December 29, 2025 • 23 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 (00:00):
The Whistler, presented by the United States Air Forces in Europe.
Speaker 2 (00:16):
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 (00:46):
The Whistler will continue in just a moment.
Speaker 2 (00:50):
The Whistler's Strange Story. Song Team Ted Gray had music
in his heart. He heard a melody in the rustle
(01:12):
of every leaf, saw a song in the bend of
every river. A few years ago, Ted teamed up with
lyric writer Al Wilson, and now Ted Gray and Al
Wilson formed one of the most successful songwriting combinations in
the profession. And as Ted played for the hundredth time
his latest composition, his mood was one of major harmony,
(01:34):
except for one thing his partner. For months, his dislike
for Al Wilson had been growing. And now you almost
hate him, don't you, Ted, Because you're almost certain he's
captured the love of the only girl you've ever truly
cared for. Corinn Mitchell, Yes, Krin, once your copyist and
part time secretarial helper, now the head of her own
(01:57):
publicity bureau. That's probably now, isn't it, Ted?
Speaker 3 (02:03):
Oh?
Speaker 2 (02:03):
Higher, Ted? Sorry, I'm late, Eh, you're always late. You
finish the lyrics, yep, all but a couple of lines.
You've been playing around with them.
Speaker 4 (02:11):
For three weeks.
Speaker 2 (02:12):
Hell, I know, but you've not got a great tune
this time, kid, And I want to be sure the
lyrics are just as good as the tune. That'll be
a novelty. I don't know. You've done alright with me. Look,
I know a couple of composers who have done just
as well and paid a lot less. You're getting fifty
percent of the royalties. Any Ringing gets only twenty percent
for the lyrics he writes for Joe Winslow's tunes.
Speaker 4 (02:32):
All right, and when did you get it?
Speaker 2 (02:34):
He Ringing to write your lyrics? He's under contract, the
Winslow always that's so well, we got a contract to
fifty to fifty, remember, and it's that or nothing. But
anytime you want to call the whole thing off, all
you have to do is say so. And incidentally, you're
mentioning our contract reminds me of a change that I want?
What kind of change? That clause that if one of
us dies, the other gets complete onlyship of all our songs.
(02:56):
How come you want that change all of a sudden.
Neither one of us has any near relatives, nobody close
enough to leave anything to me. Yeah, well, I expect
to have a near relative soon, a very near relative.
A wife.
Speaker 1 (03:09):
Who's the lucky girl?
Speaker 2 (03:10):
Correem, kreem, Yes, Krreem, you're engaged? Well, not yet, but
I'm gonna ask her as soon as I see her,
and you think she'll say yes? Yeah, I think so.
You slay me. Hell, what's so funny? I got news
for you. Koree's gonna marry me. Well, that's funny. She
didn't say anything to me about it last night before
(03:32):
she left the Seattle. Not so funny. I asked her
not to say anything until we got our new song
front porch rolling. Oh well, I believe that when she
tells me, she'll tell you down. She'll have a chance
when she gets back. That's all right with me. Meantime,
how about finishing those lyrics with Karine out of town.
There's nothing to distract you. And Roberto Lynne promised she'd
(03:54):
recorded it in trying to get it on Peter Potter's
Jukebox Jury Program. That is, if we finish it in
the next couple of day. Okay, Ted, I'll try to
finish it. I wish you would. As the door closes
behind your partner, you realize for the first time how
easy things would be for you if something happened to Al.
(04:17):
You would be sole owner of all the songs you
now own jointly, wouldn't you tip? And with Al out
of the way, your certain Kareem would marry you in
a minute. Then it hits you something must happen to
Al before kareeen Mitchell returns and before your partnership contract
is changed. Your startle as you realize you're thinking of murder.
(04:38):
You've never even imagined yourself as a killer. You think
about it for a couple of days, and then phone Al. Hello, Hell,
it's Ted. How you're coming on front porch? I think
i'll finish it tomorrow, only need a couple of lines.
(04:58):
I'm gonna stick here all day I have to. It
won't even answer the phone. That's a good idea. Let's
see tomorrow's Friday. I'll take it out the loul late
tomorrow afternoon. He'll get the lead sheet out Saturday morning.
That'll give roberta four days to get it in shape
before a recording day. Oh, that's plenty of time. I
think i'll have it tomorrow. Ted up to it, kid
told me when it's finished. When you hang up the phone,
(05:22):
you realize that tomorrow is the day, don't you. Ted.
You pace the floor of your apartment most of the night,
and by morning you've worked out a plan, a plan
you're certain and will succeed. At ten o'clock you're on
the phone again.
Speaker 4 (05:42):
It's Central Publishing.
Speaker 2 (05:43):
Hi, Gracie, Ted Gray.
Speaker 5 (05:45):
Oh?
Speaker 2 (05:45):
Hello, Ted is the boss in?
Speaker 4 (05:47):
Yeah?
Speaker 2 (05:48):
How about Frankie? No?
Speaker 5 (05:49):
I did nobody here with me?
Speaker 4 (05:51):
They're both tied up until that's lunch, about three three.
