most driving pleasure,
• 29:20
  Speaker 2: drive at sensible speed, be courteous, and obey traffic regulations.
• 29:25
  Speaker 4: It may save a life, possibly your own.
• 29:33
  Speaker 2: Featured in tonight's story were William Conrad and Lorette Philbrand.
• 29:37
  Speaker 2: The Whistler was produced and directed by George W. Allen
• 29:40
  Speaker 2: with story by Gilbert Thomas and music by Wilbur Hatch
• 29:44
  Speaker 2: and was transmitted to our troops overseas by the Armed
• 29:46
  Speaker 2: Forces Radio Service. Remember, at the same time next Wednesday,
• 29:51
  Speaker 2: another strange tale by The Whistler.
• 29:56
  Speaker 4: Marvin Miller speaking.
• 29:59
  Speaker 2: This is CBS, the Columbia Broadcasting System.
• 30:09
  Speaker 1: We leave the whistler with still death. Follow the whistler
• 30:11
  Speaker 1: for more classic broadcasts.