 And now stay tuned for the mystery program that is unique among all mystery programs because even when you know who's guilty, you always receive a startling surprise at the final curtain. In the signal oil program, the Whistler signal the famous go farther gasoline invites you to sit back and enjoy another strange story by the Whistler. For extra driving pleasure, the signal to look for is the yellow and black circle sign that identifies signal service stations from Canada to Mexico. And for Sunday evening listening pleasure, the signal to listen for is this whistle that identifies the signal oil program, the Whistler. And 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 strange story, Swan Song. The setting for murder can be anywhere. Perhaps it seems more at home in a dark alley or on an isolated side road or yet in the dingy back room of a cheap honky-tonk. But once murder is in the mind of someone and the dark plan evolved, the setting can be anywhere. It can even take place in a well-lighted, well-appointed apartment in the expensive part of the city where laughter is mixed with a pleasant talk of four people. Four of the five people in the situation. Two men, two women. The brother of one woman was absent. The other woman, the hostess, rises, moves across the room with a tray of four empty glasses and hums a popular tune. People will say we're... A happy hostess with murder on her mind. And one glass requires special attention. Into it she drops a single white pellet, watches it bubble, cloud the contents briefly and then clear. As she watches, a smile of triumph lights her face. And her thoughts go back to that night a few weeks ago when the idea of murder first crept into her mind as she was performing at the Swan Club. Don't start collecting things. Give me my rose and my glove. Mona Barrett wasn't a good singer, but she had a style the customers liked. With Mona it was a living. It bought a few of the things she wanted. And she could meet people who might help her on her way. She usually did the commercial thing, sang straight to her audience. But tonight she looked beyond her audience to Jeff Williams seated at the bar and from him across the crowded club to his partner Charlie Flavol. It was like looking first at night, then day. Jeff solid and sullen, with eyes only for Mona. Charlie handsome and ingratiating, with eyes only for the guests of the Swan Club. It wouldn't be hard for Mona to choose between them. It would be very simple, but the choice wasn't hers to make. Not entirely. Her song ended, Mona turned away and started for her dressing room. In a rush, Mona? Jeff, hello. Yes, I am sort of. Your song was great. Thanks. How about a drink? Really in a hurry, Jeff. I shouldn't. No time for a husband, huh? Oh, don't start that again, Jeff. I don't like it. Well, I don't like it either, baby. That's the way it seems to be. Last year there wasn't any Charlie. It was you and me. The club was cozy. Charlie's your fault, not mine. I didn't bring him here. No, Mona, you didn't. Neither did I. Just shows up. Remember me, Jeff, your old pal Charlie. In Kansas City, I'm your new partner. I'd have thrown him out. You haven't go to the cops? Tell them all about the deal I was mixed up back in Kansas City, not me. So you're stuck with him? Well, it's better than living with him. Oh, it's a great partnership. Charlie takes 60% of the take, and you practically kiss his hand for your 40. Sure, sure, but... Oh, let's skip it, Jeff. Okay, we'll skip it. Well, how about putting on last year's mink? Having supper with me? Sorry, Jeff, not tonight. I have other plans. You do have other plans, Mona, and those plans include Charlie. You're not going to let anything, anyone, interfere. You forget, Jeff, the moment you step into Charlie's new convertible. Listen to his big talk as he heads for the secluded bluffs above the beach highway. Charlie can afford to talk big. He does big things, makes big money, doesn't he, Mona? And you'll like that. Once you arrive at the bluffs, he stops talking. And like you, seems to drink in the quiet beauty of the spot. Lovely here. Isn't it, Charlie? Huh? Oh, yes, yeah, yeah. What are you thinking? Oh, I was just thinking this would be a great spot for a new club. Use lots of glass, you know, big windows. So when the customers get tired of looking at you or the food we'd flip them for, they could get a real view. I'm not very flattered. You're not