The Whistler 42-06-13 ep005 Shrunken Head

Summary

Podcast Summary: Harold's Old Time Radio – "The Whistler 42-06-13 ep005 Shrunken Head"

Introduction

In this captivating episode of Harold's Old Time Radio, titled "Shrunken Head," listeners are transported back to the Golden Age of Radio with a gripping mystery that intertwines family secrets, psychological manipulation, and eerie supernatural elements. Hosted by Harold's Old Time Radio, this episode delves into the unsettling story of Marie Medford and her enigmatic Uncle Peter Medford, set against the backdrop of the ominous Medford Manor.

Plot Synopsis

Arrival at Medford Manor

Marie Medford, the sole surviving relative, journeys over 2,000 miles to reunite with her Uncle Peter Medford at the secluded Medford Manor. Upon her arrival on a stormy autumn evening, she is greeted not by her uncle, but by Clay Alden, Peter's secretary, who informs her of Peter's paralysis and confinement to a wheelchair due to jungle fever.

Marie Medford (00:32): "No, no, no. It's no dream. It's here. Here in my room."

Despite the chilly reception, Marie is escorted into the gloomy manor by Alden and the butler, Victor. The Whistler’s narration sets an eerie tone, hinting at the mysterious happenings yet to unfold.

Meeting Uncle Peter

Inside, Marie finally meets Uncle Peter, who appears warm but distant. He showcases his peculiar collection of shrunken heads, particularly one named Charlie, which he treasures dearly. Peter encourages Marie to stay active and even offers her a job cataloging a vast library, suggesting a desire to keep her engaged and away from brooding over recent family tragedies.

Peter Medford (06:00): "That's it. Now you sit down here beside me. I'm sorry I couldn't meet you, my dear, but I'm afraid the ravages of old age and malaria have finally caught up with me."

Unsettling Dreams

As nights pass, Marie begins experiencing vivid nightmares featuring Charlie, the shrunken head. These dreams blur the lines between reality and illusion, causing Marie to question her sanity.

Marie Medford (10:15): "My name's Charlie. No, no, no, Uncle Peter. Oh. Oh, how foolish. Only a dream, and it seems so real."

Rising Tensions

The tension escalates when Clay Alden becomes increasingly suspicious of Uncle Peter's intentions. He warns Marie of Peter's manipulative schemes to disinherit her unless she marries, revealing that Peter orchestrated the dreams using a hidden radio speaker.

Clay Alden (24:32): "The one he calls Charlie. It's back in its case."

The climax unfolds with Alden confronting Peter, exposing his deceitful plans to control Marie’s inheritance and prevent her from marrying. A confrontation ensues where truths are unveiled, leading to Peter’s downfall as Alden and Victor apprehend him.

Clay Alden (26:03): "Do you hear? ... If you'll stand on a chair and look above your bed as I did this afternoon, you'll see a small radio Loudspeaker."

Resolution

In the aftermath, Marie learns the full extent of the family secrets and the extent of Peter’s madness, ensuring her safety and autonomy are restored. The Whistler wraps up the story, hinting at unresolved mysteries and the lingering effects of the sinister events.

The Whistler (27:07): "All right."

Key Discussions and Insights

This episode masterfully blends psychological thriller elements with classic horror tropes. The use of shrunken heads symbolizes the distorted relationships and hidden truths within the Medford family. Marie's struggle with her nightmares represents her battle against the manipulative forces her uncle exerts over her life. Clay Alden's role as both secretary and protector introduces themes of loyalty and betrayal, adding depth to the narrative.

Notable Quotes

• The Whistler (01:40): "Many secrets hidden in the hearts of men and women who have stepped into the shadows."
• Marie Medford (08:11): "I want to be active if I can. I'm quite capable. I'd really like to get a job, Uncle Peter."
• Peter Medford (09:13): "Perfect in every detail. He's my favorite."
• Clay Alden (25:15): "I'm sorry to break it to you this way, but I'm definitely convinced your uncle is a diabolical fiend."
• The Whistler (28:41): "Why don't you tell her now, Clay?..."

Conclusion

"The Whistler: Shrunken Head" is a compelling episode that captivates listeners with its intricate plot, well-developed characters, and suspenseful storytelling. Harold's Old Time Radio successfully revives the essence of classic radio mysteries, offering both nostalgic charm and timeless intrigue. This episode serves as a testament to the enduring appeal of suspenseful narratives that explore the darker aspects of human nature and familial bonds.

