Whistler 42-06-27 ep007 Notes in the Night

Summary

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Podcast Summary: "Whistler 42-06-27 – Notes in the Night"

Podcast: Harold's Old Time Radio
Host: Harold's Old Time Radio
Episode Date: January 4, 2026
Original Broadcast: June 27, 1942
Episode: The Whistler, ep007 "Notes in the Night"

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Overview

This episode transports listeners back to the suspense-filled world of "The Whistler," an iconic show from radio's Golden Age. "Notes in the Night" revolves around Ambrose Brent, a troubled airplane plant official, who is tormented by mysterious, incriminating notes in his own handwriting, foretelling murder. As paranoia and dread spiral, the episode explores psychological tension, trust, betrayal, and a classic whodunit mystery, culminating in a dramatic reveal.

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Key Discussion Points & Plot Breakdown

1. Introduction of the Mystery ([00:01]–[01:14])

• The episode opens with the classic Whistler narration, immediately establishing an ominous, shadowy tone.
• Ambrose Brent is introduced: respected, but lately troubled, awakening to strange notes in his own handwriting:

  “I must kill Henry. I must kill Henry.”

• The cast is set: Henry Pierce (Ambrose's best friend and partner), Dr. Fenwick (the family doctor), and Doris (Ambrose's wife).
• The Whistler's narration establishes the show's allure:

  “I, the Whistler, know many things, for I walk by night... I know the nameless terrors of which they dare not speak.” ([01:14])

2. Ambrose's Mental Unraveling ([01:15]–[06:00])

• Ambrose's torment is detailed: for weeks, he's found notes ("I must kill Henry") written in his handwriting, but with no memory of writing them.
• He fears he's losing his mind, seeks out Dr. Fenwick, and shares his growing panic:

  “Something’s wrong with me. Terribly wrong.” ([03:52])

• Fenwick, observing Ambrose's stress, prescribes rest and sleeping medication, insisting he get away.

  Dr. Fenwick: “Your mind plays queer tricks on us sometimes under a new strain… Better slow down. That’s my best prescription.” ([04:59])

3. Confrontations and Escalating Anxiety ([06:01]–[09:01])

• Henry, aware of Ambrose’s nervous decline, urges him to take time off, echoing Dr. Fenwick’s concern.
• Ambrose feels increasingly isolated and desperate, doubting his own sanity:

  Ambrose: “You do believe me, don’t you? ...Of course I wouldn’t kill you. I have no reason.” ([06:49])

• Anxiety peaks as Ambrose wakes during the night, finds yet another note, and begins to break down:

  Ambrose: “I'm mad. I must be.” ([08:51])

4. The Crime ([09:22]–[10:55])

• In a haze (implied or actual blackout), Ambrose goes to Henry’s at 2:30 a.m., repeats the phrase “I must kill Henry,” and a struggle—with gunshots—ensues, leaving questions about what truly happened.
• Ambrose flees to a mountain cabin, attempting to reach Dr. Fenwick, unable to face what he thinks he's done.

5. The Aftermath and Investigation ([11:05]–[24:10])

• Doris unexpectedly appears at the cabin; Ambrose confesses his confusion, believing he murdered Henry but unable to recall the act.
• Dr. Fenwick arrives, attempts to calm Ambrose, and eases Doris's suspicions—but news comes: Henry is indeed dead, an apparent suicide or murder.

  Dr. Fenwick: “He died about 2:30 in the morning... police think he committed suicide.” ([13:57])

• Ambrose’s guilt drives him to near-breakdown, convinced of his culpability.
• Authorities, including Inspector Fields and District Attorney Carnes, arrive and initiate a meticulous investigation.
• Critical forensic points arise around the notes and handwriting.

6. The Turning Point: Handwriting and European Dates ([24:11]–[26:11])

• Ambrose, Doris, and Dr. Fenwick are asked to write, “I must kill Henry,” and date it. A key detail emerges:
  • The prescription and the will are dated in European style (“14, 5, 42” for May 14, 1942), betraying Fenwick’s European background.