supposed to be, honey. Well, at least I'm glad I fit into your plans, even if it's only to make the ocean look better. Did I say you'll fit into my plans? No, no, I guess you didn't really. But I want to, Charlie. I want to very much. Yeah, I know. And if you need any convincing, maybe this will help. Did... did that help, Charlie? That? That's so funny. Oh, you are, honey. You never really thought I'd go for that, did you? Stop it. Stop laughing at me. Don't ever try that again. You can't humiliate me like that and get away with it. Take it easy. You've been humiliated before. Why, you take me home. With pleasure, honey. Just in time, too. Time for what? Oh, didn't I tell you? I have another date. The rage that swells within you is almost more than you can stand, Mona. And you know that some day, somehow, Charlie is going to pay for that insult, turning you down. Yes, he's going to pay, isn't he? Through that night, the following day, the anger you feel for him grows with each minute, each hour. And finally, early in the evening, you find young Brad Roberts talking to Jeff in his office at the Swann Club. Just keep your partner away from Sharon. That's all, Williams. Look, Brad, you better talk to Charlie about this. I'm not as keepy as you know. If you want him to stay away from your sister, you tell him. I already have. And I'll tell him again. But I'm warning you. Look, don't! I got troubles of my own. Oh, oh, come on in. Come on in, Mona. Now, Brad's just leaving. Hello, Brad. Charlie giving you a bad time. Not for long, Mona. I don't know what he expects me to do about his sister and Charlie. Oh, look, baby. You know Sharon pretty well. She thinks a lot of you. No, thanks. Let Brad handle it, sister. Maybe it wise her up. Tell her to stay away. No. But there is something you can do about Charlie. Such as? Get rid of him. Kick him out. Oh, sure, sure. And I wind up in Leavenworth relaxed. How can I relax the way he's treating you? I just can't take it anymore, Jeff. Sitting back helpless while he makes a fool of the greatest guy I know. Oh, Mona, honey, baby, look. Oh, I'm sorry, Jeff. But really, we've got to get rid of Charlie. We've just got to. Oh, sure. Sure. That's simple. Just tie him up, dump him in the river. Is that it? If I thought we could get away with it, I... Oh, holy baby. I won't have any of that rough stuff. Oh, come on, now. I'll buy you a drink. You'll feel better. I guess I better pull myself together. I go on in another 20 minutes. You skip the first show if you don't feel up to it. No, no, no. I'll be all right. Mm-hmm. Yeah, yeah, sounds like the reddit again. In Charlie's office. Brad and Charlie. Wait, Jeff, listen. Ah, listen, relax. It's just Sharon's money you're after, Flavo. She thinks it's smart to hang around your club and be seen with you. Now, look, Junior, look. She's nuts about me and you know her. You wouldn't get so hot about it. I'm through arguing with you, Flavo. Just stay away from Sharon. That's all I've got to say. Nuts. Come on, come on, Mona. Let him fight it out. Yes, that's a very good idea, Jeff. Let them fight it out. You want something? Hmm? Brad has a terrible temper. So? So Charlie just might mess around and get himself killed. Brad would have an out, you know, protecting his sister's reputation and all that. Oh, sure. You know all those soft sister juries, huh? If Charlie were dead, that would solve everything. Wouldn't it, Jeff? Tonight's $20 signal gasoline book goes to Carol Van Court of Los Angeles for this limerick. An unhappy driver named Joe never could make his old car go. It used to be comic, but now it's atomic. The signal gas treatment, you know. Signal, signal, signal gasoline. Your car will go far with go-brother gasoline. Tonight's limerick rider may have been a bit over-enthusiastic in suggesting that signal gasoline will make old cars atomic. But we can promise that along with signals good mileage, you'll enjoy eager, purring power for proud pickup in traffic or smooth, silent sailing down the straightaway. Plus wide-awake energy for quick cold weather starting. That's because mileage and performance are like birds of a feather. They go together to get both. Next time, get signal. The famous go-farther gasoline. Yes, Mona. Charlie's death would solve everything, wouldn't it? He stands in everybody's way. It's Charlie against Jeff for the swan club. It's Charlie against Brad over his sister Sharon. And