Announcer

You are listening to old time retro radio. For full access to our archive, visit patreon.com oldtime RetroRadio and now stay tuned for the program that is rated tops in popularity for a longer period of time than any other west coast program in radio history. The signal oil program. The whistler. S I t n a l. Signal. Signal. Gasoline. Signal. The famous Go farther. Gasoline. Invite you to sit back and enjoy another strange story by the whistler for extra driving pleasure. The signal to look for is the yellow and black circle sign that identifies signal service stations from Canada to Mexico. And for Sunday evening listening pleasure, the signal to listen for is this whistle that identifies the signal oil program, the whistler.

The Whistler (Narrator)

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.

Announcer

And now for the signal oil company. The whistler's strange story. Patroness of murder.

The Whistler (Narrator)

Paul Wilson moved about his studio, adding the final touches of preparation for two expected guests. Two very important guests. One of them, Miles Hubbard, the aging sculptor turned critic, could hold the key to the success of Paul's career. His nod of approval could mean a future of security and position. Without it, the world might never know the talents of Paul Wilson, sculptor. And Paul was certain that his second guest, Don Alden, had arranged this meeting for the sole purpose of getting an expert's appraisal of his work. But it was no gesture of friendship. Paul's meetings with Don had never been friendly. This one would be no exception. Paul was certain of that. Their cold exchange of glances when Paul met them at the door proved that. The forced pleasantries over with, Paul showed them to the studio.

Paul Wilson

And this, gentleman, is my workshop.

Miles Hubbard

Fine studio, Wilson. Plenty of room, good lighting. Everything a room can offer. The artist is here. The rest is up to the man himself, eh, Wilson?

Paul Wilson

Oh, that's quite right, Mr. Hubbard. The rest is up to the man himself.

Don Alden

I hate to take too much of Mr. Hubbard's time, Wilson. Can we see your work?

Paul Wilson

Whenever Mr. Hubbard's ready. I'll be glad to show him.

Miles Hubbard

When one grows old, Wilson, one learns the great wisdom of economy, economy of time, economy of words, economy of emotion.

Paul Wilson

Ah, yes, it's a great lesson to learn.

Miles Hubbard

I tell you this because when I look at your work, I shall have an instant evaluation. Either it will be good or bad, and I shall tell you immediately.

Paul Wilson

It's an honor to have you here, sir. I am anxious for your opinion, yes.

Don Alden

Well, then, may we see some examples of your sculpture now, please?

Paul Wilson

Right now. There you are, gentlemen. My latest. Mmm.

Michael Dubovich

Yes.

Miles Hubbard

Yes, there is promise here. There is not yet greatness, but there is much promise. Much great promise.

Paul Wilson

Oh, thank you, sir. Thank you very much.

Don Alden

You mean it's. It's really worthwhile then, Mr. Hubbard?

Miles Hubbard

Worthwhile? Yes, worthwhile. But, Thomas, that's the word done. Mostly there is promise.

Paul Wilson

I'm afraid Mr. Alden has thought of me chiefly as a stone mason. Or felt perhaps that I should carve soap.

Don Alden

I wanted to be certain, that's all. For Aunt Martha's sake. She's been financing your work for a long time now.

The Whistler (Narrator)

She'll be repaid later perhaps, if you're

Don Alden

as good as you've made her think you are.

Miles Hubbard

Ms. Alden thinks well of the young man's ability, John.

Don Alden

Very well. She told me the other evening she's planning to leave him half of her estate so that he can continue his work if anything happens to her. That's why your opinion is so important, Miles.

Miles Hubbard

I see. Well, he has the virility down. You can see it, can't you? And a strong feeling for material. There is much of Mestrovic here. You studied with him, perhaps?

Paul Wilson

Wilson? Uh, not directly, no.

Miles Hubbard

Mestrovic, Famous Balkan sculptor. Oh, yes. Mestrovic's work is very distinctive. Entirely free from the French influence.

Don Alden

You didn't study abroad, did you, Wilson?

Miles Hubbard

No.

Paul Wilson

No, I didn't. I. Oh, it's you, Michael. Back from your shopping so soon?