Speaker 2 (05:54):
It is you're certain now you can dispose of Al
Wilson and get away with it, aren't you.
Speaker 5 (06:00):
Ted.
Speaker 2 (06:01):
Everyone believes you're Al's closest friend, and you'll make it
look like an attempted robbery. You won't make the mistake
most criminals make and prepare a perfect alibi. No, your
alibi will actually be imperfect, with just enough holes in
it to make it seem natural. The simple audacity of
your act will be your insurance of success. You'll take
(06:25):
care of Ol around three o'clock, go straight from his
apartment to mid Central Publishing, where you'll wait your usual
twenty minutes or more for lou. When news of Al's
death breaks, you will be as surprised and shocked as anyone.
You finish dressing, eat a leisurely breakfast, and read the paper.
Then take step one in your plan. You'll drive over
(06:46):
to the drug store next door to Al's apartment building
around lunchtime, three hours before you plan to kill him. Hi,
I am mister Adamson. Hello, Ted, you just mis your partner. Well,
I was on my way to hell. He said he
had to work all afternoon on the lyrics to your
new number, and I guess I'll take him to lunch,
give him strength for the java. I'll take this carper
(07:10):
cigarettes too, mister ras check. Now, Ted, you have at
least one reputable witness who will testify you are on
the way to Al's place to take him to lunch.
You leave the drug store, and, in case the druggist
is watching, you enter Al's apartment building. Walk through the
(07:32):
downstairs hallway to the rear entrance. You hurry down the
alleyway to the boulevard where you've parked your car and
drive aimlessly for an hour or so, and then return
to your own apartment building, where you make certain another
reputable witness will be able to testify that you were
at home after your midday visit to her. Come man along,
(07:56):
Miss Carter. I was wondering if you might have a
larger apartment vacant, but one with an extra bedroom.
Speaker 4 (08:03):
We'll have on the first and mine. You have some plans,
No no.
Speaker 2 (08:05):
Al and I thought we might get more work done
if we live in the same place. Just had lunch,
will do now.
Speaker 4 (08:10):
This will be perfect for you, two gentlemen. I can't
show out to you right.
Speaker 2 (08:13):
Now, but that's all right. I'd want Al to see
it anyway. Besides, I got a little copying the door,
and then I got to get out the mid Central Publishing.
I just want to make sure you had one. We'll
take a look on Sunday. Your plans are complete, aren't
they tied? You have two reputable witnesses as to your whereabouts.
At two highly important times. Back in your apartment, you
(08:36):
paced the floor and watch the clock. Finally, the minute arrives,
and at ten minutes before three you walk down the
alleyway in the rear of Owl's apartment building and hurry
upstairs to the second floor. Oh chake, come money in
Are you coming on those lines? I got them good,
(08:58):
let's hear them. Hey, I listen to this. Sure, it's
useless to sigh, and it's foolish to grieve, because because
what good are words that your heart won't believe?
Speaker 1 (09:09):
Hey?
Speaker 2 (09:09):
You like them? Yeah? Yeah, I like them. Fine. I
figured you would Corin when I don't want to talk
about Kren now, but Krin I said, I didn't want
to talk about Corene. What's the matter with you?
Speaker 5 (09:20):
Ted?
Speaker 2 (09:21):
What are you?
Speaker 3 (09:22):
No?
Speaker 2 (09:22):
Ted?
Speaker 3 (09:23):
No?
Speaker 2 (09:24):
Wait a minute, It's done, isn't it?
Speaker 5 (09:31):
Tid?
Speaker 2 (09:31):
And you're sure you made it look like a fatal
assault during an attempt at robbery. Now you must be
careful to establish the one important time factor of your
day's routine. You drive quickly to an outside phone. Go
just a half a block from mid Central Publishing Operator
(09:56):
police headquarters. Please just the moment. But he's head quarters,
Sergeant Quinn speaking. I think a man's been killed in
Apartment two O three in the Cheswell apartments on Los Palmis.
Speaker 4 (10:11):
Who is this?
Speaker 2 (10:13):
Who's talking. That's something you will never know. Sergeant. You
time things beautifully, didn't you.
Speaker 5 (10:32):
Ted.
Speaker 2 (10:33):
Within a minute after your call to the police, you're
at the mid Central Publishing offices. You're confident as you
stroll into the mid Central Publishing lobby almost on time
for your three o'clock point. Hello, Angel, the boss here
is always on time.
Speaker 4 (10:50):
Teddy Nole's not here yet.
Speaker 2 (10:53):
Oh that's all right. How about Old Texas Spring?
Speaker 4 (10:55):
Yeah he's here.
Speaker 6 (10:56):
Wait a minute, Tech, Yeah, and Ted Gray's here.
Speaker 3 (11:00):
You're right off.
Speaker 2 (11:06):
Hided, Hi boy, but you got another money maker from
mid Central. Get out a lead sheet on it right away,
will you? Frankie? Share? You know those two lines the
hell was having so much trouble with Yeah, I put
him in myself. I saw him just before lunch and
he was still having trouble, so I knocked him out myself.
