The signal oil program, the Whistler. That whistle is your signal for the signal oil program, the Whistler. I am the Whistler and I know many things for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak. 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 human catalyst. In the field of chemistry there are curious substances known as catalysts. Curious in that their mere presence together with other substances causes a violent reaction in which the catalysts themselves don't take part. In a way they simply stand on the sidelines, untouched by the reaction they cause, unaware what they've done when it's all over. There are catalysts too among human beings. And on the night of February 3rd on the terrace of a resort hotel in Miami Beach, a 17-year-old girl named Arlene Foster was about to become one. She didn't know it of course, and like catalysts in chemistry she never would. But there on the terrace in a simple conversation with her teenage date, Arlene was preparing to step into the role. Orville? Yeah? There's something I better tell you. I want to be fair, Orville. Look Arlene, if it's another confession, I'm just not interested. I'm crazy about you as young. That's just it. That's why I have to tell you no. Vic's coming back, Orville. It's only a few weeks off. Vic who? Vic Stanfield, the orchestra leader that was here last year. He's bringing his band here to the hotel, just as he promised me. Well, what's so important about that? Well, I don't want to deceive you, Orville. You see, Vic and I love each other. Huh? What are you talking about? Why, he's an old man. He must be 30. How could he? Orville, sometimes love doesn't pay any attention to age. You see, before he left last season, Vic and I had an understanding. At that time, Vic Stanfield was many miles from Miami Beach, many miles away from the catalyst. Vic was in Cleveland, Ohio, attending a funeral service, moving up when it was over to console the widow of a dear friend of his. Mrs. Westover, I hope you know how I feel. Oh, you're Mr. Stanfield, aren't you? Yes, Vic Stanfield. I was one of Carl's best friends. Oh, yes, of course, Mr. Stanfield. If there's anything I can do, perhaps drive you home. Well, that's very nice of you, Mr. Stanfield. My car is right out front. Here we are. You all right? Yes. How was I? Wonderful. Wasn't easy. You don't think any of them... No, nobody suspects a thing. Well, what now? We'll be married in a month. We'll go south with a band and spend our honeymoon in Miami. Oh, that seems awfully fast. Look, sweetheart, let's not get into that again. We could hold a ceremony right in that church ten minutes from now. Let them talk all they want. But Vicki, don't you think that... It's clean, baby. There's not a trace, not a scrap of evidence. Just relax, baby, relax. You left your husband's fatal accident up to me. Now do me another favor. Let me take care of the future too. With the prologue of the human catalyst, the Signal Oil Company is bringing you another strange story by the Whistler. For friends, since this is St. Patrick's Day, you've no doubt been getting your share of And good reason why we're so proud of Signal's famous mileage. And why we say, to be sure of the tops in gasoline quality, there are two things to remember. One, it takes extra quality to go farther. And two, signal is the famous go farther gasoline. Figura. And now back to the Whistler. Yes it was clean Vic. So clean that you and Thalia could flaunt your love at them. Throw it in their faces, let them think and talk all they wanted. Because you're sure that in killing Carl Westover Vic, you committed the perfect murder. It's a month almost to the day when you and Thalia drive up the Lakeshore Highway to the little town of Fairport to be married by a justice of the peace. And that night you're on your way to Miami Beach in the new life that lies ahead for both of you. And in your complete happiness together, there's certainly no thought that each mile on the train brings you closer and closer to the catalyst. He's on his way Orville. Vic's on his way back to me. Will you cut it out Arlene, you're just being silly. What's the matter Vicky? Huh? Why are you so quiet? Oh, I don't know. I'm a little tired I guess. Ah, I'm tired too. Happy Vicky? You bet. You? You know I am. You're not worried or anything. I mean about Carl. Look sweetheart, forget Carl. He's gone. He's off the books. And there's just you and me. And that's why it's so perfect. Because we're the only two people who know. The only ones we'll ever have to worry about. And with us forgetting it. Right, right. It's all over. Your life in Cleveland, everything just like it never happened baby. Oh baby, we got a lot of living to do. A long way to go together. Pushed off Miami Beach. So there it is Vick. The aftermath of a murder you're certain is perfect. The happily ever after part of the story. It's like a chemical solution with two ingredients. Quiet and lurk. In a stage of precarious peace. Awaiting the catalyst. Only you don't know it Vick, but as you and Feli arrive at Miami Beach and check into your hotel suite. The little human catalyst Arlene Foster. Very close to you now is suffering from some