Michael Dubovich

Yes. Oh, I'm sorry, Paul. Your guest.

Paul Wilson

My houseman and helper, Gentleman Michael Dubovich.

Miles Hubbard

Gentlemen. You do, Michael. Well, we must go now, Wilson. Economy of time, you know.

The Whistler (Narrator)

Michael's entrance was ill timed, wasn't it, Paul? You quickly look for meaning in Don's expression and then in Miles Hubbard's placid face, but you find none. Perhaps they suspect nothing after all. You grow more certain of that as you see them. To the door. Miles Hubbard repeats his appreciation of your work, and you say your farewells. After your guests leave, you turn angrily to Michael.

Paul Wilson

Why did you burst in like that without knocking?

Michael Dubovich

I'm sorry, Paul. I didn't know you had guests.

Paul Wilson

But couldn't you hear us talking?

Michael Dubovich

I suppose I did hear you, but I assumed your guests were merely friends who had dropped in.

Paul Wilson

My guests were merely Miles Hubbard, the greatest authority on sculpture in the West.

Don Alden

Yes, I am.

Paul Wilson

And Don alden, nephew of Ms. Martha Alden, the lady who was the money for us to continue our work.

Michael Dubovich

Yes, Paul, I. I didn't realize.

Paul Wilson

And you're supposed to be my houseman.

Michael Dubovich

Yes, I know.

Paul Wilson

Well, then, act like a houseman.

Michael Dubovich

Yes, Paul. I'm sorry. In the future, you'll have no cause to complain. However, I. I shall be a model gentleman's gentleman.

Paul Wilson

Okay. See that you do.

Michael Dubovich

And never again shall I enter the studio unexpectedly.

Miles Hubbard

And.

Michael Dubovich

And if there are guests present, I shall wait outside for their departure. For hours, if necessary.

Paul Wilson

Oh, I know it isn't pleasant playing houseman, but right now it's. Well, it's the only way I can explain your presence. This studio. Ms. Alden's help is important to both of us.

Michael Dubovich

Of course, Paul. And I want you to know I'm very grateful. My food, my clothing, money to spend, a place to live and work. I owe it all to you.

Paul Wilson

Not to me, Michael. To your undeveloped talent. I recognized it instantly. Miles Hubbard simply confirmed my faith in you.

Michael Dubovich

It's a very great honor.

Paul Wilson

Now, after one or two showings of your work, using my name, my connections, I'll be proud to step aside and announce you as the promising creator.

Michael Dubovich

Yes. And then I shall tell them what a fine friend and benefactor you have here.

Paul Wilson

I'm sure you will. But until then, for our sake, for your sake, I mean, we must both treat our arrangement with strictest confidence.

Michael Dubovich

Of course, Paul.

Paul Wilson

By the way, did you study with Mestrovic?

Michael Dubovich

Mestrovic? Oh, yes. It was a great privilege. The master himself.

Paul Wilson

I'm glad. I'm very glad, Michael. For you.

Michael Dubovich

Of course.

The Whistler (Narrator)

That approach has always worked with Michael, hasn't it, Paul? You've traded on his hunger, his fears, his insecurity in a new land. You won't mind exploiting his promising talent as your own, even though you've convinced him that his obscurity is only for a little while. Yes, things are moving along nicely, aren't they? And your situation looks brighter than ever. A few days later. Linda Wells, attractive secretary to Ms. Martha Alden, your kindly elderly sponsor. Phone joke.

Paul Wilson

Hello?

Linda Wells

Hello, Paul? This is Linda.

Paul Wilson

Linda, you should do this more often. I feel better already.

Linda Wells

Well, you'll feel still better when I tell you the reason for this call. Ms. Alden's coming to the studio to see you this afternoon. Three o' clock sharp. You'll be there, of course?

Paul Wilson

Yes, yes, of course. But what's it all about, Linda?

Linda Wells

She didn't say. All I know is Ms. Alden talked on the phone with Miles Hubbard.

Paul Wilson

Miles Hubbard?

Linda Wells

Mm. And she seemed very pleased afterwards.

Paul Wilson

You're sure?