You yeah me so.
Speaker 1 (11:25):
Uh.
Speaker 2 (11:25):
I'll pick up the lead sheets tomorrow.
Speaker 4 (11:27):
Huh. Okay, you went on the phone, Ted, hurry.
Speaker 2 (11:30):
Okay, why only excited?
Speaker 4 (11:31):
It's the police department.
Speaker 2 (11:32):
Come on, okay, okay, take it easy. I haven't robbed
any banks. It's about well, what's the matter with him?
Speaker 4 (11:39):
I don't know, but the officer found out you were
our partner, and he wanted to know if you were here.
Speaker 2 (11:43):
Maybe he's had an accent. No, no, not hell, he's
too careful. Oh yes, yep, what well, he couldn't be murder.
(12:06):
You say you saw your partner this morning, mister Gray,
that's right, Lieutenant. I got over there about eleven forty five.
He was all right, fine. He was trying to finish
the lyric for our latest number. We only needed two lines,
so we made a couple of sandwiches eight there in
the apartment worked on it. Can you prove you were
there at that time? No, I can't prove it. But
(12:28):
I did buy some cigarettes at the Druggists next to
Ale's apartment building. I think mister Adamson and the proprietor
will verify that statement. How long were you in your
partner's apartment? Not very long. The lines came to me
while we were eating. I went home, I got the
complete lyric, took it out the mid Central Publishing Company.
That's pretty fair, HOURBI. But can you prove it, no, Lieutenant,
(12:52):
After all, I wasn't planning on having to account for
my time. Well, wait a minute, I can prove I
came back to my apart up and after I had
lunch with Al, I talked with Vicious Carter, the apartment manager,
about a larger apartment. And you were a check on
your statements. The important thing is where were you at
three o'clock at mid Central publishing. I guess there's no
(13:12):
way I can prove that either unless the reception this
happens to remember. Well, question her, of course. Well, you're
not under suspicion, mister Gray, any more than anyone else.
As a matter of fact, from what we learn now,
Wilson was a vital factor in your success. He was anyway,
It looks like it was done on the impulse of
the moment. He probably surprised someone in an attempted robbery.
(13:33):
Someone entered and surprised him. The apartner was killed by
a blow on the head bookend. Did your partner have
much money in the house, now that you mention it,
Al's greatest weakness was displaying as wealth. He always carried
a thousand or so with him on his person. And
it was probably robbery. But we do have to investigate
(13:54):
every angle. Well, thank you for your cooperation. If we
have any more questions, will for you and if I
think of anything important, I'll phone you. Anything I can
do to help catch Al's chiller will be a pleasure.
You return to your apartment, certain you're beyond the slightest suspicion.
(14:18):
Next day, you phone mid Central Publishing, learn that the
police had double checked your statements, and smile when you
realize that Gracie the absent minded Little Receptions has verified
your statement that you were at mid Central Publishing at
the time Al Wilson was killed.
Speaker 1 (14:34):
Just as you thought she would.
Speaker 2 (14:36):
Two days later, you receive a shock. You phone her
in his office, learn she returned from Seattle the morning
Al was killed, that she tried to phone you and
then left for San Diego the same evening. You'll get
her San Diego address and send her a telegram. Tell
her to be sure and be back in time to
attend the juke Box Jury radio program, when Roberta's recording
(14:58):
of Front Porch will be present it to the public
for the first time. Coren agrees, and a few days
later you're both sitting in the audience at Peter Potters
juke Box durr a radio program.
Speaker 4 (15:10):
You know Ted it seems well, I don't know it
was only last week.
Speaker 2 (15:15):
Don't think about it, honey. All and I both promised
Roberta she could have it the minute week finished it.
He wouldn't have had it any other way, Believe.
Speaker 4 (15:21):
Me, no, I suppose not.
Speaker 2 (15:23):
Look, corin, Al was the closest friend I ever had.
We both agree that if anything ever happened to either
of us, the other one would go right ahead. I know,
sure you do. Naturally you feel low, honey, being in
love with Alan.
Speaker 4 (15:37):
I was fond of vow. But I'm surprised you felt that.
I thought you knew how I felt.
Speaker 2 (15:45):
You mean, you mean you love me, Corey.
Speaker 4 (15:47):
Let's talk about it some other time.
Speaker 2 (15:49):
Oh but I pleased it, of course, honey, you'ly of
course you've made me happier than I've ever been. Ted.
Speaker 4 (15:58):
Yes, when did you tell me? You finished that lyric?
Speaker 2 (16:03):
Just after lunch the day Al was killed. The lions
just just came to me. Sure, it's useless to sign,
It's foolish to grieve, because what good are words that
your heart won't believe? Can you imagine Al spending a
week on a line like that?
Speaker 4 (16:17):
You did this right after you had lunch with him.
Speaker 2 (16:19):
Yeah, yeah, here's the original typewritten copy got back from
the publisher a couple of days ago. He sent Roberta
a lead sheet a few days ago.
Speaker 4 (16:25):
I listen to me a minute.