  Carnes: “It means that Dr. Fenwick was educated in Europe where they indicate the day of the month first… The 14th day of the fifth month.” ([26:11])

7. The Big Reveal and Resolution ([26:12]–[29:00])

• District Attorney Carnes deduces the truth: Fenwick forged the will and the notes, intending to drive Ambrose insane, with Doris (his own romantic interest) as beneficiary and himself as executor with full control.
  • His motive is exposed: love for Doris and personal gain.

  Dr. Fenwick: “All right, all right. I wrote the will. I wrote the notes. I am in love with Doris. I have been for years. She was in love with me.” ([27:00])

• Fenwick confesses and dies in a desperate bid to escape, bringing the tale to a dramatic end.
• Carnes explains how he solved the case:

  “The only way the doctor could have known about the murder was to have been present when it happened.” ([28:03])

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Notable Quotes & Memorable Moments

• Ambrose’s Despair:

  “I don't remember writing it. But I know it's in my own writing and that's it.” (Ambrose, [04:18])

• Psychological Twist:

  “Your mind plays queer tricks on us sometimes under a new strain.” (Dr. Fenwick, [04:59])

• Dramatic Climax:

  “All right, all right. I wrote the will. I wrote the notes. I am in love with Doris.” (Dr. Fenwick, [27:00])

• Inspector’s Logical Reveal:

  “The only way the doctor could have known about the murder was to have been present when it happened.” (Inspector Fields/Carnes, [28:03])

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Timestamps for Important Segments

• [00:01] Whistler introduction and setup of the mystery
• [03:52] Ambrose confesses his fear of going mad to Dr. Fenwick
• [06:01–07:20] Confrontation with Henry about Ambrose’s condition
• [08:02–08:49] Ambrose's psychological collapse and decision to flee
• [09:22–10:55] Nighttime confrontation and implied murder of Henry
• [13:15–15:17] Ambrose's breakdown and struggle to recall his actions
• [19:03–22:14] Police investigation and interviews
• [24:11–26:11] Handwriting analysis and unveiling of the European date format clue
• [26:22–27:28] Dr. Fenwick’s confession and motives
• [28:03] Carnes' final deduction and method of unmasking Fenwick

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Tone & Language

• The episode is steeped in noir suspense, built through The Whistler’s haunting narration and the escalating, realistic portrayal of Ambrose’s psychological distress.
• The language is terse, dramatic, and atmospheric, filled with shadowy uncertainty and emotional intensity.

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Conclusion

"Notes in the Night" is a masterclass in radio suspense, blending psychological unease with a classic murder mystery twist. Through subtle clues and character dynamics, listeners are drawn towards an unexpected culprit whose unrequited love and calculated malice drive him to manipulation and murder. The episode captures the tension, paranoia, and intricate plotting that made "The Whistler" legendary—delivered in crackling, period-perfect radio drama fashion.

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Transcript

[A]

Have you heard the Whistler?

[B]

I'm the whistler.

[C]

I must kill Henry. I must kill Henry.

[B]

That was Ambrose Brent, official of an airplane plant. He found strange notes in the night.

[A]

You better get away, Ambrose. Take a good long rest. The sooner the better.

[B]

That was Henry Pierce, Ambrose's partner.

[C]

He was growing fearful of Ambrose.

[D]

Get this prescription filled, Ambrose. It'll make you sleep. And you better get away.

[B]

And that was Ambrose's friend, Dr. Fenwick. And this is Ambrose's wife, Doris.

[E]

What happened? Ambrose, look at me. What have you done?

[A]

Another Saturday night, and again cbs presents the whistler.

[B]

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 stepped into the shadows. I know the nameless terrors of which they dare not speak. And so I tell you tonight the strange story of notes in the night. A storm rages wildly over the countryside. Beyond that long row of trees stands a lonely house, half hidden in the darkness of the night. Not a single light appears from any of its many windows. But up there in that room with a large window, a man stirs fretfully in his sleep. The man is Ambrose Brent, an official of an airplane plant. But it's not the storm that stirs his uneasy slumber. It's something else, something far more sinister, something that has happened many times in.

[C]

The past few weeks.

[B]

Now he stirs again, moans loudly, and suddenly sits rolled upright in his huge bed.

[F]

Who's there? Who's there, I say?

