 Whistler, presented by the United States Air Forces in Europe. I'm 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. Tonight it's the Whistler's strange story, Little Red Book. That's right. It was nice, and it was Panama City. And the few passengers from the Augusta Queen were waiting for the big freighter to resume her voyage to San Francisco. Larry Layton was even more restless than some of the other passengers. Also, he was bored. He'd had little success in trying to strike up an acquaintanceship with an attractive young woman on board. And now, from the aft rail, he could see her going ashore with a portly little gentleman, clad in ill-fitting white linen. It's annoying, isn't it, Larry? What such an attractive girl can see in a man like that? And suddenly you decide that you must know. Ashore, you follow. See them turn down an alley. You walk to the entrance to the alley. Stop it, Roy. You're all messed up. Not so mixed up. I don't know why I talk too much after a few drinks. You're the wrong dame. I'll teach you how to talk to Roy Tate, Julie. Don't keep dames for anything on Roy Tate, you understand? I'm gonna be... You freeze back into the shadows, don't you, Larry? Because suddenly it's more than eavesdropping on a lover's quarrel. A moment later, the girl runs past you. You wait a moment, and then enter the alley. The man who called himself Roy Tate is quite dead, isn't he, Larry? A knife lying nearby. You lean down quickly and search him. Find that his wallet still contains a considerable amount of money. Quickly, you put it in your pocket, and then wrap the knife in your handkerchief. And in a few minutes, you're back on board and entering the ship's bar. Oh, hello, curly. You on, Dan? Sorry, honey, I'm not in the mood. Oh, nobody wants to see you. That's and so does Sam. Sure thing, Mr. Layton. Are there other types to your liking? Oh, yeah, yeah. Evening, Miss Frazier. Hello, Sam. Still nothing for me beautiful? What? All this mileage together, not even a smile, no greeting. And I believed all that stuff about shipboard friendships. Oh, I'm sorry. I never noticed you. Ouch. Sorry, again. Well, that's better. Thank you. Thank you. Same as yours. Much better. Sam. I'm on it, Mr. Layton. Mr. Layton, Miss Frazier. Can't we make it, Larry, and uh... Julie, of course. And I'm Marie. Oh, well, hello, Marie. Boy, I'm sailing tonight. You sure are. Oh, now don't tease me, Curly. Just trying to have a little fun, sure. Go on, Larry, dance with the ladies. But I just thought it was... Yeah, I'll put on another ride. Fine thing. I'll do the same for you someday. Well, come on, Curly. All right, all right. It's all quite different than before, isn't it, Larry? Julie's a different girl. And you're amazed at her calmness after what you saw her do to roytate only a short while before. The moments in the ship's bar stretch into hours, as along with other passengers. The two of you wait for the ship to get underway. You and Julie are finally dancing together now. And you make several attempts to learn what it was all about. One thing you do know, the girl in your arms can be as lethal and deadly as she is beautiful. Ooh, one day we'll live. Better than roytate? What do you know about royt? Very little. I spoke to him a couple of times on the voyage down. By the way, where is he? Didn't he go ashore with you? Yes, he did. But didn't come back with you? No. Roy isn't going to come back here. Oh? He's, um, meeting another ship. Going back where he came from, you mean? Something like that. Let's not talk about him anymore. Okay. I just wondered. I didn't see him taking any luggage ashore. Don't the person think it's odd that... Roy sent a message back with me. He wanted his luggage sent to the International Hotel. House for arrival. There and now. I see. Well, I, uh, am glad he thought of everything. He did. Funny. What's funny? You two seem so, well, chummy on the voyage down. Like you said, you didn't even notice me, and I was trying hard, believe me. You said there was something funny. Well, just that now you don't even seem to miss Roy. You want me to miss him? No. Why, are you so concerned about him? Okay. What's okay? Like you said, let's not talk about him anymore. That's better, Neri. That's it. Now it's my turn again, Julie. Curly blams to a little more, you know. Wait a minute. Um, Sam, is that sailing time? Right, Mr. Layton, almost 12. You want to go out on deck? Won't you get underway? No, thanks. I'm going to turn in. Nice, Sam. I'm afraid. Hmm. Now, Curly, we got the whole body right now. You and Sam have the whole body yourselves. I'm awfully tired, Marie. I'm turning in too. Oh, nobody wants to have any fun at the fine stage. This is where I came in. Good night, all. You go out on deck and wander along the rail, watching the deck crew as they work to get the ship underway. You know which state room is Julie's, don't you, Larry? 