House Of Greed by The Whistler

Summary

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Relic Radio Thrillers: “House Of Greed” by The Whistler

Podcast: Relic Radio Thrillers
Episode Date: October 31, 2025
Featured Drama: The Whistler – “House of Greed” (Originally aired September 5, 1942)
Summary by: RelicRadio.com

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Episode Overview

This episode features the classic 1942 radio thriller "House of Greed" from The Whistler series. It tells the suspenseful and twist-filled tale of John Talbot, a prosperous yet unlucky man whose life is upended by betrayal, loss, and the corrosive effects of greed within his own household. Over the course of many years, secrets emerge and deadly plots unfurl as new and old family members jockey for inheritance, bringing the house to the brink of murder and exposing the true nature of those within.

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Key Discussion Points and Story Beats

1. Introduction and Setting the Scene (00:11–04:44)

• The Whistler introduces today's story, invoking the allure of dark secrets:

  "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..." (01:35, Narrator)

• John Talbot returns home to news his wife, Mary, has left him, seeking a more “considerate” man.
• Tense exchange with his brother Frank, who requests money to invest in a South American cattle business.
• John’s grief and confusion upon reading Mary’s farewell note.

2. John’s Search and Time Skip (04:45–06:18)

• John searches fruitlessly across Europe for Mary; ultimately, he abandons his business and retires to a country estate.
• 14 years later: John remarries Helga, a widow with an adult son, Paul. The new marriage brings hope, but also underlying tension.

  "Rice and honeymoons at our age... I'm 36 and you're 45, and I certainly don't feel old." – Helga (05:19)

3. The Dysfunctional Blended Family (06:19–09:56)

• Paul, Helga's son, is lazy, refuses to work, and has a strained relationship with both Helga and John.
• Helga and Paul plot to secure their future inheritance, revealing both their motivations and mutual manipulation.
• The arrival of a mysterious visitor through the library window: Mary, John’s first wife, returns destitute, sick, and seeking help for her daughter.

4. Revelation of a Secret Daughter (09:57–13:13)

• Mary reveals Joan, her 17-year-old daughter, is actually John’s child.

  "Because she's your daughter, John." – Mary (11:52)

• Mary begs John to care for Joan, promising Joan is his and providing evidence.
• John agrees and decides to introduce Joan into his home, inciting new tensions.

5. Plotting and Poisoned Inheritance (13:14–16:28)

• Paul and Helga fear losing their share of the inheritance now that Joan is acknowledged.

  "If he falls for her, if he likes her, he'll change his will and split the estate." – Paul (13:16)

• Paul proposes schemes to drive Joan away or worse.
• Joan confides in John about her deep sense of unease and mysterious fear in the house.

6. Rising Menace and Familial Danger (16:29–18:38)

• Paul’s disturbing, predatory confrontation with Joan, hinting at past violence:

  "I don't remember what happened to her. But her throat was slender and white, like yours." – Paul (17:52)

• Helga warns Joan to flee, confiding that the house is full of evil and even suggesting John seeks revenge through her.
• Tense atmosphere, dark portents, and growing paranoia dominate the household.

7. The Fatal Night: Murder at 3am (19:24–23:33)

• The narrative shifts: John’s brother Frank returns after many years, seeking help.
• Frank is mistaken by Paul and Helga for John and is murdered in his bedroom at 3am.
• The perpetrators (Paul and Helga) unknowingly kill Frank, believing they are securing the inheritance for themselves.

8. Unraveling and the Final Confrontation (23:34–27:55)

• Three days after the murder, John is missing. Joan, Helga, and Paul grow anxious.
• A mysterious caller demands Joan wait in the library for a midnight visitor.
• The truth emerges as the visitor (John, revealed alive) confronts his would-be murderers with both a confession note and the police.
• Paul and Helga are caught in their crime, forced to admit their guilt under duress.
• The stunning twist: Frank, not John, was murdered.