[C]

Is it funny? I swear I heard something. I swear I felt someone in the room.

[B]

Turn on the lamp, Ambrose. You'll see.

[C]

I can't imagine what's happening to me. Just nerves, I guess. Good Lord. Another note. Another one. I must kill Henry. I must kill Henry. That's the third note this week. In my own handwriting. I've got to do something. I've got to tell someone. Henry's my best friend's nerves.

[B]

I know.

[C]

I'll call Dr. Fenwick.

[F]

Doc will know what's wrong. A Fairchild, 1834W. Yes.

[C]

Hello.

[F]

Is Dr. Fenwick in?

[E]

No, Dr. Fenwick isn't in. He can be reached at Walnut 2380.

[C]

Walnut 2380.

[F]

That's Henry Pierce's number.

[G]

I can't go there.

[F]

If there's anything to this, I must stay away from Henry. I've got to see Doc Fenwick. Wait till morning.

[A]

Well, hello, Ambrose.

[D]

Sit down. What's wrong, Doc?

[F]

I. I've got to talk with you.

[D]

Of course, Ambrose. Why Not. What's up?

[F]

Something's wrong with me. Terribly wrong.

[D]

Oh, yeah?

[F]

Read this note.

[D]

Note? I must kill Henry.

[H]

Henry.

[D]

I must kill Henry. I don't get it. What is this to do with your trouble?

[F]

I wrote it.

[G]

You did?

[D]

Well, really? And why did you write it?

[G]

I don't know.

[F]

I don't remember writing it. But I know it's in my own.

[C]

Writing and that's it.

[D]

Who's Henry?

[F]

Henry Pierce.

[C]

Who else?

[D]

Have you been drinking, Ambrose?

[F]

Not a drop, I swear.

[D]

Well, look, old boy, you'd best sit down. That's better. Now, when did you write this?

[G]

I don't know.

[F]

I found six notes just like that.

[D]

Six?

[H]

Where?

[F]

On the nightstand beside my bed.

[D]

Are you sure it's your writing?

[F]

Well, doesn't it look like it?

[D]

Yes, certainly does.

[A]

Tell me, how many hours have you.

[D]

Been putting in at the plantly thing?

[C]

Oh, too many.

[D]

I'd better give you a thorough going over, Ambrose.

[F]

But why should I write such notes?

[H]

I don't know.

[D]

Mine plays queer tricks on us sometimes under a new strain. Better slow down. That's my best prescription. Take it easy. Get out of town as soon as possible.

[C]

Yes.

[F]

Yes, I guess you're right.

[D]

I'll give you something for your nerves.

[C]

Thanks, Doctor.

[B]

You.

[F]

You don't think I'm losing my mind, do you?

[D]

No, Ambrose. You're just terribly upset. Here, there's your prescription. You better get it filled tonight.

[C]

Thanks.

[F]

I'll leave Saturday. You don't think there's anything wrong with me? Mentally, I mean.

[D]

If you're in town after Saturday night, I'll drag you out with my own two hands.

[F]

Good night.

[D]

Good night, Ambrose. Sleep tight and don't think about anything.

[A]

Ambrose, why don't you take a little vacation?

[F]

What do you mean, Henry? Have you been talking to Doc Fenwick?

[D]

Fenwick?

[F]

Of course you have. He told you all about it?

[D]

About what?

[F]

I feel better than I felt in years. I'm in excellent condition.

[G]

Do you hear?

[A]

Certainly I hear. What's wrong with you, Ambrose?

[C]

Nothing.

[A]

If you act like this, I'll be forced to agree with Doc Fenway.

[F]

What has he said?

[A]

He just said you were overworked.

[F]

Well, he doesn't know everything.

[A]

Ambrose, you'll please me very much if you'll take a little vacation.

[F]

Did Doc Fenwick tell you what was bothering me?

[A]

Yes, he did, Ambrose. And I think you better get away.

[D]

As soon as possible.

[A]

Oh, I'm sorry, Ambrose.

[D]

But don't worry.

[A]

Everything will be all right.

[F]

Then you. You're not worried? You're not upset about it?

[A]

Certainly not. Why should I be?

