August 18, 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
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
And now stay tuned for the mystery program that is
unique among all mystery programs, because even when you know
who's guilty, you always receive a startling surprise at the
final curtain. In the Signal Oil Program, the Whistler Signal,
(00:27):
the famous go Father Gasoline invites 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. For
I walk by night. I know many strange tales hidden
in the hearts of men and women who have stepped
into the shadows. Yes, I know the nameless terrors of
which they dare not speak.
Speaker 1 (01:11):
And now for the Signal Oil Company, The Whistler's Strange
Story Finale.
Speaker 2 (01:30):
The rehearsal of Ned Wilson's new Broadway musical had been
in progress for several hours. On stage, the spotlight held
a dancing figure of Christine Courtney, star of the show.
Out front. The director, writers, and backers of the production
watched intently, ure at each intricate step with the rhythmic
ease which had made her face. Christine was well aware
(01:52):
of the admiration she attracted, but at that moment her
efforts were devoted toward breezing just one man, her fiancee,
Ned Wilson, producer of the show, and she glanced often
into the wings, where he stood watching her, smiling his approval.
Speaker 3 (02:15):
Okay, chorus, let's take the tide break.
Speaker 4 (02:18):
Here we go.
Speaker 2 (02:22):
As the chorus swung into the routine, Christine walked quickly
offstage to Ned Wilson.
Speaker 4 (02:29):
Oh, you're terrific guarding its sensational you know, here is
the star. The show just can't mess.
Speaker 5 (02:35):
Oh that's a very convincing line you have, mister Wilson.
Speaker 6 (02:37):
But go on.
Speaker 5 (02:38):
I love it when you tell me how wonderful I am.
Speaker 4 (02:41):
It's not a lie, and you know it. You're wonderful Chris.
You know, I just can't believe that you'll soon be missus.
Ned Wilson.
Speaker 5 (02:47):
Oh, Ned, I've waited for you so long all my life.
Speaker 7 (02:52):
May I speak to you for a moment.
Speaker 5 (02:53):
Fla Oh Martin, of course, here I want you to
meet Ned Wilson, our producer.
Speaker 7 (02:58):
How do you do, mister Wilson, Ned, this is my Duncan.
Speaker 3 (03:00):
Hello, Martin.
Speaker 5 (03:01):
I spoke to you about him several days ago.
Speaker 4 (03:03):
Oh, yes, the young play ride. Well, Chris tells me
you've written a show I might be interested in Martin.
Speaker 8 (03:08):
Well, she said you'd read it, mister Wilson, tell me
if you think it has possibility.
Speaker 5 (03:11):
Sure, sure, I'd be glad to look while you two
talk business. Do you mind if I run along to
my dressing room and change to street Clues and Martin
good luck with your play.
Speaker 7 (03:21):
Well, thanks, miss Courtney. Nice of you to help me out.
Speaker 5 (03:24):
Forget it, Martin, I remember when I was trying to
get a break.
Speaker 2 (03:33):
Yes, you know how hard it is to get a
foothold in show business, don't you.
Speaker 9 (03:37):
Christine.
Speaker 2 (03:39):
Your struggle to the top has been long and difficult,
and you're proud of your accomplishment for in achieving your goal.
You've risen above the mistake you made long ago. For years,
you've lived in constant fear that the past would catch
up with you, ruin everything you've worked so hard to
build up. And for almost a year you've been broadways
leading musical star, and no part of the past has
(04:02):
asserted itself. You'll make your way to your dressing room,
humming happily to yourself. The past quite forgotten.
Speaker 10 (04:12):
Hello, miss court Oh, Hello, I'm afraid the dorman doesn't
keep a very close watch on the stage engine.
Speaker 11 (04:19):
No, he doesn't seem to look if you want an
autograph or something. Oh you leaeve me, miss Courtney. I'm
not a fan of yours, not yet anyway. Well then,
my name's Doris Richly mean anything to you?
Speaker 5 (04:34):
Nothing it should?
Speaker 6 (04:35):
Maybe this will help.
Speaker 10 (04:37):
My hometown is Redwood, Missouri, and in case you've forgotten
that too, I'll just remind you it's also your hometown.
Speaker 5 (04:45):
Really, I don't know what you have in mind, But.
Speaker 10 (04:48):
Eight years ago a man and a young woman robbed
the Redwood City Hotel of several thousand dollars. When the
clerk tried to phone the police, he got himself killed.
Speaker 5 (04:59):
Well, just a girl.
Speaker 7 (05:00):
Then in your teens.
Speaker 10 (05:02):
I was the only person who saw the two of
you make your getaway. I don't know who he was,
but I was able to identify you, all right, and
no one ever found you till now.
Speaker 5 (05:14):
This is the craziest thing I ever heard of.
Speaker 10 (05:16):
Oh you've changed your name the color of your hair,
but you're still little Maxine would of Redwood, Missouri.
Speaker 6 (05:22):
As far as I'm concerned, you.
Speaker 10 (05:24):
Know, I bet I'm the only one in Redwood who
ever sees the theatrical section of the New York papers.
Speaker 6 (05:29):
Your picture's in it quite a bit, isn't it, Maxine.
Speaker 5 (05:32):
Look, I'm not Maxine anybody, and I don't know.
Speaker 6 (05:34):
What you're talking about.
Speaker 10 (05:35):
You're not much of an actress, Maxine. Take a tip
and stick with dancing, and let's quit this hedging around.
A quick check of your fingerprints would prove your Maxine
would want to go have him check.
Speaker 5 (05:50):
Get out of here.
Speaker 10 (05:51):
You know, I can't decide whether I'll go to the
police first or the newspapers.
Speaker 5 (05:55):
What would you do? What is it you want?
Speaker 10 (06:00):
Very little, miss Courtney. You see, I came to New
York to get into show business.
Speaker 6 (06:05):
I am, but you might like to help me.
Speaker 5 (06:09):
Of course, I can probably get you some kind of
a part, and then if you have ability, I want
your part. You want my part?
Speaker 6 (06:21):
Yes, it's made for me.
Speaker 5 (06:23):
Do you know what you're saying? Well, I've signed contracts.
I couldn't break them if I wanted to, And the
producers want a name for a show like this, I
couldn't be easy. Take it easy.
Speaker 6 (06:34):
I don't want to be unreasonable. I'll just bet you
could use an understudy.
Speaker 5 (06:39):
Oh, so that's it. You become my understudy and after
the show opens, I sprain an ankle or something, and
you take over.
Speaker 6 (06:48):
You ought to know you got your start as an understudy.
Speaker 5 (06:53):
That's right, I did. Look, I'm just curious you understand.
But what makes you think you're good for the park? Oh?
Speaker 6 (07:01):
I'm good enough, I know I am.
Speaker 10 (07:03):
As Shakespeare might phrase it, I've got it in here.
Speaker 5 (07:08):
You know you'd have to audition. I had to when
I became an understudy. I just couldn't announce that you're
going to understudy me when Ned Wilson's not easy to please.
Speaker 10 (07:19):
Neither of my I, miss Courtney. So if I were you,
I'd arrange an audition for me with mister Wilson.
Speaker 6 (07:26):
It just might be the smartest thing you ever did.