Transcript

[Styles MacKenzie]

We interrupt this program to bring you an important Wayfair message. Wayfair's got style tips for every home. This is Styles MacKenzie helping you make those rooms sing. Today's style tip. When it comes to making a statement, treat bold patterns like neutrals. Go wild like an untamed animal. Print area rug under a rustic farmhouse table. From wayfair.com fierce. This has been your Wayfair style tip to keep those interiors superior.

[Marie Medford]

Wayfair, every style, every home.

[Narrator]

Wait a minute.

[Clay Alden]

Have you heard the Whistler?

[The Whistler]

I'm the Whistler.

[Peter Medford]

If you could look upon Charlie as I do, you'd realize he's inanimate. Dead, with no power to harm.

[The Whistler]

That was old Peter Medford, the jungle explorer, now confined to a wheelchair with paralysis.

[Clay Alden]

I would suggest that you leave this place at once, Ms. Medford. At once.

[The Whistler]

That was Clay Alden, Peter Medford's secretary. And this is Marie, Peter Medford's young niece.

[Marie Medford]

No, no, no. It's no dream. It's here. Here in my room.

[Narrator]

Saturday night and CBS presents another in the new mystery series, the Whistler.

[The Whistler]

And I. The Whistler know many things, for I walk by night. I know many strange tales, many secrets hidden in the hearts of men and women who have stepped into the shadows. I know the nameless terrors of which they dare not speak. And so I tell you tonight, the strange mystery of the shrunken head. In the quickening darkness of a stormy fall evening, a young girl paces the deserted platform of a small suburban railroad station. From her anxious attitude, we know that she's waiting for someone. But just be patient, Ms. Medford. There is someone coming to meet you. He has just now driven up. He's coming through the station door. Walking up behind you.

[Clay Alden]

Ms. Medford?

[Marie Medford]

Oh. Oh, yes, I.

[Clay Alden]

Sorry to have kept you waiting. I'm Clay Alden.

[Marie Medford]

Oh, yes. Uncle Peter has mentioned you in his letters. His secretary, aren't you?

[Clay Alden]

That's right.

[Marie Medford]

Where is my uncle?

[Clay Alden]

He was disappointed he couldn't meet you. Pretty much of a task for the old gentleman to get around these days. You see, he's confined to a wheelchair.

[Marie Medford]

Oh, I didn't know.

[Clay Alden]

Serious legs are paralyzed. Result of jungle fever. Just came on him lately.

[Marie Medford]

How awful.

[Clay Alden]

Yes, it's a shame, all right. Well, shall we get going? Car's out front. Better run for it or you'll get wet. I'll take care of your luggage.

[Marie Medford]

Thank you very much.

[The Whistler]

Rather a disappointing reception, Marie Medford. Wouldn't you think you have come over 2000 miles all by yourself just to see the only living relative you have in the world. Then you are met by a stranger. The car turns up the tree lined driveway. This, Marie, is what is known in this countryside as Medford Manor. Yes, Medford Manor. It's all that the name implies. A gloomy pile of a structure. Even made gloomier by the blackness of the night and the driving rain. Oh, Someone has heard the car approach. The door is open. It's the butler. Victor. Well, Marie, are you going in? What a pity. You don't know what I do. You'd never cross that threshold if you did. Too late now. Your luggage is being brought in. The young man and the butler stand beside you. The door closes.

[Clay Alden]

Victor.

[Victor]

Yes?

[Clay Alden]

Take Ms. Medford's luggage upstairs to the south corner bedroom.

[Victor]

The south corner bedroom, sir?

[Clay Alden]

Certainly. Why not?

[Victor]

Very good, sir. Any further instructions?

[Clay Alden]

No. Oh, has Mr. Medford retired yet?

[Victor]

Not yet, sir. He's in his study. I just gave him his. His warm milk. He may have dozed off, sir.

[Clay Alden]

All right. Thank you, Victor.

[Victor]

Yes, sir. Thank you, sir.

[Clay Alden]

Would you care to follow Victor to your room, Ms. Medved?

[Marie Medford]

I'd like to see my uncle now, if I could, please.

[Clay Alden]

Very well. Come this way. Here we are. I'll speak to him. Wait here, please.

