October 4, 2025 • 29 mins
The Whistler was a suspenseful mystery anthology that ran from 1942-1955. A character known only as the Whistler was the host and narrator of the tales, which focused on crime and fate and had a suspenseful and eerie tone, always ending with a twist. The Whistler was later adapted to television.
Hope you enjoy this episode of The Whistler! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
Hope you enjoy this episode of The Whistler! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
And now stay tuned for the mystery program that is
unique among all mystery programs, because even when you know
who is guilty, you always receive a startling surprise at
the final curtain. In the Signal Oil Program, the Whistler Signal,
(00:26):
the famous go Father Gasoline invites you to sit back
and enjoy another strange story by the Whistler.
Speaker 2 (00:51):
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 (01:10):
And now for the Signal Oil Company, the Whistler's Strange story,
the Witness.
Speaker 2 (01:24):
Like so many people, Paul Kilburn was his own worst enemy.
He had brilliants, charm and youth, and he never let
anyone forget it. When he graduated from college, he received
the American Award for the most Promising Student of Architecture
at Andover University, and he never let anyone forget that either. Yes,
Paul Kilburn had a lot to learn, and as an
(01:46):
assistant in the architectural firm of Joseph Abercrombie in Company,
he was given the opportunity to learn, but he refused
to accept it. Now, for the third time that week,
Paul strode defiantly into the company offices, giving plain evidence
of his resentment and his third hangover of the week.
Speaker 3 (02:06):
Paul, Yeah, mister Abercrombie's been looking for you.
Speaker 4 (02:09):
Has he found me yet? You're an hour and a
half late.
Speaker 3 (02:12):
You'd better think up some story for him.
Speaker 4 (02:14):
I did the best I could, a little miscover up
everybody's office. Pal, don't you ever get tired of being
grand eaated? Paul? Be quiet and tell mister Ambercrombie mister
Kilburn is here and happy to confer with him at
any time.
Speaker 5 (02:27):
I'm free now, mister Kilburn, if that's convenient with you.
Speaker 4 (02:31):
Perfectly, perfectly.
Speaker 5 (02:36):
After you, mister Abercrombie, sit down, Paul. All right, I'm
tired of warning you.
Speaker 4 (02:47):
Paul.
Speaker 5 (02:47):
This is the third time this week and before that.
I'm just lost.
Speaker 4 (02:51):
And if I don't mend my ways in the future,
I won't have a future. Isn't that the way it goes?
Speaker 5 (02:55):
You don't have a future now, Paul, not with us.
Speaker 4 (02:58):
You're fired.
Speaker 5 (02:59):
I'm what iron, You're the most promising member of our staff.
There's no question about that. But I think we can
manage without you. When you lose some of your egotism
and replace it with some sense of responsibility, come back
and see us.
Speaker 2 (03:20):
You didn't expect that, did you, Paul, Joseph. Abercrombie and
Company was to be a mere stepping stone for you,
a lull before the storm of success, but not now.
You keep up your front of careless indifference, even when
Edith insists that the two of you go out for
a cup of coffee together. But inside you feel like
(03:41):
a whip school boy, don't you.
Speaker 4 (03:42):
Paul?
Speaker 6 (03:44):
Oh, Paul, what are you going to do?
Speaker 4 (03:47):
You tell me?
Speaker 3 (03:48):
I feel awkward?
Speaker 4 (03:51):
Why I'm the one who got fired?
Speaker 3 (03:53):
I I just do, Paul. I've watched your work. You're
going to be a great architect.
Speaker 4 (04:00):
Bad you didn't reach Abercrombie with that news.
Speaker 7 (04:02):
I know I'm acting like a schoolgirl on her first date.
Speaker 4 (04:06):
What are you trying to say?
Speaker 7 (04:08):
It's hard for me, Paul, because well we've only gone
out once or twice, and you've been so distant or
no harm met I know. Look, Paul, I've inherited twenty
thousand dollars.
Speaker 4 (04:22):
Oh, I wish I had your luck you have come again.
Speaker 7 (04:28):
Twenty thousand is enough for you to open an office
of your own and keep going until you make it
on your own.
Speaker 4 (04:32):
Paul, Ye, what about you?
Speaker 8 (04:35):
Where do you come here anywhere?
Speaker 7 (04:37):
You say you can consider it alone or make me
a partner in the firm.
Speaker 3 (04:41):
I can handle the office.
Speaker 4 (04:42):
D Yeah, but why take a chance on me. I'm
not very steady. I've slept through an alarm clock ever
since I was in long pants.
Speaker 7 (04:48):
I never sleep through an alarm clock, and I never
forget to say it either.
Speaker 3 (04:52):
I'll on you every morning and get you up.
Speaker 4 (04:55):
No, No, it's too good. Why what else do I
have to do for this backing?
Speaker 3 (05:01):
Nothing except to stop drinking. My offer goes as I
made it.
Speaker 4 (05:06):
I'm talking about you. Don't you want anything more out
of this?
Speaker 2 (05:11):
Well?
Speaker 3 (05:11):
Yes, I do what you.
Speaker 6 (05:15):
I want to marry you, Paul.
Speaker 1 (05:31):
When you hear a commercial on the radio, you naturally
assume it was written by some advertising man, don't you. Well, Frankly, friends,
the best commercials about signal ethyl are written by you
drivers yourselves. Here's what I mean. All I have to
do is spend a little time around a signal station.
Pretty soon in drives the owner of a shiny new
car who boasts that signal ethel sure brings out all
(05:54):
the pep and power they build into these new high
compression motors. Well, answers the owner of a forty. This
baby may not be new, but it sure runs like
it with signal Ethyl. Then a tourist who had stopped
for one of Signals Free maps chimes in. The thing
I like about signal ethyl is the way it takes
me over these big Western hills without shifting or clattering. Well,
(06:15):
the only trouble, friends, is that there isn't room in
one commercial for all the enthusiastic things drivers say about
the premium grade of signals famous. Go farther gasoline to
discover them all. You'll simply have to try a tankful
of this super powerful super fuel, which is the best
idea anyway. Try a tankful, then let its performance in
(06:37):
your car. Write the best commercial you've ever heard about
signal ethyl.
Speaker 2 (07:01):
You meet Edith just about halfway, don't you, Paul. You
let her set you up in business, all right, and
you become engaged, but you conveniently put off the marriage
to some future date, or, as you tell Edith, until
you've proved yourself worthy of all she's done for you,
And as time goes by, you're forced to admit that
she has a wholesome influence on you. Your drinking stops,
(07:25):
you adopt regular habits. But the instantaneous success you expected
as an architect comes very slowly, doesn't it, Paul?
Speaker 4 (07:33):
Well, how about it, mister Crawford. What do you think
of these plans?
Speaker 8 (07:36):
Young man?
Speaker 9 (07:37):
If there weren't a young lady president, I tell you
exactly what I think of them.