you, Mona, Charlie threw you over, laughed in your face. And now he stands between you and the security, the luxuries that Jeff could give you. So Charlie's got to go. You're certain of that. But how, Mona? It's something to think about, isn't it, and consider carefully. Then one evening at the club, you're sitting at the bar when you see Sharon Roberts hurry out of Charlie's office. An angry, determined expression on her face. Sharon! Oh, Mona. My, my, my. What a stormy look. Feuding again? Charlie's just impossible at times. I can't stand much more of this. Brad, the family on one side, Charlie, and his jealous fits on the other. He thinks he owns me. What's happened now? Last night, the family insisted I go out with someone. Show him around town. He's from the East. Our families have known one another for years. Charlie found out. And he's just furious. You know how jealous he is. Oh, thank heavens. I don't have to put up that much month longer. What do you mean? I'm leaving the family, moving out, getting an apartment of my own. Oh. Well, there's some decorating to be done yet. I won't be able to move in for another month. Another month? I'll probably go out of my mind waiting. Well, you can always move in with me in the meantime, if that will help, Penny. You mean that? Why, why yes. I'm just so fed up with everything, Mona. You... You wouldn't mind, really? I'd love to have you. All right. All right, Mona, I'll do it. And thanks. An unexpected development, isn't it, Mona? And you sense that somehow it'll be to your advantage having Sharon close by. That some way you'll be able to use her as you plan to use her brother Brad and Jeff when the time comes to settle the score with Charlie. At the moment, you're not quite certain just how they're going to fit into the scheme of things. That will require a lot of thought, won't it? And in the days that follow, the pattern begins to emerge slowly. The plan, each step, falls into place. But before you make your first move, you've got to patch up things with Charlie. Let him think the incident of a few weeks ago has forgotten. And so outwardly, there's a noticeable change in your attitude toward Charlie. And then one night as you finish your song, Wow, nice going, honey. Oh, Charlie, thanks. You still a little sore at me, maybe? Oh, no, Charlie. No, I'm all over that. Kind of silly of me, I can know where I did the other night. Well, I guess I was a little heavy-handed. No, no, no. I was. All is forgiven? Sure, sure. Why not? Life's too short. It's done, isn't it, Mona? You've set your plan into motion. Sharon has moved into your apartment with you. And you waste little time in making your next move. You informed Jeff that you're planning a dinner party to take place Sunday night at your apartment when the nightclub is dark. At first, he's reluctant, but finally agrees to be there. And you wonder if he would have accepted your invitation had he known that. Well, I don't know. I don't know. He would have accepted your invitation had he known what was really on your mind. That same night, you tell Sharon about the dinner and your plans are completed the following afternoon after a phone call to Charlie. You're confident now that your scheme won't fail. All you have to do is say something to arouse Charlie's jealousy. Get him and Sharon involved in an argument. And yet when the moment comes, the night of your dinner party, it's obvious. Because in the back of your mind is the fear that something will go wrong. However, when your guests arrive, the first cocktails have been served and the four of you settle down to pleasant, relaxed conversation. That confidence returns. Several drinks later, you step into the bedroom, pick up the telephone, and call Sharon's brother. Yes, what is it, Mona? I have a message for you, Brad She seemed quite anxious to talk with you. All right, Mona. See more today. Thanks for calling. You smile as you hang up the receiver, Mona. See more's on the other side of town. A good hour's drive from your apartment. And you've taken care to prevent a chance visit by Sharon's brother Brad, having him drop in and upset your plans. Back in your living room with your guests, you watch Sharon closely. Notice the first effects of the powder you dropped into her glass. And then finally, at just the right moment, you have something very important to inject into the conversation. Oh, by the way, Sharon, someone called for you while