[The Whistler]

Marie. How do you like it? You get a feeling of something not as it should be. Strange fellow, this clay. And the butler, too. Look about you.

[Marie Medford]

What a depressing house. Huge and cold. Unfriendly.

[The Whistler]

Not at all as you'd imagined it, is it? Marie?

[Clay Alden]

Your uncle will see you now.

[Marie Medford]

Thank you.

[Peter Medford]

Marie. My dear child. Come in, come in, come in. Well, well, my poor child. Take off those wet things at once. Alden, what's the matter with you? Mind shall catch her death. Help her off with those things.

[Clay Alden]

Sorry, Mr. Mudford.

[Marie Medford]

Thank you.

[Peter Medford]

Bless my soul. Pretty as the picture.

[The Whistler]

You got a kiss for us?

[Marie Medford]

Of course.

[Peter Medford]

That's it. Now you sit down here beside me. I'm sorry I couldn't meet you, my dear, but I'm afraid the ravages of old age and malaria have finally caught up with me. My one comfort is this wheelchair. Getting onto it, though, you should see me wheeling all over the house. The only thing that baffles me is the stairs. My life is now confined to the first floor only. Oh. Pretty bad trip, wasn't it?

[Marie Medford]

Seemed endless.

[Peter Medford]

Well, you're here now, thank goodness. This is your home. You're free to come and go and do whatever you please.

[Marie Medford]

Thank you, Uncle Peter.

[Peter Medford]

Don't suppose any of this is what you imagined. I know that. I'm different from what I'd hoped you'd find.

[Marie Medford]

Tell me, Uncle Peter, do you think you'd have recognized me if you hadn't known I was coming?

[Peter Medford]

Recognize you? Why, of course. You have the family of Medford written all over you. No mistaking you, my dear. Well, Alden, what are you standing there for? What are you staring at?

[Clay Alden]

Oh, waiting to see if you need anything for this.

[Peter Medford]

No, no, no, no, no. That's all. I'll ring for you if I need you.

[Clay Alden]

Yes, sir.

[Marie Medford]

Oh, I forgot to thank him.

[Peter Medford]

For what? He gets paid for whatever he does.

[Marie Medford]

Forgive me for saying this, but somehow I don't like that young man.

[Peter Medford]

Was he rude to you?

[Marie Medford]

Oh, no, not actually. But he seems to resent my being here. And the butler, he seems resentful, too. I feel as though I don't belong.

[Peter Medford]

Oh, they're harmless enough, but getting back to you, I. I was so sorry. I was in South America. The time. The time it happened must have been pretty ghastly for you, my child.

[Marie Medford]

Like a nightmare. Uncle Peter. I'm not myself yet.

[Peter Medford]

I should think not. An only child losing both parents so suddenly and. And so horribly.

[Marie Medford]

Maybe it was a good thing. It was sudden it had to happen at all. One spectator at the crash said that they never, never knew what happened.

[Peter Medford]

Oh, no, no, no, no, no, no, no, no, no. You mustn't talk about it. All that's behind you. A new life from now on.

[Marie Medford]

That's the way I want to look at it, Uncle Peter. And I'd like to get something to do.

[Peter Medford]

What? Oh, now?

[Marie Medford]

Yes, really, I would. I want to be active if I can. I'm quite capable. I'd really like to get a job, Uncle Peter.

[Peter Medford]

Well, bless my soul.

[Marie Medford]

Secretarial work or anything.

[Peter Medford]

Well, that might not be a bad idea. Keep you from brooding. We'll see what we can do. And now. Now I have a little surprise for you. You haven't seen my collection.

[Marie Medford]

No, I haven't. Mother and Father often talked about it.

[Peter Medford]

Well, if you'll just open that door over there, I'll show some of it to you.

[Marie Medford]

Oh, this one?

[Peter Medford]

That's right. You'll find the light switch just inside.

[Marie Medford]

Why, it's a regular museum. All these black cake.

[Peter Medford]

Over here, my dear. Now, look at these. Well, what do you think of them?

[Marie Medford]

They're horrible, Uncle Peter. They look like. Like tiny human heads.

[Peter Medford]

Well, that's exactly what they are. Life size at one time. But isn't it remarkable the way they shrink them down? Look at this one.

[The Whistler]

See his little features?

