The Falcon and The Whistler

Summary

The Relic Radio Show – "The Falcon and The Whistler"
Released: December 2, 2025
Podcast Host: RelicRadio.com

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Episode Overview

This week’s hour-long episode of The Relic Radio Show dives into two classic radio dramas from the golden age of radio: The Adventures of the Falcon: The Case of the Widow's Gorilla (originally aired November 12, 1950) and The Whistler: The First Year (originally aired December 31, 1947). Both plays offer suspenseful mysteries driven by greed, betrayal, and the complexities of human motivation, featuring iconic performances and twist-filled storytelling.

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Segment 1: The Adventures of the Falcon: The Case of the Widow's Gorilla

[Starts at 00:11]

Key Discussion Points & Plot Breakdown

• Crisis at the Orsatti Home:

  • Raymond Orsatti, a novelty manufacturer, faces business ruin and contemplates suicide. His wife, Lois, tries unsuccessfully to dissuade him.
    • [03:40] Lois: “Raymond, what are you doing?”
    • [03:50] Raymond: “Business is ruined. Kendrick's got the best of me. There's nothing left.”

• A Desperate Plan:

  • Orsatti considers a risky plan to solve his financial woes, perhaps involving business rival Kendrick.

• Business Proposition Rejected:

  • Kendrick, his business competitor, rejects Orsatti’s proposed merger, further deepening Raymond’s despair.

• The Falcon Gets Involved:

  • Kendrick hires detective Michael Waring (the Falcon) when police suspect him of murdering Orsatti.
    • [06:42] Kendrick: “I guess you wonder what a man like me wants with a detective…”
    • Falcon: “Happens in the best of families.”

• The Suicide Note Plot:

  • There’s a potential suicide note left by Orsatti, but Stribling, a bookie, is now suspected of holding onto it for extortion.
    • [08:30] Stribling: “Well, I suppose there was a note…a note like that ought to be worth a lot to Kendrick.”

• The Widow’s Stake:

  • The insurance policy’s suicide clause means Lois Orsatti stands to lose $30,000 if Raymond’s death is ruled a suicide. The note becomes an asset everyone wants.
    • [09:09] Stribling: “If Orsatti killed himself, the insurance is void, meaning that Mrs. O is out a cool 30 grand.”

• The Falcon Faces Danger:

  • Lois sets her thug, Marbury, to tail Waring and prevent him from reaching Stribling.
    • [11:49] Lois: “A man just left—Michael Waring. ...I want you to see that he doesn't get to Stribling.”

• Stribling’s Murder:

  • Stribling is found murdered. The note surfaces with Kendrick, who claims to have purchased it.

• Revelations and Confrontations:

  • Waring deduces that the person who sold Kendrick the suicide note wasn’t Stribling but someone impersonating him—likely Marbury, Lois’ “gorilla.”
    • [24:35] Falcon: “So when he bought the note, how do we know he bought it from Stribling?”

• The True Killer Unmasked:

  • Under pressure, Lois confesses Marbury’s involvement, but in the final confrontation, Waring realizes that he was with Marbury during the murder, and it was actually Lois who killed Stribling to retrieve the note and protect her claim.
    • [26:40] Falcon: “Looks like I did [catch the killer]. Yes. Who? Kendrick. It’s obvious...”

Notable Quotes and Memorable Moments

• [11:26] Falcon (sarcastic): “Well, it could save me a lot of trouble if you buy it. You're just going to wind up in a jam with the insurance company.”
• [17:59] Falcon (to Lois): “I’ve just been slugged by the poor widow’s gorilla. And a thing like that doesn’t put me on my best behavior.”

Important Segment Timestamps

• 00:11 – Show intro and the set-up for this week’s stories.
• 03:40 – 06:42 – Orsatti’s despair and Kendrick’s involvement.
• 08:30 – 10:54 – Stribling and the note’s value.
• 11:49 – Lois orders Marbury to tail Waring.
• 17:57 – 19:01 – Stribling’s death and Kendrick’s acquisition of the note.
• 23:22 – 26:49 – The confrontation and resolution.

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Segment 2: The Whistler: The First Year

[Begins at approx. 31:30]

Key Discussion Points & Plot Breakdown

• Marriage with Terms:

  • Lydia Winters and Elliot Larkin marry impulsively, each with selfish motives. Lydia’s wealthy Uncle Philip disapproves.
    • [34:14] Uncle Philip: “If I have any concern about Elliot Larkin, it’s on his account and not yours… With you, he hasn’t a chance.”

• The Testament of Doom:

  • Uncle Philip’s will forces Lydia and Elliot to live together ten years for a $500,000 legacy, but if either dies, the entire sum goes to the survivor.
    • [35:24] Uncle Philip (dictating will): “If at any time during those ten years, either one of them die by any means, the entire sum is payable to the survivor immediately.”
    • Ballinger, family lawyer: “It’s not a will, Philip. It’s a weapon.” [35:33]

• A Hollow Marriage:

  • The couple’s relationship quickly sours when Lydia learns Elliot is broke, and both are trapped by the will’s conditions.

• Schemes and Sacrifices:

  • As the first year draws to a close, both plot to find workarounds. Lydia is courted by an old flame, Marty, while Elliot seeks employment and contemplates leaving.

• Deadly Opportunity:

  • Fate intervenes: Elliot arranges for his friend Johnny Gates to travel under his name—Johnny perishes in a plane crash, seemingly giving Lydia the financial opportunity she sought.

• Murder for the Inheritance:

  • At the Silver Lake Lodge, Lydia considers murder. She plans to kill Elliot and collect the inheritance, convinced there will be no repercussions.

• Twist Ending:

  • The confession reveals Lydia killed Elliot, believing her alibi was flawless. However, Elliot is caught because he faked his death, and her plot unravels after a police investigation reveals the deception.
    • [55:16] Ballinger: “I can’t say I’m surprised, Lieutenant. I was afraid from the beginning that Philip’s will would lead to something like that.”

Notable Quotes and Memorable Moments

• [35:16] Uncle Philip: “You’re just like your mother—same selfishness, the same abysmal ignorance of the true meaning of marriage.”
• [41:23] Lydia: “I don’t love you, I never did.”
• [42:49] Elliot: “Ten years, nine to go. Well, I guess there was a time I’d be willing to do anything for a half million dollars. Right now, I don’t know.”
• [55:56] Detective: “Johnny Gates traveling in my name. I thought I had a perfect alibi… until our man walked in on you in Seattle.”

Important Segment Timestamps

• 31:30–35:35 – Lydia and Elliot’s backstory and Uncle Philip’s condemnation.
• 35:36–40:00 – The will’s conditions revealed; the couple’s finances exposed.
• 44:11–48:08 – Anniversary plans and schemes for escape.
• 51:25–53:05 – Fate offers Lydia the chance to kill Elliot and collect the fortune.
• 54:46–end – The Whistler’s ending; the murder is revealed, the confession read, and Lydia’s plan collapses.

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Final Thoughts

Both segments are gripping explorations of desperation and duplicity, classic hallmarks of old-time radio mystery. The Falcon’s wry detachment, exemplified by his banter and persistent sleuthing, and The Whistler’s bleak fatalism, punctuated by its omniscient narrator, set the tone for two dark tales of human weakness and fatal ambition.