you were out this afternoon. It sounded a lot like that young man who's called a few times before. You know the one from the east? Oh, it couldn't be. Could it, Sharon? He left last night also, you said? Well, now I could have been mistaken, Charlie. I asked if there was any message and he said no. He was just wondering if you were going to show up. Well, that's strange. I wasn't meeting anyone. Visiting a sick friend, eh? That's where you all were all afternoon, eh, Sharon? Oh, not a cent, Charlie. You broke a date with me because you had to go visit a sick friend. If you really must know I didn't, I changed my mind. Maybe some guy changed it for you. All right, have it your way. Perhaps someone did change my mind. That was all you needed to say, Mona. That little remark about the young man was that lately you take Jeff's arm and steer him into the kitchen and close the door. There you wait nervously, listening to the angry voices in the living room. Finally, the voices die out. There's a long moment of silence as you and Jeff exchange glances. Then the kitchen door opens. Mona, Mona, will you come in here? Something's wrong. Sharon's passed out. What? Passed out? Yes. Jeff, run into the bathroom, get a cold cloth. Oh, sure, come on. Here, Charlie, give me a hand, will you? You hurry to the couch. Pick up a small pillow, then the small revolver from the desk drawer. The revolver Brad had given to Sharon for her protection when she left home. Charlie. What's the idea, Mona? This, Charlie, is the idea. Mona! What's happened? Charlie. I told you, Jeff, I couldn't stand to see you in this restaurant. He's, uh... He's dead. Yes. Mona, why'd you do it? I told you, darling. What? How do you expect to get away with a thing like this? I have it all planned every step. Including her? Sharon? That's right. She killed Charlie. She... You're going to pin this on a kid? Well, officially, she won't get in any trouble. I... I don't follow this. All right, I'll make it all nice and clear to you, Jeff. But in the meantime, let's see what we can do to wake up sleeping beauty there. She's in... terrible, terrible trouble, darling. She just killed Charlie. And we've got to help her out of this mess. We've just got to. It doesn't take much to convince Jeff that he's got this along with your plan, does it, Mona? There's really nothing else he can do. You wipe the prints from Sharon's revolver, press it into her hand, and let it fall to the floor. And then finally, when she opens her eyes... What happened? Oh, take it easy, honey. You'll be all right. But what? My gun? What's my gun doing here? Sharon, you... You don't remember? Remember I... Charlie? Mona, what's wrong with Charlie? Why is he lying there like that? He... He was shot, Sharon. Honey, try to remember. Tell us exactly what happened. You mean you think I... Oh, no, Mona, I didn't. I couldn't have... I'd remember if I'd done it. Wouldn't I? I'm sure you didn't mean to do it, Sharon. But you weren't here. You and Jeff... We were in the kitchen fixing some drinks. Isn't that right, Jeff? Yeah. Yeah, that's right. No, no, no. We rushed in here. Charlie was on the floor. You were standing here with the gun in your hand. Then you... you failed it. Mona, what am I going to do? Just be quiet, Sharon. We'll think of something. I think the best thing to do is call the police. And have it on the front page of every newspaper in the town for six weeks. Sharon, what about your family? Your mother? Do you realize what it would mean? Look... No one need ever know about this, Sharon. What do you mean? Don't you worry about it anymore, honey. Jeff and I will take care of it. We'll take care of... everything. And you do take care of everything, don't you, Mona? Sharon is too upset to take him to protest. And Jeff takes Charlie's body down the back stairs, carries it to your car conveniently parked near the rear entrance. The two of you drive out to the edge of town, take a side road, and then stop when you find a clump of bushes. It's all over very quickly. Isn't it, Mona? Back in town, Jeff feels the need of a drink. Back in town, Jeff feels the need of a drink. So you stop at a cocktail bar on Wilshire Boulevard before returning to your apartment. Hear what the jukebox is playing, Jeff? People will say we're in love. People will say we're in love. Come on, don't look so glum, Jeff. It's all over, darling. We're in the clear. Sure. What do you want me to