ANNCR:

SIGNAL GASOLINE. Let every traffic signal remind you, you DO go farther with SIGNAL GASOLINE. Yes, you DO go farther with SIGNAL.

MUSIC:

THEME ... FIRST PHRASE ... ENDING WITH HARP GLISSANDO AND TYMP. BEATS

ANNCR:

The SIGNAL OIL COMPANY, and your neighbourhood SIGNAL dealer, bring you another curious story by "The Whistler". Tonight: "Accident, According to Plan".

MUSIC:

WHISTLED THEME ... FIRST PHRASE ... JOINED BY ORCHESTRA, UP TO CLIMAX, THEN OUT

WHISTL:

I am the Whistler.

MUSIC:

SNEAK IN ORCHESTRAL THEME, AND CONTINUE BUILDING, UNDER

WHISTL:

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.

MUSIC:

THEME AND TYMP. BRIDGE, CONTINUING UNDER

WHISTL:

There are many kinds of jealousy, and none of them are good. The jealous one in love is the most frequent. But there is another, more terrible, jealousy. Yes, that of a man for his co-worker. Tom Reddick was jealous of Charles Fremont's cleverness, his ability to succeed.

SFX: SNEAK IN CONGRATULATORY CROWD OF CO-WORKERS, UNDER

WHISTL:

Always, when there was applause for a job well-done, Charles Fremont was patted on the back, feted, given a raise.

BOSS:

Charles? Charles, you did it again!

SFX:

CROWD QUIETENS, FOR CEO'S SPEECH

BOSS:

Boys, I don't know what we'd have done without that building. (TO CHARLES) I only wish more of the men had YOUR ability.

CHARLES:

(MODESTLY) Oh, thank you, Mr. Winston. I appreciate your kindness.

BOSS:

Oh, nonsense, my boy! Charles, I'd like you to take over General Managership of the plant. Effective next week.

BIZ:

AD-LIB CONGRATULATIONS FROM CROWD

MUSIC:

TRANSITION, CONTINUING UNDER

WHISTL:

That's when the jealousy reaches a sickening height. When the man of whom you're jealous gets your job. Tom Reddick HAD been the General Manager at the plant. But Tom Reddick hadn't been able to arrange the lease on a new building, hadn't been able to do anything but his job, the best way he could...slowly, and often blunderingly. And when he lost the job, that's when Tom Reddick knew he had to kill Charles Fremont.

MUSIC:

DRAMATIC STING, CONTINUING ALMOST MYSTICALLY UNDER

WHISTL:

Be careful, Tom. Remember, you're a slow, blundering thinker. But this time, you have a plan that's beautiful in its simplicity. You'll have a few drinks with Charles that evening, and offer to drive him home from work. And at the railroad crossing, out on the highway, you'll get rid of Charles Fremont. It will look accidental. Charles will be out of the way, and you'll get your job back. So... After work, that evening, you stop Charles in the washroom.

TOM:

(FORCED PLEASANTNESS) Hello, Charlie. Congratulations on the promotion.

CHARLES:

Oh, thanks, Tom! I'm awfully sorry, fella, replacing you this way. It doesn't seem fair, somehow.

TOM:

Don't be silly! I was never comfortable being General Manager anyway. I'm more of a shop-man. I feel strange when I'm not around machines.

CHARLES:

Well, I'm glad you're taking it this way, old man. You know, if I thought it was going to bother you, I- I'd rather not have the job. It really doesn't mean that much to me.

TOM:

Now, cut that out! You're the man for the job, and you take it! Hey, lemme buy you a drink, and we'll toast YOUR promotion and MY return to the shops.

CHARLES:

Well, uh... I should be getting home.

TOM:

Oh, come on! A drink'll only take a few minutes.

CHARLES:

Well... Okay. Let's go.

MUSIC:

TRANSITIONAL, CONTINUING UNDER

WHISTL:

This isn't going to be hard at all, is it, Tom? He sympathizes with you, and you've convinced him he deserves the job, so there are no hard feelings, are there, Tom? That's it. Take him in for a drink. Then suggest a ride home. The train passes that crossing at six-thirty, so don't dawdle over your drinks.

MUSIC:

OUT

SFX:

"BAR" AMBIENCE, UNDER

TOM:

Here's lookin' at you, Charlie!