Speaker 3 (07:40):
Why what do you mean, mister Crawford?
Speaker 9 (07:41):
I mean to be blunt that these plans you drew up, Kilburn,
are utterly worthless as far as I'm concerned. Now, wait
a minute, and if this is your idea of what
I need, then young man, I don't need you. Good day, sir.
Speaker 8 (07:52):
But mister Crawford, let them go.
Speaker 7 (07:56):
All right, Paul, And don't worry, darling, we'll do this
thing yet together.
Speaker 10 (08:10):
I'm sorry, Kilburn. I don't like to go into this
on the phone, but these plans of yours just won't
do so far. I see no indication that you want
to incorporate anyone's idea except your own.
Speaker 4 (08:22):
Well, if you have such hot ideas of your own.
Why did you come to me in the first place.
Speaker 10 (08:25):
That's odd, mister Kilburn. I was just about to ask
myself the same question.
Speaker 3 (08:31):
Why, Oh, Paul, you shouldn't get so angry. You shouldn't.
Speaker 4 (08:35):
I don't need guys like that.
Speaker 3 (08:37):
Yes you do, darling.
Speaker 7 (08:38):
We both need them, a lot of them, and somehow
we'll get them too.
Speaker 2 (08:51):
For the first time in your life, you begin to
know what hard work is, don't you, Paul. You have
to work hard, and Edith besides you, every step of
the way, works even harder than you do nights, days, weekends,
until finally someone says the words you've waited to hear.
Speaker 4 (09:06):
Well, sir, mister Kilburn, I've seen everything. Is that?
Speaker 5 (09:10):
Is there anything I missed? Mister Benson? Oh no, No,
not a thing, Kilburn. This is a work of art.
You're a fine architect and an excellent architecture.
Speaker 3 (09:17):
We're so glad you're pleased, mister Benson.
Speaker 4 (09:20):
Oh yes, indeed.
Speaker 5 (09:21):
Well I'll tell you one thing. If this is a
sample of your work, you'll never want for clients if
I can help it. I'm happy I had sense enough
to hire you.
Speaker 2 (09:35):
And that's just the beginning, isn't it.
Speaker 4 (09:37):
Paul.
Speaker 2 (09:37):
The Benson contract was a big one, and from that
others began to come in. After a while, you become
used to the idea of success. That's easy, isn't it, Paul.
But getting used to the idea of marrying Edith one
day is something else again. But you don't really want
to lose Edith completely. She's so convenient, still phoned you
(09:57):
every morning to get you up, takes care out of
all sorts of annoying details at the office. Even you
have to admit she's a big part of your success.
But you can't put her off indefinitely, can.
Speaker 10 (10:08):
You, Paul?
Speaker 2 (10:09):
And one afternoon, about a month later, as Edith comes
into your workroom, you have no way of knowing that
the time of decision is near at hand.
Speaker 7 (10:17):
Someone to see you, Paul, Shall I tell her to
wait her? Patricia Wilson never heard of her. Everyone else has.
She's a tobacco heiress, just flew in from Rome a
few weeks ago.
Speaker 3 (10:28):
And she's very pretty, money and beauty both. I'm sorry
to say.
Speaker 7 (10:32):
Oh, by the way, I'm sending your drawings to the
International Society of Architects and Designers competition.
Speaker 4 (10:38):
Okay, if you say so.
Speaker 3 (10:39):
Nothing to lose, and ten thousand a gain to say
nothing of all the honors.
Speaker 4 (10:43):
No suit yourself, And you concern that tobacco eras.
Speaker 3 (10:45):
In, mister kil i'd been in earlier.
Speaker 11 (10:48):
If I've known that genius has come so young and
so handsome, I'd.
Speaker 4 (10:51):
Have come out, Miss Wilson, if I'd had any idea
the tobacco leaves had such a lovely flower.
Speaker 3 (10:56):
Ha, we'll get on.
Speaker 4 (10:58):
Excuse me, of course you did, said down Swilson.
Speaker 6 (11:03):
I will now.
Speaker 3 (11:05):
I know.
Speaker 11 (11:05):
I want you to design me a house that's good,
Yes it is, and I know exactly.
Speaker 2 (11:09):
What I want.
Speaker 3 (11:10):
And architecture is one.
Speaker 8 (11:11):
Of my hobbies.
Speaker 4 (11:12):
Can't you leave the architecture to me?
Speaker 11 (11:15):
What would I do for a hobby, mister Kilden.
Speaker 4 (11:18):
Find another one, like horseback riding? Say when, well, let's
see not.
Speaker 3 (11:24):
Excuse me, Paul, Yes, what is it?
Speaker 7 (11:26):
A contractor at Silver Lake Houses on the phone. It's
about some trouble with the pegged flooring.
Speaker 4 (11:30):
Why trouble. There's nothing of putting that in.
Speaker 7 (11:32):
Perhaps you'd better talk with him, Paul.
Speaker 4 (11:34):
No, not now tell them, well, tell them I'll be
out there right.
Speaker 3 (11:37):
Away, all right, Paul, I'll call the parking lot and
have him send your car.
Speaker 4 (11:40):
Yes, yes, do that. I'm sorry, miss, not at all.
Speaker 11 (11:45):
I like spirit in my architects.
Speaker 4 (11:47):
Well, this contract is always telling me something can't be done.
I know all about pegged floors. Practically put them in
my house by myself. You know where were we?
Speaker 11 (11:56):
You just suggested horseback riding, and I just asked when.
But I'm going to take back my question. Oh, make
a statement out of it. We'll go riding Sunday pool.
Speaker 2 (12:14):
Patricia's very sure of herself, isn't she, Paul. And that's
Sunday and the next and the next. When it isn't
horseback riding, it's gone for the race, is at Delmar
or dinner and dancing. It's always something, and it's always Patricia.
You see Edith less and less. It's good business. You
tell her Patricia's wealthy and she knows everyone worth knowing.
(12:36):
Edith never says anything, and you push your hurt suffering
looks to the back of your mind. But Patricia is
not so generous with it.
Speaker 5 (12:50):
Oh, oh that was wonderful, Yeah, it was great.
Speaker 4 (12:55):
You won again.
Speaker 3 (12:56):
Oh of course, Darling, I always win, didn't you know that?
I've wondered well, maybe not always it that.
Speaker 11 (13:03):
For instance, are you still engage that little mouse of
the secretary of yours?
Speaker 4 (13:08):
Technically? Why?
Speaker 5 (13:09):
I told you why before.
Speaker 11 (13:11):
I don't appreciate having that plain little creature's arrival. Winning
over it would be an empty victory, and losing.
Speaker 2 (13:17):
Would be unbearable.
Speaker 4 (13:19):
What do you want to win?
Speaker 12 (13:21):
You don't know.
Speaker 4 (13:22):
I don't think so.
Speaker 3 (13:23):
Oh, now you're being insulting.
