And now stay tuned for the mystery program that is unique among all mystery programs. Because even when you know who is guilty, you always receive a startling surprise at the final curtain. In the signal oil program, the Whistler. The famous Go Farther Gasoline invites you to sit back and enjoy another strange story by 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. And now for the signal oil company, the Whistler's strange story, Autumn Song. Sidney Shelton stared dully at the happy groups on the platform outside his compartment window. In a few minutes, many of them would be boarding the cross-country streamliner just as he had. For most of them, it was Destination New York for business or pleasure. For Sidney, it was Destination New York, perhaps for oblivion. No one was there to see him off, wish him well, and tell him to hurry back to Los Angeles. Carlson at Mammoth Studios had handed him a one-way ticket to New York and told him never to come back to Hollywood. As the streamliner eased effortlessly underway, Sidney managed a sardonic smile. He was on his way out in the grand manor of Hollywood. Sheila, well, Sheila, what are you... You didn't really think I'd let you get away from me, did you, Sid? Well, I've got to go east. Just a quick trip for business, you know. Really? Yes, you see, I've got a... Thanks, I will sit down. I've got a feeling this story's going to be good. Now, listen to me, Sheila. Why, Sid? I've listened to you for a long time. I don't like where it's got me, that career you promised me. What a publicity agent you turned out to be. Great. I'm glad you feel that way. Because I'm sick and tired of trying to palm off a no-talent doll like you as an actress. Look who's talking no talent. You've been tossed out of Hollywood. Here's a one-way ticket to New York. Take it and never come back, unquote Carlson. Every studio in town has your number, and it's zero. And you know why? Because you fouled up every publicity stunt I've handled the past year. Whether it had anything to do with you or not, you always did a walk-on at the wrong time. And now, if you're smart, you'll pull a walk-off this time. Ride off of this train at the first stop. I'm not getting off, Sidney. I'm going to ride all the way, Chicago, New York. And even then, I'm still not getting off. What are you talking about? I'm talking about us. Neither of us can go back, Sid. You to the studios, or me to the husband I left for you. I didn't tell you to leave him. Not in so many words. Skip it. That part's my worry. It's all your worry. Now go on, beat it, Sheila. I've got my own troubles. I know. I'm one of them. Your biggest hike, Sidney. I told you to beat it, to run along. All right, Sidney. If that's the way you want it. If you feel differently later on, I'm in car 179. I can't hear you. And like I said, I'm not getting off. Nighty-night, Sidney. You watch her go, feel the cold rage mount within you. You try to tell yourself that Sheila's the real cause of all your troubles. But deep down, you know that's not true. Sheila's a problem, yes. You wish you'd never met her, made all those promises about her career. Now she's like a millstone around your neck. You'd like to strangle her, wouldn't you, Sidney? But after a while, you decide to try to forget about her, put her out of your mind. You go to the diner, order your dinner, and lean back slightly. React as you recognize the voice of the man sitting back to back with you. An important film executive, Sidney, E.J. Payton, imparting some very interesting information to his dinner party. Yes, I suppose this craze for older stars started when Pinsir made such a smash in South Pacific. Pinsir did a lot for the so-called older star, all right. This chap Norman Hale you're going to sign in New York, do you remember him? I remember I was a boy the first time I saw him. Oh, yes. The name of Norman Hale was a box office word. I'd prefer you didn't mention it around on the train. I mean that my studio is after him. Of course. Hale doesn't know it himself, but he's just right for us. This picture autumn song that we're going to make, you see. Oh, yes. It's about a star from the old silent era, isn't it? Right. Hey, this steak is good. You almost can't wait to finish your dinner, can you, Sidney? But you realize that you might as well. Yes, because the streamliner won't stop anywhere that will fit your plans before Albuquerque. Meanwhile, you other things to attend to. Porter, Porter, can you help me a moment? Yes, sir. You looking for somebody? Oh, yes, Porter. This is car 179. Yes, sir. A friend of mine, Miss Sheila Martin. Miss Martin. That's room at B, sir. Oh, well, thank you, Porter. But I think the lady is in the club car. Well, it's all right. I'll find her later. I'll go