Speaker 1 (07:40):
If someone asked you if you own a chemical factory,
you'd probably answer no. Yet, the engine of your car
is actually a miniature chemical factory, capable of generating enough
heat to turn motor oil into synthetic varnish sticky gommi
varnish that clogs up piston rings and prevents them from
expanding and canting. That's bad, bad for power and pet,
(08:04):
bad for oil consumption, bad for gasoline mileage. So to
protect your motor from such damage. Signal Oil Company has
a special type motor oil specially engineered not only to
keep from forming varnish, but also to wash out accumulated
varnish that other motor oils may already have left in
your motor result, when new engines are protected with Signal
(08:28):
Premium Compounded motor oil, they stain you. And when older
cars switch to this extra duty signal oil that does
so much more than just lubricate, you notice improved pet
power and gasoline mileage. So whatever you're driving, you'll be
giving your car a new lease on life by making
your next oil change a change to Signal Premium Compounded
(08:51):
motor oil at a Signal service station.
Speaker 2 (09:13):
Well, Christine, after eight years you were sure no one
would ever discover your real name is Maxine, would that
you once participated in a robbery that ended in murder
by your accomplice. It was something you hadn't counted on
when you recklessly agreed to help on the job. But
it happened, and now the girl who saw you threatens
(09:34):
to inform the police of your true identity. Tear down
the long years of struggle. It has made you a
leading musical comedy star. Unless you make her your understudy.
The following morning, you telephone Ned Wilson arrange an audition
for Doris Richly that same afternoon, and after lunch you
pace your apartment floor nervously as you await Ned's call. Finally,
(09:57):
you calm down and decide your fears, a grunt that
it would be impossible for anyone with so little experience
to auditions successfully before the critical Ned Wilson. And then
the telephone rings.
Speaker 4 (10:13):
It's Ned, Chris.
Speaker 5 (10:14):
Oh, hello, darling, say you.
Speaker 4 (10:15):
Really uncovered some talent. Doris is great, She's really great.
Speaker 5 (10:20):
What did you say?
Speaker 8 (10:21):
Said?
Speaker 4 (10:21):
Doris Richly is great, natural, real fine. Oh wait till the.
Speaker 5 (10:25):
Critics get a load of her, Please, Ned, it isn't
necessary to shout.
Speaker 4 (10:29):
Oh, I'm sorry, Chris. I guess I'm a little excited
about her being so terrific. I was afraid she turned
out to be another Martin Duncan you know his play
wasn't any good at all?
Speaker 5 (10:37):
I was afraid it wouldn't be.
Speaker 4 (10:39):
Doris is another story. She seems to learn quickly, and
she ought to have your part down pat no time.
A matter of fact, if you're not careful, she might
dance right into your job may make you a talent
scout instead.
Speaker 5 (10:50):
That's one of my strong points, spotting talent.
Speaker 4 (10:53):
Oh waits, Doris is right here. She wants to talk
to you.
Speaker 8 (10:56):
Here.
Speaker 10 (10:56):
I just want to thank you, Mss Courtney. I'm so
pleased about everything, but DW. Wilson seems to think I
have excellent possibilities.
Speaker 5 (11:05):
Yes, yes, so he said.
Speaker 10 (11:07):
I told you I could make it if you just
give me a chance.
Speaker 5 (11:11):
Yes you did, didn't you?
Speaker 10 (11:13):
Anyway? Thanks again. I think you know how much it
means to me and missus Courtney. I'll never forget you.
Speaker 2 (11:28):
You know what she means, don't you, Christine, She'll never
forget who you really are in case you should get
out of line. You're shocked at the success of her audition,
and yet you're relieved too, because this should silence her,
keep her from going to the police about you, and
a lot of things can happen before Doris actually steps
(11:49):
in and takes over your part. Everything goes smoothly for
the next few days, and then one afternoon you enter
your dressing room to find Martin Duncan waiting for you.
Speaker 7 (12:00):
Well Martin, Hello, hello, miss Courtney.
Speaker 5 (12:02):
Oh, it's nice to see you. I've been meaning to
call you and tell you how sorry I am ned
wasn't interested in your play.
Speaker 8 (12:08):
It's very nice of you, Miss Cortney, but you see,
it doesn't make any difference.
Speaker 7 (12:12):
I found a buyer for it.
Speaker 5 (12:14):
Oh, I'm Martin. That's wonderful. Oh, I'm so glad for you.
Oho you.
Speaker 2 (12:21):
Me?
Speaker 5 (12:24):
Oh no, wait a minute, March.
Speaker 7 (12:25):
I'm certainly doing a lot for unknown talent these days,
Miss Courtney. First, Doris Richly.
Speaker 5 (12:30):
Now me, Doris. You and Doris?
Speaker 7 (12:35):
Yes, Miss Courtney.
Speaker 8 (12:37):
Redwood, Missouri isn't so far from Broadway, is it, Miss Courtney?
Doris and I discovered, then we found we had a
lot to talk about.
Speaker 5 (12:46):
Of all the cheap, conniving tricks. How much of a
fool do you two think? I am.
Speaker 8 (12:51):
You were foolish enough to make a pretty big mistake
eight years ago, back in Missouri, But we don't think
you're foolish enough to let me go to the police.
Speaker 5 (12:59):
Within suppose you went to the police, Where would that
get you?
Speaker 8 (13:06):
The question is where would it get you?
Speaker 5 (13:11):
You know, Martin, you're the type that's liable to wake
up dead some morning.
Speaker 7 (13:16):
I don't think so.
Speaker 8 (13:17):
I keep a revolver in my desk at home that
says I'm going to live a long, happy life.
Speaker 5 (13:23):
You must have annoyed quite a few people.
Speaker 7 (13:26):
Possibly.
Speaker 8 (13:27):
Anyway, the price for my play is only thirty thousand dollars.
Speaker 5 (13:32):
You know I don't have that kind of money.
Speaker 7 (13:34):
Big star like you don't make me.
Speaker 5 (13:36):
I'm not trying to. I've only been on top for
one season. My expenses are big, so all of my taxes,
AGENC fees, publicity costs.
Speaker 7 (13:43):
You're going to have to go on a budget, aren't you,
Miss Courtney. Tell you what, give you a couple of
days to think it.
Speaker 8 (13:50):
Over, then you can pay me, say five thousand dollars
down and oh three hundred a week.
Speaker 2 (14:05):
Well, Christine, your past is catching up with you. First Doris,
now Martin Duncan, and you're sure it's just the beginning
of a very long payoff. The next day you try
to find some way to meet Martin's demands, but you
don't have the money, and you won't ask ned for it.
Speaker 9 (14:21):
You can't.
Speaker 2 (14:22):
The tension worry within you mounts all day. You've been
nervous and irritable, and late that afternoon you receive a
telephone call from Ned, which upsets you.
Speaker 3 (14:32):
Still further.
Speaker 9 (14:35):
Hello, Hello Darling.
Speaker 4 (14:36):
Look, I know it's a little late to call it off,
but I'm afraid I'll have to break our lunch date
for tomorrow. I have an appointment.
Speaker 5 (14:42):
I forgot about that, an appointment named Doris Richly. I imagine.