very shocking news. Arlene, what in the world is the matter with you? I'm sorry mother. You haven't eaten a decent meal for a week. You wouldn't understand. Well I have a pretty good idea of what it is. The same thing happened last year about this time didn't it? It's never happened before. Anything like this that is. Well if I'd have known it had been like this when your father told me he was going to manage this hotel I'd have stayed up north. Who is it this time? The bass player? The tenor saxophone? Or is it Victor Stanfield himself? How can you do it? How can you say such a thing? Wait a minute Arlene. I wonder if boys are any easier. Arlene walks slowly down the hall, stops at the telephone, begins to think. Married. Vic married. But he couldn't love her. Somebody ought to tell her what she's doing to Vic. He has no right to be his wife. He doesn't love her. He can't possibly love her. Somebody ought to call her on the telephone. The telephone. The telephone. Excuse me Vic, I'll get it. Sure. Hello? Mr. Stanfield? Yes. There's something you should know Mr. Stanfield. About your husband. Who is this? I'd rather not say. I'm calling to tell you you made a very serious mistake. A dangerous one. Just a minute. Victor doesn't love you, Miss. He's not going to love you. He's going to love you. He's going to love you. He's never been in love with somebody else for a long time. If you think I'm going to listen to you. That's all I have to say. You may not believe it now. But you'll find out soon enough. I've told you the truth. Well there's something you ought to know whoever you are. Hello? Hello? Hello? All the... In a way it's kind of funny. What can I tell Vic? Darling, I had to run right off the minute I got off the plane. Well I'd have shot you if you hadn't, Jeannie. Oh, it's so good to see you. It seems like a year since we... Oh, oh, oh, tell you. Darling, this is Jeannie Long. I've mentioned her to you. I used to sing with a band. How do you do? Yes. Jeannie's back with us for this engagement, darling. It's been a long time, hasn't it, Jeannie? You know, I tell you, we two practically started out together. Isn't that right, Jeannie? Mm-hmm. Well, I'd better be getting down to my room. I've got to unpack and you know how it is. Take care, Vicky. See you in an hour or so. Yeah, yeah, you bet. She's a lovely girl, Vic. Yeah, yeah, swell, swell. Swell. Well, let me see, where was I? Oh, yeah, yeah, here we are. What's that? Uh, this is a property assignment, darling. I meant to bring it up before this, but I just didn't get around to it. Look, I think we'd better put your property, all your assets, in fact, in my name. What? Oh, don't look at me like that, darling. I'm not after your money. It's a legal thing, dear. A way of protecting your sheriff Carl's estate from any stray creditors that he happened to leave kicking around, you know. I had the papers drawn up yesterday afternoon and I... What's the matter, dear? Uh, Vic, give me a cigarette, will you? Sure. Thanks. Now, tell me, how long have you been thinking about this? Thinking about it? Why? I'm just curious. I think I have a right to be. There's $180,000, roughly, and the property in Cleveland. I don't like the way you said that. Then I'm sorry. But I think you'd better explain it more carefully. I was about to, my darling, when that phone call... Wait a minute. Who was that call from, Faye? It was nothing important. No? I think it was. Look, who do you know in town, Faye? Who'd be calling you on the telephone, huh? Worry, Vic? Maybe. Too bad. Because I've decided I won't tell you who it was, and as far as those papers go, I just don't think I'll sign them. Any particular reason? I don't know. Intuition, maybe. I think it's something else. But there's no point going into that now. I'll see you downstairs in ten minutes. Good night. The reaction's well underway now, Vic. Something's wrong. You know it. You can feel it gnawing away inside you the rest of the evening. But you get hold of yourself when the job's over. Yes, it's ridiculous letting your imagination run away like that. Faye is all right. She's got to be all right. She has your life in her hands. It's almost two in the morning when you let yourself into the dark apartment on the tenth floor, hoping she's thought it over too, that the strange way she turned on you when you mentioned the assignment papers didn't mean what you were afraid of me. Velja, you awake? Yes. I'm glad you are. No, no. Skip the light. Look, Velja, there's a few things we've got to get straight. You, uh... you sound very determined. I am. Look, we can't afford to have any secrets between us, Theddy. Have we? I think we have. That phone call, for instance. Why won't you talk about it? What are you doing to me? Maybe I should ask you the same question. What are you doing to me? Why is it suddenly necessary to sign everything over to you that... that property's mine? I intend to leave it that way. Oh. So that's it. That's what's eating you, huh? Nothing's eating me, Vic. If you never really understood me, I can be practical too. Oh, sure, sure. Of course you don't want to overlook a couple of other little considerations like marriage, like