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, the Whistler's strange story. So soon. Ted Gray had music in his heart. He heard a melody in the rustle of every leaf, saw a song in the bend of every river. A few years ago, Ted teamed up with lyric writer Al Wilson. And now, Ted Gray and Al Wilson formed one of the most successful songwriting combinations in the profession. As Ted played for the hundredth time, his latest composition titled So Soon. His mood was one of major harmony, except for one thing, his partner. For months, his dislike for Al Wilson had been growing. And now you almost hate him, don't you, Ted? You hate him because of his slow, methodical, painstaking rhyming, his even disposition. But most of all, because you're almost certain he's captured the love of the only girl you've ever truly cared for. Corinne Mitchell, once your copyist and part-time secretarial helper. Now the head of her own publicity bureau. Hi, Ted. Sorry I'm late. You're always late. Did you finish the lyrics? Yeah, all but a couple of lines. I had you playing around with them for three weeks. I know, but you knocked out a great tune this time, kid. And I want to be sure the lyrics are just as good as the tune. That would be a novelty. I don't know, you've done all right with me. I know a couple of composers who've done just as well and paid a lot less. You're getting 50% of the royalties. Why Regan only gets 20% of the lyrics he writes for Joe Winslow's tunes. Well, why don't you get Eddie Regan to write your lyrics? He's under contract to Winslow. Oh, we got a contract too, 50%, remember? And it's that or nothing. Any time you want to call off the whole thing, well, all you have to do is say so. Incidentally, mentioning our contract reminds me of a change I want. What kind of a change? Well, that clause that if one of us dies, the other gets complete ownership of all of our numbers. How come you want that change all of a sudden? Neither of us has any near relatives, nobody close enough to leave anything to. Well, I expect to have a near relative soon, a very near relative, a wife. Who's the lucky girl? Corinne. Corinne? Yeah, Corinne. You're engaged? Well, not yet, but I'm going to ask her as soon as I see her. And you think she'll say yes? I think so. Oh, you slay me, Al. What's so funny? Well, I got news for you. Corinne's going to marry me. Funny she didn't say anything to me about that last night. Oh, not so funny. I asked her not to say anything until we got so soon rolling. Well, I believe that when she tells me. She'll tell you, Al. She'll have a chance when she gets back from that publicity trip to Seattle. Well, that's all right with me. Meantime, how about finishing those lyrics? With Corinne out of town, there's nothing to distract you. And Marsha Wallace promised she'd sing it at her opening at the club Rio a week from Saturday night. If we finish it. All right, Ted. I'll try to finish it. Well, I wish you would. Once we get the song going, we can go into that contract thing. It'll only be a week or ten days. By that time, Corinne ought to be back too. That I'm not forgetting. Okay. Mr. Dale. Good. I'll drop by your place in a couple of days. By then, you ought to have the lyrics finished. Okay. Right. As the door closes behind your partner, you realize for the first time how much you really hate him. How easy things would be for you if something happened to Al. You would be sole owner of all the songs you now own jointly, wouldn't you, Ted? And with Al out of the way, your certain Corinne would marry you in a moment. Then it hits you. Something must happen to Al before Corinne returns and before your royalty contract is changed. You're startled as you realize you're thinking of murder. You've never even imagined yourself as a killer. Neither has anyone else, have they, Ted? No. And you're certain they never will. That's why you feel sure you can remove Al and get away with it. You think about it for a couple of days and then phone Al. Hello? Hello, Al. Ted. Oh, well, how are you coming on the lyrics for so soon? Oh, I think I'll finish it tomorrow. I only need one line. I'm going to stick here all day if I have to. I won't even answer the phone. Good idea. Now, let's see. Tomorrow's Friday. I'll take it out to Lou late in the afternoon. He'll get the lead sheet out Saturday morning. That'll give Marsha time to learn it before roping at the Club Rio. Plenty of time. I think I'll have it tomorrow, Ted. Well, hop to