Speaker 2 (16:27):
We'll talk later, Honey. You're all excited now, so am I.
Speaker 1 (16:30):
Look?
Speaker 2 (16:30):
You stay here catch things from out front. I'm going
backstage and see Roberta for a minute before the show starts.
Speaker 4 (16:35):
Do you mind, No, Ted, I don't mind.
Speaker 2 (16:37):
Good, good. I'll be right back right after the show's over.
Speaker 4 (16:40):
Okay, Okay, what's so amusing, Ted?
Speaker 2 (16:45):
Oh, nothing's amusing, honey. Only it's just like you said. Okay,
after what you told me tonight about the way you
felt about me, I'm sure everything's gonna be okay from
now on.
Speaker 3 (16:57):
Up.
Speaker 2 (17:12):
Well, Ted, you're certain you've won, aren't you. You have
complete ownership of Front Porch and all the other songs
fashioned by you and your late partner, Al Wilson. And
you learned just a few moments ago that lovely Karin Mitchell,
the one woman you've ever really loved, feels the same
way about you. Standing in the wings a few feet
(17:32):
off the semi dark stage, her pulse quickens as Peter
Potter announces that I'm going out on the front porch
and Cry is coming up next on Jukebox. Jury Now, Jury,
Let's weigh the merits of another of America's brand new records.
I want you to listen carefully and tell us if
you can.
Speaker 4 (17:50):
Will it be a hit? I'm it.
Speaker 5 (18:06):
Going out on the front porch and cry, my sweetheart,
just shave.
Speaker 4 (18:18):
It's good bye. No reason get there.
Speaker 3 (18:27):
Just a note of the wall. So I'm going out
on the front porch and cry. I'm lonely there the
pain in my heart for my love was true and
(18:54):
sincere from the side. I don't want some but I'm
too so I'm pulling out on the sun forest and
cry and cry.
Speaker 6 (19:24):
I'd like to love one more, try love, cause things
went so wrong.
Speaker 3 (19:37):
That is just so so long. So I'm pulling out
of hotels porch and cry. Thirty so decide it wish
(19:57):
to create.
Speaker 2 (20:00):
Host?
Speaker 3 (20:01):
What could I work at your home mood? I don't
want to leave unto Rollo.
Speaker 2 (20:34):
Corp. Thank you very much.
Speaker 4 (20:46):
That was the new woman.
Speaker 2 (20:47):
I'm going out on the front Fortune Cry by ROBERTA.
Speaker 1 (20:50):
Lynne.
Speaker 2 (20:51):
I want you to mark your ballots whether you think
the record will be a hit or a miss. Then
we'll start the discussion. Krein. Yes, Ted, be where you've been.
I've been looking for you for the last ten minutes.
Speaker 4 (21:12):
I went outside for a few minutes.
Speaker 2 (21:14):
Well, I told you i'd be back as soon as
the program was OPHI beg your pardon. I didn't realize
you had a friend with you.
Speaker 4 (21:20):
That's all right. This is Lieutenant Roberts homicide.
Speaker 2 (21:24):
Homicide. Well, I knew Roberta was gonna slay them the night,
but I didn't think she'd be arrested for it.
Speaker 4 (21:29):
She are to be I called the police, Tad, right
after Pete finished playing the record.
Speaker 2 (21:34):
You but why?
Speaker 4 (21:36):
Because you killed Al Wilson.
Speaker 2 (21:38):
Mere your crazy coren Al had.
Speaker 4 (21:42):
To be you, Ted? No, look, don't you lines you said?
You wrote? Sure, it's useless to sigh, and it's foolish
to grieve, because what good are words that your heart
won't believe? They were the tip off, Tad, you said a.
Speaker 2 (21:54):
Little while ago.
Speaker 4 (21:55):
You wrote those lines right after lunch today, I was killed.
Speaker 2 (21:58):
Well, that's right, I did.
Speaker 4 (21:59):
You're lying. When you handed me this typewritten copy a
few minutes ago, you told me the whole story. Those
lines weren't your lines, or even Owls your mine. They
came to me about two o'clock the day All was killed,
more than an hour after you said you saw Al
for the last time.
Speaker 2 (22:16):
I typed it on my portable and then I took
it over to Al.
Speaker 4 (22:19):
You did go to Owl's apartment?
Speaker 2 (22:20):
Oh? Yes, I called you earlier, couldn't get you, so
I drove over Owls. Well maybe I did lie about
those lines. That doesn't prove it roves enough that I'm
arresting you for the murder of Al Wilson.
Speaker 4 (22:33):
Mister Gray, you see, Ted, I typed those lines on
Al's portable, as I'm certain the police will be able
to prove. I reached Our's apartment about two thirty and
left about a quarter of three. The corner says Al
was killed around three.
Speaker 2 (22:47):
Well maybe he was at three o'clock.
Speaker 4 (22:49):
You had just finished killing Al in his apartment. It
couldn't have been anyone else, Ted, Only two people besides
me could have possibly known those lines open and the
man who killed him.
