October 5, 2025 • 29 mins
The Whistler was a suspenseful mystery anthology that ran from 1942-1955. A character known only as the Whistler was the host and narrator of the tales, which focused on crime and fate and had a suspenseful and eerie tone, always ending with a twist. The Whistler was later adapted to television.
Hope you enjoy this episode of The Whistler! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
Hope you enjoy this episode of The Whistler! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
And now stay tuned for the mystery program that is
unique among all mystery programs, because even when you know
who is guilty, you always receive a startling surprise at
the final curtain. In the Signal Oil Program, the Whistler signal,
(00:28):
the famous go Farther gasoline invite you to sit back
and enjoy another strange story by the Whistler.
Speaker 2 (00:52):
I am the Whistler, and I know many things where
I walk by night. I know many strange tales hidden
in the hearts of men and women who have stepped
into the shadows. Yes, I know the nameless terrors of
which they dare not speak.
Speaker 1 (01:11):
And now for the Signal Oil Company, The Whistler's Strange
Story Autumn Song.
Speaker 2 (01:27):
Sydney Sheldon stared dully at the happy groups on the
platform outside his compartment window. In a few minutes, many
of them would be boarding the cross Country Streamliner, just
as he had. For most of them, it was destination
New York for business or pleasure. For Sydney, it was
Destination New York, perhaps for oblivion. No one was there
(01:49):
to see him off, wish him well and tell him
to hurry back to Los Angeles. Carlson at Mammoth Studios
had handed him a one way ticket to New York
and told him never to come back to Hollywood. As
the streamliner eased effortlessly underway, Sydney managed a sardonic smile.
He was on his way out in the grand manner
(02:11):
of Hollywood.
Speaker 3 (02:18):
Sheila, Well, Sheila, what do you wouldn't.
Speaker 4 (02:21):
Really think I'd let you get away from me? Did
you see it?
Speaker 3 (02:24):
Well, I've got to go east, just a quick trip
for businesses. Really, yes, you see, I've got a James.
Speaker 4 (02:29):
I will sit down. I've got a feeling this story.
Speaker 3 (02:32):
Is going to be good. Now listen to me, Sheila.
Speaker 4 (02:34):
Why I said, I've listened to you for a long time.
Speaker 5 (02:38):
I don't like where it's got me. That career you
promised me. What a publicity agent you turned out to
be great.
Speaker 3 (02:45):
I'm glad you feel that way, because I'm sick and
tired of trying to palm off a no talent doll
like you as an actress.
Speaker 4 (02:51):
Look, who's talking no talent? You've been tossed out of Hollywood.
Speaker 5 (02:54):
He has a one way ticket to New York, take
it and never come back. Unquote Carlson, every studio in
town has your number, and it's zero.
Speaker 3 (03:01):
You know why, because you've fouled up every publicity stunt
I'd handled the past year, whether it had anything to
do with you or not. You always don a walk
on at the wrong time, and now, if you're smart,
you'll pull a walk off this time, right off of
this train at the first stop.
Speaker 4 (03:14):
I'm not getting off, Sydney.
Speaker 5 (03:16):
I'm gonna ride all the way Chicago, New York, and
even then I'm still.
Speaker 4 (03:21):
Not getting off.
Speaker 3 (03:23):
What are you talking about.
Speaker 4 (03:24):
I'm talking about us. Neither of us can go back
sid You to the studios, me to the husband I
left for you.
Speaker 3 (03:32):
I didn't tell you to leave them, not in.
Speaker 4 (03:33):
So many words.
Speaker 3 (03:35):
Skip it.
Speaker 4 (03:37):
That part's my word.
Speaker 3 (03:38):
It's all you're worry. I go on, beat it, chill.
I've got my own troubles.
Speaker 4 (03:41):
I know I'm one of them, your biggest takes.
Speaker 3 (03:45):
I told you to beat it, to run along, all right, Sydney.
Speaker 4 (03:49):
That's the way you want it, if you'll feel differently
later on. I'm in car one seventy nine.
Speaker 5 (03:55):
I can't hear, and like I said, I'm not getting
off ninety nine.
Speaker 4 (04:02):
Sydney.
Speaker 6 (04:14):
You watch her go, feel the cold rage.
Speaker 2 (04:18):
Mouth within you. You try to tell yourself that she'llas
the real cause of all your troubles.
Speaker 3 (04:24):
But deep down you know that's not true.
Speaker 2 (04:27):
Sheila's a problem. Yes, you wish you'd never met her,
made all those promises about her career. Now she's like
a millstone around your neck. You'd like to strangle her,
wouldn't you, Sydney. But after a while you decide to
try to forget about her, put her out of your mind.
You go to the diner, order your dinner, and lean
(04:48):
back slightly react as you recognize the voice of a
man sitting back to back with you, an important film executive,
Sydney E. J. Peyton, imparting some very interesting information to
dinner part.
Speaker 3 (05:01):
Yes, I suppose it's craze for older stars started when
Pinza made such a smash in South Pacific. Pinsa did
a lot for the so called older star. Alright, this
chap Norman Hale, you're going to sign in New York.
I remember him. I remember I was a boy the
first time I saw him. Oh yes, Nama, Norman Hale
was a box office word. I'd prefer you didn't mention
(05:25):
it around on the train. I mean that my studio
is after it of course Hale doesn't note himself, but
he's just right for us. This picture autumn song that
we're going to make you say, oh oh, yes, it's
about a star from the old silent era, isn't it right? Say?
Speaker 7 (05:41):
This steak is good?
Speaker 2 (05:53):
You almost can't wait to finish your dinner, can you, Sydney,
But you realize that you might as well. Yes, yes,
because the streamliner won't stop anywhere that'll fit your plans
before Albuquerque. Meanwhile, you have other things to attend to,
Porter Horra, can you help me a moment, Yes, sir?
Speaker 3 (06:15):
You looking for somebody? Or yes, Porter, this is car
one seventy nine, Yes, sir, a friend of mine, Miss
Sheila Martin, Miss Martin. That's room at b sir, Oh,
thank you, Port, But I think the lady is in
the club car. Well, it's all right, I'll find her label.
I'll go see No no, no, no, no, never mind, never mind.
Speaker 2 (06:36):
You start out of the car, turn in time to
see the porter disappear into another room to make up
the beds. You move swiftly down the aisle to Sheila's
room Mette inside, you find what you want in a
matter of seconds in her overnight bag wrapped.
Speaker 6 (06:49):
In a nightgown.
Speaker 3 (06:51):
The roll of bills which you were certain she wouldn't
carry in her purse. You take most of the bills out,
wrapped the few remaining ones around a roll of tensing
issue you find in her bag so she won't discover
the loss immediately.
Speaker 6 (07:04):
Then you hurry back to your own car.
Speaker 3 (07:07):
Yes, sir, i'd like accommodations to New York first plane operas.
Speaker 7 (07:11):
I have space on flight twenty three lives here in
two hours.
Speaker 3 (07:14):
That'll get me in New York ahead of the streamliner.