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Memorable Quotes Recap

• The Adventures of the Falcon

  • Falcon (to Kendrick): “I work for my $50 a day, plus expenses. And if I can’t clear you that way, you better have cash on hand for a good lawyer.” [22:10]

• The Whistler

  • Uncle Philip: “It’s not a will, Philip. It’s a weapon.” [35:33]
  • Elliot: “You must admit the old boy had a sense of humor.” [42:45]

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Transcript

[A]

This is the Relic Radio Show Old time Radio entertainment still standing the test of time from relicradio.com welcome back to the Relic Radio Show. One hour of radio drama from the golden age every Tuesday@ Relicradio.com if you'd like to help support the Relic Radio show and all of the other Relic Radio podcasts, click on that support link in the show notes or visit donate. Relicradio.com We've got some downloadable sets for certain donation amounts, though any amount is always appreciated and helpful. And thank you as always to those who have helped out. We're going to start this week with the Adventures of the Falcon. We'll hear his story from November 12, 1950 titled the Case of the Widow's Gorilla. After that, it's the Whistler. And the first year that story aired December 31, 1947. The Kraft Foods Company brings you the Adventures of the Falcon, starring Les Damon. Hello? Yes, this is the Falcon speaking. Oh, Doris, thanks for the call, but tonight is out for me. I'm working for a businessman who has killed off his competition. And the question is, did he do it literally? This is Ed Herlihy, friends inviting you on behalf of the Kraft Foods company to listen to the Adventures of the Falcon. You met the Falcon first in his best selling novels. Then you saw him in his thrilling motion picture series. Now join him on the air when the Falcon solves the case of the Widow's gorilla. Sunday afternoon and time for another thrilling adventure of the Falcon. But first, a word about another kind of adventure. An adventure in flavor. For right now at your grocer's, there's a wonderful new salad oil for use in your homemade salad dressings, your cooking, your baking. It's craft salad oil, the first salad oil ever offered for your home use by the makers of all those wonderful craft prepared dressings. Now, craft salad oil is more than just a new oil. It's a new kind of oil. A lighter bodied oil to mix quickly and perfectly with all other ingredients. That's because it's not just refined, it's super refined by a special process created by craft. Yes, super fine. To put new magic into the salad dressings you make yourself into those wonderful chiffon cakes you pride yourself on. Into every home recipe that calls for liquid shortening. Don't wait to get acquainted with Kraft Salad Oil. Look for the bottle with the beautiful label tomorrow at your groceries. Get Kraft Salad. Now the case of the Widow's Gorilla. It's late Sunday night in the New York apartment of novelty manufacturer Raymond orsatti Orsatti is the stout middle aged man who at the moment is opening a desk drawer in the study of the apartment. Out of which he takes a revolver. He breaks the revolver, sees that it's loaded, closes it and is raising it to his head when he hears a sound behind him. He turns to see see his wife Lois standing in the doorway.

[B]

Raymond, what are you doing?

[A]

What does it look like I'm doing?

[B]

Give me that gun.

[A]

Stay away from me.

[B]

Please, Raymond, let me have it.

[A]

Stay away or you'll really get hurt.

[B]

Don't you listen to reason?

[A]

What can you say? Business is ruined. Kendrick's got the best of me. There's nothing left.

[B]

Are you just going to quit? Let him win so easily?

[A]

He's already won. Driven me to the wall. There's nothing I can do.

[B]

There must be something.

[A]

Bankruptcy. Disgrace.

[B]

If you just stop feeling sorry for yourself and really work at it. You'd find a way out.

[A]

How?

[B]

Don't ask me. You're the brain.

[A]

I tell you, it's no use. Only other way out would. Hey, wait a minute. That's an idea. If Kendrick would fall for it.

[B]

What is it?

[A]

Yes, it's a possibility.

[B]

What is? What are you talking about?

[A]

You'll see if it works. Have to figure out how to present it to Kendrick. He might just go for it. He just might. Well, there's the proposition. Kendrick, what do you say? Is that all you have to offer? Oh, look, it's all in your favor. Everything, the way. Sorry, I. Sorry, I'm not interested. But don't you see it's not worth discussing. When you asked me to come over this morning, I thought you had a worthwhile offer. I can't waste my time on this. Good day or sorry. No, Kendrick, wait. Perhaps your time isn't valuable or sorry, mine is. Good day again. I might have known he wouldn't be interested. I should have known. Why do I try to kid myself? What's the use, dear Lois, it's no use. I knew that it wouldn't be. But I tried to pretend I'm sorry about everything. But there's only one way out. You took the gun last night, but you didn't know. I have another try to forgive me spray. Excuse me, miss.

[B]

Yes?

[A]

I'd like to see Mr. Kendrick.

[B]

Hey, you know something?

[A]

What?

[B]

You look an awful lot like the Falcon.

[A]

Oh, it's the shape of my face.

[B]

Amazing. I've seen pictures of him.

[A]

Will you please tell Mr. Kendrick I'm here? He's expecting me.

[B]

Your name?

[A]

Michael Waring?

[B]

Yes. Sir Michael Waring. You are the falcon?

[A]

Yes. Small world, isn't it? Now, will you tell Kendrick I'm going out for a few minutes? If Mr. Waring comes, ask him to wait.

[B]

This is Mr. Waring.

[A]

Oh, fine. I'm not going out after all. Come on in, Waring. Right. And if anyone else comes, I don't want to be disturbed.

[B]

Yes, sir.

[A]

Now, Waring, I guess you wonder what a man like me wants with a detective. Oh, I wouldn't say that. Happens in the best of families. What happens? Needing detectives. Oh. Oh, that. I thought you meant murder. I wonder how you knew. So that's why I'm here. Yes, the police just left. You read about it in the paper tomorrow. What'll I read? I have a nice little business here, Waring. Been growing steadily the past few years. This week I drove my chief competitor, Raymond Arsatti, to the wall. Bankruptcy. Bully for you. Got a call from him this morning. Could I come right over? I went. What he offered was a merger. I don't need him. He needs me. Well? Well, I told him I wasn't interested and left. An hour later, he's found, shot through the head. That's one way to get rid of competition. I didn't do it. All right, chum, all right. But the medical examiner says he got it right around the time I was there. But he was alive when you left? Definitely. Only I have no proof. But I have a theory. Waring, see what you think of it. All right, I say suicide. Was there a note? They didn't find any, but here's the way I see it. Or Sati knew he was licked and blames me. He decides to give up and shoots himself. But he does it in a way to get back at me. He kills. He calls me on a silly pretext, waits till I leave, and then kills himself intentionally, leaving no note. So I'll be blamed. You don't buy it? It's possible. Who found the body? A Leonard Stribling. He arrived an hour after me. You know anything about Stribling? I understand he's a bookie or soddy. Like the horses. All right, Kendrick. I'll drop around and see Stribling. You're playing a long shot. And I have an idea he's just the boy to quote me the odds. Hello. My name is Mike Waring. Like to see Leonard Stribling, please. I'm Stribling the bookie. Look around you, Waring. Look around you. Can't you see this is a loan office? Convenient. You clean them, lend them the Money. Then clean them all over again. Get them coming and going. You got the wrong Leonard Stribling. Didn't you find Raymond Orsadi's body? So what? I've got the right Leonard Stribling. Look, I don't know what you want, Waring, but whatever it is, you're wasting your time. The Lord's had me on the grill already. And I'm clear. Osadi was killed an hour before I went up to his place. And I can account for every second of that hour with witnesses. So you didn't kill him. What's the chances he killed himself? Suicide? Mm. Are you sure there wasn't a note? Who are you working for? Waring? Insurance company. What insurance company? Silas. He had a 30 grand policy. Didn't you know? I'm just beginning. Tell me more. Ah, you tell me who you're working for. That's no secret. Kendrick. Kendrick, huh? Good. Very good. You like that? Come on in here. Waring. Okay. Now, look. Kendrick is in this kind of deep, so. Well, I suppose there was a note. A suicide note? I don't say there was. But if there was, that'd be all the proof Kendrick would would need that he didn't knock off or Saudi, right? Right. Note like that ought to be worth a lot to Kendrick. How much? Don't ask me. Kendrick's only one who can answer that. But before he starts figuring, maybe you'd better remind him that he's not the only one who'd be interested in the note. Who else aside his widow? Why? Suicide clause. You guessed it, chum. The clause is in effect. If was that he killed himself, the insurance is void, meaning that Mrs. O is out a cool 30 grand. I get the picture. Good. Show it to Kendrick. He may appreciate art, too.