it, kid. Phone me when it's finished. When you hang up the phone, you realize the time has arrived, don't you, Ted? You pace the floor of your apartment most of the night. And by morning, you're satisfied your plan will succeed. At ten o'clock, you pick up the phone again. Central Publishing. Hi, Gracie. Ted Gray. Hello, Ted. Is the boss in? Not yet. How about Frankie? Nobody here but me. They're both tied up until after lunch, about three. Three it is. I'll run by Al's place. Have lunch with them. Pick up the lyrics of So Soon if he's finished them. That'll make Lou Rio happy. Me too, honey child. See you around three. Because everyone believes you're the closest of friends, you're certain you can kill Al Wilson and get away with it, aren't you, Ted? You won't make the mistake most criminals make. Prepare a perfect alibi, make elaborate plans, and then trip yourself. Know your alibi will actually be imperfect, but you'll plan your day hour by hour. Your routine will be the average routine of a normal day. Yes, your every action will be the very opposite of anyone planning a crime. The simple audacity of your act will be your insurance of success. You'll simply kill your partner as close to three o'clock as you can. Go straight from his apartment to Central Publishing, where you'll wait your usual 20 minutes or more for Lou. When news of Al's death breaks, you will be as surprised and shocked as anyone. You finish dressing, eat a leisurely breakfast, read the paper, and then take step one in your plan. Three hours before you plan to kill him, you drive over to the drug store, next door to Al's apartment building around lunchtime. Hi, Mr. Adams. Oh, hello, Ted. Just missed your partner. Well, I was on my way to Al's. Well, you said he had to work all afternoon the lyrics to your new number. Well, then I guess I'll take him to lunch. Give him strength for the job. Oh, you better let me have a carton of cigarettes too, Mr. Adams. Yeah, check. Well, Ted, you now have at least one reputable witness, who if needed, will testify you were on the way to Al's place to take him to lunch. You leave the drug store, and just in case the druggist is watching, you enter Al's apartment building, then walk straight through the downstairs hallway to the rear entrance. You hurry down the alleyway to the boulevard where you've parked your car. Drive aimlessly for an hour or so, then return to your own apartment building. Where you make certain another reputable witness will be able to testify that you were at home after your midday visit to Al. Come in. Oh, good afternoon, Mr. Grant. Oh, hello, Mrs. Carter. I, uh, I was just wondering if you might have a larger apartment vacant, one with an extra bedroom. Well, I will have on the first of the month. You have some friends. No, no, Al and I thought we might get more work done if we lived in the same place. I just had lunch with Al. Oh, this will be perfect for you two bachelors. I can't show it to you right now, but it's going to be... Oh, that's all right. It's all right. I want Al to see it anyway. Besides, I've got a little copying to do. Then I've got to get out to central publishing. I just wanted to make sure you had one. We'll take a look at it Sunday. Well, Ted, your plans are now complete. You have witnesses as to your whereabouts at two highly important times. You pace the floor of your apartment. Watch the clock. Finally, the minute arrives. And at ten minutes before three, you walk down the alleyway in the rear of Al's apartment building. Hurry upstairs to the second floor. Oh, hello, Ted. Come on in. Well, how are you coming on that line? I got it. Well, let's hear it. Why must I end my dream so soon? Like it? Why must I end my dream so soon? Well, it's okay. Just can't figure out how it took you so long. Well, you see, Corinne and I... Well, I don't want to talk about Corinne now. Well, Corinne and... Forget Corinne for now. Look, I'll take this lead sheet out to Lew North right away. He'll get it to Marsha Wallace. Okay, Ted. Look, Al, I had to skip lunch today. Have you got anything to eat in the kitchen? Oh, yeah. There's some cheese and bread back there. Well, that's enough for me. But it isn't food you're after, is it, Ted? No. You know exactly what you're looking for. And you find it in a drawer of Al's kitchen cabinet. The bread knife. Then you return to the living room. Find anything? I found what I was looking for, Al. What do you mean? Well, what's the matter with you? Wait a