see her. No, no, no, no, never mind. You start out of the car, turn in time to see the Porter disappear into another room to make up the beds. You move swiftly down the aisle to Sheila's roomette. Inside, you find what you want in a matter of seconds in her overnight bag wrapped in a nightgown. The roll of bills, which you were certain she wouldn't carry in her purse. You take most of the bills out, wrap the few remaining ones around a roll of cleansing tissue you find in her bag so she won't discover the loss immediately. Then you hurry back to your own car. Yes, sir? I'd like accommodations to New York. First plane out, please. I have space on flight 23. It leaves here in two hours. That'll get me in New York ahead of the streamliner. Oh, yes, sir. You'll be there in 12 hours. 12 hours? Oh, good, good. I'll take that space. One way to New York. Stop it! Stop engine wear that can cut down your car's pep and power, cut down your gasoline mileage. Stop it! Stop engine wear that can make your car become an oil eater, make it need an expensive overhaul. How can you stop engine wear? Why, simply by changing oil, changing to amazing new signal premium motor oil that reduces engine wear due to lubrication 50 percent. Through newly perfected scientific developments, wonderful extra protection has been engineered into new signal premium. One, it stops acid corrosion and rust. Two, controls and reduces harmful engine deposits. Three, keeps oil rings clean and free. Four, keeps hydraulic valve lifters from sticking. Yet there has been no increase in price for this superior quality heavy duty type oil at Signal Service Station. So why not join the ever-increasing number of motorists who are keeping car expenses down and performance up by changing to new signal premium, the amazing new signal motor oil that reduces engine wear due to lubrication 50 percent. It's a windfall, isn't it, Sydney? The chance knowledge you picked up on the train. Yes, as you step from your plane in New York, you're many hours ahead of the train you left at Albuquerque, carrying E.J. Paton, the motion picture producer, who is on his way to search the city for Norman Hale, the one-time silent picture star. With luck, you can find Norman Hale first. That's why you no sooner check into a hotel than you begin the weary rounds of second-rate theatrical agencies. At one, you finally get a lead. Make your way out to an astonishingly good address. You wonder as you press the buzzer if perhaps they weren't all wrong about Norman Hale, that he might have saved some of his early fabulous earnings. As you stand there waiting, you pray that he didn't, hope that he's in a bad financial position. Yes? I'm looking for Mr. Hale, Norman Hale, the actor. Have you an appointment? Well, no. You see, I... What is the nature of your business, please? Well, frankly, I represent some motion picture interests who would like to contact Mr. Hale. Motion picture interests? My dear fellow, I don't believe Mr. Hale would be interested. You see, he wouldn't want to leave New York. The excitement, the glamour of the city, the close proximity to the theater... Mr. Hale! What? Ha-ha! I might have known. And posing as the butler. You were always pulling something like that. Please, Mr. Hale, may I come in? The name is Shelton. Sydney Shelton. Why, uh, all right, Mr. Shelton. Enter. Thank you, sir. Well, this is a beautiful place you have here. Thank you. Won't you sit down? Thank you, sir. Have you a contract, Mr. Shelton? Are you actually prepared to make a business proposition? Well, no, sir, not exactly. You see, I have an idea, a possibility for both of us. Ha! Possibility for making a picture with a has-been, an old man, a profile from the past. Exactly, sir. And if you weren't so well, so well off here, you might consider that there are still fans everywhere who remember you and love you. Ripple! Young man, I am not well off. This aristocratic establishment, it isn't even mine. Ha-ha-ha-ha. How do you like that? I don't understand. Alas, Norman Hale must now be grateful to be a caretaker of another man's house. A caretaker? You? Yes, the owners in Europe. I'm a fortunate man. I could be huddling in a tenement somewhere. Well, you'll never have to worry about that again, Mr. Hale, if you just listen to me. I've found a great part for you. I read a book, Mr. Hale, Autumn Song, and best... That was a play, wasn't it? Well, that's what I meant to say, a play. I'm sorry. See, I'm excited now. Oh, Mr. Hale, you should play that part. Oh, yes. Oliver. Oliver Wentworth. Oliver Wentworth. Oh, Norman, you are Oliver Wentworth. And I can get you that part. I know it. Will you believe in me? Will you give me the chance to make you believe in yourself? You're a persuasive