[B]

Yes?

[A]

Are you Lois or Sadie?

[B]

Yes.

[A]

My name is Mike Waring. I'd like to talk to you for a minute. May I come in?

[B]

What's it about?

[A]

Your husband's death.

[B]

I don't want to think about it anymore. You'll have to go.

[A]

I know how you feel. But before I go, I thought you might like to know I've just seen Leonard Stripling.

[B]

What of it?

[A]

He tried to sell me your husband's suicide Note.

[B]

Why?

[A]

Ask Mrs. Osadi. Stripling says your husband killed himself and he's dickering with you to sell you the note so you can cash in on the insurance.

[B]

That's a lie. I haven't seen Stribling.

[A]

Then you will. He wants to get us bidding against each other.

[B]

What's your interest in the note.

[A]

Well, it could save me a lot of trouble. If you buy it. They're just going to wind up in a jam with the insurance company.

[B]

What an awful thing to say. To suggest that I do such a thing. It isn't enough what I've gone through, you have to come here. Make such accusations.

[A]

I didn't accuse, I advised.

[B]

Get out of here.

[A]

Sure. So long.

[B]

Marbury. Marbury, come here.

[A]

Yeah, Mrs. Ossaddy, what's the trouble?

[B]

A man just left. Michael Waring. You can catch him before he reaches the street. I want you to see that he doesn't get distributed. If he tries to stop him, I don't care what you do, only stop him. You understand? Miracle Whip has a flavor so pleasing. Miracle Whip tastes so lively, so teasing. Miracle Whip, only one of its kind. Miracle Whip, best salad dressing you'll find.

[A]

Miracle Whip is the only one of its kind because it's different. A different type of salad dressing made from a secret craft recipe. Miracle Whip combines the best qualities of boiled dressing and old fashioned mayonnaise. So it's truly distinctive and delicious with a flavor millions of folks call just exotic. Exactly right. Try it, won't you? One taste will tell you why it's America's favorite salad dressing. The one and only Miracle Whip. Now back to the adventures of the falcon. 10 minutes have passed since Lois Orsati ordered Marbury to keep Mike from stripling. Now in a restaurant, Mike enters a phone book to put in a call to his client. As he dials, Mike looks through the glass door and sees Marbury earnestly studying the phrases of the telephone book and from time to time shooting glances at Mike that are meant to be unnoticed. Hello? Kendrick? Yes. Mike Waring. Oh yes, Waring. Any luck? Yeah, you were right. Looks like Osadi killed himself. I knew it. But you were also wrong. What's that you said? Oh, sorry. Didn't leave a note because he wanted you blamed. Uh huh. Well there is a note. There is. So Stribling claims. So what becomes of your theory? Well it's still suicide. But Stribling told the police there wasn't any note because he wants to pedal it to the highest bidder. Oh, but who else would be interested? Mrs. Ossadi. I tried to talk her out of the deal but no dice. She put a tail on me. What? Yeah, a flat faced Joe who's making such a production of being inconspicuous that he stands out like an overcoat in July. He's right outside this phone booth waiting to pick me up again. What Are you going to do have dinner? I'm hungry. All right, Waring. But about that note. I'm willing to pay. I don't like being involved with murder, and I don't like blackmail. I'll go up and see Stribling as soon as I finish dinner. And the man who's following you? Well, if he's still with me after dinner, I'll call him on it. If he's as bad a liar as he is a tail, I should learn plenty. All right, chum, what are we playing? You've been following me ever since I left Osadis. You own the sidewalk. Well, considering taxes, sometimes I wonder. You want to walk, you walk. I want to walk, I walk. It doesn't say somebody's following somebody. All right, walk. I'll wait here. I'll walk when I feel like it. You mean when I feel like it. Now, look, chum, I've been in this racket long enough to know when I'm being tailed. In that case, you've been in the racket long enough to be familiar with one of these. A gun? Yes. Well, turn around. Go on. Now start walking. Puerto. Straight ahead. Remember, I'm right behind you. Under the circumstances, I'm not likely to forget. You know, I'm sorry you're so attached to me. I'm really not your type at all. Maybe you have a point. Turn into that alley. All right, now stop. I have an idea. This is the part I don't like. Don't like? You love it. This is where I leave you. That's where you want it, isn't it? Well, yes. Only before I go, I better say goodbye, like so. All right, pal, on your feet. Oh, hello, officer. Come on, get up. I'll try. Themis can't handle it. Shouldn't touch it. What? You heard me. You think I'm drunk? No. That aroma issuing from you is doubtless genuine attar of roses. What? Oh, yeah, he must have doused the stuff on me. Oh, you didn't drink it? Somebody doused you? Look, officer, I was sapped. Here's the lump if you want to feel it. Hey, neat job, right? Back in the year. Maybe I was wrong. Yeah, maybe. What time is it, officer? A little after eight. Then I've only been out a few minutes. There may still be time. Huh? The thug obviously works for Mrs. Orsadi. I thought I could scare her into tossing in her hand. But the strong arm act means she's shooting for the pot. That means I've got to work fast. What'd you say she wants to beat me to a deal with Stribling, but if she gets that note, I'm cooked. When the gavel comes down, I have to be a high bidder. I've got to get up there. All right, pal, run along. You're not drunk, you're crazy. Harrison. Departments Callahan, 308. Just a moment. I connect you? Yes, sir. Now, what can I do for you? What apartment is Stripling's? I want to talk to him. I'm afraid that is impossible, sir. He's not seeing anyone. He'll see me. I do not think so, sir. Why not? Mr. Stripling is dead.

[B]

Oh, you again?

[A]

That's right, Mrs. Osaka.

[B]

What do you want this time?

[A]

The thug. Where is he?

[B]

Thug?

[A]

The character who followed me when I left here before.