minute. Listen to me. Ted! It's done, isn't it, Ted? Now you must be careful to establish the one important time factor of your day's activity. You drive quickly to an outside phone booth, half a block from central publishing. Operator? Hello, police headquarters. Just a moment. Police headquarters, Sergeant Quinn speaking. Hello. There's a dead man in apartment 203 in the Cheswell apartments on Los Palmas. Who is this? Who's talking? That's something you'll never know, Sergeant. Well, Ted, it's going beautifully, isn't it? You've removed Al Wilson, and you're certain you'll never be suspected, aren't you? It's all been timed so smoothly. Within a minute after your call to the police from a public phone booth, you're at the central publishing offices. You planned things perfectly, didn't you? Your innocent actions throughout the day, your purchase of cigarettes before noon, your inquiry about the apartment after lunch. Yes, Ted, all that's required now is a quick finding of the body, which of course your phone call is taken care of. You're confident as you stroll into central publishing, almost on time for your three o'clock appointment. Hello, Angel. Boss here? Always on time, Teddy, they call him. No, Lou's not here yet. Well, that's all right. How about old Tennessee Frankie? He's here. Frankie? Yeah? Ted Gray's here. Be right out. Hi, Ted. How you boy? What you got? Oh, just another moneymaker for Central. So soon? Yep, so soon. Did you tell Lou about it? No, you did. Thirty or forty times. Come on back. Let's take a listen. Sounds like it might go. Well, is that the best you can say about it? That's the best I can say about any song. You never know. Well, look, how about getting a lead sheet on it right away, will you, Frankie? Sure. You know, I put on that line Al was having so much trouble with myself. I saw him just before lunch. He was still having trouble. So I knocked it out myself. Why must I end my dream so soon? You like it? Sounds all right. Well, I'm glad you like it. I'll pick up the lead sheets tomorrow. Okay. You want it on the phone, Ted. Okay. Why all the excitement? It's the police department. Okay. Take it easy. I haven't robbed any banks. It's about Al. Al? What's the matter with him? I don't know. The officer found out you were Al's partner. He wanted to know if you were here. Maybe he's had an accident. Accident? Oh, no, not Al. He's too careful. Hello? Yes. Yes. What? Couldn't be. Murdered? Oh, no. No. No, I'll be right down. Al's dead. Al? Yeah. But how? The cops say he was murdered. You say you saw your partner this morning, Mr. Gray? Yeah, that's right, Lieutenant. I got over there about 11.45. He was all right? Oh, fine. Fine. He was trying to finish the lyric to our latest number. We needed only one line, so we made a couple of sandwiches and ate them in the apartment and worked on it. Can you prove you were there at that time? No, I can't prove it, but I think Mr. Adams, the drugist, will tell you I bought some cigarettes just before I went to Al's. I see. How long were you in Al's apartment? Oh, not very long. A few minutes after we finished eating, the line came to me and I went home. Typed out the complete lyric and took it to Central Publishing Company. You can prove this? Well, no, Lieutenant. After all, I wasn't planning on having to account for my time. But wait a minute. I, uh, yeah, I can prove I came back to my apartment after I had lunch with Al. I talked with Mrs. Carter, the apartment manager, about a larger apartment. Well, we'll check in your statement. The important thing is, uh, where were you at three o'clock? Three o'clock? Uh, Central Publishing, yeah. I, uh, well, I guess there's no way I can prove it unless the receptionist, she will remember that I... We'll question her, of course. Oh, you're not under suspicion, Mr. Gray, any more than anyone else. I, I realize that, Lieutenant. But we do have to investigate every angle. Well, thanks for your cooperation. If we have any more questions, we'll phone you. And if I think of anything important, I'll phone you. Anything I can do to help catch Al's killer will be a pleasure. You return to your apartment, certain you're beyond the slightest suspicion. Next day, you phone Central Publishing, learn that the police have double-checked your statements, and smile when you realize that Gracie, the receptionist, verified that you were at Central Publishing at the time Al Wilson was killed. Two days later, you receive a shock. You phone