man, Shelton, but... Here, here, I brought a contract. I'll just sign there, Mr. Hale, making me your personal manager. Yes. An hour later, you're on your way back to your hotel, Sidney. Only a brief stop at a theatrical agency which gave you the lead to Norman Hale. Five dollars in the hand of the man you talked to assures the fact that motion picture producer E.J. Payton will now be directed to you instead of to Norman Hale himself. It's late afternoon of the following day, and you're sitting in your apartment when you receive a phone call. It's the call you've been expecting, isn't it, Sidney? Yes, from E.J. Payton, the Hollywood film executive. Yes, sir, that's right. I'm representing Norman Hale. Well, then we can talk. I have a little something in mind for him. Well, I don't know. Norman's sold on the idea of doing a play. Well, for his own sake, then talk him out of it. Now, let's speak frankly, Mr. Shelton. Your Norman Hale is passe, a ghost of the silence. People just aren't interested in him anymore. You are, Mr. Payton? Yes, yes, in a way. Look, Mr. Shelton, I don't like to discuss business over the telephone. When can we get together? Well, let me see. What do you say about lunch tomorrow? Victor's on 45th? Good. Have Norman Hale there, too. Well, I'll see if I can arrange it. I can't promise, though. You're pleased, aren't you, Sidney? And your only concern now is how to get the biggest price you can for Norman Hale's services. It won't be easy, will it, when you're dealing with a man like Payton? And you wish you had something more to sell than just Norman Hale himself. You decide a publicity stunt would do it, Sidney. Something big. And Payton's studio would be eager to cash in on it. You spend the rest of the day thinking about this. Finally, that evening, the answer comes to you. Most unexpectedly. Hello, Sid. Sheila. Oh, well, Sheila, look, I'm sorry about... The money you stole on the train? No, you're not. I knew it was you right away. But I'll get it back. And more. Of course you will, baby. Of course. I was going to get in touch with you. But I've been busy all day. A new client... I know. I traced you down through the theatrical agency. Oh, really? Well, I... Will there be anything in this new deal for little Sheila? You know there better be. Oh, naturally. Oh, I haven't forgotten you, Sheila. And it's going to be big, baby. Yes, sir. A nice big, fat publicity stunt for Norman Hale. He's my new client. And I'm working out something for you, too, Sheila. Like what? An overdose of sleeping pills? Get engaged to Norman Hale? Maybe both? Wait a minute. You think that's funny? What is it this time, Sidney? Oh, baby. Oh, baby! You and Norman Hale. That's what I was afraid of. But give me the details anyway. Can't we eat, Sidney? I'm famished. Well, let's wait for Peyton, huh, Norman? Oh, he's late. It's a quarter after one now. I know, Norman. I know. Are you sure you said Victor's Restaurant? Yes, of course I said Victor's, and Peyton will be here. You don't suppose he's changed his mind? Oh, relax, Norman. Will you, please? Very well. I'll have another martini. You've had four already. Norman! Norman Hale! I beg your pardon, miss. Norman! Norman, I'd recognize you anywhere. Have we met, my dear? Met? Met? Oh, no. No, but I've dreamed of meeting you ever since I was a little girl. Oh, how I've dreamed of this moment. Really? Well, well. From that very first time I saw you. What picture was that, my dear? I worshiped you then. I still do. Norman! Oh, Norman! Miss, please, just a moment. Please, not. Old man, I'll handle it. Oh, to think I've finally found you. Miss, please. No, let me go! Let me go! Norman! Don't let them send me away! Waiter! Waiter! Waiter! You struggle to keep a straight face, don't you, Sippy, as Sheila clings desperately to Norman, pouring out her adoration for him. And during the confusion of the next few moments, you notice Peyton standing at the door, watching it all. Then finally, when Sheila is led away, sobbing bitterly, Peyton comes over to your table. Well, that was something, wasn't it? Oh, Mr. Peyton, you saw what happened? Yes, yes, I saw. Norman, this is Mr. Peyton. Norman. What? Oh, oh, how do you do, sir? That poor girl, that poor girl, so madly in love with me. Here, sit down here, Mr. Peyton. In love with me all these years. Did you hear her sob, Sidney? Did you? Yes, yes, sure, sure. She's really crazy about you, Norman. Yes, I'd say that was quite a performance. Quite a performance. Performance? For my benefit. Hey, Mr. Shelton, you think this whole thing was staged? Wasn't it? How dare you suggest such a thing? Anyone can plainly see that girl is desperately in love with me. And why not? Why shouldn't she be? Norman, please. A good day, Mr. Peyton. Good