SFX:

THEY CLINK GLASSES

TOM:

Best o' luck! (DRINKS)

SFX:

PUTS DOWN GLASS

CHARLES:

Thanks, Tom. (DRINKS, SEVERAL LOUD COUGHS)

SFX:

PUTS DOWN GLASS

CHARLES:

(TIGHTNESS IN THROAT) Oh... That could be a... bad habit. Lemme buy you one.

TOM:

Oh, well, it's almost six. I really--

CHARLES:

Oh, come on. Don't make me hang around here alone, waiting for that train.

TOM:

(AS IF HE JUST THOUGHT OF IT) Tell you what. I'll let you buy me a drink, if you let me drive you home.

CHARLES:

Oh, well, that's darn decent of you. You're getting the worst of the bargain, though.

TOM:

Not at all. It's a pleasure. Take you right to your door. It's only a few blocks out of the way.

SFX:

OUT

MUSIC:

TRANSITIONAL, CONTINUING UNDER TO [X]

SFX:

SNEAK IN "CAR INTERIOR, DRIVING" AMBIENCE, AT [X]

WHISTL:

So you have your drinks, and get into the car with Charlie. Drive out of the lot, through town, and out onto the highway. If you time it right, you'll arrive at the crossing just at six-thirty. If the train is on time, the signals will be going, and you'll have to stop the car. It'll be easy to tap Charlie over the head with the wrench you have in the side-pocket. Then you can get out, set the gears, and run the car in front of the train. It's the same train you take when you go home evenings without your car. So you'll just climb aboard in the excitement, and go on home. When the story comes out, you'll just say that Charlie wanted to borrow your car [X] for the evening, and you let him... seeing as how he was a good and close friend of yours.

CHARLES:

Can't tell you how grateful I am, old man. I- I've gotten to hate that train trip.

TOM:

Forget it. Maybe we can fix it so you won't ever have to take the train.

CHARLES:

Oh, that would be fine! (YAWNING) Ohhh, ooh, those drinks made me sleepy.

TOM:

We have another thirty minutes o' driving to do. Why don't you take a little nap?

CHARLES:

(YAWNING) Yeah. Yeah. Think I will. If you don't mind.

TOM:

Not at all. (BEAT) You just take a little nap.

MUSIC:

OMINOUS TRANSITIONAL, TURNING MYSTICAL AND CONTINUING UNDER

SFX:

SNEAK IN "CAR INTERIOR" AMBIENCE AT [X]

WHISTL:

This is even easier than you figured it, isn't it, Tom? He's sleepy from the drinks, and he dozes right off. Now you won't have to tap him with the wrench. You drive at normal speed, and soon, [X] the railroad crossing is just ahead of you.

MUSIC:

OUT

WHISTL:

No sign of the train yet. Maybe it was early tonight, Tom. Maybe the train has already gone past the crossing.

SFX:

CAR SLOWS TO A STOP ... CROSSING SIGNAL GONGS (SLIGHTLY OFF), UNDER

WHISTL:

No. There's the signal. The train has passed the far curve. It's coming. Everything is in your favour now. Charlie is sleeping soundly; the road is empty of cars, and the railroad was kind enough to put one of their new automatic signals at the crossing.

SFX:

TRAIN WHISTLING AND APPROACHING, UNDER

WHISTL:

And here comes the train. Maybe all the noise has awakened Charlie.

SFX:

TRAIN WHISTLE OUT ... TRAIN GETS LOUDER AS IT APPROACHES, UNDER

WHISTL:

You get the wrench out of the side-pocket, just in case, and...

TOM:

(NERVOUSLY) Charlie? (NO ANSWER. SOFTER) Charlie?

WHISTL:

He doesn't hear you. He's sound asleep. The train is close enough now. You get out of the car, put it in gear...

SFX:

CAR DOOR OPENS ... ADD CAR MOTOR (EXTERIOR) ... CLICK OF GEARSHIFT

WHISTL:

The car lurches forward. You slam the door.

SFX:

CAR DOOR SLAM

WHISTL:

And... it's done!

SFX:

TRAIN SLAMS INTO CAR, DRAGGING IT ALONG TRACKS

MUSIC:

CURTAIN

ANNCR:

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And now... back to "The Whistler".