Speaker 4 (13:24):
Maybe how do I know you haven't pulled this off
and wrong of Paris of London put on a victory
and then left the SAP holding his hands.
Speaker 3 (13:33):
You're not far well.
Speaker 4 (13:34):
I don't intend to be another SAP.
Speaker 3 (13:35):
You're not going to be.
Speaker 4 (13:38):
Does that mean you'll marry me?
Speaker 2 (13:40):
Yes?
Speaker 4 (13:41):
When as soon as.
Speaker 3 (13:43):
You break off with that little secretary of your.
Speaker 4 (13:46):
I've told you a lot. It down as soon as.
Speaker 3 (13:48):
I could, I'd better be very soon.
Speaker 13 (13:51):
I don't like waiting.
Speaker 2 (13:59):
You try, Paul, but you can't bring yourself to do it.
Too many people know how much Edith has helped you
when you were down and out, and besides, deep down
you're too much of a coward to tell her the truth.
And on Monday morning you come into the office late
with a hangover.
Speaker 3 (14:15):
Good morning, Paul. I warn you I'm about to do
something I never did before. Yeh what, I'm going to
kiss you right here in this.
Speaker 4 (14:22):
D Please do not stop it?
Speaker 3 (14:25):
All right?
Speaker 7 (14:28):
Maybe I should have told you about the telegram before
I tried to kiss you.
Speaker 4 (14:31):
Telegram.
Speaker 3 (14:32):
Yes, listen, mister Paul Kilburn. Congratulations.
Speaker 7 (14:36):
The International Society of Architects and Engineers is pleased to
announce that your designs have been selected as the most
original and creative in the field of architecture.
Speaker 3 (14:45):
You have been named the Society's Architect of the Year.
The award will be made officially on Sunday, July fifteenth.
It's the Stratton Club in a banquet to be tendered
in your honor. HM. Wakefield President. Do I get that kiss?
Speaker 4 (14:58):
Yeah?
Speaker 7 (15:00):
Oh god, I'll be so proud when I watch and
present you with a diamond pin and the ten thousand
dollars at the banquet.
Speaker 4 (15:06):
Of course I'm sure you will.
Speaker 3 (15:20):
Of course I know, Paul. It's all over the papers.
Speaker 11 (15:22):
Congratulations, Donnie, Thanks Patricia. Oh, I've been a busy girl,
rushed down Antwine to have myself fitted for a new gown.
Speaker 2 (15:28):
Where do you see it?
Speaker 11 (15:29):
The night of the banquet, you.
Speaker 4 (15:30):
Shouldn't have done that.
Speaker 7 (15:31):
Why not?
Speaker 4 (15:33):
I'm taking Edith to the banquet, I have to. No,
you're not be reasonable, Patricia. You know I love you.
I tell you. There's nothing I can do.
Speaker 11 (15:43):
All right, I'll let your little Edith please senderella for
one night. But after that, Paul, you're gonna get rid
of her, and I mean rid of her.
Speaker 13 (15:49):
She's not going to be your secretary or anything else.
Speaker 5 (15:52):
Is that clear?
Speaker 4 (15:53):
Yes? I promise you she'll go.
Speaker 2 (16:05):
The banquet is a galla affair. You and Edith are
in the seats of honor, at the first table, and
at the next table staring coldly at you, Patricia with
some obscure architect and as if further irony were needed,
your former employer, Joseph Abercrombie is selected as toast last.
You're completely miserable, aren't you, Paul. In a few minutes
(16:26):
you'll be presented with ten thousand dollars and the highest
honors of your profession, and you wish you were a
thousand miles away. You take your usual form of escape,
don't you.
Speaker 4 (16:36):
Paul, A waiter, another whiskey and water.
Speaker 3 (16:38):
Please, please, Paul Darling no more.
Speaker 4 (16:41):
You called for me in your car. Remember you can
drive if you think I've had too much.
Speaker 5 (16:49):
Ladies and gentlemen, Before we officially present the award to
the Architects of the Year, I'd like to tell you
something about this year's winner. Him very well. I had
the honor, if I can use that word, of being
the only man who fired him. But I'm not ashamed
(17:09):
to say that he proved himself a better man than I.
Before I say any more about him, however, I would
like to pay homage to the woman behind the throne.
It was her financial and borrow backing through thick and
thin that made Paul Kilburn what he is today. She
(17:31):
is soon to become his wife. I want Edith Kramer
to stand up and take a bow.
Speaker 3 (17:39):
Thank you, Thank you very much. I shall always remember
this night.
Speaker 2 (17:46):
You can see Patricia's eyes staring at you from the
next table. There are blaze with hatred, and there's nothing
you can do but sit there and smile. Mechanically, you're
call to the rostrum where the diamond pin has clipped
onto your lapel, and you receive the check for ten
(18:06):
thousand dollars. Suddenly, out of nowhere, Patricia is at your side.
Speaker 13 (18:12):
I'm not waiting any longer, Paul finish with her to night, Paul,
Please don't drive so fast.
Speaker 4 (18:28):
Work You told me to go ahead and drive, and
don't tell me.
Speaker 3 (18:30):
How to do it, all right, dear, Let's be happy tonight.
It's such an important night. Paul.
Speaker 4 (18:36):
Oh, you're so blind Edith. Can't you see it's over?
Speaker 3 (18:40):
Is it?
Speaker 4 (18:40):
You know it is?
Speaker 3 (18:42):
Oh?
Speaker 4 (18:42):
Paul, I'll stop that.
Speaker 3 (18:44):
You're the one who's blind, Paul. Don't you see?
Speaker 13 (18:46):
She'll ruin you in a month.
Speaker 3 (18:48):
You'll be a drunkard and a bun.
Speaker 4 (18:49):
I'll take my chances if.
Speaker 7 (18:51):
You leave me for that, that, Patricia, I swear I'll
tell everyone.
Speaker 3 (18:55):
If that's the only way I can hold you, I'll
make you look so cheap. You you hear me?
Speaker 4 (19:02):
Stop it.
Speaker 8 (19:02):
That's not going to help, are you all right?
Speaker 4 (19:20):
Yeah? I guess so. Come on, let's get out of here.
Speaker 3 (19:23):
But Paul, the other car, there's a man lying on
the road. Maybe he needs help.
Speaker 4 (19:28):
Come back here, Reade, get back in the car.
Speaker 3 (19:34):
He's dead. I'm sure he did.
Speaker 4 (19:37):
You see anybody else?
Speaker 3 (19:38):
No, but it's done.
Speaker 4 (19:39):
Any other cars, No, it's a break, not this thing
will only start. Come on, come on, there's.
Speaker 3 (19:48):
A gas station just around the bend. We can call
the police.
Speaker 4 (19:51):
Are you insane? Manslaughter? And lick around my breath? Can't
do anything for him? You said he was dead.