Corinne's office, learn she returned from Seattle the morning Al was killed, that she tried to phone you, and then left for San Diego the same evening. You get her San Diego address, send her a telegram, tell her to be sure and be back in time for Marsha's opening at the Club Rio. The following Saturday night finds the two of you sharing a table. You know, Ted, it seems... well, I don't know. It was only last week that Al... Don't worry about it, honey. Al and I both promised Marsha she could sing it the minute we finished it. He wouldn't have it any other way, believe me. No, I suppose not. Now look, Corinne, Al was the closest friend I ever had. We both agreed that if anything ever happened to either one of us, well, the other go right ahead. I know. Sure you do. Naturally you feel low, honey, being in love with Al and... No, Ted. I was fond of Al, but I'm surprised you thought that. I thought you knew how I felt. Well, you mean me, Corinne? Let's talk about it some other time. Oh, but I... Please, Ted. Well, of course, honey, of course. Only I... well, you've made me happier than I've ever been. Ted. Yeah? When did you tell me you finished that lyric? Why, just after lunch, the day I was killed. The line just came to me. Why must I end my dream so soon? Look, here's the original typewritten copy. I got it back from the publisher a couple of days ago. He sent Marsha a lead sheet. Ted, I... Uh-huh? Listen to me a minute. Now, look, honey, we'll talk later. You're all excited now. So am I. Now, look, you stay here. Catch things from our front. I'm going backstage to see Marsha for a minute. Well, do you mind? No, Ted, I don't mind. Good, good. I'll be right back after Marsha finishes, okay? Okay. Oh. What's so amusing, Ted? Nothing's amusing, honey. Only it's just like you said. Okay. After what you told me a few minutes ago, I'm sure everything's gonna be okay from now on out. Well, Ted, you're certain you've won, aren't you? You have complete ownership of So Soon and all the other songs fashioned by you and your late partner. And you learned just a few moments ago that lovely Corinne Mitchell, the one woman you've ever really loved, feels the same way about you. Standing in the wings of the semi-dark stage, your pulse quickens as the spotlight reaches Marsha Wallace and the orchestra goes into the introductory bars of So Soon. So Soon. So soon to leave me so lonely and blue. Why must I end my dream so soon? It was just yesterday in your arms I heard you say you'd love me forever. You're forever meant a day. Others are waiting to sing me love's tune. But I can't forget our love so soon. I can't forget our love so soon. Excuse me, please, excuse me. I beg your pardon. Honey, it went great, didn't it? Say, did you? Oh, I'm sorry, Corinne. I was so excited. I didn't notice that you were... That's all right, Ted. This is Lieutenant Roberts. Homicide. Yeah, we've met before. Well, I knew Marsha was going to slay him tonight, but I didn't think she'd be arrested for it. She won't be. I called the police, Ted, just after you went backstage. You? Why? Because you killed Al Wilson. Me? Are you crazy, Corinne? It was you. It had to be you. Now look, Corinne... That new line you said you wrote, why must I end my dream so soon? That was the tip off, Ted. You said a little while ago you wrote that line right after lunch the day Al was killed. That's right, I did. You're lying, Ted. When you handed me this typewritten copy a few minutes ago, you told me the whole story. That line wasn't even Al's line, it was mine. It came to me about two o'clock the day Al Wilson was killed. Two hours after you say you saw Al for the last time. I typed it on my portable. Then I took it over to Al. You? You went to Al's apartment? Yes. I called you earlier. Couldn't get you, so I drove over to Al's. Well, maybe I did lie about the song, but that doesn't prove that I... It proves enough that I'm arresting you for the murder of Al Wilson, Mr. Gray. You see, Ted, I reached Al's apartment about two-thirty and left about a quarter of three. The coroner says Al was killed around three. Well, maybe he was. And at three o'clock I was over... You were in Al's apartment. You had to be. Only two people besides me could have possibly known that line, Ted. Al Wilson and the man who killed him. The Whistler, whose strange story you have just heard, will be back next week with another tale from his never-ending file. This is the United States Armed Forces Radio Service.