Speaker 7 (07:16):
Oh yes, sir, you'll be there in twelve hours, twelve hours.
Speaker 3 (07:19):
Oh good good, I'll take that space one way to
New York.
Speaker 1 (07:38):
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(08:00):
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Speaker 2 (09:05):
It's a windfall, isn't it, Sydney, the chance knowledge you
picked up on the train. Yes, as you step from
your plane in New York, you're many hours ahead.
Speaker 3 (09:14):
Of the train you left at Albuquerque, carrying E. J.
Speaker 2 (09:17):
Payton, the motion picture producer who is on his way
to search the city for Norman Hale, the one time
silent picture star. With luck, you can find Norman Hale first.
That's why you no sooner check into a hotel than
you begin the weary rounds of second rate theatrical agencies.
At one you finally get a lead, make your way
(09:38):
out to an astonishingly good address. You wonder as you
pressed the buzzer, if perhaps they weren't all wrong about
Norman Hale, that he might have saved some of his
early fabulous earnings. As you stand there waiting, you pray
that he didn't hope that he's in a bad financial position.
Speaker 3 (09:57):
Yeres, I'm looking for mister Hale, Norman Hale, the actor.
Speaker 7 (10:01):
Have you an appointment?
Speaker 3 (10:03):
Well? No, you see I am.
Speaker 7 (10:04):
The nature of your business please.
Speaker 3 (10:06):
Well, frankly, I represent some motion picture interests who would
like to contact mister Hale.
Speaker 8 (10:11):
Motion picture interests, My dear fellow, I don't believe mister
Hale will be interested. You see, he wouldn't want to
leave New York. The excitement, the glamor of the city,
the close proximity to the theater.
Speaker 3 (10:23):
Mister Hale. What I might have known am posing as
the butler, that you.
Speaker 9 (10:29):
Were always pulling something like that? Please, mister Hale, May
I come in? The name is Shelton, Sidney Shelton. Why
er all right, mister Shelton, enter beg your sir, Well,
this is a beautiful grace you have here.
Speaker 7 (10:45):
Thank you? Won't you sit down?
Speaker 6 (10:47):
Thank you? Sir?
Speaker 7 (10:48):
Have you a contract?
Speaker 8 (10:49):
Mister Shelton, are you actually prepared to make a business proposition.
Speaker 3 (10:53):
Well, no, sir, not exactly. You see, I have an idea,
a possibility for both of us.
Speaker 8 (10:58):
Ah possible, well, making a picture where there has been
an old man, a profile from the past.
Speaker 3 (11:06):
Exactly, sir. And if you weren't so well so well
off here, you might consider that there are still fans
everywhere who remember you.
Speaker 8 (11:14):
And level, young man. I am not well off this
aristocratic establishment. It isn't even mine.
Speaker 7 (11:24):
How do you like that?
Speaker 8 (11:26):
I don't understand alas Norman Hale must now be grateful
to be a caretaker of another man's house. You, yes,
the owners in Europe. I'm a fortunate man. I could
be huddling in a tenement somewhere.
Speaker 3 (11:41):
Well, you'll never have to worry about that again, mister Hale,
if you just listen to me, I've found a great
part for you. I read a book, mister Hale, Autumn Song,
and that was a play, wasn't well? And that's what
I meant to say, a play. I'm sorry, See, I'm
excited now. Oh, mister Hale, you should play that part. Oh, yes, Oliver,
Oliver went Oliver Wentworth. Oh, Norman, you are Oliver Wentworth
(12:03):
and I can get you that part. I know it.
Will you believe in me? Will you give me the
chance to make you believe in yourself?
Speaker 7 (12:08):
You're persuasive men, Shelter yet.
Speaker 3 (12:11):
Here I brought a contract. I'll just signed there, mister Hale,
making me your personal manager. An hour later, you're on
your way back to your hotel Sydney. Only a brief
stop at the theatrical agency which gave you the lead
(12:32):
to Norman Hale. Five dollars in the hand of the
man you talk to assures the fact that motion picture
producer E. J. Peyton will now be directed to you
instead of to Norman Hale himself. It's late afternoon of
the following day and you're sitting in your apartment when
you receive a phone call. It's the call you've been expecting,
(12:52):
isn't it, Sydney. Yes, from EJ. Peyton, the Hollywood film executive. Yes,
so that's right. I'm representing Norman Hale.
Speaker 10 (13:00):
Then we can talk. I have a little something in
mind for him.
Speaker 3 (13:03):
Well, I don't know, Norman sold on the idea of
doing a play well for his own sake?
Speaker 10 (13:08):
Then talk him out of it. Now let's speak frankly,
mister Shelton, you're Norman Hale is pass a ghost of
the silence. People just aren't interested in him anymore.
Speaker 3 (13:17):
You are, mister Peyton.
Speaker 10 (13:18):
Yes, yes, in a way. Look, mister Shelton, I don't
like to discuss business over the telephone. When can we
get together?
Speaker 3 (13:25):
Well, let me see already said about lunch tomorrow Victor's
on forty fifth.
Speaker 10 (13:31):
Good, I have Norman Hale there too.
Speaker 3 (13:33):
Well, I'll see if I can arrange it. I can't promise, though.
Speaker 2 (13:43):
You're pleased, aren't you, Sydney, and your only concern now
is how to get the biggest price you can for
Norman Hale services.
Speaker 6 (13:52):
It won't be easy, will it. When you're dealing with a.
Speaker 2 (13:54):
Man like Petal and you wish you had something more
to sell than just Norman Hale himself. You decide a
publicity stunt would do it, Sydney, something big, and Peyton's
studio would be eager to cash in on it. You
spend the rest of the day thinking about this. Finally,
that evening the answer comes to you, most unexpectedly.
Speaker 3 (14:18):
Oh, Sin Shela, Oh well, Sheila, Look, I'm sorry about.
Speaker 4 (14:24):
The money you stole on the train.
Speaker 7 (14:25):
No you're not.
Speaker 4 (14:26):
I knew it was you right away, but I'll get
it back and more.
Speaker 3 (14:30):
Of course you were baby. Of course I was going
to get in touch with you. But I've been busy
all day. A new client.
Speaker 4 (14:36):
I know, I traced you down through the theatrical agency.
Speaker 3 (14:39):
Really well, would there be.
Speaker 4 (14:40):
Anything in this new deal for little Sheila?
Speaker 8 (14:43):
You know that.
Speaker 3 (14:44):
Better be ooh naturally or oh I haven't forgotten Sheila,
and it's going to be big baby, Yes, sir, and
I speak fat publicity stunt for Norman Hale. He's my
new client, and I'm working out something for you too.
Speaker 4 (14:56):
Like what an overdose of sleeping pills?
Speaker 3 (14:58):
Get engaged to Norman? Hey? Maybe both Wait a minute,
do you think that's funny?
Speaker 4 (15:07):
What is it this time?
Speaker 7 (15:08):
Sydney?
Speaker 3 (15:09):
Oh baby, oh baby, you and Norman Hail.