[Peter Medford]

Perfect in every detail. He's my favorite. Interesting history about him. He was once a white man forced down in a South American jungle. When his plane cracked up, the headhunters got hold of him and there he is. His name is Charlie. I'd like to see him closer. I can unlock the case.

[Marie Medford]

No, no, please. Do you mind if I don't look anymore?

[Peter Medford]

Oh, dear, I. I keep forgetting people are sometimes shocked by these things. I see them only through a collector's eyes. Oh, well, you'll have lots of time to look over my jungle paraphernalia. Meanwhile, perhaps you better get some rest. Would you like Victor to get you something to eat?

[Marie Medford]

No, thank you, Uncle Peter, but I am rather tired. I think I'll say good night to you.

[Peter Medford]

Know your way about, do you?

[Marie Medford]

Yes, I. I'll find my room. Good night, Uncle Peter.

[Peter Medford]

Good night, my sweet child. I'll see you in the.

[The Whistler]

Poor Marie. Know something? You're going to have dreams tonight. Unpleasant ones, too. Well, let's move the clock ahead and go to Marie's bedroom. It's a little after three in the morning. She's asleep now. The rain's still coming down. The wind moans outside.

[Peter Medford]

Hear it?

[The Whistler]

Yes. Marie's asleep. Looks peaceful enough lying there in that big four poster bed. But suddenly she begins to toss.

[Peter Medford]

My name's Charlie. My name's Charlie. My name's Charlie.

[Marie Medford]

My name's Charlie. No, no, no, Uncle Peter. Oh. Oh, how foolish. Only a dream, and it seems so real. I'm sure I heard it whispered.

[The Whistler]

My name's Charlie.

[Marie Medford]

Only the wind. Oh, I wish I hadn't seen that dreadful thing.

[Clay Alden]

Ms. Medford, are you all right?

[Marie Medford]

Who there?

[Clay Alden]

Clay Alden.

[Marie Medford]

Oh. Oh, yes, Mr. Alden. I. I just had a bad dream, that's all. I'm quite all right, thank you.

[Clay Alden]

Well, if you need anything, just ring.

[Marie Medford]

Yes, I will. Sorry I disturbed you.

[Clay Alden]

Not at all.

[Marie Medford]

I must get some sleep. Stop dreaming.

[The Whistler]

But little sleep for you, Marie. The moments tick by with dreadful slowness. Fearing to close her eyes, she lies staring at the roof of her bed. Lying in agony for the moment when that hideous little head will again come floating in through space. It is morning now. A dreary fog still hovers depressingly over the old house. A. A cold clamminess. Which only adds to Marie's sensation of uneasiness. In the dismal morning room, Victor is serving breakfast to Clay Alden and Marie.

[Victor]

A shame you didn't rest well last night, Ms. Medford.

[Marie Medford]

With just the newness of everything. I'll get used to it, Victor.

[Victor]

I hope you will, miss.

[Clay Alden]

Of course you will.

[Marie Medford]

Oh, and Mr. Alden, don't mention anything to my uncle about that silly dream I had last night.

[Clay Alden]

Oh, of course that.

[Victor]

Did you have a bad night, miss?

[Marie Medford]

Yes. The daytime makes such a difference in things. Even you seem different, Mr. Alden.

[Clay Alden]

For the better, I trust.

[Marie Medford]

Oh, sorry. It wasn't very complimentary. Oh, here comes Uncle.

[Peter Medford]

Good morning, you two.

[Clay Alden]

Good morning, Mr. Medford.

[Marie Medford]

Morning, Uncle Peter.

[Clay Alden]

You look quite fit this morning, sir.

[Peter Medford]

Feeling splendidly? Had the best night's sleep and I don't know how long. And how are you feeling, my child?

[Marie Medford]

Quite well, thank you, Uncle.

[Peter Medford]

Oh, you remember our conversation of last evening? I mean, about you wanting to do something?

[Marie Medford]

Yes.

[Peter Medford]

I think I've got it for you. Friend of mine named Phineas Drake collects books. Just purchased the library, complete. Wants someone to catalog it for it. Small pay, but not too difficult. Well, how does it sound?

[Marie Medford]

Oh, it sounds wonderful. It's just what I want.

[Peter Medford]

Splendid. I'll call him again after breakfast. Can you imagine such an ambitious young girl? Alden wants to work and she's only worth a cool million.