Linda Wells

Quite sure. A few minutes later, she ordered her car and asked me to phone you. She'll be there at three, Paul.

Paul Wilson

Yes, I'll be here. Thanks for calling, Linda.

The Whistler (Narrator)

Well, Paul, the critic Miles Hubbard's visit to your studio with Don Alden, Ms. Alden's nephew, has rebounded to your interest, hasn't it? You know that Don brought him to the studio on the belief that the famous critic would brand the sculpture as worthless. Instead, he praised it. And now Miles Hubbard has told Ms. Alden herself that it's good. Yes, Michael is a fine sculptor, isn't he, Paul? And a valuable houseman. You're curious as to what you'll have to say and decide it will be just as well if Michael is elsewhere during Ms. Alden's visit. So you send him off to buy supplies with instructions to take his time. With Michael out of the way, you pace the studio impatiently until Ms. Alden arrives. Then you lead her through the studio, past the small entrance leading to the kitchen, enter the door to your combination den and living room, and sit spellbound as Martha Alden enthusiastically explains the reasons for her visit.

Paul Wilson

But, Ms. Alden, I can hardly believe you've left half of your estate to me.

Martha Alden

I've been thinking about it for a long time, Paul. I've had such faith in you. That's why I was so pleased when Don suggested that before I took definite action. Miles Hubbard look at your work?

Paul Wilson

Well, I wondered about his Visit.

Martha Alden

And when Mr. Hubbard verified my own opinion, I decided to go ahead immediately. That's why I signed the documents this afternoon.

Paul Wilson

But your nephew, Don, if he didn't even like the idea.

Martha Alden

I haven't told him or anyone that I've actually drawn a new will. And I don't intend to, for the present, at least.

The Whistler (Narrator)

Well, Paul, it's no longer a question of maybe. Martha Alden has actually willed you half of her fortune. The necessary documents are signed and sealed. It is hard to believe, isn't it? After Ms. Alden leaves, you return to your den, light a cigarette and gaze dreamily out of the window. You look up, startled at the sound of your name.

Paul Wilson

Paul. Michael. I didn't hear you come in.

Michael Dubovich

I came back a little while ago. I went to the kitchen.

Paul Wilson

Did you?

Michael Dubovich

I got all the supplies. Paul, you have a visitor in the studio. Mr. Alden.

Paul Wilson

Don Alden?

Michael Dubovich

Yes.

Paul Wilson

Well, I'll see him right away. Well, Mr. Alden, this is a delightful surprise.

Michael Dubovich

Is it?

Paul Wilson

Most assuredly. What's on your mind?

Don Alden

I just wanted you to know, Paul. I've discovered the truth about you.

Paul Wilson

What do you mean that I'm certain

Announcer

you're a fraud in the cheat.

Don Alden

In a few days, I'll have the proof to expose you publicly.

Announcer

Tonight's $20 signal gasoline book goes to Mrs. C.E. grindel of Seattle, Washington, for this limerick. Our old car had all it could take. There wasn't a hill it would make. Then with signal, we gassed her. Now it runs so much faster. We drive with one foot on the brake. Signal, Signal, signal, gasoline. Your car will go far, will go further gasoline. You may not actually have to keep one foot on your brake after you switch to Signal, like the driver in the limerick, but your accelerator foot will thrill the signal smell smooth surges of lively, responsive power. That's because Pepe performance just naturally goes hand in hand with signals. Good mileage. So whether you're looking for economy or for sheer driving pleasure, look no farther. Just drive into a signal station and fill up with signal. The famous Go farther Gasoline.

The Whistler (Narrator)

You reel under the impact of Don's words, don't you, Paul? He's called you a fraud. He says he expects to prove that you're a fraud. You return his steady gaze and hope. The fear and panic that you feel don't show on your face. You've got to keep your nerve, your composure. You need it now more than ever as Don continues to build his case against you.

Don Alden

It seems such a coincidence, Paul, that your work showed a distinct Mestrovic influence. Especially since I've learned through his immigration papers that your houseman Michael comes from virtually the same section of the Balkans as the great sculptor himself.