MUSIC:

THEME UP, CONTINUING UNDER, FADING OUT AT [X]

WHISTL:

Well, you did it, Tom Reddick. You killed Charlie Fremont. He's lying in that flaming wreck that was your automobile. And you hide there, in the bushes, until it's clear, and you can sneak on the train. No one will know. [X] No one saw you. You did it perfectly.

SFX:

"ACCIDENT AFTERMATH" AMBIENCE, UNDER

WHISTL:

But you keep rubbing your ankle, Tom. Does it hurt? Maybe you twisted it, jumping down into the bushes alongside the road. But it'll be all right, won't it? Nothing can go wrong now. The crime is done, and done well. Looks clear now. So you decide to run for it, to get on the train.

SFX:

FOOTSTEPS ON DIRT

TOM:

(GASP OF PAIN, AS HE CLIMBS HILL)

LARRY:

(SLIGHTLY OFF) Hey, Max? D'ya hear something?

MAX:

(SLIGHTLY OFF) What?

LARRY:

I said, "Did ya hear something?" Did ya hear somebody yell?

MAX:

No, no. Come on, Larry. There must'a been someone in that car. A car don't run into a train all by itself.

LARRY:

Ehh, we hit that car awful hard. He must'a been thrown clear. I thought I heard him moaning. Came from over there.

MAX:

All right.

SFX:

FOOTSTEPS ON DIRT, UNDER

MAX:

You look over there. I'll keep lookin' around here.

LARRY:

Ehh, the guy might still be alive, ya know, if he got thrown clear.

MAX:

Oh, why don't you just stop talkin' so much, and look a little bit harder?

LARRY:

Ehh, you've got no sympathy. Guy is prob'ly in great pain, if he IS still alive, but YOU don't care.

TOM:

(WHIMPERS IN PAIN, OFF)

LARRY:

He-- Hey, Max! Max! I DID hear something! Right over here!

CONDCTR:

(OFF, STERNLY) What are you fellas doin' over there?

LARRY:

We're lookin' for the victim.

CONDCTR:

(OFF) Found him over here.

MAX:

(SLIGHTLY OFF) He's over here, Larry! Come on!

LARRY:

I just heard something like a--

MAX:

(SLIGHTLY OFF) Come on, come on! They found him. Stop playin' hide and seek in them bushes. He's over here.

LARRY:

Hey, is he still alive?

MAX:

No, he's dead. And no wonder. Take a look at him.

SFX:

OUT

MUSIC:

SLOW, OMINOUS, UP & UNDER

WHISTL:

You're all right, Tom. They didn't see you. You're still all right. But that fellow they call Larry, the fellow that heard you moan when your ankle was hurt, he might remember it later. So you change all your plans. You try to sneak away, even with a bad ankle.

MUSIC:

OUT

SFX:

SLOW FOOTSTEPS ON DIRT, UNDER

LARRY:

Hey, Max! Max, look! There goes somebody, runnin' over that way!

MAX:

Huh? Where? Hey, you're right!

LARRY:

Hey! Hey, you! Stop! Hey! (TO MAX) Come on, Max. Let's catch him. What's he doin' around here, running? We'll find out! Come on!

MAX:

Yeah!

LARRY:

After him!

SFX:

THEY RUN ON DIRT, UNDER

MAX:

Hey! Hey, wait a minute, you!

LARRY:

There, he's limping! Hey, maybe he was in the car too.

MAX:

Yeah? Then why's he runnin' away?

LARRY:

I don't know. We'll ask him when we catch him.

MAX:

(STOPS RUNNING) Hey, hey, wait a minute. Wait a minute.

LARRY:

(STOPS RUNNING) Huh? Huh?

MAX:

What's a matter with you? Can't a guy run if he wants to? Do you have to go running after him?

LARRY:

Well, maybe he knows something.

MAX:

Knows something about WHAT? Ehh, you always make a big mystery about everything. Now, what would he know something about?

LARRY:

About the guy that was dead. This here guy that's doin' all the running might'a had something to do with it!

MAX:

Oh... You sound like a regular detective. Stop with that stuff, already. The train's late. Let's go back and help.

LARRY:

Wait a minute! I think we ought'a catch that running guy!