Speaker 4 (14:46):
Ah, yes, yeah it is. Uh see, I promised i'd
run over some lines whether she's not so.
Speaker 5 (14:52):
Sure of Oh, how very very thoughtful.
Speaker 4 (14:54):
Now, christ don't be that way. You know she doesn't
mean anything to me. It's just that, well, we open
in a week. I can never know when she might
have to step in.
Speaker 5 (15:01):
I don't even need an understudy. I have never missed
a performance in my life, Chris.
Speaker 4 (15:05):
Chris, look, you've been working pretty hard lately. You've seemed
tired and nervous, and I think you need a rest.
The cast has noticed this too. In fact, even Doris
mentioned that you haven't seen your usual self.
Speaker 5 (15:15):
Who she has has she?
Speaker 4 (15:17):
Look?
Speaker 5 (15:18):
I can take care of myself and I don't need
a rest. I've never felt better in my life, Chris.
If you want me out of the show, say so,
but don't give me this other routine.
Speaker 4 (15:25):
Oh Christopher Havn's second. Now listen, I jo.
Speaker 2 (15:33):
You might have known that stealing Ned away from you
was part of Doris's plan.
Speaker 9 (15:37):
Too, Christine.
Speaker 2 (15:38):
Suddenly, even in your anger, it all becomes quite clear.
You felt only the first stinging blows, the first pebbles.
Speaker 4 (15:44):
Of the avalanche.
Speaker 2 (15:46):
You know now that Doris won't stop until she's pushed
you entirely aside. She or Martin can turn you over
to the police any time you toss some turn. Most
of the night toward morning, you realize you must take steps,
desperate steps if necessary, to eliminate this threat to your
present and future security. Suddenly you see a way out,
(16:08):
a dangerous way, but if you're successful, a sure way.
You carefully work out your plans, and then after breakfast
you pick up the phone and dial Martin's number.
Speaker 5 (16:23):
Hello, Martin, this is Christine Courtney Good.
Speaker 7 (16:26):
I thought I might hear from you today.
Speaker 5 (16:29):
I've decided to buy your play.
Speaker 12 (16:32):
I thought you would.
Speaker 7 (16:33):
When can we talk about it?
Speaker 5 (16:35):
Well, i'd hope tonight. Didn't you say you lived at
the Carlton apartment?
Speaker 12 (16:40):
That's right right now, I'm the only person who can
make that statement. They're redecorating the other unit's mine's the
only one that's finished.
Speaker 5 (16:46):
Well, I've got to stop by my dressmakers. She's over
near you anyway. How about nine for our appointments?
Speaker 12 (16:53):
Fine with me. Oh, I'm in three oh eight. You
can't miss it. It'll be the only one that sounds inhabited.
Speaker 5 (16:58):
Good. I'll be there about nine oh h h. Martin.
Would you call Doris for me and ask her to
be there too? I have an idea. I think she'll
be interested.
Speaker 12 (17:07):
In sure, I'll phone her right away.
Speaker 5 (17:11):
Thanks, Martin, Goodbye.
Speaker 2 (17:19):
That's the way you wanted, isn't it, Christine, Martin and
Doris together tonight and your certain things will work out
perfectly for you. That evening, before you leave for Martin's,
you take three of your own sleeping pills from the
bottle your doctor prescribed for you and put them in
your purse. From your dressing table, you select a pair
of white cotton gloves. It's seven o'clock when you reach
(17:42):
the cotton and press the butz outside three o eight.
You're two hours early, just as you plan.
Speaker 7 (17:49):
Well, Hello, don't tell me my clock stop.
Speaker 5 (17:53):
I'm afraid I'm quite early, Martin. The dressmaker couldn't take
me after all, And well, I was so near I
decided just to come on early or not?
Speaker 7 (18:02):
Glad you did take your hat gloves?
Speaker 5 (18:05):
Oh no, thanks, I'll just keep them on then i'll
know where they are. Is Darrius coming?
Speaker 7 (18:10):
Mm hmm, she'll be here onund now. How about a drink?
Speaker 5 (18:13):
No wonderful idea, I'd love one.
Speaker 2 (18:22):
When Martin comes back with a drinks, you discuss his play,
its chance is for success, and wait patiently for the
opportunity to drop the sleeping tablets into his glass. You
ask for more ice, and while he's in the kitchen
you'll watch the tablets bubble up and then quickly dissolve
in his drink. Not long after he finishes it, his
eyes grow hazy and clothes his head falls forward on
(18:45):
his chest. From your own experience, you're sure he'll sleep
soundly for at least two hours, or maybe three. And
that's all the time you need, isn't it, Christine. Still
wearing your white cotton gloves, you take your two glasses
to the kitchen, wash them both thoroughly, and pour the
least bit of a fresh drink in the Martin's glass.
(19:06):
Back in the living room, you press his hand around
it for finger prints and put it on the table
before him. Then you walk quickly over to his desk,
open the center drawer, and there it is, just as
Martin said. It would be the final link necessary to
your plan, his revolver. You make certain it's loaded and
put it in your jacket pocket and settled back to
(19:29):
wait for Doris.
Speaker 5 (19:31):
A little after nine, come in, Doris.
Speaker 6 (19:39):
I'm afraid I'm a little late. But what's the matter
with Martin?
Speaker 5 (19:43):
Looks like he passed.
Speaker 6 (19:44):
Out fast out for there's a switch. He's never done
that before.
Speaker 5 (19:48):
He's never had this kind of a drink before.
Speaker 6 (19:51):
What kind of a crack is that.
Speaker 5 (19:53):
His drink was loaded? Doris? So's this?
Speaker 4 (19:57):
Hey?
Speaker 6 (19:57):
Now wait a minute, what's the idea?
Speaker 5 (19:59):
That's something you'll never know, Darris.
Speaker 2 (20:06):
It was simple, wasn't it, Christine Doris Richly is dead.
That leaves only Martin slumped head forward on the divan.
Speaker 9 (20:13):
You move quickly.
Speaker 2 (20:14):
Now drag Doris over near Martin, and then, still wearing
your gloves, you place the gun in his hand, put
his index finger on the trigger, raise the gun to
his temple and fire.
Speaker 9 (20:26):
Now it's over. Martin is dead.
Speaker 2 (20:28):
Beside Doris, and your secret dies with them. You remove
your gloves, survey the room quickly, and.
Speaker 9 (20:35):
Then you go to the front.
Speaker 5 (20:46):
Please headquarter, Oh, please send someone to the Carlton apartments
number three oh eight. There's been a murder in a suicide.
Oh please hurry.
Speaker 2 (20:58):
You're Asterias almost field by the time you hang up
the phone. But you're sure that with the evidence you've
carefully planted, your story will stand up. And you're grateful
in the knowledge that Martin's apartment building is empty of
its occupants. No one will be barging in asking questions
until the police come. And when the lieutenant arrives, you
feign a stoic calm as you tell your story.
Speaker 5 (21:20):
I tried to stop him, Lieutenant. I never dreamed he'd
do such a thing.
Speaker 3 (21:24):
Suppose you begin at the beginning, Miss Courtney, what were
you doing here?