[Marie Medford]

Oh, not yet I'm not, Uncle Peter.

[Peter Medford]

Well, whenever you become of age or whatever, it's said in your father's will.

[Marie Medford]

I thought you knew what it said. I won't inherit my cool million until I'm married.

[Clay Alden]

What was that, Ms. Medford?

[Peter Medford]

You see, right away you put notions into his head. She said she won't come into her inheritance until she marries. Why her father made that strange provision I shall never know. But, Marie, you stay your distance from this young man.

[Marie Medford]

Oh, Uncle Peter, you're making him embarrassed.

[Peter Medford]

Can't an old man have his little joke? Anyway, with all the eligible young men you'll meet, poor Alden won't stand a chance.

[Marie Medford]

Oh, Peter, please.

[Peter Medford]

All right, all right, all right. Victor, where are my eggs?

[Victor]

Right here, sir.

[Peter Medford]

Oh, yes. Soft boiled eggs. That should diet. Tell me, my dear, did you find your room comfortable?

[Marie Medford]

Oh, yes, it's a lovely room. It's almost like a castle.

[Peter Medford]

I miss my old room. The one next to yours. I haven't been up there in over a month. One day soon I'll have Victor and Alden carry me up those stairs just to see if the place looks the same. Victor, serve my niece some more coffee.

[Victor]

Yes, yes, of course, sir.

[The Whistler]

So, Marie, you're going to have something to do, eh? You're an intelligent girl. Should do well at your new assignment. It's harder work than you thought, though.

[Marie Medford]

Hours of scanning Small print and copying down the individual histories of countless books.

[The Whistler]

All goes well for several weeks. And then early one afternoon, you return home, Marie, to find your uncle as usual in his study. Why are you so upset, Marie?

[Marie Medford]

Uncle Peter.

[The Whistler]

Marie.

[Peter Medford]

Well, you're home early. You're not finished already?

[Marie Medford]

Finished? As far as Mr. Phineas Drake is concerned, I can't understand it. I've done my work well. This afternoon, Mr. Drake came to me and said he had no further use for my services. Didn't explain why, just looked at me queerly and said he preferred someone else to finish the job.

[Peter Medford]

Well, that's strange. Oh, well, he's an old crank. Don't let this upset you. We'll find something else for you to do. No, no, no, no, don't.

[Marie Medford]

But what's wrong with my work, Mr. Philanto? Surely it's been satisfactory?

[Victor]

Well, you see, because of the peculiar nature of my profession, I must have someone more experienced. I'm sorry, Ms. Medford.

[Marie Medford]

But I didn't. Professor Hanley, I did exactly as you instructed. What on earth is wrong?

[Peter Medford]

You'll excuse me, Ms. Medford, but. Well, your ability as an assistant has.

[The Whistler]

Not come up to standard.

[Marie Medford]

Please listen, Dr. Humphrey. I've studied botany and I've checked this manuscript most carefully. There's not a single, single mistake.

[Clay Alden]

Very sorry, Ms. Medford, but they're not all acceptable. Have to get someone else.

[Marie Medford]

I just can't understand it. Uncle Peter, is there something wrong with me?

[Peter Medford]

Well, I. I shall certainly call Dr. Humphrey right away.

[Marie Medford]

Oh, no, no, I'd rather you did.

[Peter Medford]

But it was only the other day he telephoned me and said what an efficient secretary he thought you were.

[Marie Medford]

Something wrong somewhere.

[Peter Medford]

Ah, you. You know, Maria, I think I'd give up this idea of wanting to work. I haven't mentioned it to you, but you're really not looking your best lately.

[Marie Medford]

Well, to tell the truth, Uncle, I. I haven't been sleeping well. I have the most frightening nightmares. In fact, it's the same dream every night.

[Peter Medford]

Well, that's odd. What's the dream about?

[Marie Medford]

I keep seeing that little head. The one you said was called Charlie.

[The Whistler]

Oh, dear.

[Peter Medford]

I suppose I made a mistake showing that to you on your first night. If you could only look upon Charlie as I do, you'd realize it is inanimate head with no power at all to do you harm. You build up a phobia about that head. Now, the thing to do is to destroy that fear by facing it. You come along with me, my dear.

[Marie Medford]

You mean in there again?

[The Whistler]

It's the Only way.