Speaker 4 (15:14):
That's what I was afraid of. But give me the
details anyway.
Speaker 2 (15:19):
M.
Speaker 7 (15:31):
Can't we eat Sydney, I'm fammy.
Speaker 3 (15:33):
Well, let's wait for Peyton Norman.
Speaker 7 (15:35):
Oh he's late.
Speaker 8 (15:36):
It's a quarter after one.
Speaker 3 (15:37):
Now, I know, Norman, I know.
Speaker 7 (15:39):
Are you sure you said Victor's restaurant?
Speaker 3 (15:41):
Yes, of course I said Victors and Peyton will be you.
Speaker 7 (15:45):
Don't suppose he's changed his mind.
Speaker 3 (15:46):
I'll relax, Norman, Will you please.
Speaker 7 (15:49):
Very well, I'll have another martini.
Speaker 3 (15:51):
You've had four already, Norman.
Speaker 7 (15:55):
I beg your pardon, miss Norman.
Speaker 4 (15:57):
I'd recognize you anywhere.
Speaker 7 (16:00):
Have we met, my dear?
Speaker 6 (16:02):
Oh?
Speaker 5 (16:03):
No, no, but I've dreamed of meeting you ever since
I was a little girl.
Speaker 4 (16:07):
Oh, I dreamed of this moment.
Speaker 7 (16:09):
Really well.
Speaker 4 (16:11):
On that first time I saw you, I worshiped you.
Speaker 7 (16:16):
Then I still do, Norman, just a moment, old man,
I'll handle you.
Speaker 4 (16:23):
Think I finally found this.
Speaker 3 (16:26):
Please water you struggle to keep a straight face, don't you?
Speaker 2 (16:45):
Sit there as Shila clings desperately to Norman, pouring out
her adoration for him, And during the confusion of the
next few moments, you know thise Peyton standing at the
door watching it all. Then finally, when Shila is led
away being bitterly, Peyton comes over to your table.
Speaker 3 (17:04):
Well that was something, wasn't it. Oh, mister Peyton, you
saw what happened. Yes, yes, I saw, Norman.
Speaker 6 (17:10):
This is mister Peyton.
Speaker 3 (17:13):
Norman, what oh, oh.
Speaker 7 (17:16):
How do you do sir?
Speaker 8 (17:17):
That poor girl, that poor girl so madly in love
with me? He s in love with me all these years?
Did you hear her, sob, Sydney, did you?
Speaker 6 (17:27):
Yes?
Speaker 3 (17:27):
Yes, sure, sure, she's really crazy about your Norman. Yes,
I'd say that was quite a performance, Quite a performance
performance for my benefit. Hey, mister Shelton, you think this
whole thing was staged, wasn't it? Oh?
Speaker 7 (17:41):
Dare you suggest it to think? Anyone can plainly see
that girl is desperately in love with me? And why not?
Why shouldn't she be?
Speaker 6 (17:49):
No?
Speaker 3 (17:49):
No, please, good day, mister Peyton, good Norman. Wait, wait
a minute, I didn't go, mister Sheldon. We have things
to talk about. No, no, no, he's pretty sore. I'll
have to see if I can cool him down. But
do you make it at Norman's place in the hour
for sixty seven Kenton Place.
Speaker 7 (18:12):
I'm sorry, Sydney. I shouldn't have lost my temper that way.
Speaker 3 (18:15):
Okay, okay, let's forget it.
Speaker 7 (18:16):
Tell me something that that affair it really wasn't staged,
was it?
Speaker 3 (18:21):
Norman?
Speaker 6 (18:21):
Of course not.
Speaker 8 (18:22):
I didn't think so. I could see it was real.
I saw it in her eyes, Sydney. I'm not easily fooled.
Speaker 3 (18:29):
You know.
Speaker 8 (18:30):
She was rather an attractive girl, wasn't she a real
du just couldn't help it. I suppose falling in love
with me. I mean, I have I ever told you
about the Countess Delgano?
Speaker 6 (18:40):
Have I?
Speaker 7 (18:41):
No?
Speaker 3 (18:41):
No, no, no, let's save it for some other time.
Would you please? Peyton's waiting for us in the study.
Speaker 7 (18:45):
Oh yes, yes, yes, sir, very well, my boy.
Speaker 3 (18:50):
Wow, I'm sorry to keep you waiting, mister Peyton.
Speaker 7 (18:53):
That's quite all right. I was just admiring your paintings,
mister Hale.
Speaker 8 (18:57):
Oh nothing much. Really picked them up up here and
there during my travels. This one, for example, I turned
up in London while I was on a personal appearance tour.
The English loved me, you know, find people, the English?
Speaker 7 (19:09):
I remember?
Speaker 3 (19:09):
So how we sit down, gentlemen?
Speaker 7 (19:11):
I remember, so I'll get that like a good chat
with you. Sidney?
Speaker 3 (19:15):
Hello, who speak up? I can't hear you. Are they there?
Speaker 6 (19:23):
Yes?
Speaker 4 (19:24):
Yes, okay, go under erect, I'll see you later.
Speaker 7 (19:26):
Who is it, Sidney?
Speaker 3 (19:28):
I think it's that girl again, the one in the restaurant.
Speaker 7 (19:30):
Oh really?
Speaker 3 (19:31):
Hello?
Speaker 7 (19:32):
Yes?
Speaker 5 (19:34):
What no?
Speaker 3 (19:36):
No wait a minute, wait a minute, what's wrong?
Speaker 2 (19:37):
She says?
Speaker 3 (19:37):
She's calling from her hotel. Says, if you don't see her,
She'll jump off the roof. What hello, Hello? Where are you? Where?
Speaker 7 (19:44):
What?
Speaker 3 (19:46):
I can't understand? Stop crying here, Give me that poem?
She hung up.
Speaker 7 (19:50):
We must do something.
Speaker 3 (19:51):
I think she said she was at the Grayville or
the Brave Brave Bill, not far from here. Mister Peyton,
call the police. Tell him to get over to the
girl's hotel right away. Come on, Norman, come on, but
too late, Norman. Yeah, she is up there? Where where
(20:12):
on the ledge? The ledge? Lord? What did you say?
Her name is Sheila?
Speaker 7 (20:17):
Sheila? Sheila?
Speaker 3 (20:19):
Don't jump, don't do it, she can't.
Speaker 10 (20:23):
Everybody stand back, give room to a played diangulance.
Speaker 3 (20:27):
Head that bank off over there? What are we going
to do with? If only I could talk? She hit
hand back the policeman talking on the public address system. Yes,
of course, that's it. Come on, come on, are you ready? Armed? Ready?
(20:48):
All right, here's the microphone roof, Romeo. Now there's your
Julia's up there on the ledge. Come on, start talking
and make it good. Birara, Norman, Norman Hale, livn come me, darling.
(21:14):
You stand back in the crowd, look at the faces
around you. As Norman Hale begins to play the scene
in his most dramatic fashion, and the crowd loves it.