Speaker 5 (21:29):
Well, Martin asked me to stop by. He'd written a play,
wanted me to read it. When I got here, his
apartment door was slightly ajar. Doris was here. They were
quarreling violently. He was accusing her of things, Oh, all
sorts of things.
Speaker 3 (21:44):
Would you call it a lover's call?
Speaker 5 (21:46):
Yes, yes I would. I started to leave, but then
I realized that in his state of mind, he might
have done something. Oh, he was insanely jealous of her,
so I came in to see if I could help.
Speaker 3 (21:58):
Did he have the gun?
Speaker 2 (21:59):
Then?
Speaker 5 (21:59):
Yes, yes, he was sitting on the divan with a
revolver in his hands. I tried to talk to him,
calm him down. At first I thought he was going
to be okay. Then Doris said she was through with him,
and he seemed to go crazy. Before I could stop him,
he shut it. Then he calmly sat down on the
divan and turned the gun on himself. I see if
(22:20):
only I had the sense to go for help immediately.
Speaker 3 (22:22):
You mustn't blame yourself, miss Courtney.
Speaker 5 (22:24):
But they were both my friend.
Speaker 3 (22:26):
I know things like this are always tough, even on us.
You get some rest now. I'll have one of my
men drive you home.
Speaker 5 (22:34):
Thank you.
Speaker 3 (22:34):
Try to forget about the night. I'm sure the fingerprints
on the gun and potter burns on Duncan's hand will
bear out your story.
Speaker 5 (22:42):
You've been very kind, Lieutenant. I appreciate it more than
you know.
Speaker 1 (22:58):
To make your vacation budget by as much fun as possible.
You'd naturally like to be sure you're powering your car
with the gasoline that gives maximum mileage. Maximum performance. Well,
when it comes to mileage, that's what Signal the Go
Farther gasoline is most famous for. But when you understand
what gives Signal gasoline such good mileage, you also know
(23:20):
why signal assures you peak performance too. You see, today's
signal gasoline is engineered to help your motor run more efficiently.
And when your motor runs more efficiently, naturally you enjoy
quick starting, proud pickup, and smooth quiet power in addition
to mileage. So whether you're going on an extended tour
(23:41):
of our glorious West or just a jaunt to the
store or office, remember you get a full, full measure
of all the things that make driving more pleasure when
you fill up with Signal the famous go Farther gasoline.
Speaker 9 (23:55):
A Well, Christine, it's all over, isn't it.
Speaker 2 (24:06):
Then you are certain the police believe Martin Duncan killed
Doris Richly, then turned the gun on himself and committed suicide.
The police lieutenant's statement that the fingerprints on Martin's gun
the powder burns on his hand will prove your story convinced.
You've left no loophole in your carefully planned removal of
the only two people in the world who could identify
(24:28):
you as Maxine would wanted on an eight year old
murder and robbery charge. The day following the tragedy, you
insist on returning to work so you can forget and
once again. The rehearsal of Ned Wilson's new Broadway musical
is in progress. Out front, the directors, writers, and backers
of the production watch intently as you execute each intricate
(24:50):
step with a rhythmic ease which made you famous. Okay,
they can break everybody five minutes, but be right. As
you start off stage, the first person you see in
the wings is the lieutenant who'd question you at Martin
Duncan's apartment. You try to appear unconcerned as you walk
(25:10):
toward him. Hello, Lieutenant, Hello, miss Courtney, you want to
see me.
Speaker 3 (25:15):
I'm afraid.
Speaker 5 (25:16):
I do afraid. What do you mean?
Speaker 3 (25:19):
I thought maybe you might want all of the story
you told me last night.
Speaker 5 (25:24):
Why would I wish to do that?
Speaker 3 (25:26):
There were just three of you at Martin Duncan's apartment.
That's right, And you still say you saw Duncan shoot
Miss Richly then turn the gun on himself.
Speaker 5 (25:34):
Well, of course I do. That's exactly what happened? Why
you said yourself? His fingerprints on the gun, powder burns
on his hand proved there.
Speaker 3 (25:41):
Is Prince on the gun. Check ok, miss Courtney. The
powder burns are in his hand too.
Speaker 5 (25:46):
Well, then why are you these your.
Speaker 3 (25:47):
Sleeping pills, Miss Courtney, Well, I don't know. They're from
your medicine cabinet and your names on.
Speaker 5 (25:53):
Them, then they must be mine.
Speaker 3 (25:54):
Your doctor says they contain extra scene.
Speaker 5 (25:58):
Well, suppose they do.
Speaker 3 (25:59):
The only thing. I bought some drugs, ecasceine, for example.
Some people, most people even can take it doesn't bother them,
but a few cannot. Martin Duncan was one of these.
He was allergic to ecsasceine. Miss Courtney, Well, suppose he was.
He shot Doris, I tell you, and then he he did.
He was the first dead man in history to commit
(26:21):
murder and suicide.
Speaker 5 (26:23):
Dead man, that's right.
Speaker 3 (26:26):
Duncan strangled at death a few minutes after you gave
him a sleeping pills. He couldn't have shot either himself
or Doris. Richly, the autopsy proves he was dead for
more than an hour before either of them was shot.
You were the only other person there, Miss Courtney.
Speaker 1 (27:05):
Let that whistle be your signal for the Signal Oil Program.
Speaker 7 (27:09):
The Whistler each.
Speaker 1 (27:10):
Sunday night at this same time, brought to you by
the Signal Oil Company marketers of Signal Gasoline and motor oil,
and fine quality automotive accessories. To make your travels even
more pleasant, Signal dealers are now offering free a twenty
page guide to selected eating and lodging places in three
hundred and fifty cities and towns through sixteen Western states.
(27:33):
One of these handy booklets is Yours for the asking
at any Signal Service station. Featured in Tonight's story were
(27:55):
Bill Foreman, Joe Gilbert, Doris Singleton, John Dayner, and and
Dave Vellis. The Whistler was produced and directed by George
w Allen, with story by Nancy Cleveland, music by Wilbur Hatch,
and was transmitted to our troops overseas by the Armed
Forces Radio Service. The Whistler is entirely fictional, and all
(28:16):
characters portrayed on the Whistler are also fictional. Any similarity
of names or resemblances to persons living or dead is
purely coincidental. Ladies and Gentlemen, the Signal Oil Company invites
you to stay tuned to this station for in half
an hour at eight thirty, you'll hear the spectacular presentation
(28:37):
The Miracle of America, featuring twenty top radio stars and
six name orchestras.
Speaker 7 (28:44):
The Miracle of America is a full hour.
Speaker 1 (28:46):
Show beginning at eight thirty this evening on the station
to which you are listening. Remember at this same time
next Sunday, another strange tale by the whistler has been
speaking for the Signal Oil Company while Marvin Miller is
on vacation. 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's guilty, you always receive a startling surprise at the
final curtain. In the Signal Oil Program, the Whistler Signal,
(00:27):
the famous go Father Gasoline invites 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. For
I walk by night. I know many strange tales hidden
in the hearts of men and women who have stepped
into the shadows. Yes, I know the nameless terrors of
which they dare not speak.
Speaker 1 (01:11):
And now for the Signal Oil Company, The Whistler's Strange
Story Finale.