9. The Whistler’s Epilogue and True Revenge (27:56–29:22)

• The Whistler explains John’s ultimate, cold-blooded revenge: Marrying Helga for peace, but allowing Frank (who years ago ran off with Mary) to become the murder victim intended for John.
• Neither Helga nor Paul inherits, justice is done, and Joan’s place in the family is secured by fate’s dark irony.

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Notable Quotes & Memorable Moments

• "Someone who's more considerate of her. Why, I have given Mary everything her heart desired. She must be out of her mind." – John (03:37)

• "Because she's your daughter, John." – Mary, revealing Joan’s true parentage (11:52)

• "If he falls for her, if he likes her, he'll change his will and split the estate." – Paul (13:16)

• "You're very, very beautiful. Your eyes. Your hair. Just like gold. Golden beams in your throat. Your throat is slender. I..." – Paul, menacing Joan (16:58)

• "No one is safe in this house. You must leave at once. What do you mean? What's wrong? The house is wrong. It's filled with evil and hate." – Helga, warning Joan (18:16)

• "On the night of August 5th, we, the undersigned, murdered John Talbot in his bedroom and buried his body on the estate." – The forced confession (26:46)

• "You killed my brother Frank instead. Come on in, Sergeant. You heard it all." – John, revealing the outcome to the police (27:08)

• The Whistler’s parting words:

  "John's revenge was satisfied and he didn't have to turn a hand. That's all." (28:53)

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Timeline of Key Segments

| Timestamp | Segment | Brief Description | |------------|---------------------------------------------|-----------------------------------------------------| | 00:11 | Series intro & episode background | Host introduces The Whistler and today's drama. | | 01:35 | The Whistler opens the story | Narrator sets mystery tone. | | 03:17 | Mary’s note and John’s heartbreak | Marital strife and sudden loss. | | 05:15 | John marries Helga, a second chance | New family dynamics emerge. | | 06:42 | Paul's rebellion and Helga's ambition | Inheritance becomes a key source of tension. | | 09:07 | Mary returns to seek help | Family secrets and Joan’s existence revealed. | | 13:13 | Paul and Helga plot against Joan | Rising threat to Joan’s inheritance. | | 16:50 | Paul's disturbing encounter with Joan | Sinister intentions surface. | | 18:16 | Helga’s warning | Joan urged to flee the house of evil. | | 19:24 | Frank’s return | The plot sets up mistaken identity. | | 23:09 | Murder at 3am | Paul and Helga kill Frank by mistake. | | 25:02 | Joan receives mysterious midnight summons | The crime is about to be exposed. | | 26:46 | Confession is forced | Paul and Helga caught in their web. | | 27:08 | John reveals all | The true victim and plot twist. | | 28:53 | The Whistler’s epilogue | John’s revenge and closure. |

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Audience Takeaways

• Classic structure of suspense and surprise: The story exemplifies the psychological suspense and noir atmosphere that made The Whistler famous.
• Themes: Greed, the corrosive effect of secrets, betrayal, and poetic justice are explored through tangled family dynamics.
• Atmosphere: The episode is charged with dread, mood, and moral ambiguity, delivered with the archetypal flair of old-time radio, including chilling music cues and shadowy narration.
• Twist ending: In true Whistler fashion, no crime goes unpunished—even if justice takes a winding path, and revenge comes with a bitter edge.

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For those new to The Whistler or classic radio drama, this episode offers a prime example of the genre’s penchant for irony, complex plotting, and voice-acted melodrama—all staged with minimal but highly evocative sound design.

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Transcript

[A]

Relicradio.com presents stories of mystery and intrigue, espionage and suspense. Hear tales of ticking time bombs, mysterious crime scenes and cloak and dagger action. This is Relic Radio Thrillers. Welcome back to Relic Radio Thrillers. We're going to hear a story from the Whistler this week. A CBS series of 694 episodes that aired from May of 1942 to September of 1955. The series also spawned eight feature films and a short lived television series in 1954. Our story today is from September 5th, 1942. It's titled House of Greed.

[B]

Wait a minute.

[C]

Have you heard the weird tales of the Whistler?

[D]

I'm the Whistler.