[B]

I don't know what you're talking about.

[A]

You do know what I'm talking about. He didn't tail me here. He did tail me from here. You must be the link.

[B]

Now see here, Mr. Waring.

[A]

I know, I know this is no way to talk to a poor bereaved widow. But it so happens I've just been slugged by the poor widow's gorilla. And a thing like that doesn't put me on my best behavior. Now, where is he?

[B]

Look, if you don't stop bothering me, I'm going to call the police.

[A]

Now, don't bother. They'll be around. I've already talked to them.

[B]

You what?

[A]

I told you you were flirting with trouble. Well, the trouble's here. There's been a murder.

[B]

Murder?

[A]

Yeah, murder. And your playmate may have some of the answers on it. So where can I find him?

[B]

How many times do I have to tell you?

[A]

All right. I keep thinking you'll listen to reason. But I see you're determined to do it the hard way, so I might as well run along. I'm just wasting my time here.

[B]

I'm glad you finally realized that. Goodbye, Mr. Waring.

[A]

Hello? Oh, yes, Waring. I've been trying to reach you. I want to know what I owe you so we can settle up. You mean I'm canned? No, it's just I don't need your services anymore. How come? Have you seen Stribling tonight? Yeah. Well, didn't he tell you? No, he's not in a talkative mood. What should he have told me about the note? What about it? I got it from him. You what? I have Orsati's suicide note. Got it from Stribling tonight. So you can see, as far as you're concerned, the case is closed. Well, maybe Kendrick. But as far as you're concerned, believe me, it's just starting. This is Ed Herlihy again. Friends, I do want to tell you something. I'm sure you mothers especially will want to know. It's how to get the finest cheese food you can buy for your family. It's simple really. Just be sure you buy Velveeta, Kraft's delicious pasteurized processed cheese food. Velveeta tastes good and it's so good for you too. For Velveeta is rich in important food values from milk and it's as digestible as milk itself. So it's perfect anytime for snacks, sandwiches and grand hot dishes. Try it. Won't you mother make Velveeta your handy helper. Just be sure you get genuine Velveeta. The pasteurized processed cheese food of top quality, made by craft. Now back to the Adventures of the falcon. It is 20 minutes since Kendrick told Mike over the phone about having Orati suicide note. And since he has the note, Kendrick thinks he no longer needs Mike. But Mike has different ideas on the subject and he's gone over to Kendrick's to present them. So you say you bought the note from Stribling? That's right, Waring. I don't see why you're so excited about it. No, no, the note's conclusive. Unmistakably in Orsati's handwriting. All right, Kendrick. You've proved you didn't kill or Sati. Now what about Stribling, huh? What about him? I suppose you don't know that he was killed tonight. What? Good heavens. You walk out of one murder app right into another. So it looks like my services are still very much required. You're not joking. When I work for Yox Kendrick, I pull cuter stuff than this. What do we do first? A quick run through to see where we stand. Like why did you go up to Striplings? I told you I'd handle it. He called me right after you did. Wanted to know how much I'd Pay. He claimed Mrs. Osati had offered 15,000. I offered 20. And you took it right over to him. That's right. When did you get there? Around 7:30. How long did you stay? 5, 10 minutes. Oh great. You were there right around the time he was killed. Oh no. The neighbors heard the shots. He was alive when I left. Yes, and was killed right after 7:40. You're in a rut or Saudi and stripling right back where you started. Only this time there's no note. There May be another difference, too. What's that? It was known that I was up at Orsati's. Possibly. No one knows I went to Stribling's. I know. Except you. Look, I'm scared to death of a murder charge, waring. I paid 20,000 already to clear myself of one. How much do you want? You save your pennies, Kendrick. I work for my 50 a day, plus expenses. And if I can't clear you that way, you better have cash on hand for a good lawyer. You've got to clear me. All right, then let me do it my way. I'm going to make one last attempt at getting Lois Osadi to talk. Oh, and you better come with me. I want to keep my eye on you. Why? Because Mrs. Orsadi has a gorilla working for her. And if she gets the idea you have the note, he may come calling. And take my word for it, Kendrick, you wouldn't enjoy the. All right, here we are. 4:12. Now remember, Kendrick, let me do the talking. All right. Well, just one thing before we go in. Did you ever meet Stribling before tonight? No. Why? Oh, good. Let me.

[B]

Oh, not you again.

[A]

Yes, and this time I'm coming in. I see you are.

[B]

What do I have to do?

[A]

Just be your charming self.

[B]

All right, let's get this over with once and for all.

[A]

That suits me fine. You know Mr. Kendrick?

[B]

Yes, I know him. He killed my husband.

[A]

Now see here, Mrs. Arsadi. I'll handle it. Kendrick. Mrs. Arsari, I told you your husband killed himself. Now we have proof.

[B]

Then Kendrick drove him to it.

[A]

It was strictly business. Up and up. If your husband wasn't here, Mr. Kendrick, I'll handle it. Sorry, Mrs. Osadi. Your husband killed himself. We have a note to prove it.

[B]

You have it?

[A]

Yes, right here. Nuh. Don't touch. But you can see it's in your husband's handwriting.

[B]

Where did you get it?

[A]

From Stribling.

[B]

You killed him for it.

[A]

Who told you he's dead?

[B]

The police were here.

[A]

I see.

[B]

Yes, they were here, all right. It's not enough I've lost a husband. No, no. All day long. You and the police. And the police and you.

[A]

That's too bad. You know, I could have more sympathy with you if you weren't involved with that gorilla. And if you didn't lie about your dealings with Stribling.

[B]

I didn't have any dealings with Stribling.

[A]

He said different.

[B]

He was lying.

[A]

I doubt it. He wouldn't have closed the deal with us until he heard your last offer.

[B]

He didn't close the deal. You killed him. That's how you got the note.

[A]

What makes you so sure?

[B]

Because he obviously was killed for the note and you've got it.

[A]

That's nice going Mrs. Osadi. But there's one hitch.

[B]

What's that?

[A]

Kendrick never met Stribling before. So when he bought the note, how do we know he bought it from Stribling?

[B]

What?

[A]

Welling? You mean that wasn't Stribling? Someone could have killed Stribling for the note, then sold it to you, pretending to be Stribling.

[B]

But who?

[A]

Obviously not you, Mrs. Osada. You couldn't have masqueraded as a man, but your gorilla. I've told you. You told me you don't know the gorilla. But there's a good possibility that he's a murderer. Now if you want to keep on covering for him, you may wind up as an accessory.

[B]

I didn't have anything to do with the murder.

[A]

But you did have something to do with the murderer. And if you don't talk now, we'll still prove it when we find him. After all, I've seen him. I've described him to the police. Now it's just a matter of time.

[B]

What do you want me to do?

[A]

Tell us his name. Tell us where we can find him.

[B]

All right. But you understand I didn't know he was going to kill Stribling.

[A]

Uh huh.

[B]

Stribling phoned me, said he had something that I might be interested in. I hired Marbury to find out about it. And that's all.

[A]

Marbury? So that's his name?

[B]

Yes. Jack Marbury.

[A]

Right.

[B]

But I didn't know he'd commit murder. I'm still not sure that he did. All I know is when you came, I ordered him to follow you. Later he called back, said he followed you home.