Speaker 2 (01:30):
The rehearsal of Ned Wilson's new Broadway musical had been
in progress for several hours. On stage, the spotlight held
a dancing figure of Christine Courtney, star of the show.
Out front. The director, writers, and backers of the production
watched intently, ure at each intricate step with the rhythmic
ease which had made her face. Christine was well aware
(01:52):
of the admiration she attracted, but at that moment her
efforts were devoted toward breezing just one man, her fiancee,
Ned Wilson, producer of the show, and she glanced often
into the wings, where he stood watching her, smiling his approval.
Speaker 3 (02:15):
Okay, chorus, let's take the tide break.
Speaker 4 (02:18):
Here we go.
Speaker 2 (02:22):
As the chorus swung into the routine, Christine walked quickly
offstage to Ned Wilson.
Speaker 4 (02:29):
Oh, you're terrific guarding its sensational you know, here is
the star. The show just can't mess.
Speaker 5 (02:35):
Oh that's a very convincing line you have, mister Wilson.
Speaker 6 (02:37):
But go on.
Speaker 5 (02:38):
I love it when you tell me how wonderful I am.
Speaker 4 (02:41):
It's not a lie, and you know it. You're wonderful Chris.
You know, I just can't believe that you'll soon be missus.
Ned Wilson.
Speaker 5 (02:47):
Oh, Ned, I've waited for you so long all my life.
Speaker 7 (02:52):
May I speak to you for a moment.
Speaker 5 (02:53):
Fla Oh Martin, of course, here I want you to
meet Ned Wilson, our producer.
Speaker 7 (02:58):
How do you do, mister Wilson, Ned, this is my Duncan.
Speaker 3 (03:00):
Hello, Martin.
Speaker 5 (03:01):
I spoke to you about him several days ago.
Speaker 4 (03:03):
Oh, yes, the young play ride. Well, Chris tells me
you've written a show I might be interested in Martin.
Speaker 8 (03:08):
Well, she said you'd read it, mister Wilson, tell me
if you think it has possibility.
Speaker 5 (03:11):
Sure, sure, I'd be glad to look while you two
talk business. Do you mind if I run along to
my dressing room and change to street Clues and Martin
good luck with your play.
Speaker 7 (03:21):
Well, thanks, miss Courtney. Nice of you to help me out.
Speaker 5 (03:24):
Forget it, Martin, I remember when I was trying to
get a break.
Speaker 2 (03:33):
Yes, you know how hard it is to get a
foothold in show business, don't you.
Speaker 9 (03:37):
Christine.
Speaker 2 (03:39):
Your struggle to the top has been long and difficult,
and you're proud of your accomplishment for in achieving your goal.
You've risen above the mistake you made long ago. For years,
you've lived in constant fear that the past would catch
up with you, ruin everything you've worked so hard to
build up. And for almost a year you've been broadways
leading musical star, and no part of the past has
(04:02):
asserted itself. You'll make your way to your dressing room,
humming happily to yourself. The past quite forgotten.
Speaker 10 (04:12):
Hello, miss court Oh, Hello, I'm afraid the dorman doesn't
keep a very close watch on the stage engine.
Speaker 11 (04:19):
No, he doesn't seem to look if you want an
autograph or something. Oh you leaeve me, miss Courtney. I'm
not a fan of yours, not yet anyway. Well then,
my name's Doris Richly mean anything to you?
Speaker 5 (04:34):
Nothing it should?
Speaker 6 (04:35):
Maybe this will help.
Speaker 10 (04:37):
My hometown is Redwood, Missouri, and in case you've forgotten
that too, I'll just remind you it's also your hometown.
Speaker 5 (04:45):
Really, I don't know what you have in mind, But.
Speaker 10 (04:48):
Eight years ago a man and a young woman robbed
the Redwood City Hotel of several thousand dollars. When the
clerk tried to phone the police, he got himself killed.
Speaker 5 (04:59):
Well, just a girl.
Speaker 7 (05:00):
Then in your teens.
Speaker 10 (05:02):
I was the only person who saw the two of
you make your getaway. I don't know who he was,
but I was able to identify you, all right, and
no one ever found you till now.
Speaker 5 (05:14):
This is the craziest thing I ever heard of.
Speaker 10 (05:16):
Oh you've changed your name the color of your hair,
but you're still little Maxine would of Redwood, Missouri.
Speaker 6 (05:22):
As far as I'm concerned, you.
Speaker 10 (05:24):
Know, I bet I'm the only one in Redwood who
ever sees the theatrical section of the New York papers.
Speaker 6 (05:29):
Your picture's in it quite a bit, isn't it, Maxine.
Speaker 5 (05:32):
Look, I'm not Maxine anybody, and I don't know.
Speaker 6 (05:34):
What you're talking about.
Speaker 10 (05:35):
You're not much of an actress, Maxine. Take a tip
and stick with dancing, and let's quit this hedging around.
A quick check of your fingerprints would prove your Maxine
would want to go have him check.
Speaker 5 (05:50):
Get out of here.
Speaker 10 (05:51):
You know, I can't decide whether I'll go to the
police first or the newspapers.
Speaker 5 (05:55):
What would you do? What is it you want?
Speaker 10 (06:00):
Very little, miss Courtney. You see, I came to New
York to get into show business.
Speaker 6 (06:05):
I am, but you might like to help me.
Speaker 5 (06:09):
Of course, I can probably get you some kind of
a part, and then if you have ability, I want
your part. You want my part?
Speaker 6 (06:21):
Yes, it's made for me.
Speaker 5 (06:23):
Do you know what you're saying? Well, I've signed contracts.
I couldn't break them if I wanted to, And the
producers want a name for a show like this, I
couldn't be easy. Take it easy.
Speaker 6 (06:34):
I don't want to be unreasonable. I'll just bet you
could use an understudy.
Speaker 5 (06:39):
Oh, so that's it. You become my understudy and after
the show opens, I sprain an ankle or something, and
you take over.
Speaker 6 (06:48):
You ought to know you got your start as an understudy.
Speaker 5 (06:53):
That's right, I did. Look, I'm just curious you understand.
But what makes you think you're good for the park? Oh?
Speaker 6 (07:01):
I'm good enough, I know I am.
Speaker 10 (07:03):
As Shakespeare might phrase it, I've got it in here.
Speaker 5 (07:08):
You know you'd have to audition. I had to when
I became an understudy. I just couldn't announce that you're
going to understudy me when Ned Wilson's not easy to please.
Speaker 10 (07:19):
Neither of my I, miss Courtney. So if I were you,
I'd arrange an audition for me with mister Wilson.
Speaker 6 (07:26):
It just might be the smartest thing you ever did.
Speaker 1 (07:40):
If someone asked you if you own a chemical factory,
you'd probably answer no. Yet, the engine of your car
is actually a miniature chemical factory, capable of generating enough
heat to turn motor oil into synthetic varnish sticky gommi
varnish that clogs up piston rings and prevents them from
expanding and canting. That's bad, bad for power and pet,
(08:04):
bad for oil consumption, bad for gasoline mileage. So to
protect your motor from such damage. Signal Oil Company has
a special type motor oil specially engineered not only to
keep from forming varnish, but also to wash out accumulated
varnish that other motor oils may already have left in
your motor result, when new engines are protected with Signal
(08:28):
Premium Compounded motor oil, they stain you. And when older
cars switch to this extra duty signal oil that does
so much more than just lubricate, you notice improved pet
power and gasoline mileage. So whatever you're driving, you'll be
giving your car a new lease on life by making
your next oil change a change to Signal Premium Compounded
(08:51):
motor oil at a Signal service station.