[B]

Sunday night and again CBS presents the Whistler.

[D]

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 the amazing story of House of Greed. A taxi cab rolls through the night and comes to a stop before a brownstone mansion on West 52nd Street. The driver opens the door. A handsome well dressed man steps out, pays. The driver slips quickly up the stairs, fumbles with a bunch of keys. But the door opens.

[B]

Oh, hello, Jackson.

[C]

Mr. Talbot. Welcome home, sir.

[B]

Where's Mrs. Talbot?

[C]

Oh, she left three days ago.

[E]

Went to the place in the Catskills.

[C]

There's a note on your desk, sir.

[B]

Oh, good.

[C]

Your brother Frank is waiting in the library. Oh.

[B]

Frank.

[C]

What do you want, John?

[B]

Now look, Frank, I told you the last time I'd give you no more money.

[C]

Oh, but it isn't gambling debts this time. I'm reforming. I'm going to settle down and work.

[B]

Work?

[C]

I met a big cattleman from South America. He has a very lovely daughter and she talked her father into letting me buy an interest in the business.

[B]

How much?

[C]

10,000. Oh, I'm sure I'll make good, John.

[B]

Oh, very well. I don't mind doing something like that for you. When are you leaving?

[C]

Tomorrow. I've had a plane reservation for four days.

[B]

Thanks for the check, John.

[C]

You're a swell guy.

[B]

Tell Mary goodbye for me. Yeah, she's up in the Catskills and.

[C]

So Jackson told me. Good Lord. What's wrong?

[B]

She hasn't gone to the Cats Kills.

[C]

That I can't understand.

[B]

This on earth she mean. What is it? Read it.

[C]

John. This life is too lonely. I can't go on like this. So I'm leaving you. I found someone else who is more Considerate of me? First, I am going home, and from there it doesn't matter. I'm sorry, but things just didn't work out for us.

[E]

Mary.

[B]

Someone who's more considerate of her. Why, I have given Mary everything her heart desired. She must be out of her mind.

[C]

Of course, you have been gone a lot, and women get crazy ideas.

[B]

She snuck the pins right out from under me.

[C]

Yes, I can see that. Better take it easy for a while.

[B]

Yes. I feel.

[C]

I don't know, kind of sick.

[B]

All of a sudden, nothing seems to matter.

[C]

Maybe she'll wake up before she gets too far. Perhaps I better cancel my trip for a few weeks until you get straightened out.

[B]

No, no, no.

[C]

Never mind. I'll.

[B]

I'll pull myself together. I wouldn't have you sidetracked your plans for the world. I think you better go now, Frank.

[C]

I'd rather be alone. All right, but don't do anything foolish. What do you mean? Well, if you brood about it, you're.

[B]

Liable to get some crazy ideas and.

[C]

End up really holding the sack. Good luck, Frank.

[D]

Lots of luck.

[B]

Thanks.

[C]

Goodbye, John.

[D]

John sits for the remainder of the night staring over the top of his desk. The next morning, he closes the house and starts on Mary's trail, which takes him to London, Paris, Berlin, all over Europe, but to no avail. Finally, he drops his active interest in his business and goes to live in his country estate. Then one day, 14 years later, he finds himself on a honeymoon. He has married a widow named Helga.

[F]

Well, John, dear, we got away without too much trouble.

[B]

It does seem a bit silly. Rice and honeymoons at our age.

[F]

Our age? Well, you sound as though we're a.

[E]

Couple of old grannies.

[F]

I'm 36 and you're 45, and I certainly don't feel old.

[B]

Of course you're not, Helga.

[E]

Oh, dear.

[F]

John, now that the wedding's over, there's something I haven't told you.

[B]

Oh, now, I.

[F]

Well, I haven't said anything because I was afraid it might make a difference.

[B]

I know what it is. You have a son.

[F]

How did you know?

[B]

I wondered when you were going to mention it.

[F]

He finishes school this year. It's been quite a struggle putting him through college, but he's very bright. Paul has studied hard and managed to cram two years into one. Could he spend the summer with us?