Speaker 1 (23:05):
Listen next week, when once again the United States Air
Forces in Europe present the Whistler
The Whistler, presented by the United States Air Forces in Europe.
Speaker 2 (00:16):
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 (00:46):
The Whistler will continue in just a moment.
Speaker 2 (00:50):
The Whistler's Strange Story. Song Team Ted Gray had music
in his heart. He heard a melody in the rustle
(01:12):
of every leaf, saw a song in the bend of
every river. A few years ago, Ted teamed up with
lyric writer Al Wilson, and now Ted Gray and Al
Wilson formed one of the most successful songwriting combinations in
the profession. And as Ted played for the hundredth time
his latest composition, his mood was one of major harmony,
(01:34):
except for one thing his partner. For months, his dislike
for Al Wilson had been growing. And now you almost
hate him, don't you, Ted, Because you're almost certain he's
captured the love of the only girl you've ever truly
cared for. Corinn Mitchell, Yes, Krin, once your copyist and
part time secretarial helper, now the head of her own
(01:57):
publicity bureau. That's probably now, isn't it, Ted?
Speaker 3 (02:03):
Oh?
Speaker 2 (02:03):
Higher, Ted? Sorry, I'm late, Eh, you're always late. You
finish the lyrics, yep, all but a couple of lines.
You've been playing around with them.
Speaker 4 (02:11):
For three weeks.
Speaker 2 (02:12):
Hell, I know, but you've not got a great tune
this time, kid, And I want to be sure the
lyrics are just as good as the tune. That'll be
a novelty. I don't know. You've done alright with me. Look,
I know a couple of composers who have done just
as well and paid a lot less. You're getting fifty
percent of the royalties. Any Ringing gets only twenty percent
for the lyrics he writes for Joe Winslow's tunes.
Speaker 4 (02:32):
All right, and when did you get it?
Speaker 2 (02:34):
He Ringing to write your lyrics? He's under contract, the
Winslow always that's so well, we got a contract to
fifty to fifty, remember, and it's that or nothing. But
anytime you want to call the whole thing off, all
you have to do is say so. And incidentally, you're
mentioning our contract reminds me of a change that I want?
What kind of change? That clause that if one of
us dies, the other gets complete onlyship of all our songs.
(02:56):
How come you want that change all of a sudden.
Neither one of us has any near relatives, nobody close
enough to leave anything to me. Yeah, well, I expect
to have a near relative soon, a very near relative.
A wife.
Speaker 1 (03:09):
Who's the lucky girl?
Speaker 2 (03:10):
Correem, kreem, Yes, Krreem, you're engaged? Well, not yet, but
I'm gonna ask her as soon as I see her,
and you think she'll say yes? Yeah, I think so.
You slay me. Hell, what's so funny? I got news
for you. Koree's gonna marry me. Well, that's funny. She
didn't say anything to me about it last night before
(03:32):
she left the Seattle. Not so funny. I asked her
not to say anything until we got our new song
front porch rolling. Oh well, I believe that when she
tells me, she'll tell you down. She'll have a chance
when she gets back. That's all right with me. Meantime,
how about finishing those lyrics with Karine out of town.
There's nothing to distract you. And Roberto Lynne promised she'd
(03:54):
recorded it in trying to get it on Peter Potter's
Jukebox Jury Program. That is, if we finish it in
the next couple of day. Okay, Ted, I'll try to
finish it. I wish you would. As the door closes
behind your partner, you realize for the first time how
easy things would be for you if something happened to Al.
(04:17):
You would be sole owner of all the songs you
now own jointly, wouldn't you tip? And with Al out
of the way, your certain Kareem would marry you in
a minute. Then it hits you something must happen to
Al before kareeen Mitchell returns and before your partnership contract
is changed. Your startle as you realize you're thinking of murder.
(04:38):
You've never even imagined yourself as a killer. You think
about it for a couple of days, and then phone Al. Hello, Hell,
it's Ted. How you're coming on front porch? I think
i'll finish it tomorrow, only need a couple of lines.
(04:58):
I'm gonna stick here all day I have to. It
won't even answer the phone. That's a good idea. Let's
see tomorrow's Friday. I'll take it out the loul late
tomorrow afternoon. He'll get the lead sheet out Saturday morning.
That'll give roberta four days to get it in shape
before a recording day. Oh, that's plenty of time. I
think i'll have it tomorrow. Ted up to it, kid
told me when it's finished. When you hang up the phone,
(05:22):
you realize that tomorrow is the day, don't you. Ted.
You pace the floor of your apartment most of the night,
and by morning you've worked out a plan, a plan
you're certain and will succeed. At ten o'clock you're on
the phone again.
Speaker 4 (05:42):
It's Central Publishing.
Speaker 2 (05:43):
Hi, Gracie, Ted Gray.
Speaker 5 (05:45):
Oh?
Speaker 2 (05:45):
Hello, Ted is the boss in?
Speaker 4 (05:47):
Yeah?
Speaker 2 (05:48):
How about Frankie? No?
Speaker 5 (05:49):
I did nobody here with me?
Speaker 4 (05:51):
They're both tied up until that's lunch, about three three.