day. Norman, wait, wait a minute. Let him go, Mr. Shelton. We have things to talk about. No, no, no, he's pretty sore. I'll have to see if I can cool him down. But you... Make it at Norman's place in an hour. 467 Kenton Place. I'm sorry, Sidney, I shouldn't have lost my temper that way. Okay, okay, let's forget it. Tell me something. That, uh, that affair, it really wasn't staged, was it? Oh, Norman, of course not. I didn't think so. I could see it was real. I saw it in her eyes, Sidney. I'm not easily fooled, you know. She was rather an attractive girl. I'm not a fool. I'm not a fool. I'm not a fool. She was rather an attractive girl, wasn't she? A real doll. Just couldn't help it, I suppose. Falling in love with me, I mean. Have I ever told you about the Countess Delgano? No, no, no, no. Let's save it for some other time. Peyton's waiting for us in the study. Oh, yes, yes, yes. Very well, my boy. Well, I'm sorry to keep you waiting, Mr. Peyton. That's quite all right. I was just admiring your paintings, Mr. Hill. Oh, nothing much, really. I picked them up here and there during my travels. This one, for example, I turned up in London while I was on a personal appearance tour. The English loved me, you know. Fine people, the English. I remember so well... Shall we sit down, gentlemen? I remember so... Oh, get that like a good chap, will you, Sidney? Certainly. Hello? How was I, Sid? Who? Speak up, I can't hear you. Are they there? Yes, yes. Okay, go into your act. I'll see you later. Who is it, Sidney? I think it's that girl again, the one in the restaurant. Oh, really? Hello? Yes? What? No, no, wait a minute, wait a minute. What's wrong? She says she's calling from her hotel. She says if you don't see her, she'll jump off the roof. What? Hello? Hello? Where are you? Where? What? I can't understand. Stop crying, please. Here, give me that phone. She hung up. We must do something. I think she said she was at the Greyville or the Braveville. Greyville, not far from here. Mr. Peyton called the police. Tell them to get over to the girl's hotel right away. Come on, Norman, come on. We're too late, Norman. There she is up there. Where? Where? On the ledge, the ledge, the fourth floor. Oh, good Lord. What did you say her name is? Sheila. Sheila! Sheila! Don't jump! Don't do it! She can't hear you, Norm. Stand back, please. Everybody stand back. Give room to the police and the ambulance. Hear that sidewalk over there. You hear? Clear. What are we going to do with it? If only I could talk. Wait a minute, Norman. Wait. Did you hear that? Stand back. The policeman talking on the public address system. Yes. Don't throw those people back over there. Of course, that's it. Come on, come on. Are you ready, Norm? Ready. All right. Here's the microphone, Romeo. Now there's your Juliet up there on the ledge. Now come on. Start talking and make it good. Sheila! Sheila! This is Norman. This is Norman Hale. Listen to me, darling. Listen to me, please. You stand back in the crowd. Look at the faces around you as Norman Hale begins to play the scene in his most dramatic fashion. And the crowd loves it. You're certain of that, aren't you, Sidney? And you know that close by, Peyton is watching, listening. Then finally, the exciting climax. The Sheila steps off the ledge and goes back into her hotel room. Peyton is very impressed. When can we talk, Mr. Shelton? In the morning, Mr. Peyton. Over coffee and the headlines. All right. All right. I must say you handled the situation magnificently, Mr. Hale. Oh, thank you. Thank you. I wasn't the least bit worried, you know. I was certain I could talk her out of her madness. Sure, sure. You can't help it, can you, Norman? I mean, because you're so attractive to women. You're so right, old boy. That evening back in your apartment, you're pleased with the way everything has turned out, aren't you, Sidney? Yes, and you congratulate yourself. You've put it over. Peyton will have to come to your terms now, if he wants to capitalize on the publicity. Sign a long-term contract with Norman Hale. Then shortly before midnight, you have a visitor. Sheila. What do you mean, now what? What's the next move? That stunt this afternoon went over big for little Sheila, but we're not going to leave it at that, are we? Ah, look, sweetheart, look. You've got yourself a million bucks worth of publicity. I set it up for you free of charge. You take it from there. But I thought you were going to... I'm going to be very busy from now on, baby. Norman and I will probably be leaving for the coast in a few days. Norman? Sure. But that was all for him, wasn't it? He was the star. I was just an extra. You didn't do badly. No, that's right, I didn't. And suddenly I've just gotten an idea how I can do better. Well, what do you