love. Love? Yeah, love. You sound like you doubt that. Velja, maybe you ought to add things up again. I planned the whole thing. I lied. I commit murder for you! I see it straight through, then suddenly it isn't enough. You're not satisfied. I didn't say that, Vic. I understand your position quite clearly. Then it's worse. How can you talk this way when I'm out on a limb alone? Not a chance to tie you into any part of it. And you try to tell me nothing has changed, that you're just being practical. What kind of understanding is that, Velja? Is it any good for me, is it? The good, Vic. Convincing, very sincere. Only through it all I can hear only one thing. The money. I want that money. But there's a very good reason, Velja. So I've discovered. Good night. Wait a minute, Velja. Good night, Vic. Look, mister, when you hire a private detective, you at least have to tell him what the job's all about. Look, I've told you all you need to know, Mr. Shannon. What's wrong with your wife? You afraid she's thinking of suicide or something? I don't know. I don't know. Look, if you want the job, simply do as I ask. Follow her. Wherever she goes, follow her. And keep me informed. Okay, mister, she'll never leave that hotel without me tagging right along. It's a stalemate now. Both of you quiet. Feeling the tenseness in the air. Waiting for something to happen. Then about a week later on a downtown street, Shand gets careless. What do you want? Why are you following me? Well, now look, lady. Don't try to deny it. I saw you yesterday too. And the day before that. I don't know what you're talking about. You're doing it for him, aren't you? My husband. Listen, lady, you're talking crazy. Why would your husband have someone following you? There's a good reason. Like what? Money makes people do things like this. Money? My money. It was his. If what? If anything happened to me. Why don't you do it now? What are you waiting for? Excuse me, lady. I'd better go see a guy. Look, be reasonable, Shand. Why didn't you level with me? Where do you get off dragging me in on a dirty deal like this? But what's wrong? Everything, the whole setup. I like money as much as the next guy. See, and I need jobs. But I'm stepping out of this one, Mr. Wright, now. I'm getting out of here. You don't even have to pay me. Look, I don't get you, Shand. What could... You heard me. I'm getting out. It's almost out in the open now, isn't it, Vic? But not quite. Because you're not even sure what's happening. Not able to talk it all out with the one person you should go to with a problem. Because right now, she is that problem. And you're alone. That's what's so terrifying, isn't it, Vic? Your complete helplessness. And you have no way of knowing, of course, that now tonight, the band assembles on the platform as you check quickly through the evening's dance program. Valia is facing Jeannie Long in her dressing room. That's a very strange question, Valia. Under the circumstances, I don't think it is. In any case, how I feel about Vic is my own business. You can't expect me to believe you've never been in love with him. That'd be pretty silly. Yes, I think so. I think you're still in love with him. Maybe. But why do this the hard way, Valia? Why not ask Vic how he feels? I know how he feels. Well, you leave me speechless, darling. I'm not surprised, Jeannie, but Vic might be. I'm going to settle a few things for him tonight. Vic, could I talk to you a minute? Not right now, Jeannie, please. Okay, boys, let's take it. One, two. It's a struggle, isn't it, Vic, as the job begins, as you try to concentrate on the music and the piano in front of you while your mind is on other things. The money, the property, it's mine. I intend to leave it that way. Those are the raw materials, aren't they, Vic? Something for a man's mind to work on, particularly a mind like yours, with murder lying underneath everything else. Yes, you can close your eyes there at the piano and hear things like this. I love you. Don't be ridiculous, Vic. How annoying. I wanted someone to do a job for me, and you came along, so... You let me go ahead and... The money, darling, the property in Cleveland, I want it. I've got it. And I won't have to pay for it, will I, Vic? No. No, she won't get away with it. You're trembling, aren't you, Vic, sitting there, terrified by your own thoughts, almost afraid to think of what you might have to do to escape? Intermission, Vic. What? Oh, oh, oh, yeah, yeah, sure, dear. And now you're going to listen to me. It's Thelia. Thelia? What about Thelia? Well, she said the artist's thing, something about settling things for you tonight. I knew it. What? That little... Vic, what is it? Settle things, huh? I'll see about that. You know now you've got to kill her, and it has to happen fast. In the lobby outside the ballroom, you stop. Remember something that private detective said about suicide? You can make it look like suicide, Vic, just by taking the time to set it up, getting yourself a witness. Yes, the telephone girl will do. Ethel. Oh, what is it, Vic? My wife. Is she in her room? Well, I think she went up just a little while ago. Oh, Ethel, was she all right? Did she say anything about not