[F]

Please believe me, Henry. I wouldn't do such a thing. I've never even thought of such a thing. I'd kill myself first.

[D]

You.

[C]

You do believe me, don't you? Why, of course I do.

[F]

Of course I wouldn't kill you. I have no reason.

[A]

Shall I drive you home, Ambrose?

[F]

No, no, I'll get home. I'd better leave tomorrow, hadn't I? I'll go up to my place in the mountains. There's no one there. My wife has gone to Palm Beach.

[A]

Yes, Ambrose, you better leave tomorrow.

[C]

Yes.

[F]

Doris will be back from Palm beach in three.

[A]

That'll be long enough. I'm sure you'll find things different when you return.

[D]

Quite different.

[C]

Good night, Henry.

[A]

Goodbye, Ambrose. Sleep tight and don't think about anything.

[B]

Ambrose goes home and to bed. The clock ticks off the eerie hours. The clock chimes two and suddenly Ambrose stirs fretfully in his slumber. He wakes and again sits up, staring into the inky blackness of his silent room. Turn on the light, Ambrose. Turn on the light.

[F]

Who is it? Who's there?

[C]

Good Lord. Another one. I must kill Henry.

[F]

Jameson.

[I]

Jameson.

[C]

I've got to get hold of myself. This is ridiculous, Jameson.

[F]

I'm losing my mind.

[C]

I must be.

[H]

Did you call me, sir?

[G]

Yes.

[F]

Yes, I called you.

[H]

I thought I heard a scream.

[F]

A scream? No, I. What time is it?

[H]

Long after midnight, sir. It's two o'. Clock.

[F]

Two o'.

[D]

Clock?

[C]

Oh.

[F]

Pack my bag. Order my plane to be ready in 30 minutes.

[H]

Where are you going, sir?

[F]

It doesn't matter.

[C]

Yes, sir.

[F]

I've got to get away.

[C]

I've got to. 2:15. I must get away.

[B]

I must.

[C]

I'm mad. I must be.

[F]

Jameson.

[I]

Jameson.

[H]

The car is at the door, sir.

[I]

Then come on with the bag.

[H]

Where are you going, sir?

[F]

I don't know where I'm going, Jameson.

[G]

Understand?

[H]

Yes, sir, I understand.

[F]

Good night, Jameson.

[H]

Goodbye, sir.

[D]

Yes?

[G]

Yes.

[D]

Who is it?

[I]

What do you want?

[D]

Come in.

[A]

Ambrose, is that you? What on earth are you doing here at 2:30 in the morning? What's wrong? I say, what's wrong with you?

[C]

I must kill Henry. I must kill Henry.

[A]

Ambrose, put up that gun.

[D]

No.

[A]

No, Don't. Ambrose, don't.

[C]

I must kill Ambrose.

[A]

Don't.

[H]

You're mad.

[I]

Don't come near me. Don't. Ambr.

[F]

Operator. Operator, I want Dr. Fenwick in New York. Fairchild 1834W, please. It's Dr. Fenwick's residence. Make it person to person. This is crossline 142.

[C]

I've got to talk to someone. I've got to. I can't stand this silence. This being alone.

[G]

Hello?

[F]

Oh, I see. No, no, never mind. I'll call tomorrow.

[E]

Put up your hands.

[I]

Don't move.

[C]

Doris.

[E]

Ambrose.

[F]

What on earth are you doing here?

[C]

Quiet.

[E]

What are you doing here?

[F]

I thought you were in Palm Beach. What are you doing up here in the mountains?

[E]

I changed my mind. I decided to come up here.

[F]

Why didn't you let me know?

[E]

I didn't think about it. I was going to phone you in the morning. How did you find time to get away from the plant? I thought you were too busy to eat.

[F]

Well, I. I decided I needed to rest, so I.

[E]

It's an early hour to arrive. 5:00am Is it?

[D]

Well, you.

[F]

You see, it occurred to me on the spur of the moment I flew up. What are you staring at?

[E]

I'm not staring. Ambrose, what's wrong? What's happened?

[F]

Nothing. I came up here because.

[E]

Because what? What are you talking about? Ambrose, are you ill?