Speaker 2 (05:54):
It is you're certain now you can dispose of Al
Wilson and get away with it, aren't you.
Speaker 5 (06:00):
Ted.
Speaker 2 (06:01):
Everyone believes you're Al's closest friend, and you'll make it
look like an attempted robbery. You won't make the mistake
most criminals make and prepare a perfect alibi. No, your
alibi will actually be imperfect, with just enough holes in
it to make it seem natural. The simple audacity of
your act will be your insurance of success. You'll take
(06:25):
care of Ol around three o'clock, go straight from his
apartment to mid Central Publishing, where you'll wait your usual
twenty minutes or more for lou. When news of Al's
death breaks, you will be as surprised and shocked as anyone.
You finish dressing, eat a leisurely breakfast, and read the paper.
Then take step one in your plan. You'll drive over
(06:46):
to the drug store next door to Al's apartment building
around lunchtime, three hours before you plan to kill him. Hi,
I am mister Adamson. Hello, Ted, you just mis your partner. Well,
I was on my way to hell. He said he
had to work all afternoon on the lyrics to your
new number, and I guess I'll take him to lunch,
give him strength for the java. I'll take this carper
(07:10):
cigarettes too, mister ras check. Now, Ted, you have at
least one reputable witness who will testify you are on
the way to Al's place to take him to lunch.
You leave the drug store, and, in case the druggist
is watching, you enter Al's apartment building. Walk through the
(07:32):
downstairs hallway to the rear entrance. You hurry down the
alleyway to the boulevard where you've parked your car and
drive aimlessly for an hour or so, and then return
to your own apartment building, where you make certain another
reputable witness will be able to testify that you were
at home after your midday visit to her. Come man along,
(07:56):
Miss Carter. I was wondering if you might have a
larger apartment vacant, but one with an extra bedroom.
Speaker 4 (08:03):
We'll have on the first and mine. You have some plans,
No no.
Speaker 2 (08:05):
Al and I thought we might get more work done
if we live in the same place. Just had lunch,
will do now.
Speaker 4 (08:10):
This will be perfect for you, two gentlemen. I can't
show out to you right.
Speaker 2 (08:13):
Now, but that's all right. I'd want Al to see
it anyway. Besides, I got a little copying the door,
and then I got to get out the mid Central Publishing.
I just want to make sure you had one. We'll
take a look on Sunday. Your plans are complete, aren't
they tied? You have two reputable witnesses as to your whereabouts.
At two highly important times. Back in your apartment, you
(08:36):
paced the floor and watch the clock. Finally, the minute arrives,
and at ten minutes before three you walk down the
alleyway in the rear of Owl's apartment building and hurry
upstairs to the second floor. Oh chake, come money in
Are you coming on those lines? I got them good,
(08:58):
let's hear them. Hey, I listen to this. Sure, it's
useless to sigh, and it's foolish to grieve, because because
what good are words that your heart won't believe?
Speaker 1 (09:09):
Hey?
Speaker 2 (09:09):
You like them? Yeah? Yeah, I like them. Fine. I
figured you would Corin when I don't want to talk
about Kren now, but Krin I said, I didn't want
to talk about Corene. What's the matter with you?
Speaker 5 (09:20):
Ted?
Speaker 2 (09:21):
What are you?
Speaker 3 (09:22):
No?
Speaker 2 (09:22):
Ted?
Speaker 3 (09:23):
No?
Speaker 2 (09:24):
Wait a minute, It's done, isn't it?
Speaker 5 (09:31):
Tid?
Speaker 2 (09:31):
And you're sure you made it look like a fatal
assault during an attempt at robbery. Now you must be
careful to establish the one important time factor of your
day's routine. You drive quickly to an outside phone. Go
just a half a block from mid Central Publishing Operator
(09:56):
police headquarters. Please just the moment. But he's head quarters,
Sergeant Quinn speaking. I think a man's been killed in
Apartment two O three in the Cheswell apartments on Los Palmis.
Speaker 4 (10:11):
Who is this?
Speaker 2 (10:13):
Who's talking. That's something you will never know. Sergeant. You
time things beautifully, didn't you.
Speaker 5 (10:32):
Ted.
Speaker 2 (10:33):
Within a minute after your call to the police, you're
at the mid Central Publishing offices. You're confident as you
stroll into the mid Central Publishing lobby almost on time
for your three o'clock point. Hello, Angel, the boss here
is always on time.
Speaker 4 (10:50):
Teddy Nole's not here yet.
Speaker 2 (10:53):
Oh that's all right. How about Old Texas Spring?
Speaker 4 (10:55):
Yeah he's here.
Speaker 6 (10:56):
Wait a minute, Tech, Yeah, and Ted Gray's here.
Speaker 3 (11:00):
You're right off.
Speaker 2 (11:06):
Hided, Hi boy, but you got another money maker from
mid Central. Get out a lead sheet on it right away,
will you? Frankie? Share? You know those two lines the
hell was having so much trouble with Yeah, I put
him in myself. I saw him just before lunch and
he was still having trouble, so I knocked him out myself.