You are certain of that, aren't you, Sidney? And you
know that close by Peyton is watching, listening. Then finally
the exciting climax, as Sheila steps off the ledge and
(21:35):
goes back into her hotel.
Speaker 6 (21:38):
Peyton is very impressed.
Speaker 3 (21:41):
When can we talk mister Shelton in the morning, mister
Paton over coffee and the headlines from all right? I
must say you handle the situation magnificently, mister Hale.
Speaker 7 (21:49):
Oh, thank you, thank you.
Speaker 8 (21:51):
I wasn't the least bit worried, you know, I was
certain I could talk her out of her madness.
Speaker 3 (21:55):
Sure, sure, you can't help it, can you, Norman? I mean,
because you're so attractive to women.
Speaker 2 (22:01):
You're so right, old boy, that evening back in your apartment,
you're pleased with the way everything has turned out, aren't you, Sidney.
Speaker 3 (22:19):
Yes, and you congratulate yourself. You've put it over. Haydon
will have to come to your terms now if he
wants to capitalize on the publicity, sign a long term
contract with Norman Hale. Then shortly before midnight you have
a visitor, Sheila. What do you mean now?
Speaker 5 (22:38):
What what's the next move that's done? This afternoon went
over big for little Sheila. But we're not going to
leave it at that, are we.
Speaker 6 (22:43):
Ah?
Speaker 3 (22:44):
Look, sweetheart, Look you got yourself a million bucks worth
of publicity. I set it up for you free of charge.
You take it from there. But I thought you're right.
I'm going to be very busy from now on, baby
Norman and I will probably be leaving for the coast
in a few days.
Speaker 4 (22:58):
Norman, Sure that was all for him, wasn't it?
Speaker 3 (23:04):
He was the star.
Speaker 4 (23:05):
I was just an extra.
Speaker 3 (23:06):
Didn't do badly?
Speaker 4 (23:08):
No, that's right, I didn't. Suddenly I've just gotten an
idea how I can do better. What do you mean,
Let me write a suicide note? Remember to make it
all the costent ache when I was going to jump
from the hotel.
Speaker 3 (23:22):
Yeah, I remember.
Speaker 5 (23:24):
Well, I've still got that suicide note right here in
my purse. I wonder what the reporters will do to
your story when I tell him this whole thing was
a fake.
Speaker 3 (23:33):
Now wait a minute, chiller, Ah, I have just enough time.
Speaker 4 (23:36):
To catch the morning papers before they go to press. Right,
idea of yours that suicide note?
Speaker 3 (23:41):
Yes, thanks for reminding me, baby, let me go sure
sure alex. So only when I do, it will be
out the window because you are going to jump, and
your suicide note will fright the jump.
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of a signal station with your first tankful of signal ethyl.
(25:14):
That's why I'm so eager for you to just try
fry signal ethyl fry signal ethyl cry signal FYL.
Speaker 6 (25:39):
It was the only way, wasn't it, Sidney.
Speaker 2 (25:41):
You had to kill Sheila to prevent her from exposing
you and the publicity stunt you staged for the benefit
of your client, the former matinee Idol Norman Hale. And
so you pushed her out the window of your apartment.
And how a crowd is gathered in the streets below,
and you hurry downstairs, the star. What do you tell
is very clear in your mind. Then when the police arrived, you.
Speaker 3 (26:06):
Say, this girl jump from your apartment, Mitreschell. Yes, yes,
that's right, opposite. It happened so quickly I was unable
to stop her.
Speaker 7 (26:12):
Oh, the poor girl.
Speaker 3 (26:13):
She did it because of Norman Hale. You've heard it
in the actor. Yeah, Hey, wait a.
Speaker 7 (26:18):
Minute, Is this the same girl who tried to come
in suicide this afternoon?
Speaker 3 (26:22):
Yes, yes, that's right, that's right. She burst into my
apartment about twenty minutes ago, demanded to see Norman. I
tried to stall her, but she showed me a suicide
note she'd written, and then she jammed it in her purse.
Before I could stop, or she ran to the window. Oh,
well you know the rest. Yeah, Wait a minute, wait
a minute, is this a note? Yes, yes it is.
(26:45):
Oh looks like you're right, mister, pardon me.
Speaker 7 (26:47):
Yeah, this guy's story doesn't hold up.
Speaker 1 (26:50):
What she here?
Speaker 3 (26:51):
What do you mean? When I was standing across the
street when this happened, I thought, Oh, this girl didn't jump,
she was pushed and this guy pushed her.
Speaker 6 (26:59):
That shriek.
Speaker 7 (27:00):
Hold amateur shoving.
Speaker 3 (27:01):
I sabbed, do it?
Speaker 7 (27:02):
Yeah, who are you?
Speaker 3 (27:03):
I'm Jim Fergus, private investigator. And after this girl apparently
tried to commit suicide this afternoon, Norman Hale was so
worried about her he hired me to keep an eye
on her. Norman Hale had you, Yeah, the hail said.
The girl was nuts about him, crazy.
Speaker 7 (27:20):
In love with him.
Speaker 1 (27:42):
Let that whistle be your signal for the Signal Oil program.
The whistler each Sunday night at the same time. Since
this week is National Farm Safety Week, Signal has asked
me to remind you each year, injuries disabled one out
of every eighteen farm residents and cost our country one
billion dollar. So on peaceful Western farms. Just as in
(28:03):
the city, it pays to be careful. Always Featured in
(28:24):
Tonight's story were Wally Mayer Virginia, Greg Herbert Rawlinson, Jess Kirkpatrick,
and Herbert Litton. The Whistler was produced and directed by
George w Allen, with story by Joel Malone, music by
Wilbur Hetch, and was transmitted to our troops overseas by
the Armed Forces Radio Service. The Whistler is entirely fictional,
and all characters portrayed on the Whistler are also fictional.
(28:46):
Any similarity of names or resemblance to persons living or
dead is purely coincidental. Remember to tune in at the
same time next Sunday, when the Signal Oil Company will
bring you another strange story by the Whistler, entitled Danger
is a Beautiful Blonde, in which a pick up date
with a beautiful girl leads a young man to an
(29:07):
attractive mansion and a dead man. Marvin Miller, speaking for
the Signal Oil Company. Stay tune now for the Horace
Heights Show, which follows immediately over most of these stations.
This is CBS, the Columbia Broadcasting System
And now stay tuned for the mystery program that is
unique among all mystery programs, because even when you know
who is guilty, you always receive a startling surprise at
the final curtain. In the Signal Oil Program, the Whistler signal,
(00:28):
the famous go Farther gasoline invite you to sit back
and enjoy another strange story by the Whistler.
Speaker 2 (00:52):
I am the Whistler, and I know many things where
I walk by night. I know many strange tales hidden
in the hearts of men and women who have stepped
into the shadows. Yes, I know the nameless terrors of
which they dare not speak.
Speaker 1 (01:11):
And now for the Signal Oil Company, The Whistler's Strange
Story Autumn Song.