11B. You're still wondering if she took anything away from Roy Tate. There has to be a reason for murder. Outside of 11B, you pause. Grant in just in time to see Julie staring at an ordinary little address book. Carefully, she circles an address, and then hides the book behind a wall mirror. Then quite suddenly, the light goes out. If you leave passing, hurry away. A few swift steps along the deck can bump squarely into another passenger. Oh, I'm sorry. Oh, it's all right, Curly. Oh, hello, Marie. Oh, OK. I shouldn't have been in such a hurry. All right, all right. I'll tell you. Anyway, everybody's in a hurry, don't you think so? Everybody's either running after something or away from something. Don't you think so, Curly? Don't you think so? Yeah. Yeah, I suppose they are. And now, we're all starting to run through. We're getting under way. You know, this could be a very interesting voice. Yeah, Marie, it could be a very interesting voice. Now, back to the Whistler. The question marks that surround Julie Frazier. You know that she killed a man in the back alley of Panama, a man named Roy Tate. But you don't know why. And in the days since the Augusta Queen sailed for San Francisco, you've been unable to learn more, even though you've been with Julie almost constantly. You wonder if it has anything to do with a little red address book, which Julie keeps hidden in her state room, and you're determined to somehow examine that book. But your opportunity doesn't come until the morning the ship approaches San Francisco's Golden Gate. You wait on deck until she leaves her state room and passes you on her way into breakfast. A moment later, you're trying the door of her state room and find it open. Inside, you cross to the wall mirror and take the little red address book from where you watched Julie hide it. Quickly examine the addresses inside. You find one carefully circled, copy it, and place the book back in its hiding place. That afternoon, Marie bid you a tearful goodbye. It consists on your writing down an address where you can reach her in San Francisco. But your mind is only on Julie. Finally, a tug pulled your ship slowly towards the dock. Well, here we are. It's all over. It doesn't have to be, Julie. I mean, can't I see you to your hotel? No, Larry, I'm sorry. I have other things to take up my time in San Francisco. Well, I guess Marie must get her information from a crystal ball. Marie? Yeah. She predicted you'd brush me off. Says that's when she's moving in. I'm not rushing you off, if you put it. I'm sorry, Larry. It's something I can't explain. Perhaps we will meet again sometime. Julie, if you're in any trouble, need a strong arm. No, I'm not in trouble. It doesn't. Well, it's goodbye, that's all. It has to be. Okay, Julie. So it's like you said. Goodbye. But you've no intention of letting Julie get away from you, have you, Larry? No. It's simply that you'll have to play things her way at the moment. As the ship ties up, you're the first to shore. And a short time later, your cab follows the one Julie takes to a large downtown hotel. As you hurry inside, you see her enter the cocktail lounge. You slip into a back booth and watch as she slides the little red book across to the bartender, and then turns and walks away. Your eyes follow her as she moves through the lobby toward the desk. Then you lean back and order a drink. You're still puzzled about the little red book, aren't you, Larry? What it means? Why she left it here? And you decide it's time for a showdown. You finish your drink, and then step across to the hotel desk. Good afternoon, sir. Miss Julie Frazier, what's her room number, clerk? Miss Frazier? Oh, let me see. I believe she just checked in. I'm surprised at you, old man, that you'd forget her so quickly. Miss F is a very, very attractive young lady. Well, I'm sorry, sir, but we have no Miss Frazier. Oh, now look, she was here just a few minutes ago. Lawn, medium height, wart and coat, brown hat with a... Oh, that young lady. Yeah, that young lady. Now, come on, come on, what's her room number? What was her number? She isn't staying here, sir. But I saw her. She clearly wished to know the correct time. The correct... Ah, thanks. Loads. You hurry outside, but Julie is nowhere in sight. You've let her get away, haven't you, Larry? And you're certain now you've lost her for good. And you still don't know why the little red book is so important. Why Julie killed a man for it? However, there's still the address, isn't there, Larry? The address you copied from that little red book. The answer you're looking for could be there, couldn't it? You set out for that unknown address. Glad you're carrying Julie's knife in your pocket. In case you need a little, uh, protection. Well, well, hello, Larry. Julie, as they often say, fancy meeting you here. I've been expecting you. Come in. Thanks. Sit down. Have a drink? Scotch if you have it. Anything else if you haven't. Oh, you're easy to please. Not always. Meaningful. I'm very particular about my women. Oh. Are you real? Yeah, really. Soda? Soda. You know, Larry, I must say I'm surprised. Oh. But it turned out to be you. Well, I thought you said a moment ago you were expecting me. I was expecting someone, but I didn't know it would be Larry Curley Leighton. You're not sorry, are you? Go about that. Here's your drink. Thanks. Uh, not joining me? Later perhaps. Um, do you mind if I sit here? No. No. Lots of room. Uh, tell me something, Larry. Did you expect to find me? Let's say I was counting on you very much. Oh, then you knew all along. A board ship, I mean. Maybe. Silly, really. You could have saved yourself