Paul Wilson

As you say, a coincidence.

Don Alden

This cable I've just sent might interest you.

Paul Wilson

I doubt it.

Announcer

I think it will.

Don Alden

It's addressed to Mestrovic in Belgrade, asking a very simple but very important question. Was Michael Dubovich ever a student of yours? Your answer important to his career interest you?

Paul Wilson

It's too ridiculous.

Don Alden

When I get the answer, I expect, I'm certain Aunt Martha will see her protege in an entirely different light. The instant I hear from Estrovic, I will tell Aunt Martha everything. You'll be finished, Paul. You'll be completely finished.

The Whistler (Narrator)

Don's been quite thorough, hasn't he, Paul? He's always hated you. You've known that. But you didn't know the lengths he'd go to to ruin you with Ms. Alden. You. You must stop Don somehow. You're certain of that? But how? Hours later, you're still wondering and thinking. It's a sleepless night for you, isn't it? What are you going to do leave. Disappear. Before Mestrovic's answer can come by morning. You know that if you leave all your dreams of money, the inheritance leaves with you. Your mind is tired from thinking and indecision. You have no answer, have you, Paul? By noon you still have no answer. And then the phone startled you, but you manage to answer.

Paul Wilson

Yes? Hello?

Martha Alden

This is Ms. Alden, Paul.

Paul Wilson

Oh, yes. Yes, Ms. Alden. How are you?

Martha Alden

I'd like you to come to the house, Paul, as soon as possible, if you will.

Paul Wilson

Why, yes, of course, of course. Is. Is something wrong?

Martha Alden

I don't want to talk about it on the phone. Can you come here right away?

Paul Wilson

Of course, Ms. Alden.

The Whistler (Narrator)

You're breathless. When you arrive, Ms. Alden takes you to her upstairs sitting room, where she asks a question of her own.

Martha Alden

Paul, who is Michael Dubovich?

Paul Wilson

So Don has told you. You can't believe him. It isn't true. I've done the work, Ms. Alden. I've done it all. Michael is just what he seems to be. He's a student. Where is Don?

Martha Alden

I've tried to locate Don. I don't know where he is right now. But he has told me nothing, Paul.

Paul Wilson

Yes, but then how?

Martha Alden

This cablegram addressed to Don. I opened it. He's never received a cablegram before. I thought it might be important. It seems to be very important.

Paul Wilson

You don't understand, Ms. Alden. You must let me explain.

Martha Alden

I didn't understand any of it at first, Paul. I'm just beginning to realize. And it isn't easy to admit I've been a fool. But I have, haven't I?

Paul Wilson

Please, Ms. Alden. You must believe me, Paul.

Martha Alden

How can I? Your own first words when you came in, told me the story. It had never even occurred to me that you were using Michael.

Paul Wilson

What are you going to do? Do, Ms. Alden?

Martha Alden

You haven't left me any choice, Paul. I'll change my will, of course, but.

Paul Wilson

Change your will, of course?

Martha Alden

Surely you don't expect me.

Paul Wilson

You're not going to change that will, Ms. Alden. Paul.

Martha Alden

Paul, what are you going to do?

Paul Wilson

You're not going to get a chance to change that will, Ms. Alden.

The Whistler (Narrator)

Martha Alden. Will can't be changed now, can it, Paul? It's beyond the reach of any change. Yes. She met her death when you pushed her down the stairs. And her position will make her death appear to be an accident. You descend the stairs slowly. That's when you see the cablegram crumpled at her side. The cablegram from the great Mestrovic to Don. Alden stating that Michael Dubovich, your houseman, had been one of his prized students. Quickly, you snatch it, and the bright flame of the library fireplace destroys it into meaningless ashes. You must continue to act quickly, Paul. You must get out of the house, and you must not be seen. You turn to go, and you hear voices. Someone is coming.

Don Alden

This won't take long, Michael. Don't worry about it.

Michael Dubovich

But I. I don't understand. Why did you bring me here, mister?

Don Alden

I just want to ask you some questions, Michael. And I want Aunt Martha to hear your answers.