Speaker 2 (20:05):
A thousand thoughts race through your mind as you drive
Edith home. Somehow you manage to get her car in
the garage without being seen, and as you stand with
Edith at her front door before walking to the corner
cab stand Edith gives you something else to think about it.
Speaker 3 (20:21):
Someday you'll forgive me for loving you so much, Paul, Oh.
Speaker 4 (20:24):
No, not now.
Speaker 7 (20:25):
If I can't, you're going to forget about Patricia because
I won't give you up now.
Speaker 3 (20:30):
Paul, Ever, what.
Speaker 4 (20:33):
Is this?
Speaker 3 (20:34):
I wouldn't do this if it were just for me,
but it's for you too.
Speaker 7 (20:39):
I'm a witness, Paul, the only witness to the accident.
Speaker 3 (20:43):
So we're going to get married Paul soon.
Speaker 2 (20:55):
She means it, doesn't she? Paul? All the way home
in the taxi, you think how much she means it?
Inside your own home, a swirl of thoughts in gulf you.
The accident Edith Patricia drunk driving, hit and run Patricia
Edith hour passes two. Then one thought emerges clear and demanding,
(21:18):
and you know what you must do.
Speaker 4 (21:29):
Oh it's Paul, Edith. I want you to come over
right away.
Speaker 3 (21:32):
Oh, what's happened.
Speaker 4 (21:34):
Nothing, We're going to be married, that's all, Paul.
Speaker 10 (21:37):
It's three in the morning and you I'm quine.
Speaker 4 (21:39):
I'll just throw a few things in the bag and
grab a cab and come over. I'll pack my bag
and by the time you get here, we'll take my
car and drive south.
Speaker 3 (21:45):
Darling.
Speaker 4 (21:47):
Oh my, what's wrong.
Speaker 3 (21:48):
I just remembered you have a nine o'clock appointment with
mister Heally in the morning. I've got my alarm clock
set for seven, so I'll be.
Speaker 4 (21:54):
Sure and get you up, Edith, for heaven's sake.
Speaker 3 (21:56):
Oh all right, darling, forgive me. I'm not quite a
week and this is sudden. Oh, Paul, Darling, I'll hurry.
(22:17):
I came as soon as I could. Paul. I hope
you haven't changed your mind.
Speaker 4 (22:22):
No it is I haven't changed my mind, Paul.
Speaker 3 (22:27):
Paul, I'm so happy.
Speaker 2 (22:29):
Oh no, you work quickly, just as you'd planned it.
PAULA hurriedly drill the wooden pegs out of free of
the heavy oak planks in your floor, push them aside,
and stuff Edith's body in her suitcase into the eighteen
inch clearance underneath. This will do for now wounded Paul,
(22:51):
until you have more time to safely dispose of the body.
You replace the planks, hammer in some new pegs. Then
you reach for the phone.
Speaker 4 (23:06):
I want the police department, Please, Police headquarters. This is
Paul Kilburn, number four, Lynnwood Lane. Yes, my fiance is missing,
Edith Kramer, and she dropped me off at my house
about eleven said she was going straight home. I've been
(23:27):
trying to reach her ever since. No one answers. I
can't imagine what's happened to her. Would you please?
Speaker 14 (23:38):
My number is East Hills four nine two eight three.
Speaker 1 (24:01):
With cars costing as much as they do to day,
and the future supply of new ones uncertain, most all
drivers are interested in ways to make their cars last.
And there's no better way to make your car last
than to reduce engine were due to lubrication fifty percent
with amazing new signal premium motor oil. Just consider whether
(24:22):
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With new signal premium, your car should keep its like
new PEP and power twice as long should go twice
as many miles before needing an overhaul due to engine ware.
If your car isn't already an oil eater, new signal
premium should double the period during which you continue to
enjoy low oil consumption. And get this, you can enjoy
(24:45):
all these extra benefits of this superior quality, heavy duty
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So if you want to keep your car's performance up
and expenses down for a long time to come, you
know the oil to change to new signal premium. You
know where to get it, a friendly independently operated signal
(25:08):
service stations.
Speaker 2 (25:18):
Well, Paul, it's all over, isn't it. Edith Kramer's dead,
her body hidden temporarily beneath the floor in your living room.
You've reported her absence to the police in the hope
that their search for her will lead them to her
car in the garage, the one you were driving when
you killed a man late tonight. It's Edith will appear guilty,
(25:38):
isn't it, Paul. Yes, you're sure now that Edith's hold
over you is gone. And as the hours pass, you
find yourself thinking of Patricia and the life of luxury.
The two of you will share while you patiently await
word on Edith's disappearance. Finally it comes.
Speaker 12 (26:00):
I'm Lieutenant Nicholas. You're a Paul Kilburn.
Speaker 4 (26:03):
Oh that's right, Come in, lieutenant. Have you found her?
Speaker 2 (26:07):
Oh?
Speaker 12 (26:08):
Not yet, but i'd like to. Looks like she killed
a man last night, hit and run accident.
Speaker 4 (26:14):
Edith, All, that's impossible.
Speaker 12 (26:15):
We found her car in our garage. Looks like an accordion.
It's the car, all right? Well, but where is she
skipped out? At least her bedroom looks like it. But
we'll find her and we'll have you to thank for it.
When we knew me. Yeah, if you hadn't reported her missing,
we never found her car.
Speaker 4 (26:32):
Oh yes, yes, that's right.
Speaker 12 (26:35):
What time do you have now?
Speaker 4 (26:36):
Now? Just about seven o'clock in a long night, hasn't it.
Speaker 12 (26:41):
Do you mind if I use your phone?
Speaker 4 (26:42):
No? No, not at all. What's that my alarm clock
in the bedroom?
Speaker 12 (26:51):
It doesn't sound like it. Wait a minute, right here
to the floor.
Speaker 4 (27:01):
I'm standing over it with a suitcase. That nothing, nothing
at all.
Speaker 12 (27:05):
What's an alarm clock doing on your floor?
Speaker 4 (27:07):
Well?
Speaker 12 (27:08):
You see, I believe I'll just find out for myself.
Mister kilber a sergeant.
Speaker 15 (27:13):
Yes, Lieutenant, come in, will you I want you to
help me tear up some floorboards.
Speaker 1 (27:41):
Let that whistle be your signal for the Signal Oil
program The Whistler each Sunday night at the same time,
and before you start your vacation trip, be sure to
ask your signal dealer for a free copy of Lane's Guide,
a booklet prepared by an independent travel organization to help
you find good eating and lodging places. While no pocket
sized booklet can include all the good hotels, motels and
(28:04):
dining places, Lane's Guide covers a representative selection in hundreds
of cities and towns, and a copy of this handy
publication is yours free at signal stations featured in Tonight's
story where Bill Forman high Averbach, Eve McVeigh, Betty lou Gerson,
(28:27):
John Dayner, and Jess Kirkpatrick. The Whistler was produced and
directed by George w Allen, with story by Meyer Dolinsky,
music by Wilbur Hatch, and was transmitted to our troops
overseas by the Armed Forces Radio Service. The Whistler is
entirely fictional, and all characters portrayed on the Whistler are
also fictional. Any similarity of names or resemblance to persons
(28:47):
living or dead is purely coincidental. Remember to tune in
at the same time next Sunday when the Signal Oil
Company will bring you another strange story by the whistler
Marvin Miller, speaking for the Signal Oil Company. Stay tuned
now for the Horace Heights Show which follows immediately over
most of these stations. This is CBS, the Columbia Broadcasting System.