[F]

Yes. Yes, that's it.

[A]

I'm ill.

[F]

Very ill. Yes. Get the doctor.

[E]

What doctor? There's no doctor near here.

[F]

Get Doc Fenwick. He knows.

[E]

Dr. Fenwick.

[F]

He's the only one who knows, except Henry.

[E]

Are you out of your mind?

[B]

No, I'm not.

[A]

I'm not.

[B]

I'm not.

[F]

Do you hear?

[I]

It's a lie.

[G]

A lie.

[I]

I'm not crazy. I won't be crazy.

[F]

Oh, Doris. What's happened to me?

[I]

What's happened?

[D]

Oh, poor Amber.

[E]

Ambrose, look at me. What have you done? What have you done?

[I]

Left me alone.

[D]

I'm going to bed.

[F]

I want to get some sleep.

[D]

I've done nothing.

[A]

Nothing.

[F]

What's that? Wake up, Doris. That noise.

[E]

I didn't hear him.

[C]

I did hear it. There it is again.

[F]

There's someone coming.

[H]

There they are.

[G]

At the door.

[E]

There's no one.

[C]

You see, I'm not here.

[F]

I haven't been here. You don't know where I am. Do you understand?

[E]

Yes, I understand.

[D]

Doc.

[I]

Doc, it's you.

[D]

Hello, Doris.

[E]

Hello, Doctor.

[F]

Did you get my call? You did, didn't you?

[D]

Ambrose, take it easy. Everything's going to be all right. Don't get excited.

[G]

All right?

[F]

What do you mean?

[D]

You've got a 50 to 1 chance to pull out.

[C]

Pull out?

[A]

Certainly.

[D]

I know you're mentally upset. You have been for weeks. I'll swear to that. I have records. I'll appear on your site. You'll get out of it.

[C]

Out of it?

[F]

Out of what?

[D]

You're not a killer.

[E]

Killer?

[C]

What did you say.

[I]

What did you say?

[D]

I said you weren't a killer. I understand your case perfectly.

[C]

Henry. Henry is dead?

[D]

Yes, I'm sorry to say Henry is dead. He died about 2:30 in the morning. As closely as can be determined. From all indications, the police think he committed suicide.

[C]

But he didn't.

[F]

He didn't.

[I]

You know he didn't.

[D]

He may have.

[I]

Then why did you come here?

[D]

I thought this is where you'd come. And I was right.

[E]

What does this mean, Doctor?

[I]

It means that if Henry's dead, I killed him.

[C]

I must have.

[E]

Must have. Are you positive?

[C]

Yes.

[I]

Who else could it be?

[F]

I've written notes to myself for weeks. Doc knows. He knows all about us.

[E]

Do you?

[G]

Yes.

[D]

But I didn't think it would come to this.

[E]

But why did you do such a thing? He was your best friend.

[F]

I know it.

[D]

He was dead.

[C]

I. I must have done it.

[E]

But why did you do it?

[I]

I don't know.

[D]

Now, now, please, Please don't upset me. He wasn't responsible.

[C]

I am responsible.

[F]

I did it and I'm going back.

[D]

No, Ambrose. Stay here till I send for him. Have a talk with me.

[G]

No.

[F]

I'm going back this morning.

[E]

I can't believe such a thing.

[F]

Doris, why do you look at me like that?

[A]

Please.

[I]

I don't know why I did it. Oh, Doris, don't you believe me?

[E]

I. I don't know. I don't know.

[I]

Tell her, Doc. Tell her.

[D]

Tell her what?

[I]

Tell her the truth.

[F]

Tell her I didn't do it for a reason.

[I]

Explain to her how it was. You know how it happened. Go on, tell her.

[E]

Tell her.

[D]

Come now. Oh, boy, this is not helping you.

[C]

What'll I do with me? Why?

[D]

Now, look, it's. It's early yet. It's 9 o'.

[G]

Clock.

[D]

You better try to get some sleep in this afternoon. I'll take you back to the city and make arrangements for you to go someplace where you can have a nice rest.

[C]

What kind of a place?

[D]

Why rest?

[B]

Home.

[D]

I know a nice quiet place.