MAX:

Oh, he's gone. He was probably runnin' because he was late for his dinner. Now, cut it out, and let's go back to the wreck.

MUSIC:

UP, AND UNDER

WHISTL:

It's still all right, Tom. You got away. But that was awfully close. You hadn't figured on the ankle, or a snoopy person. Now you've got to change all your plans. You can't get back to where the train is, and your ankle is swollen from the running you did. But there's a bus stop down the road, and the bus goes right by your house. It's not far to the bus stop. Just walk slowly, and you'll make it all right.

SFX:

ADD "BUS INTERIOR" AMBIENCE, UNDER

WHISTL:

There's the bus, waiting to leave. You get in, and take your seat.

MUSIC:

OUT

SFX:

FOOTSTEPS ON BUS

DRIVER:

Evening, Mr. Reddick. Haven't seen you in a long time.

SFX:

BUS DOORS CLOSE ... COINS INTO FAREBOX ... BUS DRIVES OFF, UNDER

WHISTL:

It's all right, Tom. In a few minutes, you'll be home.

SFX:

OUT

MUSIC:

TRANSITION, SLIGHTLY MYSTICAL, THEN UNDER, FADING AT [X]

SFX:

"BUS INTERIOR" UNDER, AT [X]

WHISTL:

You forgot, Tom, you CAN'T go right home. The bus has to pass the railroad crossing too, and the train is at the railroad crossing. [X] You'll have to wait until they get YOUR car off the tracks.

SFX:

BUS SLOWS TO A STOP

DRIVER:

You'll have to wait a few minutes, folks. Sorry. (CALLING TO LARRY) Hey, Mack?

LARRY:

Yeah?

DRIVER:

What happened?

LARRY:

Car ran into the train. It killed the guy drivin' it.

DRIVER:

Really? Anybody hurt?

LARRY:

I told ya. Killed the guy.

DRIVER:

I mean, on the train. Anybody hurt on the train?

LARRY:

No. Hey, open the door, willya? The two of us gotta go with you, and tell the widow what happened.

DRIVER:

(FEELING AWFUL) Yeah.

SFX:

BUS DOORS OPEN

DRIVER:

Get in.

LARRY:

Hey, Max, come on.

MAX:

Okay, okay. Gee I sure hate to have to tell that dame what happened, Larry. Shouldn't the police or somebody do it?

LARRY:

No, it's better WE should. It's bad enough what happened, without the police goin' to the house.

MAX:

Well, okay. Get in.

SFX:

THEY CLIMB THE BUS STEPS ... BUS DOORS CLOSE

DRIVER:

Where do you wanna go?

LARRY:

The name o' the deceased was Fremont. Charles Fremont. Lives on North Brookside Avenue.

DRIVER:

I pass a coupla blocks from there. Awful, ain't it?

LARRY:

Aw well. You know how it is. People don't pay no attention to signals at all.

DRIVER:

Yeah.

LARRY:

It's awful, but it serves the guy right for not payin' attention. Hey, here's a good seat.

MAX:

Yeah.

SFX:

THEY WALK TO SEAT

LARRY:

(TO TOM) Hey, bud, ain't that right?

TOM:

(TENSE) What?

LARRY:

I was just tellin' the driver what a terrible thing it is.

TOM:

Oh, yeah. Terrible.

LARRY:

Hey, do I know you? Seems like I seen you somewhere.

TOM:

I- I don't remember. I don't think--

LARRY:

Well, I meet a lotta people. I just know.

TOM:

(NERVOUSLY) Did you... see the accident?

MAX:

Who, me? Yeah, I did. I seen the whole thing.

LARRY:

Yeah.

MAX:

Yeah. It was terrible.

LARRY:

M-hm. Er, my friend, Max, here and I were out takin' a hike, when we saw the accident. It was quite a jolt. That guy drivin' the car, there's a guy I feel sorry for. He was a pretty young guy.

TOM:

(FORCED NONCHALANCE) Really?

LARRY:

Maybe, uh, thirty-five. Me and Max here, we're gonna tell his wife. I think it's better if we go than if the police were to go. It's the least you can do, ya know?

TOM:

Yeah. It's the least you can do.