Speaker 2 (09:13):
Well, Christine, after eight years you were sure no one
would ever discover your real name is Maxine, would that
you once participated in a robbery that ended in murder
by your accomplice. It was something you hadn't counted on
when you recklessly agreed to help on the job. But
it happened, and now the girl who saw you threatens
(09:34):
to inform the police of your true identity. Tear down
the long years of struggle. It has made you a
leading musical comedy star. Unless you make her your understudy.
The following morning, you telephone Ned Wilson arrange an audition
for Doris Richly that same afternoon, and after lunch you
pace your apartment floor nervously as you await Ned's call. Finally,
(09:57):
you calm down and decide your fears, a grunt that
it would be impossible for anyone with so little experience
to auditions successfully before the critical Ned Wilson. And then
the telephone rings.
Speaker 4 (10:13):
It's Ned, Chris.
Speaker 5 (10:14):
Oh, hello, darling, say you.
Speaker 4 (10:15):
Really uncovered some talent. Doris is great, She's really great.
Speaker 5 (10:20):
What did you say?
Speaker 8 (10:21):
Said?
Speaker 4 (10:21):
Doris Richly is great, natural, real fine. Oh wait till the.
Speaker 5 (10:25):
Critics get a load of her, Please, Ned, it isn't
necessary to shout.
Speaker 4 (10:29):
Oh, I'm sorry, Chris. I guess I'm a little excited
about her being so terrific. I was afraid she turned
out to be another Martin Duncan you know his play
wasn't any good at all?
Speaker 5 (10:37):
I was afraid it wouldn't be.
Speaker 4 (10:39):
Doris is another story. She seems to learn quickly, and
she ought to have your part down pat no time.
A matter of fact, if you're not careful, she might
dance right into your job may make you a talent
scout instead.
Speaker 5 (10:50):
That's one of my strong points, spotting talent.
Speaker 4 (10:53):
Oh waits, Doris is right here. She wants to talk
to you.
Speaker 8 (10:56):
Here.
Speaker 10 (10:56):
I just want to thank you, Mss Courtney. I'm so
pleased about everything, but DW. Wilson seems to think I
have excellent possibilities.
Speaker 5 (11:05):
Yes, yes, so he said.
Speaker 10 (11:07):
I told you I could make it if you just
give me a chance.
Speaker 5 (11:11):
Yes you did, didn't you?
Speaker 10 (11:13):
Anyway? Thanks again. I think you know how much it
means to me and missus Courtney. I'll never forget you.
Speaker 2 (11:28):
You know what she means, don't you, Christine, She'll never
forget who you really are in case you should get
out of line. You're shocked at the success of her audition,
and yet you're relieved too, because this should silence her,
keep her from going to the police about you, and
a lot of things can happen before Doris actually steps
(11:49):
in and takes over your part. Everything goes smoothly for
the next few days, and then one afternoon you enter
your dressing room to find Martin Duncan waiting for you.
Speaker 7 (12:00):
Well Martin, Hello, hello, miss Courtney.
Speaker 5 (12:02):
Oh, it's nice to see you. I've been meaning to
call you and tell you how sorry I am ned
wasn't interested in your play.
Speaker 8 (12:08):
It's very nice of you, Miss Cortney, but you see,
it doesn't make any difference.
Speaker 7 (12:12):
I found a buyer for it.
Speaker 5 (12:14):
Oh, I'm Martin. That's wonderful. Oh, I'm so glad for you.
Oho you.
Speaker 2 (12:21):
Me?
Speaker 5 (12:24):
Oh no, wait a minute, March.
Speaker 7 (12:25):
I'm certainly doing a lot for unknown talent these days,
Miss Courtney. First, Doris Richly.
Speaker 5 (12:30):
Now me, Doris. You and Doris?
Speaker 7 (12:35):
Yes, Miss Courtney.
Speaker 8 (12:37):
Redwood, Missouri isn't so far from Broadway, is it, Miss Courtney?
Doris and I discovered, then we found we had a
lot to talk about.
Speaker 5 (12:46):
Of all the cheap, conniving tricks. How much of a
fool do you two think? I am.
Speaker 8 (12:51):
You were foolish enough to make a pretty big mistake
eight years ago, back in Missouri, But we don't think
you're foolish enough to let me go to the police.
Speaker 5 (12:59):
Within suppose you went to the police, Where would that
get you?
Speaker 8 (13:06):
The question is where would it get you?
Speaker 5 (13:11):
You know, Martin, you're the type that's liable to wake
up dead some morning.
Speaker 7 (13:16):
I don't think so.
Speaker 8 (13:17):
I keep a revolver in my desk at home that
says I'm going to live a long, happy life.
Speaker 5 (13:23):
You must have annoyed quite a few people.
Speaker 7 (13:26):
Possibly.
Speaker 8 (13:27):
Anyway, the price for my play is only thirty thousand dollars.
Speaker 5 (13:32):
You know I don't have that kind of money.
Speaker 7 (13:34):
Big star like you don't make me.
Speaker 5 (13:36):
I'm not trying to. I've only been on top for
one season. My expenses are big, so all of my taxes,
AGENC fees, publicity costs.
Speaker 7 (13:43):
You're going to have to go on a budget, aren't you,
Miss Courtney. Tell you what, give you a couple of
days to think it.
Speaker 8 (13:50):
Over, then you can pay me, say five thousand dollars
down and oh three hundred a week.
Speaker 2 (14:05):
Well, Christine, your past is catching up with you. First Doris,
now Martin Duncan, and you're sure it's just the beginning
of a very long payoff. The next day you try
to find some way to meet Martin's demands, but you
don't have the money, and you won't ask ned for it.
Speaker 9 (14:21):
You can't.
Speaker 2 (14:22):
The tension worry within you mounts all day. You've been
nervous and irritable, and late that afternoon you receive a
telephone call from Ned, which upsets you.
Speaker 3 (14:32):
Still further.
Speaker 9 (14:35):
Hello, Hello Darling.
Speaker 4 (14:36):
Look, I know it's a little late to call it off,
but I'm afraid I'll have to break our lunch date
for tomorrow. I have an appointment.
Speaker 5 (14:42):
I forgot about that, an appointment named Doris Richly. I imagine.
Speaker 4 (14:46):
Ah, yes, yeah it is. Uh see, I promised i'd
run over some lines whether she's not so.
Speaker 5 (14:52):
Sure of Oh, how very very thoughtful.
Speaker 4 (14:54):
Now, christ don't be that way. You know she doesn't
mean anything to me. It's just that, well, we open
in a week. I can never know when she might
have to step in.
Speaker 5 (15:01):
I don't even need an understudy. I have never missed
a performance in my life, Chris.
Speaker 4 (15:05):
Chris, look, you've been working pretty hard lately. You've seemed
tired and nervous, and I think you need a rest.