You yeah me so.
Speaker 1 (11:25):
Uh.
Speaker 2 (11:25):
I'll pick up the lead sheets tomorrow.
Speaker 4 (11:27):
Huh. Okay, you went on the phone, Ted, hurry.
Speaker 2 (11:30):
Okay, why only excited?
Speaker 4 (11:31):
It's the police department.
Speaker 2 (11:32):
Come on, okay, okay, take it easy. I haven't robbed
any banks. It's about well, what's the matter with him?
Speaker 4 (11:39):
I don't know, but the officer found out you were
our partner, and he wanted to know if you were here.
Speaker 2 (11:43):
Maybe he's had an accent. No, no, not hell, he's
too careful. Oh yes, yep, what well, he couldn't be murder.
(12:06):
You say you saw your partner this morning, mister Gray,
that's right, Lieutenant. I got over there about eleven forty five.
He was all right, fine. He was trying to finish
the lyric for our latest number. We only needed two lines,
so we made a couple of sandwiches eight there in
the apartment worked on it. Can you prove you were
there at that time? No, I can't prove it. But
(12:28):
I did buy some cigarettes at the Druggists next to
Ale's apartment building. I think mister Adamson and the proprietor
will verify that statement. How long were you in your
partner's apartment? Not very long. The lines came to me
while we were eating. I went home, I got the
complete lyric, took it out the mid Central Publishing Company.
That's pretty fair, HOURBI. But can you prove it, no, Lieutenant,
(12:52):
After all, I wasn't planning on having to account for
my time. Well, wait a minute, I can prove I
came back to my apart up and after I had
lunch with Al, I talked with Vicious Carter, the apartment manager,
about a larger apartment. And you were a check on
your statements. The important thing is where were you at
three o'clock at mid Central publishing. I guess there's no
(13:12):
way I can prove that either unless the reception this
happens to remember. Well, question her, of course. Well, you're
not under suspicion, mister Gray, any more than anyone else.
As a matter of fact, from what we learn now,
Wilson was a vital factor in your success. He was anyway,
It looks like it was done on the impulse of
the moment. He probably surprised someone in an attempted robbery.
(13:33):
Someone entered and surprised him. The apartner was killed by
a blow on the head bookend. Did your partner have
much money in the house, now that you mention it,
Al's greatest weakness was displaying as wealth. He always carried
a thousand or so with him on his person. And
it was probably robbery. But we do have to investigate
(13:54):
every angle. Well, thank you for your cooperation. If we
have any more questions, will for you and if I
think of anything important, I'll phone you. Anything I can
do to help catch Al's chiller will be a pleasure.
You return to your apartment, certain you're beyond the slightest suspicion.
(14:18):
Next day, you phone mid Central Publishing, learn that the
police had double checked your statements, and smile when you
realize that Gracie the absent minded Little Receptions has verified
your statement that you were at mid Central Publishing at
the time Al Wilson was killed.
Speaker 1 (14:34):
Just as you thought she would.
Speaker 2 (14:36):
Two days later, you receive a shock. You phone her
in his office, learn she returned from Seattle the morning
Al was killed, that she tried to phone you and
then left for San Diego the same evening. You'll get
her San Diego address and send her a telegram. Tell
her to be sure and be back in time to
attend the juke Box Jury radio program, when Roberta's recording
(14:58):
of Front Porch will be present it to the public
for the first time. Coren agrees, and a few days
later you're both sitting in the audience at Peter Potters
juke Box durr a radio program.
Speaker 4 (15:10):
You know Ted it seems well, I don't know it
was only last week.
Speaker 2 (15:15):
Don't think about it, honey. All and I both promised
Roberta she could have it the minute week finished it.
He wouldn't have had it any other way, Believe.
Speaker 4 (15:21):
Me, no, I suppose not.
Speaker 2 (15:23):
Look, corin, Al was the closest friend I ever had.
We both agree that if anything ever happened to either
of us, the other one would go right ahead. I know,
sure you do. Naturally you feel low, honey, being in
love with Alan.
Speaker 4 (15:37):
I was fond of vow. But I'm surprised you felt that.
I thought you knew how I felt.
Speaker 2 (15:45):
You mean, you mean you love me, Corey.
Speaker 4 (15:47):
Let's talk about it some other time.
Speaker 2 (15:49):
Oh but I pleased it, of course, honey, you'ly of
course you've made me happier than I've ever been. Ted.
Speaker 4 (15:58):
Yes, when did you tell me? You finished that lyric?
Speaker 2 (16:03):
Just after lunch the day Al was killed. The lions
just just came to me. Sure, it's useless to sign,
It's foolish to grieve, because what good are words that
your heart won't believe? Can you imagine Al spending a
week on a line like that?
Speaker 4 (16:17):
You did this right after you had lunch with him.
Speaker 2 (16:19):
Yeah, yeah, here's the original typewritten copy got back from
the publisher a couple of days ago. He sent Roberta
a lead sheet a few days ago.
Speaker 4 (16:25):
I listen to me a minute.
Speaker 2 (16:27):
We'll talk later, Honey. You're all excited now, so am I.