[A]

Home?

[B]

That's what he said. Then he said he went up to Stribling's. But just as he got to the door he heard a shot.

[A]

Oh, he heard the shot?

[B]

That's what he said.

[A]

Looks like you've hit it, Waring. He was lying to her. He went up, killed Stribling for the note, sold it to me. Where can we find her, Mrs. Odi?

[B]

Well, perhaps if you try.

[A]

You're looking for me?

[B]

Margaret.

[A]

Reach, all of you. I saw Waring come in here, so I went around the back. I thought you might need me, sweetheart. But I was wrong. You don't need me. What you need is a good smack in the te wearing is going for her. Yeah. Now's my chance. Good. Waring you knocked him out. But he's not. Not the one who sold you the note. I didn't think he would be. But you said. I know what I said. Because I was trying to catch a murderer. And you know Kendrick. Looks like I did, yes. Who? Kendrick. It's obvious. The brokenhearted widow. Lois or Sam. Yes?

[B]

Mr. Waring is here.

[A]

All right, send him in. Hello, Welling. Come in. Sit down. Thanks. Kendrick. Well, I got the whole story out of her at headquarters. Good. One thing I still don't understand, Welling. Maybe you can explain. What's that? Why'd she do it? The note was what everyone was after. Killing Stribling didn't get it for her. She wanted the note because she'd lose 30,000 if it fell into your hands. Precisely. But Stripling called her, told her you had offered 20,000 cash. Yeah, she couldn't see topping your bid. What she'd have left out of 30 wouldn't be worth the risk. Mm. But she knew 20,000 in cash would be changing hands at Stribling's, so she went there with a gun to collect it. She figured if she couldn't protect her 30, she'd settle for your 20. I see. She knew Stripling would be in opposition to Call Copper, so it seemed safe. Only he put up a struggle and she had to shoot him. Aha. And just how did you know it was she? Well, first of all, I didn't think it was you. Flattering. Why not? Well, you were just trying to clear yourself of one murder rap. I couldn't see you exposing yourself to another just to wipe out the first. Very well. You've cleared me. Still, that doesn't prove you didn't do it. I knew Marbury didn't. How do you know Marbury didn't? Because Stripling was killed at 7:40. And it so happens that at that exact time, Marbury was sitting across from me in a restaurant, keeping an eye on me. Oh, so that left Mrs. Orsadi. Of course, it was the outside chance that the job was pulled by someone not directly involved in the case. But I squashed that by giving Mrs. Orsadi a chance to finger Marbury. And she fell for it. Well, she figured the more fall guys she had lined up, the safer she'd be. But when she tried to place Marbury at Striblings at the time of the shooting, that proved she was lying. Very good, Waring. Very good indeed. And now, here's your check. Thank you. And I guess that's just about all. Just one more thing. What's that? What's the name of that cute little secretary of yours? Her name? Oh, it's Mrs. Kendrick. Oh. Well, as you were saying, Kendrick. I guess that's just about all. So long, Friends. America's defense program has placed on the Red Cross one of the greatest responsibilities it has ever had to assume. Now, in addition to day to day aid to the sick and injured, the Red Cross must extend its services to the men of our growing armed forces in camps and hospitals at home and overseas. Now too, the Red Cross must recruit, train and equip millions of home defense volunteers in first aid and home nursing. And the Red Cross system of blood banks must be expanded to meet greater civilian and military needs. That's why Red Cross needs your help. By giving as generously as you can to the Red Cross, you are helping to mobilize for the defense of your family, your community, your country. This is NBC, the National Broadcasting Company. The Signal Oil Program. The Whistler. That whistle is your signal for the Signal Oil Program. The Whistler. I am the Whistle. And I know many things. For I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak. Yes, friends, it's time for the Signal Oil program. The Whistler rated tops in popularity for a longer period of time than any other west coast program in radio history. And Signal Gasoline is tops too. Tops in quality. It takes extra quality, you know, to give you extra mileage. And Signal is the famous Go farther gasoline. So look for the Signal Circle sign in yellow and black that identifies friendly dealer owned signal stations from Canada to Mexico. And now, the Whistler's strange story. The first year. The story of Lydia Winters falls naturally into two parts, separated by exactly one year almost to the minute. Her marriage to Elliot Larkin ended, of course, on New Year's Eve, somewhere around midnight, at a place called Silver Lake Lodge. The circumstances surrounding its ending are a matter of rapid record now in the files of the police department Homicide Division. The beginning is another story. A personal one. Just a year before, early on New Year's morning, Lydia Winters had stood at the door of her uncle's apartment with Elliot, listening to the whistles ushering in the New year. Darling, listen.

[B]

It's official now.

[A]

A brand new year, brand new life.

[B]

I better go in now, Elliot.

[A]

Look, Lydia, let's go together. You can speak your piece and I'll back you up.

[B]

I already told you I want to talk to Uncle Philip alone.

[A]

Darling, oh, but why waste New Year's Eve? Good Lord, woman. It'll only take a minute.

[B]

I love you, dear, and I'm gonna marry you. You might as well learn right now. When I make up my mind, I.

[A]

Mean it as so Marty tells me. Poor Marty. Yeah, poor Marty. Looked like you hit him with a poleaxe when you told him tonight.

[B]

He'll get over it. They all do.

[A]

I wonder if we will.

[B]

Maybe. It'll be fun while it lasts.

[A]

Lydia, why are you marrying me?

[B]

Oh, you dance well. You're good looking. You have charm of a sort.

[A]

And of course, my money. Your money.

[B]

I'm tired of depending on Uncle Philip.

[A]

Ah, you're a worldly woman, but very practical.

[B]

Kiss me, darling. Good night, Elliot.

[A]

I'll pick you up tomorrow at noon. We can be married in Greenville. Run up to Silver Lake Lodge for a couple of weeks, huh?

[B]

You're so capable, darling. All take it out for me.

[A]

Yeah, except Uncle Philip.

[B]

Just leave Uncle Philip to meet you. Good night.

[A]

Good night. Happy New Year.

[B]

Well, Uncle Philip. No, it's you, you old darling. Waiting up for me?

[A]

There's a very good reason, Lydia. I want to talk to you seriously for once.

[B]

Oh, and I know just what it's about. You don't approve of Elliot, do you, dear? You think he's a fortune hunter, irresponsible, unworthy of me. And I'm so hard and thoughtless and gullible.

[A]

You through?

[B]

Yes.

[A]

Good. Then please understand this. If I have any concern about Elliot Larkin, it's on his account and not yours.

[B]

Is that so?

[A]

Exactly. In the proper hands, he might, just might, understand you. Grow up into a decent human being. With you, he hasn't a chance.

[B]

Now, wait a minute.

[A]

If you think you can tell me, let me finish. That's beside the point. Anyway. You're just like your mother was, Lydia. The same selfishness, the same abysmal ignorance of the true meaning of marriage. You're not in love with this man, he's not in love with you.

[B]

You're pretty sure of yourself, aren't you?

[A]

Of course I'm sure. Get to the point, Lydia. I will not approve your marriage to Elliot Larkin or any other man until you indicate some small understanding of what the word means. Until you're able to look upon it as a sacred contract instead of an adventure.