[B]

Why, of course.

[F]

Oh, John, you're a darling.

[B]

I should be able to find a place for him in the business. Oh, ask him to come down to our place in the country.

[F]

Thanks, John. You're Wonderful.

[D]

So Helga's son Paul came to spend the summer at the country place. He stayed the next winter and the following summer and the next winter. Now it is summer again. Paul is still visiting his mother and stepfather. The first year, he worked in the office every day until noon. Found business very boring. So finally he quit going to the city at all.

[C]

But, Mother, I've looked the whole thing over and there's nothing there that interests me.

[F]

Well, you could learn about the business. You seem to be able to learn anything else you want to.

[C]

But I don't care for business.

[E]

You're a fool.

[F]

I worked my knuckles to the bone to give you an education. I married John Talbot to give you a chance. A chance to do something. John has no children. It's a huge business, and one day you could control the whole thing.

[E]

Disappointed in you, Paul.

[F]

You're letting me down.

[C]

Well, it seems to run very well without too much attention from him. If we were to inherit it, why wouldn't it continue to run just as well?

[F]

You either get down to that office or you pack your things and get out.

[C]

Why should I? I am perfectly satisfied.

[F]

I'll tell John to make you go.

[C]

And suppose I tell him what you just said? That you married him just to give me a chance? Married him for his money.

[E]

You wouldn't be.

[C]

And suppose I tell him that you were never divorced from Father? That he's still down in South America? Still wandering around trying to find a gold mine?

[F]

If you dare open your mouth.

[B]

Hello there.

[C]

How are you, Helga?

[B]

What's this I heard about South America?

[F]

Oh, why? Why, nothing. Paul was just talking about someone he met from down there.

[B]

Who do you know from South America? Paul?

[C]

Oh, fellow. I met him today.

[B]

Were you in the city today?

[C]

No, down the village.

[B]

I didn't suppose you'd been out of the house today. What's his name?

[C]

Why, I don't remember.

[B]

I didn't think you would. You haven't been out of this house for three days, Paul. I think you're the laziest man I've ever met.

[C]

All right, all right. I'll start back to the office Monday. If that's what you and Mother want me to do, I'll do it.

[B]

Sorry I wasn't here for dinner, Helga. I was detained in town. I have quite a bit of work to do. I'll be here in the library for two or three hours.

[F]

Very well, John. I. I won't bother you. I'll go on upstairs. Besides, I want to have a little talk with Paul.

[E]

Good Night, dear.

[B]

Good night.

[C]

Helga. What on earth?

[B]

Who's out there?

[C]

Why? What do you want out there?

[E]

May I come in? I want to talk with you.

[B]

Why do you come to the library windows? Why didn't you ring the bell?

[E]

I. I didn't want to cause a disturbance.

[B]

Disturbance?

[C]

What do you mean?

[E]

May I come in?

[B]

Yes. Yes, come ahead.

[E]

Don't you know me? John?

[C]

Good Lord, Mary.

[E]

I'm sorry, John. I had to talk with you. I saw the light in the library.

[C]

What do you want?

[E]

I. I need your help.

[B]

Where have you been all these years?

[E]

Oh, every place. Are you still filled with resentment?

[C]

It's been too long ago.

[B]

At first I was.

[C]

I followed you all over Europe, but never quite caught up with you. Now I'm glad I didn't.

[B]

No telling what I might have done.

[E]

I'm sorry, John. I was a fool. I know that now. May I sit down?

[B]

Of course.

[C]

You're cold.

[F]

Yes.

[E]

Can't seem to shake it. I've had it for weeks.

[B]

See, I hate to mention it, but you look a bit shabby. Mary, Aren't you doing well?

[E]

Oh, yes. Yes, I'm doing all right.

[B]

Are you?

[E]

You've married again?

[B]

Yes.

[E]

Your wife is here?

[C]

Yes.

[E]

Then I'll be as brief as possible. I wouldn't want her to know that I was here.

[B]

You want me to help your husband?

[E]

No, not that I have no husband.