[F]

You don't mean a rest home. I know what you're thinking. You mean an asylum.

[I]

You think I'm insane, both of you.

[D]

Now, now, Ambrose.

[F]

Well, why don't you say it?

[D]

Ambrose, if you don't control yourself, something will happen to you.

[I]

I won't go to an asylum. Do you hear? Do you hear me?

[H]

Stop it.

[I]

I won't stop it. You don't care about me. You're both cold and heartless. You want me to be locked up. Both of you. Ambrose, please.

[E]

Please calm Down.

[D]

Keep away from him, Doris.

[C]

See? Keep away from him.

[F]

He's a dangerous lunatic, a killer.

[D]

You don't calm down, I'll have to use force.

[F]

You try it.

[I]

You just try it. I'm going out that door and don't you try to stop me. You run away like this.

[D]

You stamp yourself as a hopeless lunatic. They'll find you.

[I]

They won't find me and I won't be locked up. Ambrose, please, no. I'll kill myself first. You're a fool, Ambrose.

[D]

A mad fool.

[B]

Now you've done it, Ambrose. You've really made a mess of things. You're a fugitive now. They'll throw out a dragnet. You have to run and hide and sneak. Afraid of every shadow. You'll have to run, Ambrose. Hide and sneak and run for the rest of your days. Ambrose Brent, fugitive.

[C]

Henry is dead. Henry's dead. Henry's dead.

[H]

Ambrose Brent, fugitive.

[G]

Ambrose Brent.

[H]

5Ft 8, 150 pounds, brown hair, blue eyes. Wanted for murder.

[C]

Murderer. User tape. Lunatic. Padded cell. Lunatic. Padded cell.

[F]

Lunatic.

[B]

Hurry, Ambrose, hurry. More gas. Step on it.

[C]

What's that?

[B]

A sign, Ambrose. And a red flag swinging in the road. Two men in black rubber coats. Too late to turn around now.

[A]

Watch your hurry, mister. Driving pretty fast for a storm like this, ain't you?

[H]

Who are you?

[F]

What do you want?

[G]

State police.

[F]

What are you stopping me for?

[A]

We're stopping everybody.

[F]

Why?

[A]

We're looking for someone.

[F]

Looking for someone?

[A]

Who Accusative.

[G]

A murderer. We didn't say what he'd done.

[A]

Let's have a look at your driver's license.

[C]

Driver's license?

[F]

Well, I.

[C]

That's funny.

[B]

I must have left it in your other suit, huh?

[A]

Let's have a look at you.

[G]

Hey.

[C]

Hey you.

[I]

Come back here.

[G]

What's eating him?

[F]

He must be nuts.

[B]

Why?

[F]

I could have plugged him, but I.

[D]

Just shot in the air.

[A]

Just as well. He wasn't Mike Coretti. I could make two of him.

[B]

Know where you are now? Recognize this room? That's right. It's the room of death where Henry was murdered the night before. His body has been removed, but the pad on his desk is still there, smeared with a large brown stain. There are five people in the room. Dr. Fenwick and Doris Brent Jamison, the Brent's butler. Inspector Fields and Carnes of the District Attorney's office. The inspector is speaking.

[H]

District Attorney Carnes had an appointment with Henry Pierce. It was he who discovered the body this morning. Pierce had been dead about seven hours. Right, Mr. Carnes?

[G]

That's right, Inspector Fields.

[H]

We attempted to reach Mr. Brent and were told by Jamison the butler, that he left town at two in the morning. He told his father and there we reached you, Mrs. Brent.

[G]

You've no idea where your husband is, Mrs. Brent?

[E]

Not the slightest.

[H]

Your butler said you had gone to Palm Beach.

[E]

Yes, I started for Palm beach but I changed my mind and went to the mountains.

[G]

And your husband came there last night?

[E]

Yes, it was about five in the morning.

[D]

About nine o'.

[G]

Clock.

[D]

I flew up to the cabin, got there a few minutes before nine.

[G]

Why did you go there, doctor?

[D]

Well, I advised Ambrose to take a rest. He's been working too hard and was heading for a nervous breakdown. When I learned of Henry's death I went to tell him about it.