And now stay tuned for the mystery program that is
unique among all mystery programs, because even when you know
who is guilty, you always receive a startling surprise at
the final curtain. In the Signal Oil Program, the Whistler Signal,
(00:26):
the famous go Father Gasoline invites you to sit back
and enjoy another strange story by the Whistler.
Speaker 2 (00:51):
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 (01:10):
And now for the Signal Oil Company, the Whistler's Strange story,
the Witness.
Speaker 2 (01:24):
Like so many people, Paul Kilburn was his own worst enemy.
He had brilliants, charm and youth, and he never let
anyone forget it. When he graduated from college, he received
the American Award for the most Promising Student of Architecture
at Andover University, and he never let anyone forget that either. Yes,
Paul Kilburn had a lot to learn, and as an
(01:46):
assistant in the architectural firm of Joseph Abercrombie in Company,
he was given the opportunity to learn, but he refused
to accept it. Now, for the third time that week,
Paul strode defiantly into the company offices, giving plain evidence
of his resentment and his third hangover of the week.
Speaker 3 (02:06):
Paul, Yeah, mister Abercrombie's been looking for you.
Speaker 4 (02:09):
Has he found me yet? You're an hour and a
half late.
Speaker 3 (02:12):
You'd better think up some story for him.
Speaker 4 (02:14):
I did the best I could, a little miscover up
everybody's office. Pal, don't you ever get tired of being
grand eaated? Paul? Be quiet and tell mister Ambercrombie mister
Kilburn is here and happy to confer with him at
any time.
Speaker 5 (02:27):
I'm free now, mister Kilburn, if that's convenient with you.
Speaker 4 (02:31):
Perfectly, perfectly.
Speaker 5 (02:36):
After you, mister Abercrombie, sit down, Paul. All right, I'm
tired of warning you.
Speaker 4 (02:47):
Paul.
Speaker 5 (02:47):
This is the third time this week and before that.
I'm just lost.
Speaker 4 (02:51):
And if I don't mend my ways in the future,
I won't have a future. Isn't that the way it goes?
Speaker 5 (02:55):
You don't have a future now, Paul, not with us.
Speaker 4 (02:58):
You're fired.
Speaker 5 (02:59):
I'm what iron, You're the most promising member of our staff.
There's no question about that. But I think we can
manage without you. When you lose some of your egotism
and replace it with some sense of responsibility, come back
and see us.
Speaker 2 (03:20):
You didn't expect that, did you, Paul, Joseph. Abercrombie and
Company was to be a mere stepping stone for you,
a lull before the storm of success, but not now.
You keep up your front of careless indifference, even when
Edith insists that the two of you go out for
a cup of coffee together. But inside you feel like
(03:41):
a whip school boy, don't you.
Speaker 4 (03:42):
Paul?
Speaker 6 (03:44):
Oh, Paul, what are you going to do?
Speaker 4 (03:47):
You tell me?
Speaker 3 (03:48):
I feel awkward?
Speaker 4 (03:51):
Why I'm the one who got fired?
Speaker 3 (03:53):
I I just do, Paul. I've watched your work. You're
going to be a great architect.
Speaker 4 (04:00):
Bad you didn't reach Abercrombie with that news.
Speaker 7 (04:02):
I know I'm acting like a schoolgirl on her first date.
Speaker 4 (04:06):
What are you trying to say?
Speaker 7 (04:08):
It's hard for me, Paul, because well we've only gone
out once or twice, and you've been so distant or
no harm met I know. Look, Paul, I've inherited twenty
thousand dollars.
Speaker 4 (04:22):
Oh, I wish I had your luck you have come again.
Speaker 7 (04:28):
Twenty thousand is enough for you to open an office
of your own and keep going until you make it
on your own.
Speaker 4 (04:32):
Paul, Ye, what about you?
Speaker 8 (04:35):
Where do you come here anywhere?
Speaker 7 (04:37):
You say you can consider it alone or make me
a partner in the firm.
Speaker 3 (04:41):
I can handle the office.
Speaker 4 (04:42):
D Yeah, but why take a chance on me. I'm
not very steady. I've slept through an alarm clock ever
since I was in long pants.
Speaker 7 (04:48):
I never sleep through an alarm clock, and I never
forget to say it either.
Speaker 3 (04:52):
I'll on you every morning and get you up.
Speaker 4 (04:55):
No, No, it's too good. Why what else do I
have to do for this backing?
Speaker 3 (05:01):
Nothing except to stop drinking. My offer goes as I
made it.
Speaker 4 (05:06):
I'm talking about you. Don't you want anything more out
of this?
Speaker 2 (05:11):
Well?
Speaker 3 (05:11):
Yes, I do what you.
Speaker 6 (05:15):
I want to marry you, Paul.
Speaker 1 (05:31):
When you hear a commercial on the radio, you naturally
assume it was written by some advertising man, don't you. Well, Frankly, friends,
the best commercials about signal ethyl are written by you
drivers yourselves. Here's what I mean. All I have to
do is spend a little time around a signal station.
Pretty soon in drives the owner of a shiny new
car who boasts that signal ethel sure brings out all
(05:54):
the pep and power they build into these new high
compression motors. Well, answers the owner of a forty. This
baby may not be new, but it sure runs like
it with signal Ethyl. Then a tourist who had stopped
for one of Signals Free maps chimes in. The thing
I like about signal ethyl is the way it takes
me over these big Western hills without shifting or clattering. Well,
(06:15):
the only trouble, friends, is that there isn't room in
one commercial for all the enthusiastic things drivers say about
the premium grade of signals famous. Go farther gasoline to
discover them all. You'll simply have to try a tankful
of this super powerful super fuel, which is the best
idea anyway. Try a tankful, then let its performance in
(06:37):
your car. Write the best commercial you've ever heard about
signal ethyl.
Speaker 2 (07:01):
You meet Edith just about halfway, don't you, Paul. You
let her set you up in business, all right, and
you become engaged, but you conveniently put off the marriage
to some future date, or, as you tell Edith, until
you've proved yourself worthy of all she's done for you,
And as time goes by, you're forced to admit that
she has a wholesome influence on you. Your drinking stops,
(07:25):
you adopt regular habits. But the instantaneous success you expected
as an architect comes very slowly, doesn't it, Paul?
Speaker 4 (07:33):
Well, how about it, mister Crawford. What do you think
of these plans?