SFX:

TRAIN ENGINE STARTS UP ... ITS BELL RINGS A FEW TIMES ... STARTS PULLING VERY SLOWLY AWAY, UNDER

LARRY:

(THINKING OUT LOUD) Ya know, it's a funny thing... The guy wasn't drivin' his own car. It was some other guy's car. Yeah, can ya imagine lendin' a guy your car to drive, and then he gets killed in it, and wrecks your car? 'Specially now, when it's so hard to get cars. Guy named Reddick. Tom Reddick.

TOM:

(STARTLED) What?

LARRY:

The guy that owned the car. His name was Tom Reddick. Yeah, we're gonna tell him too.

SFX:

TRAIN HAS GONE

DRIVER:

Okay, folks. All clear. Here we go.

MUSIC:

TRANSITIONAL UP, THEN UNDER TO [X]

SFX:

"BUS INTERIOR" AMBIENCE UP AT [X]

WHISTL:

That's not good, Tom. Things are piling up. Things you hadn't counted on. This man saw you running away, and now he's going to tell Charles Fremont's wife that he's dead. And then, he's going to look for YOU, to tell you YOUR car has been wrecked. Why do some people always have to butt in? Making you change plans. You've got to get out of that bus, and get away. [X] Get home before this Larry does, and, some way, get Hazel out of the house, so that there'll be no one home, when Larry gets there.

SFX:

BUS STOPS ... DOORS OPEN

DRIVER:

Beechwood! Beechwood Avenue! G'night, Mrs. Nelson.

TOM:

I'll get out here too.

DRIVER:

Oh, excuse me, Mr. Reddick. Forgot you were here.

TOM:

That's all right. 'Scuse me. I'm late.

DRIVER:

It's awful about Mr. Fremont. Awful. Good night.

SFX:

BUS DOORS CLOSE ... BUS DRIVES OFF ... "BUS INTERIOR" AMBIENCE CONTINUES

LARRY:

(BEAT) Hey, Driver? Just a minute. Hey, what'd you call that guy?

DRIVER:

Mr. Reddick.

LARRY:

Reddick, yeah. Hey, what's his first name?

DRIVER:

I dunno. Why?

LARRY:

That car was owned by a guy named Reddick, that's why. Hey, stop the bus!

MAX:

Well, what difference does that make?

SFX:

BUS SLOWS TO A STOP ... DOORS OPEN ... ENGINE IDLES, UNDER

DRIVER:

Watch your step.

LARRY:

Thanks! Come on. Come on, I wanna talk to that guy named Reddick.

MAX:

Ehh, we gotta tell that woman, you said. Where are you goin' now?

LARRY:

That guy that just got off was named Reddick.

MAX:

So? His name was Reddick. I don't follow you.

LARRY:

(FRUSTRATED) Oh...

MAX:

Why don't we just go home and forget all about this? It's none of our business anyway.

LARRY:

Come on, come on!

MAX:

(FRUSTRATED) Oh...

SFX:

THEY GET OFF BUS ... BUS DOORS CLOSE ... BUS DRIVES OFF

LARRY:

(FADING IN) Don't you understand? I tell this guy all about the accident...and who was drivin' the car...and who owned the car. And he never said anything about his name bein' Reddick. And the guy that owned that car, HIS name was Reddick.

MAX:

If he didn't say anything, then he's just a guy named Reddick, who didn't own the car. Say, what's got into you?

LARRY:

Oh. I never thought o' that. You mean, he could be, perhaps Harry Reddick, and he didn't even know this Tom Reddick that owned the car, heh?

MAX:

Yeah, now you're gettin' smart. It's a fine time to get smart, after we get off the bus. Now we gotta walk to the widow's house.

SFX:

THEY WALK ON SIDEWALK, UNDER

LARRY:

(SIGH) Well... While we're walkin', we can think of what to say to poor Mrs. Fremont. (SIGH) That's a terrible thing to happen to a lady, losing her hubby so suddenly.

MAX:

Yeah. But I still don't think this is any of our business. And besides, my missus is gonna be awful sore at me, comin' home so late.

LARRY:

Now, look. When you explain to her what you were doin', she'll be very proud of you. Not every man has the heart to do what we're gonna do.

MAX:

Yeah, you mean it's not every man who's such a buttinsky to do what we're gonna do.