The cast has noticed this too. In fact, even Doris
mentioned that you haven't seen your usual self.
Speaker 5 (15:15):
Who she has has she?
Speaker 4 (15:17):
Look?
Speaker 5 (15:18):
I can take care of myself and I don't need
a rest. I've never felt better in my life, Chris.
If you want me out of the show, say so,
but don't give me this other routine.
Speaker 4 (15:25):
Oh Christopher Havn's second. Now listen, I jo.
Speaker 2 (15:33):
You might have known that stealing Ned away from you
was part of Doris's plan.
Speaker 9 (15:37):
Too, Christine.
Speaker 2 (15:38):
Suddenly, even in your anger, it all becomes quite clear.
You felt only the first stinging blows, the first pebbles.
Speaker 4 (15:44):
Of the avalanche.
Speaker 2 (15:46):
You know now that Doris won't stop until she's pushed
you entirely aside. She or Martin can turn you over
to the police any time you toss some turn. Most
of the night toward morning, you realize you must take steps,
desperate steps if necessary, to eliminate this threat to your
present and future security. Suddenly you see a way out,
(16:08):
a dangerous way, but if you're successful, a sure way.
You carefully work out your plans, and then after breakfast
you pick up the phone and dial Martin's number.
Speaker 5 (16:23):
Hello, Martin, this is Christine Courtney Good.
Speaker 7 (16:26):
I thought I might hear from you today.
Speaker 5 (16:29):
I've decided to buy your play.
Speaker 12 (16:32):
I thought you would.
Speaker 7 (16:33):
When can we talk about it?
Speaker 5 (16:35):
Well, i'd hope tonight. Didn't you say you lived at
the Carlton apartment?
Speaker 12 (16:40):
That's right right now, I'm the only person who can
make that statement. They're redecorating the other unit's mine's the
only one that's finished.
Speaker 5 (16:46):
Well, I've got to stop by my dressmakers. She's over
near you anyway. How about nine for our appointments?
Speaker 12 (16:53):
Fine with me. Oh, I'm in three oh eight. You
can't miss it. It'll be the only one that sounds inhabited.
Speaker 5 (16:58):
Good. I'll be there about nine oh h h. Martin.
Would you call Doris for me and ask her to
be there too? I have an idea. I think she'll
be interested.
Speaker 12 (17:07):
In sure, I'll phone her right away.
Speaker 5 (17:11):
Thanks, Martin, Goodbye.
Speaker 2 (17:19):
That's the way you wanted, isn't it, Christine, Martin and
Doris together tonight and your certain things will work out
perfectly for you. That evening, before you leave for Martin's,
you take three of your own sleeping pills from the
bottle your doctor prescribed for you and put them in
your purse. From your dressing table, you select a pair
of white cotton gloves. It's seven o'clock when you reach
(17:42):
the cotton and press the butz outside three o eight.
You're two hours early, just as you plan.
Speaker 7 (17:49):
Well, Hello, don't tell me my clock stop.
Speaker 5 (17:53):
I'm afraid I'm quite early, Martin. The dressmaker couldn't take
me after all, And well, I was so near I
decided just to come on early or not?
Speaker 7 (18:02):
Glad you did take your hat gloves?
Speaker 5 (18:05):
Oh no, thanks, I'll just keep them on then i'll
know where they are. Is Darrius coming?
Speaker 7 (18:10):
Mm hmm, she'll be here onund now. How about a drink?
Speaker 5 (18:13):
No wonderful idea, I'd love one.
Speaker 2 (18:22):
When Martin comes back with a drinks, you discuss his play,
its chance is for success, and wait patiently for the
opportunity to drop the sleeping tablets into his glass. You
ask for more ice, and while he's in the kitchen
you'll watch the tablets bubble up and then quickly dissolve
in his drink. Not long after he finishes it, his
eyes grow hazy and clothes his head falls forward on
(18:45):
his chest. From your own experience, you're sure he'll sleep
soundly for at least two hours, or maybe three. And
that's all the time you need, isn't it, Christine. Still
wearing your white cotton gloves, you take your two glasses
to the kitchen, wash them both thoroughly, and pour the
least bit of a fresh drink in the Martin's glass.
(19:06):
Back in the living room, you press his hand around
it for finger prints and put it on the table
before him. Then you walk quickly over to his desk,
open the center drawer, and there it is, just as
Martin said. It would be the final link necessary to
your plan, his revolver. You make certain it's loaded and
put it in your jacket pocket and settled back to
(19:29):
wait for Doris.
Speaker 5 (19:31):
A little after nine, come in, Doris.
Speaker 6 (19:39):
I'm afraid I'm a little late. But what's the matter
with Martin?
Speaker 5 (19:43):
Looks like he passed.
Speaker 6 (19:44):
Out fast out for there's a switch. He's never done
that before.
Speaker 5 (19:48):
He's never had this kind of a drink before.
Speaker 6 (19:51):
What kind of a crack is that.
Speaker 5 (19:53):
His drink was loaded? Doris? So's this?
Speaker 4 (19:57):
Hey?
Speaker 6 (19:57):
Now wait a minute, what's the idea?
Speaker 5 (19:59):
That's something you'll never know, Darris.
Speaker 2 (20:06):
It was simple, wasn't it, Christine Doris Richly is dead.
That leaves only Martin slumped head forward on the divan.
Speaker 9 (20:13):
You move quickly.
Speaker 2 (20:14):
Now drag Doris over near Martin, and then, still wearing
your gloves, you place the gun in his hand, put
his index finger on the trigger, raise the gun to
his temple and fire.
Speaker 9 (20:26):
Now it's over. Martin is dead.
Speaker 2 (20:28):
Beside Doris, and your secret dies with them. You remove
your gloves, survey the room quickly, and.
Speaker 9 (20:35):
Then you go to the front.
Speaker 5 (20:46):
Please headquarter, Oh, please send someone to the Carlton apartments
number three oh eight. There's been a murder in a suicide.
Oh please hurry.
Speaker 2 (20:58):
You're Asterias almost field by the time you hang up
the phone. But you're sure that with the evidence you've
carefully planted, your story will stand up. And you're grateful
in the knowledge that Martin's apartment building is empty of
its occupants. No one will be barging in asking questions
until the police come. And when the lieutenant arrives, you
feign a stoic calm as you tell your story.
Speaker 5 (21:20):
I tried to stop him, Lieutenant. I never dreamed he'd
do such a thing.
Speaker 3 (21:24):
Suppose you begin at the beginning, Miss Courtney, what were
you doing here?
Speaker 5 (21:29):
Well, Martin asked me to stop by. He'd written a play,
wanted me to read it. When I got here, his
apartment door was slightly ajar. Doris was here. They were
quarreling violently. He was accusing her of things, Oh, all
sorts of things.
Speaker 3 (21:44):
Would you call it a lover's call?
Speaker 5 (21:46):
Yes, yes I would. I started to leave, but then
I realized that in his state of mind, he might
have done something. Oh, he was insanely jealous of her,
so I came in to see if I could help.
Speaker 3 (21:58):
Did he have the gun?
Speaker 2 (21:59):
Then?