Speaker 8 (07:36):
Young man?
Speaker 9 (07:37):
If there weren't a young lady president, I tell you
exactly what I think of them.
Speaker 3 (07:40):
Why what do you mean, mister Crawford?
Speaker 9 (07:41):
I mean to be blunt that these plans you drew up, Kilburn,
are utterly worthless as far as I'm concerned. Now, wait
a minute, and if this is your idea of what
I need, then young man, I don't need you. Good day, sir.
Speaker 8 (07:52):
But mister Crawford, let them go.
Speaker 7 (07:56):
All right, Paul, And don't worry, darling, we'll do this
thing yet together.
Speaker 10 (08:10):
I'm sorry, Kilburn. I don't like to go into this
on the phone, but these plans of yours just won't
do so far. I see no indication that you want
to incorporate anyone's idea except your own.
Speaker 4 (08:22):
Well, if you have such hot ideas of your own.
Why did you come to me in the first place.
Speaker 10 (08:25):
That's odd, mister Kilburn. I was just about to ask
myself the same question.
Speaker 3 (08:31):
Why, Oh, Paul, you shouldn't get so angry. You shouldn't.
Speaker 4 (08:35):
I don't need guys like that.
Speaker 3 (08:37):
Yes you do, darling.
Speaker 7 (08:38):
We both need them, a lot of them, and somehow
we'll get them too.
Speaker 2 (08:51):
For the first time in your life, you begin to
know what hard work is, don't you, Paul. You have
to work hard, and Edith besides you, every step of
the way, works even harder than you do nights, days, weekends,
until finally someone says the words you've waited to hear.
Speaker 4 (09:06):
Well, sir, mister Kilburn, I've seen everything. Is that?
Speaker 5 (09:10):
Is there anything I missed? Mister Benson? Oh no, No,
not a thing, Kilburn. This is a work of art.
You're a fine architect and an excellent architecture.
Speaker 3 (09:17):
We're so glad you're pleased, mister Benson.
Speaker 4 (09:20):
Oh yes, indeed.
Speaker 5 (09:21):
Well I'll tell you one thing. If this is a
sample of your work, you'll never want for clients if
I can help it. I'm happy I had sense enough
to hire you.
Speaker 2 (09:35):
And that's just the beginning, isn't it.
Speaker 4 (09:37):
Paul.
Speaker 2 (09:37):
The Benson contract was a big one, and from that
others began to come in. After a while, you become
used to the idea of success. That's easy, isn't it, Paul.
But getting used to the idea of marrying Edith one
day is something else again. But you don't really want
to lose Edith completely. She's so convenient, still phoned you
(09:57):
every morning to get you up, takes care out of
all sorts of annoying details at the office. Even you
have to admit she's a big part of your success.
But you can't put her off indefinitely, can.
Speaker 10 (10:08):
You, Paul?
Speaker 2 (10:09):
And one afternoon, about a month later, as Edith comes
into your workroom, you have no way of knowing that
the time of decision is near at hand.
Speaker 7 (10:17):
Someone to see you, Paul, Shall I tell her to
wait her? Patricia Wilson never heard of her. Everyone else has.
She's a tobacco heiress, just flew in from Rome a
few weeks ago.
Speaker 3 (10:28):
And she's very pretty, money and beauty both. I'm sorry
to say.
Speaker 7 (10:32):
Oh, by the way, I'm sending your drawings to the
International Society of Architects and Designers competition.
Speaker 4 (10:38):
Okay, if you say so.
Speaker 3 (10:39):
Nothing to lose, and ten thousand a gain to say
nothing of all the honors.
Speaker 4 (10:43):
No suit yourself, And you concern that tobacco eras.
Speaker 3 (10:45):
In, mister kil i'd been in earlier.
Speaker 11 (10:48):
If I've known that genius has come so young and
so handsome, I'd.
Speaker 4 (10:51):
Have come out, Miss Wilson, if I'd had any idea
the tobacco leaves had such a lovely flower.
Speaker 3 (10:56):
Ha, we'll get on.
Speaker 4 (10:58):
Excuse me, of course you did, said down Swilson.
Speaker 6 (11:03):
I will now.
Speaker 3 (11:05):
I know.
Speaker 11 (11:05):
I want you to design me a house that's good,
Yes it is, and I know exactly.
Speaker 2 (11:09):
What I want.
Speaker 3 (11:10):
And architecture is one.
Speaker 8 (11:11):
Of my hobbies.
Speaker 4 (11:12):
Can't you leave the architecture to me?
Speaker 11 (11:15):
What would I do for a hobby, mister Kilden.
Speaker 4 (11:18):
Find another one, like horseback riding? Say when, well, let's
see not.
Speaker 3 (11:24):
Excuse me, Paul, Yes, what is it?
Speaker 7 (11:26):
A contractor at Silver Lake Houses on the phone. It's
about some trouble with the pegged flooring.
Speaker 4 (11:30):
Why trouble. There's nothing of putting that in.
Speaker 7 (11:32):
Perhaps you'd better talk with him, Paul.
Speaker 4 (11:34):
No, not now tell them, well, tell them I'll be
out there right.
Speaker 3 (11:37):
Away, all right, Paul, I'll call the parking lot and
have him send your car.
Speaker 4 (11:40):
Yes, yes, do that. I'm sorry, miss, not at all.
Speaker 11 (11:45):
I like spirit in my architects.
Speaker 4 (11:47):
Well, this contract is always telling me something can't be done.
I know all about pegged floors. Practically put them in
my house by myself. You know where were we?
Speaker 11 (11:56):
You just suggested horseback riding, and I just asked when.
But I'm going to take back my question. Oh, make
a statement out of it. We'll go riding Sunday pool.
Speaker 2 (12:14):
Patricia's very sure of herself, isn't she, Paul. And that's
Sunday and the next and the next. When it isn't
horseback riding, it's gone for the race, is at Delmar
or dinner and dancing. It's always something, and it's always Patricia.
You see Edith less and less. It's good business. You
tell her Patricia's wealthy and she knows everyone worth knowing.
(12:36):
Edith never says anything, and you push your hurt suffering
looks to the back of your mind. But Patricia is
not so generous with it.
Speaker 5 (12:50):
Oh, oh that was wonderful, Yeah, it was great.
Speaker 4 (12:55):
You won again.
Speaker 3 (12:56):
Oh of course, Darling, I always win, didn't you know that?
I've wondered well, maybe not always it that.
Speaker 11 (13:03):
For instance, are you still engage that little mouse of
the secretary of yours?
Speaker 4 (13:08):
Technically? Why?
Speaker 5 (13:09):
I told you why before.
Speaker 11 (13:11):
I don't appreciate having that plain little creature's arrival. Winning
over it would be an empty victory, and losing.
Speaker 2 (13:17):
Would be unbearable.
Speaker 4 (13:19):
What do you want to win?