Speaker 2 (01:27):
Sydney Sheldon stared dully at the happy groups on the
platform outside his compartment window. In a few minutes, many
of them would be boarding the cross Country Streamliner, just
as he had. For most of them, it was destination
New York for business or pleasure. For Sydney, it was
Destination New York, perhaps for oblivion. No one was there
(01:49):
to see him off, wish him well and tell him
to hurry back to Los Angeles. Carlson at Mammoth Studios
had handed him a one way ticket to New York
and told him never to come back to Hollywood. As
the streamliner eased effortlessly underway, Sydney managed a sardonic smile.
He was on his way out in the grand manner
(02:11):
of Hollywood.
Speaker 3 (02:18):
Sheila, Well, Sheila, what do you wouldn't.
Speaker 4 (02:21):
Really think I'd let you get away from me? Did
you see it?
Speaker 3 (02:24):
Well, I've got to go east, just a quick trip
for businesses. Really, yes, you see, I've got a James.
Speaker 4 (02:29):
I will sit down. I've got a feeling this story.
Speaker 3 (02:32):
Is going to be good. Now listen to me, Sheila.
Speaker 4 (02:34):
Why I said, I've listened to you for a long time.
Speaker 5 (02:38):
I don't like where it's got me. That career you
promised me. What a publicity agent you turned out to
be great.
Speaker 3 (02:45):
I'm glad you feel that way, because I'm sick and
tired of trying to palm off a no talent doll
like you as an actress.
Speaker 4 (02:51):
Look, who's talking no talent? You've been tossed out of Hollywood.
Speaker 5 (02:54):
He has a one way ticket to New York, take
it and never come back. Unquote Carlson, every studio in
town has your number, and it's zero.
Speaker 3 (03:01):
You know why, because you've fouled up every publicity stunt
I'd handled the past year, whether it had anything to
do with you or not. You always don a walk
on at the wrong time, and now, if you're smart,
you'll pull a walk off this time, right off of
this train at the first stop.
Speaker 4 (03:14):
I'm not getting off, Sydney.
Speaker 5 (03:16):
I'm gonna ride all the way Chicago, New York, and
even then I'm still.
Speaker 4 (03:21):
Not getting off.
Speaker 3 (03:23):
What are you talking about.
Speaker 4 (03:24):
I'm talking about us. Neither of us can go back
sid You to the studios, me to the husband I
left for you.
Speaker 3 (03:32):
I didn't tell you to leave them, not in.
Speaker 4 (03:33):
So many words.
Speaker 3 (03:35):
Skip it.
Speaker 4 (03:37):
That part's my word.
Speaker 3 (03:38):
It's all you're worry. I go on, beat it, chill.
I've got my own troubles.
Speaker 4 (03:41):
I know I'm one of them, your biggest takes.
Speaker 3 (03:45):
I told you to beat it, to run along, all right, Sydney.
Speaker 4 (03:49):
That's the way you want it, if you'll feel differently
later on. I'm in car one seventy nine.
Speaker 5 (03:55):
I can't hear, and like I said, I'm not getting
off ninety nine.
Speaker 4 (04:02):
Sydney.
Speaker 6 (04:14):
You watch her go, feel the cold rage.
Speaker 2 (04:18):
Mouth within you. You try to tell yourself that she'llas
the real cause of all your troubles.
Speaker 3 (04:24):
But deep down you know that's not true.
Speaker 2 (04:27):
Sheila's a problem. Yes, you wish you'd never met her,
made all those promises about her career. Now she's like
a millstone around your neck. You'd like to strangle her,
wouldn't you, Sydney. But after a while you decide to
try to forget about her, put her out of your mind.
You go to the diner, order your dinner, and lean
(04:48):
back slightly react as you recognize the voice of a
man sitting back to back with you, an important film executive,
Sydney E. J. Peyton, imparting some very interesting information to
dinner part.
Speaker 3 (05:01):
Yes, I suppose it's craze for older stars started when
Pinza made such a smash in South Pacific. Pinsa did
a lot for the so called older star. Alright, this
chap Norman Hale, you're going to sign in New York.
I remember him. I remember I was a boy the
first time I saw him. Oh yes, Nama, Norman Hale
was a box office word. I'd prefer you didn't mention
(05:25):
it around on the train. I mean that my studio
is after it of course Hale doesn't note himself, but
he's just right for us. This picture autumn song that
we're going to make you say, oh oh, yes, it's
about a star from the old silent era, isn't it right? Say?
Speaker 7 (05:41):
This steak is good?
Speaker 2 (05:53):
You almost can't wait to finish your dinner, can you, Sydney,
But you realize that you might as well. Yes, yes,
because the streamliner won't stop anywhere that'll fit your plans
before Albuquerque. Meanwhile, you have other things to attend to,
Porter Horra, can you help me a moment, Yes, sir?
Speaker 3 (06:15):
You looking for somebody? Or yes, Porter, this is car
one seventy nine, Yes, sir, a friend of mine, Miss
Sheila Martin, Miss Martin. That's room at b sir, Oh,
thank you, Port, But I think the lady is in
the club car. Well, it's all right, I'll find her label.
I'll go see No no, no, no, no, never mind, never mind.
Speaker 2 (06:36):
You start out of the car, turn in time to
see the porter disappear into another room to make up
the beds. You move swiftly down the aisle to Sheila's
room Mette inside, you find what you want in a
matter of seconds in her overnight bag wrapped.
Speaker 6 (06:49):
In a nightgown.
Speaker 3 (06:51):
The roll of bills which you were certain she wouldn't
carry in her purse. You take most of the bills out,
wrapped the few remaining ones around a roll of tensing
issue you find in her bag so she won't discover
the loss immediately.
Speaker 6 (07:04):
Then you hurry back to your own car.
Speaker 3 (07:07):
Yes, sir, i'd like accommodations to New York first plane operas.
Speaker 7 (07:11):
I have space on flight twenty three lives here in
two hours.
Speaker 3 (07:14):
That'll get me in New York ahead of the streamliner.
Speaker 7 (07:16):
Oh yes, sir, you'll be there in twelve hours, twelve hours.
Speaker 3 (07:19):
Oh good good, I'll take that space one way to
New York.
Speaker 1 (07:38):
Copy stop engine war that can cut down your cars
pep and power, cut down your gasoline mile age. Cop
it stop engine war that can make your car become
an oil eater, make it need an expensive overhaul. How
can you stop engine wear? Why simply by changing oil.
Changing to amazing new Signal Premium motor oil that reduces
(08:00):
engineware due to lubrication fifty percent. Through newly perfected scientific developments,
wonderful extra protection has been engineered into new Signal Premium one.
It stops acid corrosion and rust. Two controls and reduces
harmful engine deposits. Three keeps oil rings clean and free,
or keeps hydraulic valve lifters from sticking. Yet there has
(08:23):
been no increase in price for this superior quality, heavy
duty type oil at signal service stations. So why not
join the ever increasing number of motorists who are keeping
car expenses down and performance up by changing to new
Signal Premium, the amazing new signal motor oil that reduces
(08:43):
engine ware due to lubrication fifty percent.