[Peter Medford]

Now, come along.

[Marie Medford]

Oh, no, Uncle Peter.

[Peter Medford]

I know what I'm doing. Open that dormery. I'm going to make you realize how foolish you've been. Over here, my dear. Oh, I know you think I'm being cruel, but I know my psychology.

[Clay Alden]

I.

[Nicole Byer]

We interrupt this program to bring you an important Wayfair message. Wayfair's got style tips for every home. This is Nicole Byer helping you make those rooms Flyer today's style tip. When it comes to making a statement, treat bold patterns like neutrals. Go wild like an untamed animal. Print area rug under a rustic farmhouse table. From wayfair.com.

[Peter Medford]

Ooh.

[Nicole Byer]

Fierce. This has been your Wayfarer style tip to keep those interiors superior.

[Marie Medford]

Wayfair. Every style, every home.

[Peter Medford]

Why, that's strange.

[Marie Medford]

What is it, Uncle Peter?

[Peter Medford]

Why, somebody's broken into this case. Ring for Victor and get Alden here at once.

[Marie Medford]

Something missing?

[Peter Medford]

Somebody has deliberately taken that head.

[The Whistler]

So Charlie is missing, eh? Wonder who could have broken the lock and lifted the little head from its black velvet pad, I wonder. But now several nights have passed. Still the head called Charlie has not reappeared. Marie has just taken a sedative her Uncle Peter gave her and is now lying on her bed, tossing, fretfully, praying for sleep. Sleep, Marie. Tonight.

[Marie Medford]

Oh, dear heaven. No dreams tonight. Let me get some sleep.

[Peter Medford]

My name's Charlie.

[Marie Medford]

No.

[Peter Medford]

My name's Charlie.

[Marie Medford]

No.

[Peter Medford]

My name's John.

[Marie Medford]

No. Yes.

[Peter Medford]

Marie, open your eyes and look at me.

[Marie Medford]

No.

[Peter Medford]

You're holding me in your hands. Marie.

[Marie Medford]

Uncle Peter. Uncle Peter. Uncle Peter.

[Clay Alden]

What's wrong, Ms. Medwick?

[Marie Medford]

Where's my uncle?

[Clay Alden]

She's downstairs, asleep. Well, you're frightened out of your wits. Another of those dreams?

[Marie Medford]

There was no dream this time. The hand. It's there in my room.

[The Whistler]

What?

[Marie Medford]

It told me to open my eyes and look at it, and there it was in my hand. I was so frightened, I threw it to the floor.

[Clay Alden]

I know dreams can seem terribly real.

[Marie Medford]

But no dream, I tell you. It's there now in my room. When I threw it on the floor, it rolled at the foot of my bed. Oh, don't look at me as though I'm a fiend. Come look for yourself if you don't believe me.

[Clay Alden]

Just as you say.

[Marie Medford]

It's right here. I'll turn on this lancer now. My scar. It was here. It was. I saw. What it say is, I can see you. Oh, I know you think I'm crazy, but I saw it. I saw it.

[Peter Medford]

I tell you what I saw.

[Clay Alden]

Ms. Medford, please.

[Peter Medford]

What's wrong, Ms. Medford.

[Clay Alden]

I thought I heard you scream. It's your uncle. Are you all right?

[Marie Medford]

I'm coming down. Uncle Peter, I must talk to you.

[Peter Medford]

Now, now, now. You must get hold of yourself, my dear.

[Marie Medford]

Oh, you won't think I'm crazy, but I really did see it. I touched it, and it was nestled like an. Like an orange in my hand. I woke up and threw it on the floor. And when Mr. Alden and I came back to the room, it was gone. Oh, you don't believe I actually thought, do you?

[Peter Medford]

Now, compose yourself, child. I want to ask you some questions. First of all, in this dream, do you hear a voice of any kind?

[Marie Medford]

Yes. A voice that whispers my name's Charlie over and over. But tonight it said something different.

[Peter Medford]

Now, you needn't go on, my dear. I had hoped and prayed with all my heart that this wouldn't happen to you. I'm afraid it has.

[Marie Medford]

What are you trying to tell me, Uncle Pete?

[Peter Medford]

You've heard me go on about the fine old Medford stock. Well, it so happens our branch isn't so fine. There's been something wrong with us.

[Marie Medford]

You mean insanity? Oh, but if there is insanity in the family, why haven't I heard of it before?