Speaker 12 (13:21):
You don't know.
Speaker 4 (13:22):
I don't think so.
Speaker 3 (13:23):
Oh, now you're being insulting.
Speaker 4 (13:24):
Maybe how do I know you haven't pulled this off
and wrong of Paris of London put on a victory
and then left the SAP holding his hands.
Speaker 3 (13:33):
You're not far well.
Speaker 4 (13:34):
I don't intend to be another SAP.
Speaker 3 (13:35):
You're not going to be.
Speaker 4 (13:38):
Does that mean you'll marry me?
Speaker 2 (13:40):
Yes?
Speaker 4 (13:41):
When as soon as.
Speaker 3 (13:43):
You break off with that little secretary of your.
Speaker 4 (13:46):
I've told you a lot. It down as soon as.
Speaker 3 (13:48):
I could, I'd better be very soon.
Speaker 13 (13:51):
I don't like waiting.
Speaker 2 (13:59):
You try, Paul, but you can't bring yourself to do it.
Too many people know how much Edith has helped you
when you were down and out, and besides, deep down
you're too much of a coward to tell her the truth.
And on Monday morning you come into the office late
with a hangover.
Speaker 3 (14:15):
Good morning, Paul. I warn you I'm about to do
something I never did before. Yeh what, I'm going to
kiss you right here in this.
Speaker 4 (14:22):
D Please do not stop it?
Speaker 3 (14:25):
All right?
Speaker 7 (14:28):
Maybe I should have told you about the telegram before
I tried to kiss you.
Speaker 4 (14:31):
Telegram.
Speaker 3 (14:32):
Yes, listen, mister Paul Kilburn. Congratulations.
Speaker 7 (14:36):
The International Society of Architects and Engineers is pleased to
announce that your designs have been selected as the most
original and creative in the field of architecture.
Speaker 3 (14:45):
You have been named the Society's Architect of the Year.
The award will be made officially on Sunday, July fifteenth.
It's the Stratton Club in a banquet to be tendered
in your honor. HM. Wakefield President. Do I get that kiss?
Speaker 4 (14:58):
Yeah?
Speaker 7 (15:00):
Oh god, I'll be so proud when I watch and
present you with a diamond pin and the ten thousand
dollars at the banquet.
Speaker 4 (15:06):
Of course I'm sure you will.
Speaker 3 (15:20):
Of course I know, Paul. It's all over the papers.
Speaker 11 (15:22):
Congratulations, Donnie, Thanks Patricia. Oh, I've been a busy girl,
rushed down Antwine to have myself fitted for a new gown.
Speaker 2 (15:28):
Where do you see it?
Speaker 11 (15:29):
The night of the banquet, you.
Speaker 4 (15:30):
Shouldn't have done that.
Speaker 7 (15:31):
Why not?
Speaker 4 (15:33):
I'm taking Edith to the banquet, I have to. No,
you're not be reasonable, Patricia. You know I love you.
I tell you. There's nothing I can do.
Speaker 11 (15:43):
All right, I'll let your little Edith please senderella for
one night. But after that, Paul, you're gonna get rid
of her, and I mean rid of her.
Speaker 13 (15:49):
She's not going to be your secretary or anything else.
Speaker 5 (15:52):
Is that clear?
Speaker 4 (15:53):
Yes? I promise you she'll go.
Speaker 2 (16:05):
The banquet is a galla affair. You and Edith are
in the seats of honor, at the first table, and
at the next table staring coldly at you, Patricia with
some obscure architect and as if further irony were needed,
your former employer, Joseph Abercrombie is selected as toast last.
You're completely miserable, aren't you, Paul. In a few minutes
(16:26):
you'll be presented with ten thousand dollars and the highest
honors of your profession, and you wish you were a
thousand miles away. You take your usual form of escape,
don't you.
Speaker 4 (16:36):
Paul, A waiter, another whiskey and water.
Speaker 3 (16:38):
Please, please, Paul Darling no more.
Speaker 4 (16:41):
You called for me in your car. Remember you can
drive if you think I've had too much.
Speaker 5 (16:49):
Ladies and gentlemen, Before we officially present the award to
the Architects of the Year, I'd like to tell you
something about this year's winner. Him very well. I had
the honor, if I can use that word, of being
the only man who fired him. But I'm not ashamed
(17:09):
to say that he proved himself a better man than I.
Before I say any more about him, however, I would
like to pay homage to the woman behind the throne.
It was her financial and borrow backing through thick and
thin that made Paul Kilburn what he is today. She
(17:31):
is soon to become his wife. I want Edith Kramer
to stand up and take a bow.
Speaker 3 (17:39):
Thank you, Thank you very much. I shall always remember
this night.
Speaker 2 (17:46):
You can see Patricia's eyes staring at you from the
next table. There are blaze with hatred, and there's nothing
you can do but sit there and smile. Mechanically, you're
call to the rostrum where the diamond pin has clipped
onto your lapel, and you receive the check for ten
(18:06):
thousand dollars. Suddenly, out of nowhere, Patricia is at your side.
Speaker 13 (18:12):
I'm not waiting any longer, Paul finish with her to night, Paul,
Please don't drive so fast.
Speaker 4 (18:28):
Work You told me to go ahead and drive, and
don't tell me.
Speaker 3 (18:30):
How to do it, all right, dear, Let's be happy tonight.
It's such an important night. Paul.
Speaker 4 (18:36):
Oh, you're so blind Edith. Can't you see it's over?
Speaker 3 (18:40):
Is it?
Speaker 4 (18:40):
You know it is?
Speaker 3 (18:42):
Oh?
Speaker 4 (18:42):
Paul, I'll stop that.
Speaker 3 (18:44):
You're the one who's blind, Paul. Don't you see?
Speaker 13 (18:46):
She'll ruin you in a month.
Speaker 3 (18:48):
You'll be a drunkard and a bun.
Speaker 4 (18:49):
I'll take my chances if.
Speaker 7 (18:51):
You leave me for that, that, Patricia, I swear I'll
tell everyone.
Speaker 3 (18:55):
If that's the only way I can hold you, I'll
make you look so cheap. You you hear me?
Speaker 4 (19:02):
Stop it.
Speaker 8 (19:02):
That's not going to help, are you all right?
Speaker 4 (19:20):
Yeah? I guess so. Come on, let's get out of here.
Speaker 3 (19:23):
But Paul, the other car, there's a man lying on
the road. Maybe he needs help.
Speaker 4 (19:28):
Come back here, Reade, get back in the car.
Speaker 3 (19:34):
He's dead. I'm sure he did.
Speaker 4 (19:37):
You see anybody else?
Speaker 3 (19:38):
No, but it's done.
Speaker 4 (19:39):
Any other cars, No, it's a break, not this thing
will only start. Come on, come on, there's.
Speaker 3 (19:48):
A gas station just around the bend. We can call
the police.