Speaker 2 (09:05):
It's a windfall, isn't it, Sydney, the chance knowledge you
picked up on the train. Yes, as you step from
your plane in New York, you're many hours ahead.
Speaker 3 (09:14):
Of the train you left at Albuquerque, carrying E. J.
Speaker 2 (09:17):
Payton, the motion picture producer who is on his way
to search the city for Norman Hale, the one time
silent picture star. With luck, you can find Norman Hale first.
That's why you no sooner check into a hotel than
you begin the weary rounds of second rate theatrical agencies.
At one you finally get a lead, make your way
(09:38):
out to an astonishingly good address. You wonder as you
pressed the buzzer, if perhaps they weren't all wrong about
Norman Hale, that he might have saved some of his
early fabulous earnings. As you stand there waiting, you pray
that he didn't hope that he's in a bad financial position.
Speaker 3 (09:57):
Yeres, I'm looking for mister Hale, Norman Hale, the actor.
Speaker 7 (10:01):
Have you an appointment?
Speaker 3 (10:03):
Well? No, you see I am.
Speaker 7 (10:04):
The nature of your business please.
Speaker 3 (10:06):
Well, frankly, I represent some motion picture interests who would
like to contact mister Hale.
Speaker 8 (10:11):
Motion picture interests, My dear fellow, I don't believe mister
Hale will be interested. You see, he wouldn't want to
leave New York. The excitement, the glamor of the city,
the close proximity to the theater.
Speaker 3 (10:23):
Mister Hale. What I might have known am posing as
the butler, that you.
Speaker 9 (10:29):
Were always pulling something like that? Please, mister Hale, May
I come in? The name is Shelton, Sidney Shelton. Why
er all right, mister Shelton, enter beg your sir, Well,
this is a beautiful grace you have here.
Speaker 7 (10:45):
Thank you? Won't you sit down?
Speaker 6 (10:47):
Thank you? Sir?
Speaker 7 (10:48):
Have you a contract?
Speaker 8 (10:49):
Mister Shelton, are you actually prepared to make a business proposition.
Speaker 3 (10:53):
Well, no, sir, not exactly. You see, I have an idea,
a possibility for both of us.
Speaker 8 (10:58):
Ah possible, well, making a picture where there has been
an old man, a profile from the past.
Speaker 3 (11:06):
Exactly, sir. And if you weren't so well so well
off here, you might consider that there are still fans
everywhere who remember you.
Speaker 8 (11:14):
And level, young man. I am not well off this
aristocratic establishment. It isn't even mine.
Speaker 7 (11:24):
How do you like that?
Speaker 8 (11:26):
I don't understand alas Norman Hale must now be grateful
to be a caretaker of another man's house. You, yes,
the owners in Europe. I'm a fortunate man. I could
be huddling in a tenement somewhere.
Speaker 3 (11:41):
Well, you'll never have to worry about that again, mister Hale,
if you just listen to me, I've found a great
part for you. I read a book, mister Hale, Autumn Song,
and that was a play, wasn't well? And that's what
I meant to say, a play. I'm sorry, See, I'm
excited now. Oh, mister Hale, you should play that part. Oh, yes, Oliver,
Oliver went Oliver Wentworth. Oh, Norman, you are Oliver Wentworth
(12:03):
and I can get you that part. I know it.
Will you believe in me? Will you give me the
chance to make you believe in yourself?
Speaker 7 (12:08):
You're persuasive men, Shelter yet.
Speaker 3 (12:11):
Here I brought a contract. I'll just signed there, mister Hale,
making me your personal manager. An hour later, you're on
your way back to your hotel Sydney. Only a brief
stop at the theatrical agency which gave you the lead
(12:32):
to Norman Hale. Five dollars in the hand of the
man you talk to assures the fact that motion picture
producer E. J. Peyton will now be directed to you
instead of to Norman Hale himself. It's late afternoon of
the following day and you're sitting in your apartment when
you receive a phone call. It's the call you've been expecting,
(12:52):
isn't it, Sydney. Yes, from EJ. Peyton, the Hollywood film executive. Yes,
so that's right. I'm representing Norman Hale.
Speaker 10 (13:00):
Then we can talk. I have a little something in
mind for him.
Speaker 3 (13:03):
Well, I don't know, Norman sold on the idea of
doing a play well for his own sake?
Speaker 10 (13:08):
Then talk him out of it. Now let's speak frankly,
mister Shelton, you're Norman Hale is pass a ghost of
the silence. People just aren't interested in him anymore.
Speaker 3 (13:17):
You are, mister Peyton.
Speaker 10 (13:18):
Yes, yes, in a way. Look, mister Shelton, I don't
like to discuss business over the telephone. When can we
get together?
Speaker 3 (13:25):
Well, let me see already said about lunch tomorrow Victor's
on forty fifth.
Speaker 10 (13:31):
Good, I have Norman Hale there too.
Speaker 3 (13:33):
Well, I'll see if I can arrange it. I can't promise, though.
Speaker 2 (13:43):
You're pleased, aren't you, Sydney, and your only concern now
is how to get the biggest price you can for
Norman Hale services.
Speaker 6 (13:52):
It won't be easy, will it. When you're dealing with a.
Speaker 2 (13:54):
Man like Petal and you wish you had something more
to sell than just Norman Hale himself. You decide a
publicity stunt would do it, Sydney, something big, and Peyton's
studio would be eager to cash in on it. You
spend the rest of the day thinking about this. Finally,
that evening the answer comes to you, most unexpectedly.
Speaker 3 (14:18):
Oh, Sin Shela, Oh well, Sheila, Look, I'm sorry about.
Speaker 4 (14:24):
The money you stole on the train.
Speaker 7 (14:25):
No you're not.
Speaker 4 (14:26):
I knew it was you right away, but I'll get
it back and more.
Speaker 3 (14:30):
Of course you were baby. Of course I was going
to get in touch with you. But I've been busy
all day. A new client.
Speaker 4 (14:36):
I know, I traced you down through the theatrical agency.
Speaker 3 (14:39):
Really well, would there be.
Speaker 4 (14:40):
Anything in this new deal for little Sheila?
Speaker 8 (14:43):
You know that.
Speaker 3 (14:44):
Better be ooh naturally or oh I haven't forgotten Sheila,
and it's going to be big baby, Yes, sir, and
I speak fat publicity stunt for Norman Hale. He's my
new client, and I'm working out something for you too.
Speaker 4 (14:56):
Like what an overdose of sleeping pills?
Speaker 3 (14:58):
Get engaged to Norman? Hey? Maybe both Wait a minute,
do you think that's funny?
Speaker 4 (15:07):
What is it this time?
Speaker 7 (15:08):
Sydney?
Speaker 3 (15:09):
Oh baby, oh baby, you and Norman Hail.
Speaker 4 (15:14):
That's what I was afraid of. But give me the
details anyway.
Speaker 2 (15:19):
M.