[B]

What about the man you said was more considerate of you?

[E]

He left me four years after the baby was born.

[B]

Baby? You have a child?

[E]

Yes, John. She's 17 now.

[B]

Where's the man?

[E]

I don't know and I don't care. Oh, John. I made the biggest mistake of my life. I should have known better. He practically carried me off my feet. I learned later to my sorrow that he was not worth shooting.

[B]

Where's your daughter?

[E]

She's in a school in Vermont. I've worked hard to give her an education. I've done everything I could do to give her a chance. I've not seen her very often, but now, well, I. I'm sort of cracking up. I've been ill a lot. I seem to have trouble getting a job.

[B]

Job? What kind of a job?

[E]

Why, any kind of a job.

[C]

What have you been working at, Mary?

[E]

John, I've made such a miserable mess of it. I was never able to face things.

[C]

I always took the line of least resistance. What a shame.

[E]

And now I've come to the end of my rope. Joan has finished school. She's a lovely girl, Johanna. I can't let her know I can't take her with me.

[B]

Why not?

[E]

She deserves so much more. She deserves a chance in life. I want you to do something for her.

[B]

Why should I?

[E]

Because she's your daughter, John.

[C]

My daughter?

[B]

Yes.

[E]

Yours and mine. She was born seven months after I left. Here's the birth certificate. Please, John, do something for her. She shouldn't be made to suffer for my mistake. She's innocent.

[B]

Does she know I'm her father?

[E]

No, she doesn't remember the other men. Here. I'll give you her address, Fernwood College. And I'll write a letter to her explaining all about you. Well, I. Oh, John, you could do so much for her. She's a young lady now, and so lovely. Please see her. I know you'll fall in love with her.

[B]

All right, Mary. I'll see her. I'll have her Come down here.

[E]

Oh, John. John, I'm so sorry. So sorry for everything I've done. Please forgive me.

[B]

I've forgotten everything.

[C]

Mary.

[B]

Oh, wait a moment.

[C]

Take this check.

[B]

And do something about that cough.

[E]

No, thanks, John. I won't need it.

[B]

Better take it.

[C]

Thanks.

[E]

I'll be all right in a few days. The cough will be gone. Good night, John.

[B]

Good night, Mary.

[C]

If he brings this girl here, do you realize what it means?

[B]

Mother?

[F]

Yes.

[C]

It's his own daughter. If he falls for her, if he likes her, he'll change his will and split the estate.

[F]

She's entitled to it, isn't she?

[C]

Now, why should she be? Strange girl he didn't even know existed. Popped up out of nowhere and cheats us out of half the estate.

[F]

I know what you mean.

[C]

We've been here for several years. You're his wife. It isn't fair.

[F]

What would you do about it, Paul?

[C]

I'd see that she didn't get anything.

[F]

How would that be possible?

[C]

Suppose she. She didn't like it here. Supposing that before John got attached to her, the things happen that would make her dislike everything here. She runs away soon enough. He won't change his will.

[E]

Perhaps you're right.

[C]

And if she doesn't, then maybe something could happen to John later. Something could happen to the girl. But in any event, the will must not be changed.

[F]

Where do you get such ideas?

[B]

That, Joan, dear, is the story of your mother. I trailed them all over Europe, but never quite caught up with them.

[E]

You mean you planned to kill them?

[B]

Kill them? It was filled with revenge. But I finally gave up the chase and returned here to wait. I knew that sooner or later she'd show up.

[E]

But it's been so long ago. Surely you've lost the desire for revenge by this time.

[B]

Time heals many wounds, my dear.

[E]

If you had caught up with them and satisfied your revenge, what good would it have done?

[B]

Quite right, my dear. Quite right. Tell me, have you no recollection of this man? You can recall nothing about him?

[E]

Absolutely nothing? Remember, I was only four when he went away.

[B]

And you do believe that I'm your father?

[E]

What else am I to believe? Mother proved that with the birth certificate. Proved that I'm Joan Talbot, not Joan Evans, as I've always believed.

[B]

Of course. And would you like to remain here?