[Peter Medford]

Because, my dear, it's the Medford secret.

[Marie Medford]

Oh, Peter, I'm frightened.

[Peter Medford]

Whatever you do, Marie, you must not let go of yourself.

[Marie Medford]

But it's not easy being told you're mad. Uncle Peter, if I am afflicted, then all those people must have known. That's why they discharged me. But how did they know? What did I do that would give evidence?

[Clay Alden]

Perhaps.

[Peter Medford]

Perhaps you do things you're not aware of.

[Marie Medford]

Maybe I do. Seems the only logical answer. What could be? What's to become of me?

[Peter Medford]

No, no, no, no. We'll work this out together. My dear child, no one will ever know. You can depend upon me. I won't leave you. From tonight on, I shall be taken upstairs and I'll stay near you. Knowing that which afflicts us gives us a weapon with which to fight it. Just you rely upon me, my dear.

[Marie Medford]

Yes? Who is it?

[Clay Alden]

Ley Olden. I must see you for a moment.

[Marie Medford]

Very well.

[Clay Alden]

Better not close it. I'll have to talk quietly.

[Marie Medford]

Something wrong?

[Clay Alden]

Terribly wrong. The old gentleman's asleep in the next room. I had to wait till he dozed off before I could see you. Well, it's about the head.

[Marie Medford]

The head?

[Clay Alden]

The one he calls Charlie. It's back in its case.

[Marie Medford]

When did this happen?

[Clay Alden]

Sometime last night, I guess. After your nightmare.

[Marie Medford]

I'm convinced now that that's all it was.

[Clay Alden]

I am not so sure.

[Marie Medford]

What?

[Clay Alden]

When you threw Charlie to the floor, a piece of his ear broke off. I found it after you went downstairs. Yeah.

[The Whistler]

Here it is.

[Clay Alden]

It's Charlie's ear, all right. I checked it very carefully.

[Marie Medford]

Oh, no. This doesn't make sense.

[Victor]

Did you ring for me, miss?

[Marie Medford]

No, no, that. You know, I. I didn't ring.

[Victor]

Oh, Sorry, miss. Excuse me.

[Clay Alden]

Ms. Lambert, you're in grave danger. You've got to leave this house as quickly as you can and never come back.

[Peter Medford]

What's going on in here, Uncle? What was that? I heard you telling my niece? Clay.

[Clay Alden]

I said she should leave this house and never come back.

[Peter Medford]

All the impudence. Alden, explain yourself.

[Clay Alden]

I'll be glad to, Sir. I think Ms. Medford is in danger of losing her sanity as well as her life.

[Peter Medford]

What is all this poppycock? Are you trying to frighten my niece? Lord knows she's been through a lot.

[Clay Alden]

She's been through too much. She weren't made of pretty stout stuff. She'd have been a gibbering idiot by this time.

[Peter Medford]

Alden, you're packing your things and leaving at once.

[Clay Alden]

Leaving? I'm afraid you're wrong, sir. I'm not leaving. Not yet. Maybe you're leaving, Mr. Alden.

[Marie Medford]

What's the meaning of this?

[Clay Alden]

I'm sorry to break it to you this way, but I'm definitely convinced your uncle is a diabolical fiend.

[Peter Medford]

I can take so much and no more. Look here, Orton. If you know what's good for you, you leave here at once. At once, do you hear?

[Clay Alden]

You're pretty anxious to get rid of me, but it's too late, Miss Medford. You remember your father's will. You'd come into your money only if you married. Well, if you didn't marry, Uncle Peter would get the money. And if he could prove you were insane, you'd never be able to marry. You see how it all works out?

[Marie Medford]

How dare you, mister.

[Peter Medford]

Listen to that maniac.

[Clay Alden]

Listen to me, Miss Medford. Your uncle, your loving uncle was the one who telephoned your employers and told them you were crazy. Phineas Drake and all the others told me so today.

[Marie Medford]

I don't believe it.

[Peter Medford]

Lies, lies, lies.

[Clay Alden]

Why, your uncle even told me you were crazy. I know what's happened. He himself smashed the lock and took the head from its case and planted it last night in your room. If you'll stand on a chair and look above your bed as I did this afternoon, you'll see a small radio Loudspeaker. It's hooked up to a microphone in the backstairs hallway. The voice you heard was your Uncle Peter.