Speaker 7 (15:31):
Can't we eat Sydney, I'm fammy.
Speaker 3 (15:33):
Well, let's wait for Peyton Norman.
Speaker 7 (15:35):
Oh he's late.
Speaker 8 (15:36):
It's a quarter after one.
Speaker 3 (15:37):
Now, I know, Norman, I know.
Speaker 7 (15:39):
Are you sure you said Victor's restaurant?
Speaker 3 (15:41):
Yes, of course I said Victors and Peyton will be you.
Speaker 7 (15:45):
Don't suppose he's changed his mind.
Speaker 3 (15:46):
I'll relax, Norman, Will you please.
Speaker 7 (15:49):
Very well, I'll have another martini.
Speaker 3 (15:51):
You've had four already, Norman.
Speaker 7 (15:55):
I beg your pardon, miss Norman.
Speaker 4 (15:57):
I'd recognize you anywhere.
Speaker 7 (16:00):
Have we met, my dear?
Speaker 6 (16:02):
Oh?
Speaker 5 (16:03):
No, no, but I've dreamed of meeting you ever since
I was a little girl.
Speaker 4 (16:07):
Oh, I dreamed of this moment.
Speaker 7 (16:09):
Really well.
Speaker 4 (16:11):
On that first time I saw you, I worshiped you.
Speaker 7 (16:16):
Then I still do, Norman, just a moment, old man,
I'll handle you.
Speaker 4 (16:23):
Think I finally found this.
Speaker 3 (16:26):
Please water you struggle to keep a straight face, don't you?
Speaker 2 (16:45):
Sit there as Shila clings desperately to Norman, pouring out
her adoration for him, And during the confusion of the
next few moments, you know thise Peyton standing at the
door watching it all. Then finally, when Shila is led
away being bitterly, Peyton comes over to your table.
Speaker 3 (17:04):
Well that was something, wasn't it. Oh, mister Peyton, you
saw what happened. Yes, yes, I saw, Norman.
Speaker 6 (17:10):
This is mister Peyton.
Speaker 3 (17:13):
Norman, what oh, oh.
Speaker 7 (17:16):
How do you do sir?
Speaker 8 (17:17):
That poor girl, that poor girl so madly in love
with me? He s in love with me all these years?
Did you hear her, sob, Sydney, did you?
Speaker 6 (17:27):
Yes?
Speaker 3 (17:27):
Yes, sure, sure, she's really crazy about your Norman. Yes,
I'd say that was quite a performance, Quite a performance
performance for my benefit. Hey, mister Shelton, you think this
whole thing was staged, wasn't it? Oh?
Speaker 7 (17:41):
Dare you suggest it to think? Anyone can plainly see
that girl is desperately in love with me? And why not?
Why shouldn't she be?
Speaker 6 (17:49):
No?
Speaker 3 (17:49):
No, please, good day, mister Peyton, good Norman. Wait, wait
a minute, I didn't go, mister Sheldon. We have things
to talk about. No, no, no, he's pretty sore. I'll
have to see if I can cool him down. But
do you make it at Norman's place in the hour
for sixty seven Kenton Place.
Speaker 7 (18:12):
I'm sorry, Sydney. I shouldn't have lost my temper that way.
Speaker 3 (18:15):
Okay, okay, let's forget it.
Speaker 7 (18:16):
Tell me something that that affair it really wasn't staged,
was it?
Speaker 3 (18:21):
Norman?
Speaker 6 (18:21):
Of course not.
Speaker 8 (18:22):
I didn't think so. I could see it was real.
I saw it in her eyes, Sydney. I'm not easily fooled.
Speaker 3 (18:29):
You know.
Speaker 8 (18:30):
She was rather an attractive girl, wasn't she a real
du just couldn't help it. I suppose falling in love
with me. I mean, I have I ever told you
about the Countess Delgano?
Speaker 6 (18:40):
Have I?
Speaker 7 (18:41):
No?
Speaker 3 (18:41):
No, no, no, let's save it for some other time.
Would you please? Peyton's waiting for us in the study.
Speaker 7 (18:45):
Oh yes, yes, yes, sir, very well, my boy.
Speaker 3 (18:50):
Wow, I'm sorry to keep you waiting, mister Peyton.
Speaker 7 (18:53):
That's quite all right. I was just admiring your paintings,
mister Hale.
Speaker 8 (18:57):
Oh nothing much. Really picked them up up here and
there during my travels. This one, for example, I turned
up in London while I was on a personal appearance tour.
The English loved me, you know, find people, the English?
Speaker 7 (19:09):
I remember?
Speaker 3 (19:09):
So how we sit down, gentlemen?
Speaker 7 (19:11):
I remember, so I'll get that like a good chat
with you. Sidney?
Speaker 3 (19:15):
Hello, who speak up? I can't hear you. Are they there?
Speaker 6 (19:23):
Yes?
Speaker 4 (19:24):
Yes, okay, go under erect, I'll see you later.
Speaker 7 (19:26):
Who is it, Sidney?
Speaker 3 (19:28):
I think it's that girl again, the one in the restaurant.
Speaker 7 (19:30):
Oh really?
Speaker 3 (19:31):
Hello?
Speaker 7 (19:32):
Yes?
Speaker 5 (19:34):
What no?
Speaker 3 (19:36):
No wait a minute, wait a minute, what's wrong?
Speaker 2 (19:37):
She says?
Speaker 3 (19:37):
She's calling from her hotel. Says, if you don't see her,
She'll jump off the roof. What hello, Hello? Where are you? Where?
Speaker 7 (19:44):
What?
Speaker 3 (19:46):
I can't understand? Stop crying here, Give me that poem?
She hung up.
Speaker 7 (19:50):
We must do something.
Speaker 3 (19:51):
I think she said she was at the Grayville or
the Brave Brave Bill, not far from here. Mister Peyton,
call the police. Tell him to get over to the
girl's hotel right away. Come on, Norman, come on, but
too late, Norman. Yeah, she is up there? Where where
(20:12):
on the ledge? The ledge? Lord? What did you say?
Her name is Sheila?
Speaker 7 (20:17):
Sheila? Sheila?
Speaker 3 (20:19):
Don't jump, don't do it, she can't.
Speaker 10 (20:23):
Everybody stand back, give room to a played diangulance.
Speaker 3 (20:27):
Head that bank off over there? What are we going
to do with? If only I could talk? She hit
hand back the policeman talking on the public address system. Yes,
of course, that's it. Come on, come on, are you ready? Armed? Ready?
(20:48):
All right, here's the microphone roof, Romeo. Now there's your
Julia's up there on the ledge. Come on, start talking
and make it good. Birara, Norman, Norman Hale, livn come me, darling.
(21:14):
You stand back in the crowd, look at the faces
around you. As Norman Hale begins to play the scene
in his most dramatic fashion, and the crowd loves it.
You are certain of that, aren't you, Sidney? And you
know that close by Peyton is watching, listening. Then finally
the exciting climax, as Sheila steps off the ledge and
(21:35):
goes back into her hotel.