Speaker 1 (16:30):
Look?
Speaker 2 (16:30):
You stay here catch things from out front. I'm going
backstage and see Roberta for a minute before the show starts.
Speaker 4 (16:35):
Do you mind, No, Ted, I don't mind.
Speaker 2 (16:37):
Good, good. I'll be right back right after the show's over.
Speaker 4 (16:40):
Okay, Okay, what's so amusing, Ted?
Speaker 2 (16:45):
Oh, nothing's amusing, honey. Only it's just like you said. Okay,
after what you told me tonight about the way you
felt about me, I'm sure everything's gonna be okay from
now on.
Speaker 3 (16:57):
Up.
Speaker 2 (17:12):
Well, Ted, you're certain you've won, aren't you. You have
complete ownership of Front Porch and all the other songs
fashioned by you and your late partner, Al Wilson. And
you learned just a few moments ago that lovely Karin Mitchell,
the one woman you've ever really loved, feels the same
way about you. Standing in the wings a few feet
(17:32):
off the semi dark stage, her pulse quickens as Peter
Potter announces that I'm going out on the front porch
and Cry is coming up next on Jukebox. Jury Now, Jury,
Let's weigh the merits of another of America's brand new records.
I want you to listen carefully and tell us if
you can.
Speaker 4 (17:50):
Will it be a hit? I'm it.
Speaker 5 (18:06):
Going out on the front porch and cry, my sweetheart,
just shave.
Speaker 4 (18:18):
It's good bye. No reason get there.
Speaker 3 (18:27):
Just a note of the wall. So I'm going out
on the front porch and cry. I'm lonely there the
pain in my heart for my love was true and
(18:54):
sincere from the side. I don't want some but I'm
too so I'm pulling out on the sun forest and
cry and cry.
Speaker 6 (19:24):
I'd like to love one more, try love, cause things
went so wrong.
Speaker 3 (19:37):
That is just so so long. So I'm pulling out
of hotels porch and cry. Thirty so decide it wish
(19:57):
to create.
Speaker 2 (20:00):
Host?
Speaker 3 (20:01):
What could I work at your home mood? I don't
want to leave unto Rollo.
Speaker 2 (20:34):
Corp. Thank you very much.
Speaker 4 (20:46):
That was the new woman.
Speaker 2 (20:47):
I'm going out on the front Fortune Cry by ROBERTA.
Speaker 1 (20:50):
Lynne.
Speaker 2 (20:51):
I want you to mark your ballots whether you think
the record will be a hit or a miss. Then
we'll start the discussion. Krein. Yes, Ted, be where you've been.
I've been looking for you for the last ten minutes.
Speaker 4 (21:12):
I went outside for a few minutes.
Speaker 2 (21:14):
Well, I told you i'd be back as soon as
the program was OPHI beg your pardon. I didn't realize
you had a friend with you.
Speaker 4 (21:20):
That's all right. This is Lieutenant Roberts homicide.
Speaker 2 (21:24):
Homicide. Well, I knew Roberta was gonna slay them the night,
but I didn't think she'd be arrested for it.
Speaker 4 (21:29):
She are to be I called the police, Tad, right
after Pete finished playing the record.
Speaker 2 (21:34):
You but why?
Speaker 4 (21:36):
Because you killed Al Wilson.
Speaker 2 (21:38):
Mere your crazy coren Al had.
Speaker 4 (21:42):
To be you, Ted? No, look, don't you lines you said?
You wrote? Sure, it's useless to sigh, and it's foolish
to grieve, because what good are words that your heart
won't believe? They were the tip off, Tad, you said a.
Speaker 2 (21:54):
Little while ago.
Speaker 4 (21:55):
You wrote those lines right after lunch today, I was killed.
Speaker 2 (21:58):
Well, that's right, I did.
Speaker 4 (21:59):
You're lying. When you handed me this typewritten copy a
few minutes ago, you told me the whole story. Those
lines weren't your lines, or even Owls your mine. They
came to me about two o'clock the day All was killed,
more than an hour after you said you saw Al
for the last time.
Speaker 2 (22:16):
I typed it on my portable and then I took
it over to Al.
Speaker 4 (22:19):
You did go to Owl's apartment?
Speaker 2 (22:20):
Oh? Yes, I called you earlier, couldn't get you, so
I drove over Owls. Well maybe I did lie about
those lines. That doesn't prove it roves enough that I'm
arresting you for the murder of Al Wilson.
Speaker 4 (22:33):
Mister Gray, you see, Ted, I typed those lines on
Al's portable, as I'm certain the police will be able
to prove. I reached Our's apartment about two thirty and
left about a quarter of three. The corner says Al
was killed around three.
Speaker 2 (22:47):
Well maybe he was at three o'clock.
Speaker 4 (22:49):
You had just finished killing Al in his apartment. It
couldn't have been anyone else, Ted, Only two people besides
me could have possibly known those lines open and the
man who killed him.
Speaker 1 (23:05):
Listen next week, when once again the United States Air
Forces in Europe present the Whistler
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