[Marie Medford]

I don't believe you.

[Clay Alden]

Last night, after you came out in the hallway, your Uncle Peter grabbed up ahead, stepped out onto that balcony and climbed down the vines to his study.

[Peter Medford]

Why, he's as mad as a March hare. How could I possibly be a partner to such a monstrous plot? Why, I can't even walk.

[Clay Alden]

Look.

[Peter Medford]

Look at this ear.

[Clay Alden]

A piece of Charlie's ear. I found it in Marie's room. That proves she wasn't dreaming. And it fits perfectly. I've tried it. Why, you.

[Peter Medford]

Give me that ear. Give it to me, Peter.

[Marie Medford]

You're walking.

[Peter Medford]

Give it to me. Look.

[Clay Alden]

Look at him, Marie. Standing unaided. Does that prove anything to you?

[Marie Medford]

Oh, Peter. Oh, and it's true.

[The Whistler]

All right.

[Peter Medford]

All right. It's true. I can walk. But you are insane, Marie. Insane. You'll never marry anyone, Marie. I'll see to that.

[Clay Alden]

Victor. Grab him.

[Victor]

Don't move, Mr. Medford. Easy, now.

[Clay Alden]

Don't believe what Alton says.

[Peter Medford]

You're crazy, Marie. There's no escaping it.

[Clay Alden]

You'll have those dreams.

[Peter Medford]

And Charlie will visit you every night. You'll hear him saying, my name's Charlie. My name's Charlie. My name's Charlie.

[Clay Alden]

I'm Victor. Got him, sir. I think you're the one who's crazy, Medford. Maybe that could be proved.

[Peter Medford]

Take your hands off me.

[Victor]

Take it Easy now, Mr. Medford. Take it easy.

[Peter Medford]

There's nothing wrong with me.

[Clay Alden]

You know it. Is the car ready, Victor?

[Peter Medford]

Yes, it's ready.

[Victor]

Come in, gentlemen. These are the officers.

[Clay Alden]

Then you'd better take him away.

[Peter Medford]

Yes, sir. Please come quietly, Mr. Mentor. I'm not crazy. I'm not.

[Clay Alden]

You're lying, Armo.

[Peter Medford]

Lying.

[Marie Medford]

Lying.

[Clay Alden]

Do you hear?

[Peter Medford]

You're lying.

[Clay Alden]

I. I'm terribly sorry about this, Marie. Terribly sorry. But it's all for the best.

[Marie Medford]

How can it be for the best? But think what this means. He's my father's brother. And if he's insane, then it means that I might be too brimming. The panther.

[Clay Alden]

No. No. Don't worry, Marie. Don't worry. You're safe. You're perfectly normal. I know.

[Marie Medford]

No.

[Clay Alden]

Yes. You see, he wasn't your real uncle. He was your father's foster brother. I found proof. So you see, you've nothing, nothing in the world to fear.

[Marie Medford]

How do you know that?

[Clay Alden]

Someday, Marie, I'll tell you all about it. Tomorrow, maybe.

[The Whistler]

Why don't you tell her now, Clay? Tell her why you were working as Peter Medford secretary because your father was Peter's partner. His partner. That your father was ruined in business by Peter and killed himself. Killed himself in disgrace. That you suspected him of having cheated your father. That you came to find the evidence and discovered in time Peter's diabolical plan to prevent Marie from ever marrying. Better tell her, Claire. I would.

[Narrator]

CBS has presented the Whistler Original Music for this production was composed and conducted by Wilbur Hatch. Tonight's Whistler story was written by Joseph Kearns, directed by J. Donald Wilson and originated from Columbia Square in Hollywood. Next week, same time, I, the Whistler.

[The Whistler]

Will return to tell you the strange story of the curse. Good night.

[Narrator]

This is the Columbia Broadcasting System.

[Nicole Byer]

We interrupt this program to bring you an important Wayfair message. Wayfair's got style tips for every home. This is Nicole Byer helping you make those rooms flyer. Today's style tip when it comes to making a statement, treat bold patterns like neutrals. Go wild like an untamed animal. Print area rug under a rustic farmhouse table. From wayfair.com Ooh, fierce. This has been your Wayfair style tip to keep those interiors superior.

[Marie Medford]

Wayfair Every style, every home.