[G]

Doctor, you visited Henry Pierce here last evening?

[D]

I did. He phoned me to come over. I got here about 11. He'd made a new will and wanted me to witness it and asked if I would serve as executor. I read it and signed it.

[B]

I see.

[G]

In whose favor was the will drawn?

[D]

Well, the old will left everything to Ambrose. Henry had no living relative. But because of Ambrose's mental condition he decided to leave everything to Doris. Mrs. Brent?

[G]

That's correct. I found the will on the desk.

[H]

Was Ambrose Brent your patient?

[D]

Yes, of course.

[G]

What was his trouble?

[D]

Too much work. He had a great responsibility.

[H]

Did you think he was losing his mind?

[D]

No.

[G]

Did he think so?

[D]

Well, he was terribly upset. He'd been having hallucination.

[G]

Doctor, when was the last time you saw him prior to finding him in the mountains?

[D]

The evening before Henry died, I wrote him a prescription.

[G]

And where did you go after you left Henry Pierce last night?

[D]

I told my servants that I was going out of town for a holiday but it was storming. So when I left Henry that I decided to stay at my club.

[G]

Mrs. Brent, did your husband, Mr. Pierce, ever quarrel?

[E]

Not to my knowledge. They were the best of friends.

[G]

I see. Have you told us all you know, Dr. Fenton?

[D]

No.

[G]

Then I think you should. What was it that bothered Ambrose Brink?

[D]

Well, he said he had been writing himself notes. They were all alike, in his own handwriting and all said the same thing. I must kill Henry.

[E]

I didn't know this.

[D]

Certainly not. That was the patient's private business. I thought that if I could get him away for arrest he'd pull out of it.

[H]

There you are. Carnes. Must have been on his mind.

[G]

Yes, but what's the motive?

[D]

An unbalanced mind doesn't always need a motive.

[H]

Then you think Ambrose did it?

[D]

He loved Henry like a brother. If he did it, he was completely out of his mind. Believe me.

[E]

Ambrose.

[D]

Where? Thank heaven you finally came to your senses.

[G]

Come in, Mr. Brand.

[F]

I suppose you want to see me.

[H]

I'm Inspector Fields, Police department. This is Mr. Carnes of the district attorney's office.

[F]

Yes, I know, Mr. Carnes.

[G]

I thought you'd gone on a little vacation, Mr. Brand.

[F]

I had gone, but not on a vacation.

[G]

Mr. Pierce told me you'd gone for a couple of weeks.

[F]

I was going on a vacation, but something changed my mind.

[D]

Oh?

[G]

What was that?

[D]

You know.

[F]

You know. I've come back. Henry's dead.

[C]

And I killed him.

[G]

When did you kill him?

[D]

I don't know.

[F]

Must have been last night.

[G]

Why did you do it?

[F]

I wish I knew. I recall neither the crime nor the motive, but I'm sure I did it.

[C]

Why are you so sure you did it?

[F]

Because of these notes. Six of them. I've been writing notes to myself for weeks. Read them.

[G]

Are they. Are they in your own handwriting? Certainly.

[F]

I don't remember writing a one. I must have some form of amnesia. When I heard Henry was dead, I. I tried to run away. I couldn't stand the thought of an asylum. But the faster I ran, the more I hated myself. So I came back to get it over with. It's a great relief.

[G]

Now, Mr. Brent, compose yourself. Mr. Brent, did you know that Henry Pierce made a new will last night, leaving his estate to your wife?

[C]

What?

[F]

Why should he do that?

[G]

Perhaps he was worried about you. Of course.

[F]

Why shouldn't he be? He knew I was acting strangely.

[G]

Take a look at this will. Is that Henry's signature? Certainly. You're sure it isn't your writing?

[F]

It is not. I couldn't copy his signature if I tried. It's just a bunch of scrawls.

[B]

Mm.

[G]

Oh, Mr. Brent, take this pad and write on it. I must kill Henry.

[D]

Please.

[F]

Isn't that being a bit brutal?

[H]

Go ahead, write it.

[G]

There you are.

[F]

Good.