The Whistler (Narrator)

Done with, Michael, you whirl around. It's too late to reach the door without being seen. Quickly, you open the basement door, step inside and hurry down into the musty darkness. You feel your way cautiously across the basement to the back door. You find it locked. You stop and listen to their footsteps overhead. Then you hear them move into the library. It's only a matter of minutes until they discover the body of Ms. Martha Alden. Softly, you move up the stairs again. Open the door. You can hear them. But you don't dare run for the front door, do you, Paul?

Michael Dubovich

Perhaps we should not disturb Ms. Alden. I. I don't want to answer any questions.

Don Alden

The answers won't hurt you, Michael. I'm sure of that. Now, you just sit here, Aunt Martha, and I'll be down in a minute.

Michael Dubovich

Please, Mr. Alden. I don't like this. I have nothing to say.

Announcer

And Paul, don't worry about Paul.

The Whistler (Narrator)

Michael, quick. It's Aunt Martha.

Michael Dubovich

Oh, is she.

Don Alden

She's dead.

Michael Dubovich

Oh, no, no.

Paul Wilson

I. I stay here.

Announcer

Michael.

Michael Dubovich

No.

The Whistler (Narrator)

I've got to phone the doctor. Michael seems to be running now out of the house, Paul. And as Don hurries in the other direction to phone, the side door is free for your escape. You dash out into the winter darkness. Michael will be going home, and you must be there first, Paul. You race down the dimly lit street, hail a taxi at the next boulevard. Nothing matters now, Paul, so much as beating Michael home. And you do it. You're stretched out reading, when he enters and pours out the tragic story of finding Ms. Alden's body. You stand up well under the shock, but Michael's overcome.

Michael Dubovich

Poor Ms. Alden. It was so terrible, Paul and Mr. Alden. I'm so sorry.

Paul Wilson

I don't quite understand why you were with Don, Michael.

Michael Dubovich

Well, I don't really know. He picked me up in his car and drove me straight there. He said there were questions. Paul, what will we do?

Paul Wilson

For now, I think we'll do nothing. Don's Taking you there. It's so strange. That's it, Michael. We'll do nothing. We'll say nothing. We wouldn't want to get Don in any trouble.

The Whistler (Narrator)

You're still certain Mr. Alden's death will be called an accident? But if it isn't, if it's called murder, you're sure that you can put the blame on Don. You'd enjoy that, wouldn't you, Paul? His taking Michael to the house will make it seem that Don Alden was badly in need of a witness to discover the body with him. That's quite a coincidence, isn't it? And there was a strong motive for Don, too. He could have killed his aunt to prevent her from changing her will to leave you half of her fortune. A substantial half that would have belonged to him. And best of all, no one knows that Ms. Alden had told you she'd already changed her will. It's perfect for you, isn't it, Paul? It will seem that you had no motive whatever that it was to your interest for Ms. Alden to live. You turn on the radio to await developments. An hour later.

Announcer

Police have announced that the death of wealthy Ms. Martha Alden, previously tapped accidental, is now believed to be murder. Details are fragmentary, but the position of the body and identifying marks on the staircase have prompted police to begin questioning all concerned.

The Whistler (Narrator)

They call it murder now, Paul. They've been questioning everyone concerned, and they're making a sudden decision. Well, you've got to go to the police before they come to you. You have a story to tell them, haven't you, Paul? A story you're certain will convince them that you're innocent and Don Alden is guilty of Martha Alden's murder. Reaching homicide, you stage a nice act. You came in the interest of justice. And the Lieutenant seems interested.

Paul Wilson

That's why I came as soon as I heard. Lieutenant Hegstrom. I want to help all I can.

Lieutenant Hegstrom

Thanks. You know Mr. Alden here, I suppose.

The Whistler (Narrator)

Don Alden.

Paul Wilson

I'm glad you have him here, Lieutenant.

Don Alden

There's your man. Lieutenant Paul Wilson.

Lieutenant Hegstrom

Ah, just a minute. I'll do all the accusing here. Either of you could have done it under the circumstances. I'm sure one of you did.

Don Alden

Now, look here, Lieutenant.