[E]

Why, yes, I think I would.

[B]

But there seems to be a doubt. Why do you hesitate?

[E]

I don't know. From all the evidence. I belong here. I have a legal right. But, well, I can't seem to find words to express it.

[B]

Express what?

[E]

From the moment I stepped in the door of this house, I've had a strange feeling. A cold, chilly sensation of fear.

[B]

Is it something you feel about me?

[E]

Yes.

[B]

You're afraid of me.

[E]

No, I don't think so.

[B]

Is it Helga? Is it Paul?

[E]

Oh, please. Please don't ask me anymore. I don't know what it is.

[B]

What has Paul said to you?

[F]

Nothing.

[E]

No one said anything. It's just a premonition of evil. There's something wrong, something horribly wrong in this house.

[B]

Oh, you're imagining things, Joan. It's all in your mind. It will pass as suddenly as it came. You're young, Joan. Impressionable. And you suddenly found your life turned upside down. A new environment to which you've never become accustomed. But you'll get used to it. You're my daughter. I want you to have what you deserve, what is rightfully yours.

[E]

I understand. And I'll try to overcome this feeling.

[B]

Yeah, that's better. You're a lovely girl, Joan. An intelligent girl. I know. I'm going to be very proud of you.

[E]

Thank you. I think I'll go to bed now.

[B]

Well, it is rather late. Good night, dear. See you in the morning.

[C]

Hello, Paul.

[E]

What are you doing here on the stairs in the dark?

[C]

I wanted to tell you something.

[E]

What?

[C]

You're very, very beautiful. Your eyes. Your hair. Just like gold. Golden beams in your throat. Your throat is slender. I.

[E]

Take your hands off my neck. Paul.

[C]

I don't know many girls. Girls don't like me.

[E]

Let me buy.

[C]

You don't like me either, do you? Well, I. I know. I can tell. Elsie didn't like me either. She was afraid of me.

[E]

Who's Elsie?

[C]

It was A girl in the village. She worked here in the summertime. No one knows what became of her.

[B]

What?

[C]

I don't remember what happened to her. But her throat was slender and white, like yours.

[D]

Let me by.

[F]

Joan. Joan.

[E]

What? Who's here? Who's in this room? Don't turn on the light. Helga. What do you want? I must talk to you. What about? We're not safe here. No one is safe in this house. You must leave at once. What do you mean? What's wrong? The house is wrong. It's filled with evil and hate.

[F]

I know.

[E]

Why do you stay? I can't leave. It's too late. But you must go at once. Do you mean that Paul took part of it? And what else? John. John? What about him? I can't tell you. But you must believe me. What about my father? He doesn't believe he is your father. And he's planning to get revenge on your mother through you. I don't believe you.

[B]

I won't.

[E]

He'll wait while you have a chance.

[C]

No.

[E]

I won't run from it. I'll face it, whatever it is. Good night, Jo.

[D]

Now it is nearly midnight. John still works at his desk in the library.

[C]

Outside, a man steps softly through the.

[D]

Trees upon the terrace.

[C]

Quietly opens the library doors.

[E]

Steps in.

[C]

Hello, John.

[E]

Frank.

[C]

Good Lord. Yes, Brother Frank. Well, why don't you say something? Come in. Get out or something. Why?

[B]

Come in, Frank. You fairly knocked me off my feet. I didn't know whether you were alive or dead.

[C]

It's been a long time, John. Why haven't you written me? Well, I was hoping I could make a go of that ranch and pay you back. But I guess I was just born unlucky. They had a revolution and cleaned Senor Gonzalez out and me with him. That's too bad, Frank. But you're still the same steady, reliable Joe. Yes, sir. I've tried my darndest to be like you, but it just doesn't end me. I don't have what it takes. The last two years, I've had a pretty tough time. I caught some sort of a malarial fever down there and it's impossible to get rid of it. It's recurring.

[B]

You certainly don't look well. You've aged quite a bit. You better have Dr. Richards look you over tomorrow.

[C]

She's still kicking around. I thought he'd be gone long ago. How's your new marriage turned out?