Speaker 4 (19:51):
Are you insane? Manslaughter? And lick around my breath? Can't
do anything for him? You said he was dead.
Speaker 2 (20:05):
A thousand thoughts race through your mind as you drive
Edith home. Somehow you manage to get her car in
the garage without being seen, and as you stand with
Edith at her front door before walking to the corner
cab stand Edith gives you something else to think about it.
Speaker 3 (20:21):
Someday you'll forgive me for loving you so much, Paul, Oh.
Speaker 4 (20:24):
No, not now.
Speaker 7 (20:25):
If I can't, you're going to forget about Patricia because
I won't give you up now.
Speaker 3 (20:30):
Paul, Ever, what.
Speaker 4 (20:33):
Is this?
Speaker 3 (20:34):
I wouldn't do this if it were just for me,
but it's for you too.
Speaker 7 (20:39):
I'm a witness, Paul, the only witness to the accident.
Speaker 3 (20:43):
So we're going to get married Paul soon.
Speaker 2 (20:55):
She means it, doesn't she? Paul? All the way home
in the taxi, you think how much she means it?
Inside your own home, a swirl of thoughts in gulf you.
The accident Edith Patricia drunk driving, hit and run Patricia
Edith hour passes two. Then one thought emerges clear and demanding,
(21:18):
and you know what you must do.
Speaker 4 (21:29):
Oh it's Paul, Edith. I want you to come over
right away.
Speaker 3 (21:32):
Oh, what's happened.
Speaker 4 (21:34):
Nothing, We're going to be married, that's all, Paul.
Speaker 10 (21:37):
It's three in the morning and you I'm quine.
Speaker 4 (21:39):
I'll just throw a few things in the bag and
grab a cab and come over. I'll pack my bag
and by the time you get here, we'll take my
car and drive south.
Speaker 3 (21:45):
Darling.
Speaker 4 (21:47):
Oh my, what's wrong.
Speaker 3 (21:48):
I just remembered you have a nine o'clock appointment with
mister Heally in the morning. I've got my alarm clock
set for seven, so I'll be.
Speaker 4 (21:54):
Sure and get you up, Edith, for heaven's sake.
Speaker 3 (21:56):
Oh all right, darling, forgive me. I'm not quite a
week and this is sudden. Oh, Paul, Darling, I'll hurry.
(22:17):
I came as soon as I could. Paul. I hope
you haven't changed your mind.
Speaker 4 (22:22):
No it is I haven't changed my mind, Paul.
Speaker 3 (22:27):
Paul, I'm so happy.
Speaker 2 (22:29):
Oh no, you work quickly, just as you'd planned it.
PAULA hurriedly drill the wooden pegs out of free of
the heavy oak planks in your floor, push them aside,
and stuff Edith's body in her suitcase into the eighteen
inch clearance underneath. This will do for now wounded Paul,
(22:51):
until you have more time to safely dispose of the body.
You replace the planks, hammer in some new pegs. Then
you reach for the phone.
Speaker 4 (23:06):
I want the police department, Please, Police headquarters. This is
Paul Kilburn, number four, Lynnwood Lane. Yes, my fiance is missing,
Edith Kramer, and she dropped me off at my house
about eleven said she was going straight home. I've been
(23:27):
trying to reach her ever since. No one answers. I
can't imagine what's happened to her. Would you please?
Speaker 14 (23:38):
My number is East Hills four nine two eight three.
Speaker 1 (24:01):
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service stations.
Speaker 2 (25:18):
Well, Paul, it's all over, isn't it. Edith Kramer's dead,
her body hidden temporarily beneath the floor in your living room.
You've reported her absence to the police in the hope
that their search for her will lead them to her
car in the garage, the one you were driving when
you killed a man late tonight. It's Edith will appear guilty,
(25:38):
isn't it, Paul. Yes, you're sure now that Edith's hold
over you is gone. And as the hours pass, you
find yourself thinking of Patricia and the life of luxury.
The two of you will share while you patiently await
word on Edith's disappearance. Finally it comes.
Speaker 12 (26:00):
I'm Lieutenant Nicholas. You're a Paul Kilburn.
Speaker 4 (26:03):
Oh that's right, Come in, lieutenant. Have you found her?
Speaker 2 (26:07):
Oh?
Speaker 12 (26:08):
Not yet, but i'd like to. Looks like she killed
a man last night, hit and run accident.
Speaker 4 (26:14):
Edith, All, that's impossible.
Speaker 12 (26:15):
We found her car in our garage. Looks like an accordion.
It's the car, all right? Well, but where is she
skipped out? At least her bedroom looks like it. But
we'll find her and we'll have you to thank for it.
When we knew me. Yeah, if you hadn't reported her missing,
we never found her car.
Speaker 4 (26:32):
Oh yes, yes, that's right.
Speaker 12 (26:35):
What time do you have now?
Speaker 4 (26:36):
Now? Just about seven o'clock in a long night, hasn't it.
Speaker 12 (26:41):
Do you mind if I use your phone?
Speaker 4 (26:42):
No? No, not at all. What's that my alarm clock
in the bedroom?
Speaker 12 (26:51):
It doesn't sound like it. Wait a minute, right here
to the floor.
Speaker 4 (27:01):
I'm standing over it with a suitcase. That nothing, nothing
at all.
Speaker 12 (27:05):
What's an alarm clock doing on your floor?
Speaker 4 (27:07):
Well?
Speaker 12 (27:08):
You see, I believe I'll just find out for myself.
Mister kilber a sergeant.
Speaker 15 (27:13):
Yes, Lieutenant, come in, will you I want you to
help me tear up some floorboards.
Speaker 1 (27:41):
Let that whistle be your signal for the Signal Oil
program The Whistler each Sunday night at the same time,
and before you start your vacation trip, be sure to
ask your signal dealer for a free copy of Lane's Guide,
a booklet prepared by an independent travel organization to help
you find good eating and lodging places. While no pocket
sized booklet can include all the good hotels, motels and
(28:04):
dining places, Lane's Guide covers a representative selection in hundreds
of cities and towns, and a copy of this handy
publication is yours free at signal stations featured in Tonight's
story where Bill Forman high Averbach, Eve McVeigh, Betty lou Gerson,
(28:27):
John Dayner, and Jess Kirkpatrick. The Whistler was produced and
directed by George w Allen, with story by Meyer Dolinsky,
music by Wilbur Hatch, and was transmitted to our troops
overseas by the Armed Forces Radio Service. The Whistler is
entirely fictional, and all characters portrayed on the Whistler are
also fictional. Any similarity of names or resemblance to persons
(28:47):
living or dead is purely coincidental. Remember to tune in
at the same time next Sunday when the Signal Oil
Company will bring you another strange story by the whistler
Marvin Miller, speaking for the Signal Oil Company. Stay tuned
now for the Horace Heights Show which follows immediately over
most of these stations. This is CBS, the Columbia Broadcasting System.
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