Speaker 5 (21:59):
Yes, yes, he was sitting on the divan with a
revolver in his hands. I tried to talk to him,
calm him down. At first I thought he was going
to be okay. Then Doris said she was through with him,
and he seemed to go crazy. Before I could stop him,
he shut it. Then he calmly sat down on the
divan and turned the gun on himself. I see if
(22:20):
only I had the sense to go for help immediately.
Speaker 3 (22:22):
You mustn't blame yourself, miss Courtney.
Speaker 5 (22:24):
But they were both my friend.
Speaker 3 (22:26):
I know things like this are always tough, even on us.
You get some rest now. I'll have one of my
men drive you home.
Speaker 5 (22:34):
Thank you.
Speaker 3 (22:34):
Try to forget about the night. I'm sure the fingerprints
on the gun and potter burns on Duncan's hand will
bear out your story.
Speaker 5 (22:42):
You've been very kind, Lieutenant. I appreciate it more than
you know.
Speaker 1 (22:58):
To make your vacation budget by as much fun as possible.
You'd naturally like to be sure you're powering your car
with the gasoline that gives maximum mileage. Maximum performance. Well,
when it comes to mileage, that's what Signal the Go
Farther gasoline is most famous for. But when you understand
what gives Signal gasoline such good mileage, you also know
(23:20):
why signal assures you peak performance too. You see, today's
signal gasoline is engineered to help your motor run more efficiently.
And when your motor runs more efficiently, naturally you enjoy
quick starting, proud pickup, and smooth quiet power in addition
to mileage. So whether you're going on an extended tour
(23:41):
of our glorious West or just a jaunt to the
store or office, remember you get a full, full measure
of all the things that make driving more pleasure when
you fill up with Signal the famous go Farther gasoline.
Speaker 9 (23:55):
A Well, Christine, it's all over, isn't it.
Speaker 2 (24:06):
Then you are certain the police believe Martin Duncan killed
Doris Richly, then turned the gun on himself and committed suicide.
The police lieutenant's statement that the fingerprints on Martin's gun
the powder burns on his hand will prove your story convinced.
You've left no loophole in your carefully planned removal of
the only two people in the world who could identify
(24:28):
you as Maxine would wanted on an eight year old
murder and robbery charge. The day following the tragedy, you
insist on returning to work so you can forget and
once again. The rehearsal of Ned Wilson's new Broadway musical
is in progress. Out front, the directors, writers, and backers
of the production watch intently as you execute each intricate
(24:50):
step with a rhythmic ease which made you famous. Okay,
they can break everybody five minutes, but be right. As
you start off stage, the first person you see in
the wings is the lieutenant who'd question you at Martin
Duncan's apartment. You try to appear unconcerned as you walk
(25:10):
toward him. Hello, Lieutenant, Hello, miss Courtney, you want to
see me.
Speaker 3 (25:15):
I'm afraid.
Speaker 5 (25:16):
I do afraid. What do you mean?
Speaker 3 (25:19):
I thought maybe you might want all of the story
you told me last night.
Speaker 5 (25:24):
Why would I wish to do that?
Speaker 3 (25:26):
There were just three of you at Martin Duncan's apartment.
That's right, And you still say you saw Duncan shoot
Miss Richly then turn the gun on himself.
Speaker 5 (25:34):
Well, of course I do. That's exactly what happened? Why
you said yourself? His fingerprints on the gun, powder burns
on his hand proved there.
Speaker 3 (25:41):
Is Prince on the gun. Check ok, miss Courtney. The
powder burns are in his hand too.
Speaker 5 (25:46):
Well, then why are you these your.
Speaker 3 (25:47):
Sleeping pills, Miss Courtney, Well, I don't know. They're from
your medicine cabinet and your names on.
Speaker 5 (25:53):
Them, then they must be mine.
Speaker 3 (25:54):
Your doctor says they contain extra scene.
Speaker 5 (25:58):
Well, suppose they do.
Speaker 3 (25:59):
The only thing. I bought some drugs, ecasceine, for example.
Some people, most people even can take it doesn't bother them,
but a few cannot. Martin Duncan was one of these.
He was allergic to ecsasceine. Miss Courtney, Well, suppose he was.
He shot Doris, I tell you, and then he he did.
He was the first dead man in history to commit
(26:21):
murder and suicide.
Speaker 5 (26:23):
Dead man, that's right.
Speaker 3 (26:26):
Duncan strangled at death a few minutes after you gave
him a sleeping pills. He couldn't have shot either himself
or Doris. Richly, the autopsy proves he was dead for
more than an hour before either of them was shot.
You were the only other person there, Miss Courtney.
Speaker 1 (27:05):
Let that whistle be your signal for the Signal Oil Program.
Speaker 7 (27:09):
The Whistler each.
Speaker 1 (27:10):
Sunday night at this same time, brought to you by
the Signal Oil Company marketers of Signal Gasoline and motor oil,
and fine quality automotive accessories. To make your travels even
more pleasant, Signal dealers are now offering free a twenty
page guide to selected eating and lodging places in three
hundred and fifty cities and towns through sixteen Western states.
(27:33):
One of these handy booklets is Yours for the asking
at any Signal Service station. Featured in Tonight's story were
(27:55):
Bill Foreman, Joe Gilbert, Doris Singleton, John Dayner, and and
Dave Vellis. The Whistler was produced and directed by George
w Allen, with story by Nancy Cleveland, music by Wilbur Hatch,
and was transmitted to our troops overseas by the Armed
Forces Radio Service. The Whistler is entirely fictional, and all
(28:16):
characters portrayed on the Whistler are also fictional. Any similarity
of names or resemblances to persons living or dead is
purely coincidental. Ladies and Gentlemen, the Signal Oil Company invites
you to stay tuned to this station for in half
an hour at eight thirty, you'll hear the spectacular presentation
(28:37):
The Miracle of America, featuring twenty top radio stars and
six name orchestras.
Speaker 7 (28:44):
The Miracle of America is a full hour.
Speaker 1 (28:46):
Show beginning at eight thirty this evening on the station
to which you are listening. Remember at this same time
next Sunday, another strange tale by the whistler has been
speaking for the Signal Oil Company while Marvin Miller is
on vacation. This is CBS, the Columbia Broadcasting System
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
My Favorite Murder with Karen Kilgariff and Georgia Hardstark
My Favorite Murder is a true crime comedy podcast hosted by Karen Kilgariff and Georgia Hardstark. Each week, Karen and Georgia share compelling true crimes and hometown stories from friends and listeners. Since MFM launched in January of 2016, Karen and Georgia have shared their lifelong interest in true crime and have covered stories of infamous serial killers like the Night Stalker, mysterious cold cases, captivating cults, incredible survivor stories and important events from history like the Tulsa race massacre of 1921. My Favorite Murder is part of the Exactly Right podcast network that provides a platform for bold, creative voices to bring to life provocative, entertaining and relatable stories for audiences everywhere. The Exactly Right roster of podcasts covers a variety of topics including historic true crime, comedic interviews and news, science, pop culture and more. Podcasts on the network include Buried Bones with Kate Winkler Dawson and Paul Holes, That's Messed Up: An SVU Podcast, This Podcast Will Kill You, Bananas and more.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.