[B]

Oh, very well. Very well indeed.

[C]

Good. Ever hear from Mary? Yes.

[B]

She came to see me. I knew she would eventually. She was Broke and quite ill. She'd had a tough time of it.

[C]

And you helped her out.

[D]

You would.

[C]

You couldn't turn anyone down.

[B]

Well, she was mainly interested in my helping the girl. She had her in a school.

[C]

Vermont. And so now you're taking care of both of them.

[B]

What else could I do?

[C]

Good old Joe.

[B]

I sent for the girl and brought her down here. She's a lovely child, sweet as can be.

[C]

And you'll give her everything her heart desires, I suppose. And then you'll have another problem on your hands. With Joan. A girl 17 either wants to get married or go to college.

[B]

Oh, I've decided that. Really, I'd like to send her to Wellesley.

[C]

Good.

[B]

Isn't every man who can have a minute?

[C]

Frank.

[B]

Be right back. Well, what are you doing out here in the hall at this time of night, Paul?

[C]

Oh, well, Mother sent me down to see why you hadn't come up to your room.

[B]

Oh, tell her I'll be up in a few minutes.

[C]

Yes. Yes, I'll tell her.

[B]

My stepson, Paul. His mother thought I was staying up unusually late.

[C]

Oh, well, I'll run along. Good heavens, it's after 12. When's the last train back to the city?

[B]

12 o'. Clock. You've missed it.

[C]

When's the next one? 5:00am oh, well, I suppose I'll have to wait for that. Can you put me up?

[B]

Yes, of course, Frank.

[C]

Thanks.

[B]

Wait a moment, Frank. I probably won't be up when you leave, so I'll give you this now.

[C]

Oh, now, John, I. I didn't come here for that. Well, that is not exactly.

[B]

No, you never have.

[C]

There you are, Frank.

[B]

Thousand and see Doc Richards first thing in the morning and drop in at the office and let me know what he says.

[C]

Thanks, John. I. I'm sorry to have to take this. I. I only wish that. Oh, forget it.

[B]

We're not kids any longer. You're too old to learn new tricks. Now, run along to bed, Frank. I'll see you tomorrow. Oh, take the guest room at the head of the stairs.

[C]

Good night, John. See you in town at noon.

[B]

Night, Frank.

[D]

The clock strikes three as two figures slip down the darkened hall and quietly enter John's bedroom. Then, a few minutes later, the same two figures make their way in the moonlight through the trees to the back of the estate carrying a long, gruesome.

[C]

Bundle wrapped in a sheet.

[D]

Now it is three nights later, and.

[C]

Joan, Helga and Paul are in the.

[D]

Library as Joan paces back and forth anxiously.

[E]

But where could Father have gone? He didn't say a Word about going out of town.

[C]

Maybe he doesn't want to come back.

[E]

Why not?

[C]

I don't know. Maybe he doesn't like it here.

[E]

You should have listened to me. But you didn't say anything about. Well, you just mentioned me.

[C]

Could have been mistake.

[E]

I just had a weird feeling of intending to. Something is wrong, I know. If I didn't belong here, if I.

[F]

Could leave, I'd not stay another moment.

[C]

Who knows what will happen? I know.

[E]

What do you know?

[C]

I know what'll happen next.

[E]

They always happen in twos.

[C]

Many people have come here, stayed a while and then suddenly disappeared.

[E]

What time is it? There's a train at 12. I'm leaving here. Hello? Yes, this is Joan Talbot.

[C]

What?

[E]

Good heaven.

[C]

Who? Where?

[E]

Yes. Yes, I understand. Yes, I'll be here. Yes.

[F]

Who was it?

[E]

I don't know. I've never heard anything like it.

[F]

What do you mean?

[E]

It was a man and he.

[C]

What man?

[E]

He said he had a message for it and he'll be here at 12 o' clock and to wait for him in the library.

[F]

The police?

[E]

I don't know. He said he'll come to the garden windows. To the library window.

[C]

Who could it be?