Lieutenant Hegstrom

And now just a minute. The more I look at this thing, the more I'm sure it's a matter of motive. Find the motive and you find the man.

Paul Wilson

Don has all the motive in the world. He knew Ms. Alden was going to change her will and leave me half of her estate before she could do it this is true. He told me so himself.

Don Alden

That's true.

Paul Wilson

You see, I had no motive at all. I had everything to gain by her living. She was planning to make me one of her heirs.

Lieutenant Hegstrom

What about that, Mr. Alden?

Don Alden

Wilson had to kill her before she discovered he was a fraud.

Announcer

I had the evidence.

Paul Wilson

I'm not a fraud. And even if I were, what good would it have done me to kill Ms. Alden? Her living would have given me exactly what her death gave you. Her money. Alden was there. He even took Michael along as a witness to help him discover the body. He had the motive. What more do you want, Lieutenant?

Lieutenant Hegstrom

Not much. You know, Mr. Alden, if I were you, I'd be thinking up some answers for the DA.

Announcer

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The Whistler (Narrator)

You're in the clear now, Paul. You're certain Lieutenant Hegstrom is convinced of Don's guilt? Find the motive and you find the man. That's what he said. Paul. You're pleased, aren't you? And you know the story by heart that will convict Don as you tell it to the police stenographer for the permanent record. You've just finished and started to go when.

Lieutenant Hegstrom

Just one more detail. Wilson, come back a moment, will you?

Paul Wilson

Of course, Lieutenant. Glad to. Why, Michael.

Michael Dubovich

Yes, Paul? Paul, I've been so worried about you.

Lieutenant Hegstrom

Michael seems to be a very loyal servant, Wilson.

Paul Wilson

Yes. Yes, he is. You needn't have worried, Michael. I'm just fine.

Lieutenant Hegstrom

No, but he has worried, Wilson. He's worried a great deal. Even thought we might be holding you for the murder. And he came here with something he says proves you couldn't have done it.

Paul Wilson

Well, that's very nice. I sure.

Lieutenant Hegstrom

But Go on, Michael. Tell him what you just told me.

Michael Dubovich

Yes, sir. I told him you could not have done it, Paul. I told him you wouldn't have done it. How much you thought of Miss Alden after she'd been so kind. How she changed her will, left you half of her money.

Paul Wilson

But, Michael, how do.

Lieutenant Hegstrom

Go on, Michael. Tell Wilson how you knew Miss Alden had already changed her will.

Michael Dubovich

You remember, Paul, you told me not ever to burst in on you when you had guests. So that day Miss Alden came to see you. I waited outside the room. I did not burst in. But I couldn't help hearing her tell you she changed her will that afternoon to give you half her money. Paul. Paul, have I done something wrong?

Lieutenant Hegstrom

I'll answer that, Michael. You've done something right. Alden told the truth. He's the one without a motive. You lied, Wilson. You had the motive.

Paul Wilson

But, Lieutenant, I knew.

Lieutenant Hegstrom

You knew Ms. Alden had already put you into her will. You killed her to keep her from cutting out.

Announcer

Out of your will, out of your inheritance.

Lieutenant Hegstrom

Like I said, find the motive and you'll find the murder.

Announcer

Let that whistle be your signal for the Signal Oil program. The Whistler. Each Sunday night at this same time, brought to you by the Signal Oil Company, Marketers of signal gasoline and motor oil and fine automotive accessories. Remember, if you would like the fun of having your friends hear a limerick of yours on the Whistler, the address to which to send it is the Signal Oil company, Los Angeles, 55, California. All limericks become the property of the Signal Oil Company. Those selected for use on the Whistler will be chosen by our advertising representatives on the basis of humor, suitability and originality. So, of course, they must be your own composition. Featured in tonight's story were John Hoyt, Tal Avery, Gloria Gordon and Paul Freeze. The Whistler was produced and directed by George W. Allen, with story by David Ross, 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, living or dead is purely coincidental. Remember, at the same time next Sunday, another strange tale by the Whistler. S I g n mal signal signal gears for me, marvin miller, speaking for the signal oil company. This is cbs, the columbia broadcasting system.