[B]

I see. Now, I'd be grateful if you'd step off the soapbox while I tell you something. I don't care what you think.

[A]

Listen to me, Lydia.

[B]

I'm through listening to you. I'm of age, Uncle Philip. Tomorrow afternoon I'm marrying Elliot, whether you approve or not. I don't care about you or your money or anything else. It's my life, and I tend to live it as I please. I'm leaving at noon tomorrow, Uncle Philip, and there's nothing you can do about it.

[A]

Nothing I can do about it, eh? Yeah. Hello? Ballinger? Yes. Bill Ridgely. I hate to get you up, old man. Oh, not at all. Two years, you know. We're having a little party. I want to see you right away, Ballinger, about my will. Oh, how about tomorrow morning? I said right away. Now. Good Lord, Phil. You can't do a thing like this now. Why not? Why, shit. It's vicious. If there was any chance for success of Lydia's marriage, it's destroyed by this. This thing. You can't play with people's lives as if they were puppets. Neath my money, Ballinger. I can do with it what I please. Now get this again. The new will is to provide that if Lydia and Elliot Larkin live together as man and wife under the same roof for a period of 10 years, they are to receive the principal legacy of $500,000 jointly. All have to each other as they may choose. That failing it goes to the Children's Relief Fund. Got that? That's clear enough. Now, if at any time during those 10 years. Either one of them die by any means, the entire sum is payable to the survivor immediately. Look here, Philip. I realize I'm in no position to question your moral code. This thing is fiendish. Why, it'll set them at each other's throats. Perhaps it will, Ballinger. Perhaps it will. A sort of a test. You know, if I'm right, the marriage means nothing to either of them. It will destroy them. On the other hand, if I'm wrong, it will be a real reward. Yes, but don't you see? It's not a will, Philip. It's a weapon. Maybe. I know I won't live to see it work out, but you'll see it, Ballinger. You're to acquaint them with the provisions. The moment I die. There's a comfortable retainer in there for you to see. It's followed to the letter. You know, I envy you, Ballinger. It should prove very interesting. With the prologue of the first year. The Signal Oil Company is bringing you another strange story by the Whistler. But now a brief suggestion to help you enjoy new driving pleasure during the new year. To be sure of the tops in gasoline quality, there are just two Things to remember. One, in gasoline, it takes extra quality to go farther. And two, signal is the famous go farther, gasoline. And now back to the Whistler. Yes, Lydia. It began on a New Year's Eve at a party with Elliot Larkin, when suddenly, impetuously, you decided that here was the answer to Uncle Philip's tyranny, an avenue to freedom. And it's worked out fairly well, hasn't it? It's not a storybook marriage, of course, but you didn't expect that. Still, Elliot is fairly presentable, reasonable and charming. And you're sure he's wealthy enough to keep you well dressed and entertained. And until something better comes along, you're content. It was an evening in October that changed all that. The two of you had just arrived home from a football game. Oh, Johnny Gates. Can you imagine running into him that way?

[B]

I felt like a lost sheep with the two of you huddled together all night.

[A]

Well, I haven't seen him since college. Oh, here, let me take your coat there. It was a lucky break running into him that way.

[B]

You know, where the cigarette.

[A]

Oh, minute. Oh, here you are. Catch.

[B]

Thanks. What do you mean, lucky break? You didn't pay any attention to the game.

[A]

Well, he's leaving his job. He's going to the Orient.

[B]

Oh, yeah.

[A]

He represents some cordial outfit. Liqueurs, that sort of thing, you know. Well, I mean, that's the job he's leaving. It's a pretty good job.

[B]

What's that got to do with you?

[A]

He says he'll recommend me to replace him if I want it. You?

[B]

You mean you're going to work?

[A]

Well, why not? I can't be a playboy all my life. Elliot.

[B]

Elliot, darling, what in the world got into your head?

[A]

What's so funny, huh?

[B]

You working?

[A]

Yeah. Well, you better answer the phone.

[B]

Yeah. Hello?

[A]

Mrs. Larkin?

[B]

Yes?

[A]

This is Mr. Ballinger, your uncle's lawyer.

[B]

I'm not at home to my uncle, Mr. Ballinger. You can tell him.

[A]

Just a minute. Mrs. Larkin, I'm calling to tell you that your uncle passed away this afternoon. I see. It's my duty as his executor to read to you the terms of his will. Who is it, honey?

[B]

Just a minute, please. Uncle Philip's dead. Something about the will.

[A]

Oh, let me talk to him.

[B]

I'll handle it. Mr. Ballinger, perhaps you don't quite understand my relationship with Uncle Philip.

[A]

Wait a minute, Elliot. Give me that phone.

[B]

What do you think you're doing?

[A]

Time I knock some sense into your head, angel. You may as well know it now. We're Broke?

[B]

We're what?

[A]

Oh, as close to it as you can get without selling the furniture. That's why I took Johnny up on the job. Hello? Money.

[B]

A lot of it.

[A]

Just never mind that now. Just tell Mr. Ballinger we'll be glad to talk to him, you hear? Go on, take the phone.

[B]

Hello? Hello, Mr. Ballinger? Yes, we'll be over right away.

[A]

How'd it taste, dear? What? Humble pie.

[B]

I'm not in the mood for that sort of thing. Elliot, why didn't you tell me you were broke?

[A]

You didn't ask. Just went along with what everyone believed about the lock.

[B]

And you think that was fair to me?

[A]

Well, it works two ways, angel. After all, I was under the impression your Uncle Philip's worldly goods were practically in your pocket.

[B]

I see. Well, I guess I'd better make this clear, Elliot. I don't love you. I never did.

[A]

Oh, now, take it easy.

[B]

And bright and early tomorrow morning, I'm leaving this house and I'm not coming back.

[A]

Really? Well, I'm going to miss you terribly. Where are you going?

[B]

Does it matter very much?

[A]

No, not really. Tomorrow's up to you, Lydia. Tonight, on the other hand, I'll see Mr. Ballinger alone. Uh, we're going together. Darling, somehow I'm just a little curious about your uncle's will. You?

[B]

You mean this thing forces us to love each other?

[A]

More or less. That is, if you want the money. You will live together under the same roof for 10 years. Yes, I heard it the first time, Ballinger. Now, are you sure it'll hold up under probate? It's quite legal, if that's what you mean.

[B]

Naturally, you could know Uncle Philip very well, Elliot. Most efficient man in the world.

[A]

Well, that's it. Is there any questions, Elia?

[B]

No, no. It's all very clear. Oh, come on, Elliot.

[A]

Well, then, good night. Good night. Lock in. Good night.

[B]

Amusement, Elliot, or the beginning of hysteria?

[A]

A little of each, I suppose. You know, you must admit the old boy had a sense of humor.

[B]

Must I?

[A]

Ten years, nine to go. Well, I guess there was a time when I'd be willing to do anything for a half million dollars. Right now, I don't know.

[B]

It won't make any real difference. Elliot, I want that money. Live your life, I'll live mine. No questions, no answers.

[A]

Except for the watchdog Valenger.

[B]

Yes, we can handle him.

[A]

I suppose it's worth a try. All right, dear, what's the first move?