[E]

I don't know. But we'll wait. I'm going to see this through. Here he comes through the garden.

[C]

Who? Who is it, Mother?

[E]

I don't know.

[C]

The lights. Why did you turn out the lights?

[E]

I turned them out so we could see outside. Who is he?

[C]

I don't know. He's up on the terr.

[F]

Who?

[E]

Who are you? What do you want?

[C]

I came to talk to you.

[E]

What about?

[C]

About what happened here at 3 o' clock in the morning several days ago.

[E]

Nothing happened. Nothing.

[B]

But something did happen.

[F]

Turn on the light.

[C]

No, don't turn them on. You couldn't see me if you turned on the lights.

[E]

Oh, good Lord. Was it you who phoned me?

[C]

I spoke to you, but I didn't phone you.

[E]

Mother, what happened in this house at 3 o' clock several days ago, a man was murdered.

[C]

What? Paul, turn on the lights. Turn on the lights. Joan Talbot. Open the top drawer of that desk. Now take out the paper. It says, on the night of August 5th, we, the undersigned, murdered John Talbot in his bedroom and buried his body on the estate.

[E]

We didn't. We didn't. We didn't.

[C]

It's John.

[B]

It's John. Sign it.

[C]

Sign the paper and I'll go.

[F]

Sign it, Paul.

[E]

Sign it. You did it. You killed him.

[F]

Sign it.

[C]

You help me. You sign it. I can't. I can't turn on the lights. John.

[E]

John. It's.

[C]

It's him.

[E]

It's him. He isn't dead.

[C]

No.

[B]

Paul.

[E]

No, we didn't. Paul.

[F]

What happened?

[B]

I'll tell you. You killed my brother Frank instead. Come on in, Sergeant. You heard it all.

[C]

Yes, we heard it all.

[E]

Father. What on earth happened? When you phoned a while ago, I almost fainted. I was sure you were dead.

[B]

I knew from the moment you told me you were frightened in this house that something was wrong. I put two and two together and realized what it was. They didn't want you to share on the estate. I knew they were planning something on that night. And then my brother came. He accidentally got into my room by mistake. They killed him instead of me. I saw them carrying his body through the trees. So I disappeared for a few days and evolved this plan. You've nothing to worry about any longer, John. Nothing?

[C]

No.

[D]

Nothing to worry about.

[C]

But the truth would certainly amaze you.

[D]

All that Helga said about Paul and John was true. John was planning revenge, but not through Joe. That night, your brother Frank came back. You discovered something, John.

[C]

What was it? Frank said? And then you'll have another problem on your hands. With Joan, a girl, 17, either wants to get married or go to college.

[D]

It was then, John, that you knew the truth. The only way that Frank could have.

[C]

Possibly known that the girl's name was.

[D]

Joan and that she was 17 was.

[C]

To have been with Mary.

[D]

So John knew then that it was Frank who ran away with Mary and.

[C]

Deserted her when Joan was 4 years old. And then John, knowing that Helga and Paul planned to kill him deliberately let Frank occupy his room on that fateful night.

[D]

John's revenge was satisfied and he didn't.

[C]

Have to turn a hand. That's all.

[B]

CBS has presented the Whistler. And now an important announcement regarding a change of time. Beginning one week from tomorrow night on Sunday, September 13th, the whisper will come to you at 9:15pm Remember Sunday, September.

[C]

13Th at 9:15pm.

[B]

Original music for this production was composed and conducted by Wilbur Hatch. The Whistler is written and directed by J. Donald Wilson and originates from Columbia Square in Hollywood. This is the Columbia Broadcasting System.

[A]

There's more from the Whistler, Relic Radio thrillers and all of the other podcasts at the website relic radio.com. there's also a Shout cast stream there with even more oldtime radio, 24 hours a day, seven days a week, lots to listen to, all made possible by your support. If you'd like to help out, Visit donate relicradio.com or click on one of the links on the website. Thanks to those who have thanks for joining me this week. Be back tomorrow with the Horror next Friday with our next episode of Relic Radio Thrillers.