do? Turn hand springs? Jeff, how long do you think we ought to wait? For what? Before we start asking Sharon to pay up, or the murder gun with her fingerprints on it goes to the police. So you figured on that, too, right? Mm-hmm. Ah, suit yourself. You're running this pitch. Yes, that's right, I am. But we're partners now, darling, aren't we? We split 50-50 on everything. Yeah, yeah. It really turned out swell. I get rid of Charlie only to wind up with another partner. But I'm not as expensive as Charlie was. No. You know, I may kill you someday, Mona. I don't think so. You didn't have the nerve to kill Charlie. You won't do anything to me. Not a thing. You know that in cooler weather, such as we'll be having during the next several months, your car needs a motor oil that does more than just lubricate the reason? On short trips around town, your motor seldom develops enough heat to drive off the moisture that condenses in the crankcase. As a result, harmful corrosives often form, which can damage costly motor parts. That's one important reason why Signal brought out Signal Premium compounded motor oil. Because it combines scientific compounds with 100% pure paraffin base. This improved type signal lubricant does things for your motor that oil alone For instance, one compound in Signal Premium prevents destructive corrosion. Another compound actually washes out harmful carbon. And still other compounds help in other ways to keep your motor young. So if you want to keep wear down and performance up during the coming winter months, now is the time to change for the better. Change to Signal Premium compounded motor oil at a Signal service station. You congratulate yourself, don't you Mona? As you and Jeff leave the cocktail lounge and drive back to your apartment. Everything went exactly as you planned. Charlie Flavaud is dead. And you're certain you've convinced Sharon that she killed him following a quarrel, shot him with her own revolver. As you arrive at the apartment, you find it in darkness and you wonder where Sharon is. You step inside, turn on the lights, and freeze the sudden terror at what you see. Jeff, look. What's the matter, Mona? What? No. No, it can't be. There in the center of the living room is Charlie Flavaud's body in almost the same position he was before Jeff picked him up and carried him downstairs. I don't like this, Mona. And I'm not sticking around to find out what it's all about. Jeff, wait a minute. Not on your life, sweetheart, I'm getting out. Do you believe me? Look. This was your, your idea. You're in this just as much as I am. What you pulled the trigger, don't forget that. I'm getting out. Just a minute, Jeff. What? I don't think the lieutenant wants you to leave. That's right, Jeff. I wouldn't like it at all. Jeff, the police? Mr. Roberts here and his sister invited us over. Hello, Mona. Brad. Mr. Roberts arrived here this evening just in time to see Jeff here, carrying Charlie's body out the back way. The two of you? Call us. It was the lieutenant's idea to bring Charlie's body back here, Mona. They figured when you saw it, you'd start talking and you did. You mean you... you heard... That's right, Miss Barrett. A nice joint confession is going to save us a lot of trouble. But... How? How did you...? You made a bad mistake, Mona, phoning me to go to Seymour's restaurant to meet Sharon. You see, I spent the entire afternoon with her. That's why I knew there was something wrong with that call. Let that whistle be your signal for the signal oil program, the Whistler, each Sunday night at the same time. Brought to you by the Signal Oil Company, marketers of signal gasoline and motor oil, and fine automotive accessories. Remember, if you would like the fun of having your friends hear a limerick of yours on the Whistler, the address to which to send it is the Signal Oil Company, Los Angeles 55, California. All limericks become the property of the Signal Oil Company. Those selected for use on the Whistler will be chosen by our advertising representatives on the basis of humor, suitability, and originality. So, of course, they must be your own composition. Featured in tonight's story were Joan Banks, Mark Lawrence, Gloria Hunter, and Wally Mayer. The Whistler was produced and directed by George W. Allen, with story by Nancy Cleveland, 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, at the same time next Sunday, another strange tale by the Whistler.