Speaker 6 (21:38):
Peyton is very impressed.
Speaker 3 (21:41):
When can we talk mister Shelton in the morning, mister
Paton over coffee and the headlines from all right? I
must say you handle the situation magnificently, mister Hale.
Speaker 7 (21:49):
Oh, thank you, thank you.
Speaker 8 (21:51):
I wasn't the least bit worried, you know, I was
certain I could talk her out of her madness.
Speaker 3 (21:55):
Sure, sure, you can't help it, can you, Norman? I mean,
because you're so attractive to women.
Speaker 2 (22:01):
You're so right, old boy, that evening back in your apartment,
you're pleased with the way everything has turned out, aren't you, Sidney.
Speaker 3 (22:19):
Yes, and you congratulate yourself. You've put it over. Haydon
will have to come to your terms now if he
wants to capitalize on the publicity, sign a long term
contract with Norman Hale. Then shortly before midnight you have
a visitor, Sheila. What do you mean now?
Speaker 5 (22:38):
What what's the next move that's done? This afternoon went
over big for little Sheila. But we're not going to
leave it at that, are we.
Speaker 6 (22:43):
Ah?
Speaker 3 (22:44):
Look, sweetheart, Look you got yourself a million bucks worth
of publicity. I set it up for you free of charge.
You take it from there. But I thought you're right.
I'm going to be very busy from now on, baby
Norman and I will probably be leaving for the coast
in a few days.
Speaker 4 (22:58):
Norman, Sure that was all for him, wasn't it?
Speaker 3 (23:04):
He was the star.
Speaker 4 (23:05):
I was just an extra.
Speaker 3 (23:06):
Didn't do badly?
Speaker 4 (23:08):
No, that's right, I didn't. Suddenly I've just gotten an
idea how I can do better. What do you mean,
Let me write a suicide note? Remember to make it
all the costent ache when I was going to jump
from the hotel.
Speaker 3 (23:22):
Yeah, I remember.
Speaker 5 (23:24):
Well, I've still got that suicide note right here in
my purse. I wonder what the reporters will do to
your story when I tell him this whole thing was
a fake.
Speaker 3 (23:33):
Now wait a minute, chiller, Ah, I have just enough time.
Speaker 4 (23:36):
To catch the morning papers before they go to press. Right,
idea of yours that suicide note?
Speaker 3 (23:41):
Yes, thanks for reminding me, baby, let me go sure
sure alex. So only when I do, it will be
out the window because you are going to jump, and
your suicide note will fright the jump.
Speaker 1 (24:10):
Try signal ethyl ry, signal ethyl ry. Sometimes I think
try signal ethyl is the most important thing I can
say to you drivers, because once you try the premium
grade of signals famous go farther gasoline in your own car,
I won't need to say anything else. Yes, once you
(24:33):
see for yourself how smoothly, quietly signal ethyl floats you
over hill steep hills in high I won't need to
say anything more about the superpower in this great super fuel.
Once you see how effortlessly it makes the miles of
highway flash by, I won't need to tell you anything
more about signal ethyl's obedient smoothness. And once you see
(24:53):
how swiftly it rockets your car ahead when the traffic
signal says go, you'll know why we say signal ethyl
is engineered to bring out the best in any car
of any age. Yes, all of these things and many
more you'll learn about driving pleasure when you drive out
of a signal station with your first tankful of signal ethyl.
(25:14):
That's why I'm so eager for you to just try
fry signal ethyl fry signal ethyl cry signal FYL.
Speaker 6 (25:39):
It was the only way, wasn't it, Sidney.
Speaker 2 (25:41):
You had to kill Sheila to prevent her from exposing
you and the publicity stunt you staged for the benefit
of your client, the former matinee Idol Norman Hale. And
so you pushed her out the window of your apartment.
And how a crowd is gathered in the streets below,
and you hurry downstairs, the star. What do you tell
is very clear in your mind. Then when the police arrived, you.
Speaker 3 (26:06):
Say, this girl jump from your apartment, Mitreschell. Yes, yes,
that's right, opposite. It happened so quickly I was unable
to stop her.
Speaker 7 (26:12):
Oh, the poor girl.
Speaker 3 (26:13):
She did it because of Norman Hale. You've heard it
in the actor. Yeah, Hey, wait a.
Speaker 7 (26:18):
Minute, Is this the same girl who tried to come
in suicide this afternoon?
Speaker 3 (26:22):
Yes, yes, that's right, that's right. She burst into my
apartment about twenty minutes ago, demanded to see Norman. I
tried to stall her, but she showed me a suicide
note she'd written, and then she jammed it in her purse.
Before I could stop, or she ran to the window. Oh,
well you know the rest. Yeah, Wait a minute, wait
a minute, is this a note? Yes, yes it is.
(26:45):
Oh looks like you're right, mister, pardon me.
Speaker 7 (26:47):
Yeah, this guy's story doesn't hold up.
Speaker 1 (26:50):
What she here?
Speaker 3 (26:51):
What do you mean? When I was standing across the
street when this happened, I thought, Oh, this girl didn't jump,
she was pushed and this guy pushed her.
Speaker 6 (26:59):
That shriek.
Speaker 7 (27:00):
Hold amateur shoving.
Speaker 3 (27:01):
I sabbed, do it?
Speaker 7 (27:02):
Yeah, who are you?
Speaker 3 (27:03):
I'm Jim Fergus, private investigator. And after this girl apparently
tried to commit suicide this afternoon, Norman Hale was so
worried about her he hired me to keep an eye
on her. Norman Hale had you, Yeah, the hail said.
The girl was nuts about him, crazy.
Speaker 7 (27:20):
In love with him.
Speaker 1 (27:42):
Let that whistle be your signal for the Signal Oil program.
The whistler each Sunday night at the same time. Since
this week is National Farm Safety Week, Signal has asked
me to remind you each year, injuries disabled one out
of every eighteen farm residents and cost our country one
billion dollar. So on peaceful Western farms. Just as in
(28:03):
the city, it pays to be careful. Always Featured in
(28:24):
Tonight's story were Wally Mayer Virginia, Greg Herbert Rawlinson, Jess Kirkpatrick,
and Herbert Litton. The Whistler was produced and directed by
George w Allen, with story by Joel Malone, music by
Wilbur Hetch, and was transmitted to our troops overseas by
the Armed Forces Radio Service. The Whistler is entirely fictional,
and all characters portrayed on the Whistler are also fictional.
(28:46):
Any similarity of names or resemblance to persons living or
dead is purely coincidental. Remember to tune in at the
same time next Sunday, when the Signal Oil Company will
bring you another strange story by the Whistler, entitled Danger
is a Beautiful Blonde, in which a pick up date
with a beautiful girl leads a young man to an
(29:07):
attractive mansion and a dead man. Marvin Miller, speaking for
the Signal Oil Company. Stay tune now for the Horace
Heights Show, which follows immediately over most of these stations.
This is CBS, the Columbia Broadcasting System
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