[B]

Your friend, Johnny Gates. Johnny, you'll need that job now you have a wife and home. To support, remember?

[A]

At that moment, you're forced to admit something to yourself, aren't you, Lydia? That Uncle Philip was right. That your marriage to Elliot Larkin is a farce. A hollow, mocking thing that was never meant to be. And there's something else, Lydia. The strange will. As the weeks pass, you know it for what it really is. An instrument of torture. A weapon striking back at you from the grave. Yes, Uncle Philip might as well be alive and laughing at you, telling you that you can't win. But through it all, you're determined that somehow, some way, you'll defeat Philip on his own ground. Then, on New Year's Eve, the night marking your first year together, Elliot calls you at the apartment.

[B]

Yes, Lydia.

[A]

I thought you might be interested. I've got that job.

[B]

Johnny?

[A]

Yeah, he's giving it up. Leaving right away.

[B]

Oh, nice. Tonight I can drink champagne that's paid for.

[A]

Oh, about that. I won't be able to make dinner until later. I'm helping Johnny celebrate.

[B]

Oh, don't worry about that. I meant to tell you. We can skip the dinner plan. I'm meeting Marty Bell at the Zebra Club.

[A]

Marty Bell, huh? Well, true love never dies. Good old Marty.

[B]

Don't tell me you object, darling. I'll see you tomorrow.

[A]

Elliot. You'll see me tonight. If you insist on going there with Belle, I'll come down to the Zebra.

[B]

Climb on.

[A]

What?

[B]

Don't play the jealous husband, Elliot. That's really overdoing it. Goodbye, Lydia.

[A]

Lydia.

[B]

Marty, you're very amusing, but I mean.

[A]

It, Lydia, I love you.

[B]

Does anyone really mean that?

[A]

I want you to go away with me, Lydia. Leave Elliot.

[B]

Please.

[A]

Marty.

[B]

Trying to break up the perfectly matched adoring Larkin.

[A]

It isn't breaking anything up and you know it. You're not fooling me, Lydia.

[B]

Stop it.

[A]

Marty, you don't care a hang for Elliot.

[B]

I said stop it.

[A]

Hello.

[B]

There's someone coming over to our table. An old friend.

[A]

Really? I don't see anyone.

[B]

Mr. Ballinger. What an unexpected surprise.

[A]

Yes, I dare say.

[B]

I'd like you to meet Marty Bell, an old friend of Elliot. Marty, Mr. Ballinger.

[A]

How to do?

[B]

He's keeping me company while I wait for Elliot. But he has an appointment. Maybe you sit in for a while. Mr. B isn't glad to. But then Marty won't have to waste any more time.

[A]

I'm not wasting time. All right.

[B]

You've been a dear, Marty. I'll tell Elliot. Now run along.

[A]

Nice to meet you, Bill. Yeah, same here. Goodbye, Lydia.

[B]

Bye, Marty. And thanks so much. He's Such a. Dear.

[A]

Lydia, I've been intending to bring this up for some time. I. I've been disturbed about things that I've been hearing.

[B]

Things? What things?

[A]

About you and Elliot. You know, when there's any sign of trouble between you, you're on dangerous ground.

[B]

Why, Mr. Ballinger, I don't know what you're talking about. We're getting along beautifully.

[A]

Where is Elliot? Lillian, it's New Year's Eve. You two should be together.

[B]

Of course we should. But the night's only beginning, Mr. Ballinger. Why, I talked to Elliot only a little while ago. He's going to be here.

[A]

Do you mind if I wait?

[B]

I know I'd appreciate it if you would wait. There he is now. He just came in. Would you excuse me a minute? I'll tell him where we are. Excuse me. Would you let me through, please?

[A]

I'm sorry, lady. Pardon me. It's okay.

[B]

Elliot. Elliot.

[A]

Oh, there you are. Where's Marty? I want to talk to him.

[B]

Not here, Elliot. Come over the table with me.

[A]

He ran out, huh?

[B]

I sent him away. Ballinger's here.

[A]

Ballinger.

[B]

Smile, darling. He's looking right at us. Would you let us through, please?

[A]

Excuse us. We're sorry.

[B]

Right here, darling. Right here. Well, Here he is, Mr. Ballinger. My stray lamb. Dear, you remember Mr. Ballinger.

[A]

Hello, Larkin. Yes. How are you, Ballinger? Sit down, my boy. I just ordered around a drink.

[B]

Why, how nice.

[A]

If you'll permit me, I'd like to offer a toast on your anniversary. One year, isn't it? That's right.

[B]

Ah, one beautiful year.

[A]

Yes, well, we can drink to that. And of course, to your future. May you remain as happy as you are tonight. Right now, Lydia, as you lift your glass and touch it to the others, listen to Ballinger's hollow toast. You realize that this can't go on, that nine more years seem impossible. But it's impossible too, Lydia, to sacrifice the money, isn't it? The money? The defeat of Uncle Philip on his own ground is uppermost in your mind. All you can think of an hour later as you sit beside Elliot in the car.

[B]

I hope Mr. Ballinger doesn't think it odd our leaving so early.

[A]

I explained to him I have to drive a friend to the airport.

[B]

Oh, Johnny Gates?

[A]

Yeah. He's flying to Seattle on the midnight plane. What I didn't tell Ballinger is that I'm going too.

[B]

Your what?

[A]

Got my ticket. Suitcase in the back.

[B]

Elliot, you can't do this.

[A]

Why not?

[B]

Because of what it might mean, Balan. Just suspicious. Now what'll he think when he hears you've gone flying off somewhere on our anniversary?

[A]

Does that matter?

[B]

Of course it matters. You've got the power to cancel everything. You can't do it, Elliot. Wait a few days at least.

[A]

I'm sorry. My first assignment on the new job. Company expects me to wire them from Seattle in the morning.

[B]

Why did you agree to such a thing?

[A]

Maybe I've had all I can stand with you for.

[B]

Half a million dollars. Don't be a fool, Elliot. Look, look, I'll do anything you say. I'll stay away from Marty. Anything, Elliot, Just give me a chance.

[A]

Well, another helping. What? Same humble pie.

[B]

Oh, Elliot, please, please be reasonable.

[A]

Oh, Johnny's expecting me, Lydia. I don't see how I can change things now. I'm supposed to be there.

[B]

There must be a way. Elliot, you. You'll regret this yourself. I know you will.

[A]

Well, I wonder. What?

[B]

What are you thinking?

[A]

Maybe Johnny can help it. Come on up with me. We'll talk to him. Maybe I'm a little dumb tonight, Elliot. Give me another rundown on that, will you? Well, now, look, Johnny, it's simple. I'd just like an extra day here, that's all. You're flying north anyway. Couldn't you send that wire for me to cover you with a comp? That's right. Now, you see, that way Lydia and I can be together on our anniversary. And I'll be up there in a day or two. Well, I don't suppose there'll be much doing over the holiday anyway. Oh, not a thing. It's just that I don't want to beg off on my first assignment. No, that wouldn't be so good. Okay, pal, I'll handle it.

[B]

Johnny, I appreciate this, too.