all this trouble. Why didn't you tell me then? I was in no hurry. Weren't you, darling? I was glad you weren't much help, you know. When I tried to see you home, you fluffed me off with something about leaving it as just a ship or a friendship. Remember? No, that's right. I did say that tonight. Yeah. And so you had to go back to the cocktail lounge and get my address. And here you are. Yeah. Here I am. Do you, uh, have the money? Money? Pay off, darling. Well, that's something we should talk over. Talk over? Oh, no. Easy, baby. Look, the job done and a deal is a deal. You were to bring the money to the address circled in the little red book. No negotiating, no questions asked. Relax. Sure I'll relax when you handle without $30,000. $30,000? My, my, all that money. We could have an awful lot of laughs together. We? What are you talking about? A partnership? When we collect that dough, we split it. When we collect it? But, but I thought you... You thought that I was the payoff, boy. The happy chap with the folding stuff. Uh-uh. I see. Oh, Julie. Julie, how could you be so stupid? No, no. Now look, handsome. You think you're going to muffle in here? Think. I am in, Julie. Are you? Sure. We just sit here and wait till the payoff comes along. You fool. You ruin everything. I... The book. When you picked it up at the bottom, did you see? How was the party? You're supposed to pay off, but you know there's a drag. Relax. I didn't pick up the book. I didn't have to. What? How did you know to come here? Haven't we better answer that? Yes, that's right. Yes. Uh, no, don't send it over here. I'll come and pick it up. Better change your mind, sweetheart, or this night might slip. Sorry. Wait a minute. Who is I saying? Hello? I'm, uh... I'm second thought. I think you'd better bring it here. Yes, yes. I'll be waiting. So the payoff is on its way over, huh? Yes, but you won't see any of it. I'm not splitting that money. 15,000 each isn't too bad. I'm keeping the whole 30,000. You'll see. I don't think you will, Julie. Oh, please. Father, you're being so close to your lily-white throat. Or are you just remembering what happened in Panama? Panama? What do you know about this? That guy Roy Tate was a sucker to trust you, baby. The guy who did the job, huh? He told you how he was going to get paid for it. You killed him for that little red book circled your own address knowing you'd get the payoff. No, I didn't. Sure you did, Julie. With this knife. Oh, yes. I saw you. It's your knife, baby. And I want you to have it. Oh, wait. You're so slow. For a moment you're stunned, aren't you, Larry? At the realization that Julie Fraser is actually dead at your feet. Then the whole weird story whirls across your mind. The way Julie killed Roy Tate in a back alley of Panama. Your own confused thoughts were wondering it to the reason. The little red book that she took from him. The way she circled her own address instead of his. And now finally what it all added up to from the beginning. That Julie had found out how Roy Tate, a professional killer, was to be paid off. She hadn't counted on your interference at you, Larry. No. And now you've put her out of the way. And it's you that waits in her quiet apartment for the payoff money. And finally Fraser had a boyfriend. That's right. Look, Julie had to step out. We're working together. You could leave the money with me. Oh. And I think I'd better have a look around. Here's my identification. Hey, you're a cop. Yeah, right. Birkin, homicide. Well, what do you know? Come to pick up a murderer, find her dead, and the guy that killed her waiting for her. Look, I don't know anything about what happened. All right, save it, fellas. Save it. The prints on the knife will settle that. Yeah, but I guess you don't know some other things. Bring Marie in, Sergeant. Marie? Curly. I don't get it, Marie. I'm the one who was to make the payoff for that grisly killing in the east. The syndicate gave me the money and told me to come out here to make the payoff. Get the address from the Little Red Book. Then I got ideas of my own. Yeah, keep talking, Marie. Curly here seems very interesting. Well, when Roy Tate left New York by boat for San Francisco, I figured he was the trigger man. So I flew to Panama and caught the Augusta Queen for San Francisco. I thought I could talk Roy into a 50-50 split of that payoff money, but Roy wasn't even a board. He had been. Yeah, yeah, I found that out when we got to San Francisco. I read in the papers that Roy Tate was found stabbed to death in Panama. But, but how'd you happen to tie Julie up with it? I picked up the Little Red Address Book when I was supposed to and called the phone number. And then when I recognized Julie's voice, I saw my chance. To do what? To get rid of her. To tip off the police that she was getting the payoff. I didn't bring the cops and trace my call so quick. I picked me up when I walked out of the phone booth. But why, Marie? Why did you want, why did you want Julie out of the way? She meant nothing to you. No. But she meant something to you? You see, I thought we'd have such a good, just you and me. With that 30,000 bucks of payoff money. Be with us again next week, when once again the United States Air Forces in Europe present The Whistler.