disturbing her? I don't know. Is there something wrong? I don't know. I don't know. She's been very upset lately. I don't know what it is, but the way she's acting, I'm afraid she might do something to herself. I'd better get up there right away. Thelia. Thelia. You step back, remembering somehow that you have your own key. Fumble nervously, opening the door. Thelia. You cross swiftly to the bedroom, glance in, wonder where she could be. Thelia. Turning, you catch sight of the doors to the terrace. They're both standing open, a slight breeze rustling the draperies. Thelia, I just want to talk... What's the matter, Thelia? What are you doing out there on the terrace? Don't you come near me. You can't do this. But we're going to talk, Thelia. Don't back away from me. Please don't leave me. Please don't leave me. Then you look out. Stop the ride, you'll go over. The Whistler will return in just a moment with a strange ending to tonight's story. Meantime, another word about those Oscars, which the movie industry is going to award next Saturday. On last week's Whistler, I mentioned that if they gave Oscars for gasoline, Signal would no doubt win the honors for outstanding performance. Well, by the same token, the Oscar for Best Supporting Role would surely go to Signal Oil Dealers for the many valuable safety services which they offer free. For instance, this month all Signal service stations throughout the West, from Canada to Mexico, will check your fan belt and radiator hose without charge. The chances are it's been a long time since your radiator hose and fan belt would check because most drivers and most service station operators too never give a thought to these two little items until they break down completely and leave you in real trouble. Moreover, if the inspection shows your fan belt or radiator hose to be in dangerous condition, Signal dealers can in most cases replace them while you wait. So for your own peace of mind and carefree miles during the months ahead, drop into a Signal station this week for this free Signal safety service. Your friendly Signal dealer will enjoy this opportunity to demonstrate to you the more thorough, more conscientious service cars get at dealer-owned Signal service stations. And now back to the Whistler. Music It's all over, Vic. In one terrible moment, a failure falls back over the terrace rail and your mind whirls with the thought that here is the end product of your perfect murder. You don't know it, of course, but the human catalyst has done her work well. And all that's left as you draw back from the rail with a shudder is the realization that your own life is at stake if you don't get out of these rooms before anyone comes up. You're sure there's time, but you cross swiftly toward the door, thankful that you left the idea of suicide with a switchboard girl. She's got to back you up, Vic. It's the only hope you have now. Mr. Stanfield? Yes? Glad I ran into you. I'm Lieutenant Harris in Miami Police. I don't understand. Afraid I don't either, Stanfield, your wife inside? I don't know. I just stepped in the door myself. Oh? Well, have a look, will you? You see, she called us tonight. She what? Called us. She was quite upset. Oh, I know she's been acting strange lately, but I did think... What she had to say was quite strange, Stanfield, but maybe I'd better step inside. Yeah, sure, but I... Look, Lieutenant, what's this all about? I can't understand what you... Want me to get it? Yeah, go ahead. Yes? What? Uh-huh. That must have just happened. No, it's all right. I'm with her husband now. Well, Stanfield, maybe you already know this, but just for the record, that call was to let us know that your wife's body is out on the pavement, ten floors down. Oh, no. That's the terrace over there, huh? Pushed her right over the rail. No, no, please, it was an accident. I can prove it was an accident. Maybe you can, Stanfield, I don't know. You'll have your chance, of course. When she called us just 20 minutes ago, she said she was certain you were going to kill her. Gee, Arlene, I can't get over it. What, Orville? The papers today about Vic Stanfield being convicted of murder. The Miami police and that private detective both telling the jury Mrs. Stanfield said she was afraid he was going to kill her. Oh, yes, I wonder why he did such a thing, Orville. I don't know. Only, oh, gosh, the whole thing must have hit you pretty hard, Arlene. I mean, the way you felt about Stanfield. Well, well, you know, Orville, it was terrible, but as far as anything personal between Vic and me, I guess I was just silly. You see, Orville, there's something you should know. What do you mean about Argo and Steddy again? No, Rodney Maynard and his men of music are coming here next week. Yeah, I know that. Yes, but, well, Orville, there's something I've never told you about me and Rodney. 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. Signal has asked me to remind you 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 Tony Barrett. The 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 earlier and join the saint as well as the Whistler. This is Marvin Miller speaking. This is CBS, the Columbia Broadcasting System.