[A]

I. Forget it. Elliot's done plenty for me. Oh, Johnny, there's. There's one more thing. I don't like the idea of turning in my plane ticket. You know, just in case the company should check. Oh, I don't think they will. I'd rather not take a chance. Now, look, if it doesn't matter to you, you're leaving the company anyway. Couldn't you turn yours back and go in my place? All the way through? Well, you'll feel safer, Johnny. I really would. Okay, let's have it. Say, I'll even check into your hotel for you. Oh, fine. We better get going. Yeah, right away. Well, I'll finish packing. Be with you in a minute. Satisfied, Lydia?

[B]

Perfectly.

[A]

Look, as long as we're going to make it look good to Ballinger, maybe we can go the whole hog.

[B]

How do you mean?

[A]

Well, after we drop Johnny at the airport, how about driving up to Silver Lake Lodge?

[B]

Wonderful.

[A]

Remember the first time we were there? A brand new year, a brand new life.

[B]

I remember it perfectly. I loved it. I think it's exactly what Mr. Ballinger would like.

[A]

Well, Lydia, for the moment, you've won. But the worry of the future is on your mind. Driving down to the airport and watching Johnny Gates off on Flight 27 and all the way up to Silver Lake Lodge, you wonder about those nine long years ahead. It isn't going to be easy, Lydia. But somehow you're determined to make Elliot continue to see it your way. A few miles below the lodge, you ask him to stop at a roadside store.

[B]

Sounds like they're having quite a time down in New Orleans.

[A]

Yeah.

[B]

I just want to get some cigarettes in. I'll be right back.

[A]

Take your time. Yes, ma'. Am.

[B]

A pack of cigarettes, please.

[A]

Take your pick.

[B]

Oh, these will do. Here you are.

[A]

Yeah, thanks. A brief announcement, then back to the New Year's round the town celebrations. Flight 27 of Peerless Airlines northbound for Seattle, crashed and burned in an unexplained accident one hour ago. All on board were killed. That news comes suddenly, doesn't it, Lydia? The answer to everything. To Elliot. The money. Everything. Yes, Lydia, Elliot was on that plane, even if it was in name only. At this very moment, as he waits for you in the car outside, he's officially dead. Certainly unidentifiable. And the words of Uncle Philip's will keep running through your mind. If at any time either Lydia or Elliot Larkin die, the entire sum is payable immediately to the survivor. You know how simple it can be. Now, Lydia. Yes? As you close the door behind you, walk through the bracing mountain air to the car, you realize that here is the opportunity of a lifetime. Freedom from Elliot and all of the $500,000 for yourself. And looking at Elliot, relaxed, waiting for you. You know you're going to kill him tonight.

[B]

Sorry to keep you waiting.

[A]

Oh, it's all right.

[B]

Just as I went into the store, there was some sort of news flash on the radio. You hear it?

[A]

News flash? No. Some other station, probably.

[B]

Yes, I suppose so.

[A]

Hey.

[B]

Hey.

[A]

I was enjoying that New Year's Eve in New Orleans.

[B]

Please, I'd like it quiet. We'll be up at the cabin in a few minutes. Right now, I want to think.

[A]

Of course you want to think, Lydia. Of the loaded target pistol in the gun case at the cabin. Of how lonely it is there. Of how Easy it'll be to dispose of Elliot's body in that wilderness. Less than an hour later, you're at the cabin, ready to put your plan in operation. The pistol is just beneath your hand, stuck between the sofa cushions. As you sit before the fire. Elliot has built for the occasion. You steady your nerves and.

[B]

Elliot?

[A]

Just a minute, dear. I'm fixing the drink.

[B]

Hurry it up, will you?

[A]

You're tense now, bracing yourself. You'll wait until he's moved around and is standing right in front of you holding the drinks on the tray. That way it can't go wrong.

[B]

Around this way, darling. Right near the fire.

[A]

The Whistler will return in just a moment with the strange ending to tonight's story. Meantime, for Signal Oil Company and the almost 2,000 Signal dealers throughout the states of Canada, California, Oregon, Washington, Idaho, Nevada and Arizona, I want to wish you a very happy 1948. May your new Year be filled with peace, prosperity and the good health with which to enjoy these blessings. And now back to the Whistler. Yes, the marriage of Lydia Winters Larkin ended in murder on a New Year's Eve at a place called Silver Lake Lodge, where she and her husband Elliot had spent their honeymoon just a year before. There's a complete record now in the files of the Homicide Division. A record of a detective's curiosity over the crash of a northbound airplane and the supposed death of a passenger named Elliot Larkin. Of an investigation that led to a quick arrest and a complete confession at police headquarters. Mr. Ballinger, the attorney, was remarkably philosophical as the lieutenant read the whole amazing story from a hurriedly prepared transcript of the confession. I can't say that I'm surprised, Lieutenant. I was afraid from the beginning that Philip's will would lead to something like that. Yes, the will, of course, gives us a solid motive, although we already figured we'd find something like that. Oh, there's one more paragraph to the confession. You want to hear it? Yes. Read on, please. Mellor goes on to say, once I knew that Johnny Gates was on that northbound plane traveling as Elliot Larkin, the way seemed perfectly clear as soon as we got to the cabin. I got hold of a gun and waited for my opportunity. The first chance I had, I pulled the trigger twice without any warning, and it was all over. And then there's the signature, of course. The only thing I don't understand, Lieutenant, is how you were able to make the arrest so quickly. A good hunch on the part of one of the boys. You see, when he found out that Larkin was due up in Seattle on that new job, he flew up there as a matter of routine. Well, after that, of course, the arrest was. Oh, they're bringing in the prisoner now. Do you want to. Yes, I'll stay. All right. Sergeant. In here. I. I don't know how you ever expected to get by with this, Larkin. Does that matter now? Johnny Gates traveling in my name. I thought I had a perfect alibi, so I killed him. And until our man walked in on you in Seattle, you still didn't know that your alibi had blown up in that plane. Yeah. Funny thing, too. At night in the car, Lydia asked me if I'd heard a news flash. It must have been about that plane. I wonder why she didn't tell me. Let that whistle be your signal for the Signal Oil program. The Whistler, each Wednesday night at the same time, brought to you by the Signal Oil Company, marketers of signal gasoline and motor oil and fine quality automotive accessories. Because this is New Year's Eve, the safety message was with which we have closed every Whistler program during the past year has even more significance. Tonight, to get the most driving pleasure, drive at sensible speed, be courteous and obey traffic regulations. It may save a life, possibly your own. Featured in tonight's story were Betty Lou Gerson and Gerald Moore. Whistler was produced by George W. Allen with story by Joel Malone and Harold Swanton and music by Wilbur Hatch, and was transmitted to our troops overseas by the Armed Forces Radio Service. Next Wednesday for a full hour of mystery over most of these stations. Tune in a half hour early earlier. Enjoy the Saint as well as the Whistler. This is Marvin Miller speaking. This is cbs, the Columbia Broadcasting System. That's the Relic Radio show for this week. You can always find more of the Falcon, the Whistler, this podcast and all the other Relic Radio podcasts at the website. Relic Radio. Thousands of episodes to listen to there and a shoutcast stream with even more. I'll be back tomorrow with an hour of mystery on Case Closed and next week with our next episode of the Relic Radio Show.