[G]

Now write the date. They weren't dated. We'll write it anyway. Write the date in numerals. Don't name them. There it is. Thank you. Now you Write the same, Mrs. Brent.

[E]

There.

[G]

Thanks. Now you, Dr. Ben.

[D]

Ivan.

[B]

Mm.

[G]

Well, the notes you got were certainly in your own handwriting, Mr. Brent.

[F]

I told you that.

[I]

Why waste so much time?

[F]

I came back to get it over with.

[C]

I'm tired.

[G]

There. You need some sleep, old man. You'll feel better after you've had a nap.

[F]

I can't sleep. I haven't slept for days.

[D]

You should have. You've Been taking that medicine I gave you.

[F]

I didn't get it. I didn't want to sleep. I just wanted to get away. Here's the prescription, still in my pocket.

[G]

Prescription? May I see it, please? Thank you. What is this medicine, doctor?

[D]

It's intended to induce sleep. But he's so stubborn he wouldn't take it. If he had, this wouldn't have happened.

[G]

Inspector, take a look at this note written just now by Mr. Brent.

[H]

I must shell Henry.

[G]

And the date.

[H]

5, 1442.

[G]

May 14, 1942. Now Mrs. Brent's note.

[H]

I must kill Henry. 5, 14, 42. The same. And now, Dr. Fenwicks, I must kill Henry. 14, 5, 42.

[G]

Now read the date on the will.

[H]

14, 5, 42. What does that mean? There aren't 14 months.

[G]

Now look at the date on this prescription.

[H]

14, 5, 42. Well, I'll be darned. What does it mean?

[G]

It means that Dr. Fenwick was educated in Europe where they indicate the day of the month first. Then the month the 14th day of the fifth month.

[D]

What? You're crazy. Are you accusing me of this?

[G]

It means that the doctor, not Henry, wrote this will. And if he wrote the will, he must have killed Henry Pierce. And if he killed Henry, he must have had a motive. And I've guessed that motive out of your mind.

[D]

What motive would I have?

[G]

You also wrote those notes and left them for Ambrose to find. You're an expert at handwriting, Dr. Fenwick. You figured that Ambrose would be declared insane and Henry's as well as Ambrose's property would go to Doris with you as executor in complete control.

[A]

I don't believe Ray's Kitchen.

[G]

And this is what I hate to say at this moment, but I think it's true. Dr. Fenwick, tell him about you and Mrs. Brent.

[I]

That's a lie.

[G]

Tell him, duck. That's what's back of the whole thing. You're stuck. You might as well tell him.

[D]

All right, all right. I wrote the will. I wrote the notes. I am in love with Doris. I have been for years. She was in love with me.

[F]

Doris.

[E]

I'm sorry.

[D]

But she had nothing to do with Henry's death. Not a thing. I came here that night disguised as Ambrose. Henry didn't hear my voice. I only whispered. He thought it was you, that's all. Sorry, Doris.

[I]

Stop him.

[C]

Good Lord.

[H]

Well?

[G]

The doctor is dead.

[B]

The doctor's dead? Yes. That's not all. Not quite. There's something troubling the inspector. And you, Ambrose. And you too, Doris. How was it that Mr. Carnes first got wise to the doctor. How did the doctor slip up? How did he show his hand? I know. And so does District Attorney carnes. Go ahead, Mr. Carnes. Tell us.

[G]

Well, the doctor said he had gone to the cabin to tell Ambrose of Henry's death. He arrived at the cabin at 9am I didn't discover the body till 10am and gave strict orders that it was not to be announced until we'd inspected everything thoroughly. Therefore, the only way the doctor could have known about the murder. Was to have been present when it happened.

[B]

So you see, the doctor didn't go to the cabin to inform Ambrose. He went there to meet Doris. And when he was surprised by Ambrose, he used the death of Henry as an excuse for his coming.

[A]

Cbs has presented the whistler. Original music for this production was composed and conducted by Wilbur Hatch. Tonight's Whistler story was written and directed by J. Donald Wilson. And originated from Columbia Square in Hollywood.

[B]

Next week, same time, I, the Whistler, will return to tell you the incredible, incredible story of the draft of Death. Good night.

[A]

This is the Columbia Broadcasting System.