mean? You had me write a suicide note, remember? To make it all look authentic when I was going to jump from the hotel. Yeah, yeah, I remember. Well, I've still got that suicide note right here in my purse. I wonder what the reporters will do to your story when I tell them this whole thing was a fake. Now, wait a minute, Sheila. Uh-uh. I have just enough time to catch the morning papers before they go to press. Bright idea of yours, that suicide note. Yes, wasn't it? Thanks for reminding me, baby. Let me go. Oh, sure, sure, I'll let you go. Only when I do it'll be out the window. Because you are going to jump and your suicide note will prove that you've jumped. Tri-signal Ethel. Tri-signal Ethel. Tri-signal Ethel. Sometimes I think tri-signal Ethel is the most important thing I can say to you drivers. Because once you try the premium grade of Signal's famous go-farther gasoline in your own car, I won't need to say anything else. Yes, once you see for yourself how smoothly, quietly, signal Ethel floats you over hills, steep hills, in high, I won't need to say anything more about the super power in this great super fuel. Once you see how effortlessly it makes the miles of highway flash by, I won't need to tell you anything more about Signal Ethel's obedient smoothness. And once you see how swiftly it rockets your car ahead when the traffic signal says go, you'll know why we say Signal Ethel is engineered to bring out the best in any car of any age. Yes, all of these things and many more you'll learn about driving pleasure when you drive out of a signal station with your first tank full of Signal Ethel. That's why I'm so eager for you to just try, try Signal Ethel, try Signal Ethel, try Signal Ethel. It was the only way, wasn't it Sidney? You had to kill Sheila to prevent her from exposing you and the publicity stunt you staged for the benefit of your client, the former matinee idol Norman Hale. And so you pushed her out the window of your apartment and now a crowd is gathered in the streets below. And you hurry downstairs. The story you tell is very clear in your mind. Then when the police arrive. You say this girl jumped from your apartment and missed her shelter. Yes, yes, that's right officer. It happened so quickly I was unable to stop her. Oh the poor girl, she did it because of Norman Hale. You've heard of him, the actor? Yeah. Hey, wait a minute. Is this the same girl who tried to commit suicide this afternoon? Yes, yes, that's right, that's right. She burst into my apartment about 20 minutes ago. Demanded to see Norman and I tried to stall her but she showed me a suicide note she'd written and then she jammed it in her purse. Before I could stop her she ran to the window and... Oh, well you know the rest. Yeah, mm-hmm. Wait a minute, wait a minute. Is this a note? Yes, yes it is. Oh, looks like you're right mister. Pardon me officer. Yeah? This guy's story doesn't hold up. What? See here, what do you mean? Well I was standing across the street when this happened. I saw it all. This girl didn't jump, she was pushed and this guy pushed her. That's ridiculous. Now hold on Mr. Shelton. I saw him do it. Yeah, who are you? I'm Jim Fergus, private investigator. And after this girl apparently tried to commit suicide this afternoon, Norman Hale was so worried about her he hired me to keep an eye on her. Norman Hale hired you? Yeah, Mr. Hale said the girl was nuts about him, crazy in love with him. Let that whistle be your signal for the Signal Oil Program, The Whistler, each Sunday night at the same time. Since this week is National Farm Safety Week, Signal has asked me to remind you. Each year injuries disable one out of every 18 farm residents and cost our country one billion dollars. So on peaceful western farms, just as in the city, it pays to be careful, always. Featured in tonight's story were Wally Mayer, Virginia Gregg, Herbert Rawlinson, Jess Kirkpatrick, and Herbert Lytton. The Whistler was produced and directed by George W. Allen, with story by Joel Malone, music by Wilbur Hatch, and was transmitted to our troops overseas by the Armed Forces Radio Service. The Whistler is entirely fictional and all characters portrayed on The Whistler are also fictional. Any similarity of names or resemblance to persons living or dead is purely coincidental. Remember to tune in at the same time next Sunday when The Signal Oil Company will bring you another strange story by The Whistler, entitled Danger is a Beautiful Blonde, in which a pick-up date with a beautiful girl leads a young man to an attractive mansion and a dead man. Marvin Miller speaking for The Signal Oil Company. Stay tuned now for the Horace Height Show, which follows immediately over most of these stations. This is CBS, the Columbia Broadcasting System.