LARRY:

Ehh.

MAX:

We could walk right back to the corner, and get right on that bus, and go right home.

LARRY:

(FIRMLY) No. I gotta tell the widow what happened.

SFX:

THEY STOP WALKING

LARRY:

Hey. I know.

MAX:

Now what?

LARRY:

Look at that street sign. This here is Hillbrook Street.

MAX:

Oh, that's very nice, I'm sure.

LARRY:

Hillbrook Street is where this Reddick guy lives. Tom Reddick. Let's go tell him first what happened to his car, heh? Maybe he can help us tell Mrs. Fremont. He must know her. Husband, her dead husband, must'a been a friend to borrow the car.

MAX:

Yeah. In fact, maybe he'll go tell her, and we can go home.

LARRY:

Yeah. Now, lemme see... This house is number (SQUINTING TO READ IT) four-seventy-nine. Er, what number'd that guy say he lives at?

MAX:

Oh, I don't remember. Why don't we just forget all about it, Larry? Why do ya wanna butt in?

LARRY:

I think it was number... four-fifty-six... Lemme see; I wrote it down here... (SQUINTING TO READ IT) Yeah. Yeah, there it is. Number four-fifty-six.

MAX:

All right. Which way do we go?

LARRY:

I guess it's down here.

SFX:

THEY WALK ALONG SIDEWALK, UNDER

LARRY:

Hey, look. That guy up ahead of us has got a bad leg.

MAX:

Oh, you're drivin' me crazy! Now, what difference does THAT make?

LARRY:

(SARCASTIC) It don't make no difference. What'sa matter with you? Can't I remark to a friend that a guy up ahead has a bad leg?

MAX:

Well, you're always remarkin' somethin'. Sometimes, I wish you'd shut up.

LARRY:

Max. That's not nice.

MAX:

Well, I do. Here's four-sixty.

LARRY:

Hey, look. The guy with the bad leg, he's finally home. See? He's turnin' into the house down there.

MAX:

Yeah, but he's not goin' in, see? See? He just stopped to look at the number.

LARRY:

Hey. That's that other Reddick guy. The one on the bus.

MAX:

Well, he's not goin' in that house, and that's number four-fifty-six.

LARRY:

Yeah, it is. Well, I hope they got insurance on their car.

SFX:

OUT

MUSIC:

TRANSITIONAL, THEN UNDER

WHISTL:

That was close, Tom. You saw them just in time. So you just kept walking until they go in the house. And then, you come back, and wait for them to leave. They'll tell Hazel all about it. And after they leave, you can go in. Tell her you loaned the car to Charles Fremont, and came home on the streetcar and bus. You're late because the bus got stopped at the crossing. You had no idea that YOUR car was the one wrecked by the train. Or that Charles Fremont was dead. Now, those men are coming out of your house. Keep back, and they won't see you behind the hedge.

MUSIC:

OUT

SFX:

MAX & LARRY WALKING ON SIDEWALK, UNDER

LARRY:

(SLIGHTLY OFF) That was a real nice lady. She was upset.

MAX:

(SLIGHTLY OFF) Well, of course she was upset. Ya know, it makes me feel kinda silly, talkin' to people I don't even know.

LARRY:

Well, it's a good thing we did. We might have gone right over to the widow's house.

MAX:

Which way did she say was the police station?

LARRY:

Four blocks to the left. We better hurry.

MAX:

(FADING) Yeah.

SFX:

OUT

MUSIC:

TRANSITIONAL UP, THEN UNDER

WHISTL:

The police station? Why are they going to the police station? What did they talk to Hazel about? Who are those two men, Tom, and why do they keep following you? Better hurry in the house, Tom, and see what was said.

SFX:

TOM'S LIMPING FOOTSTEPS ... HE UNLOCKS AND OPENS DOOR, THEN STEPS INSIDE

TOM:

Hazel? (NO ANSWER) Hazel, I'm home.

SFX:

DOOR CLOSES ... HAZEL'S APPROACHING FOOTSTEPS, UNDER

HAZEL:

(APPROACHING) Well, it's about time! Where have you been? Dinner's burned to a crisp! And it cost thirty Red points!

TOM:

Now, don't start screaming again. I got stuck on the bus. There was an accident at the railroad crossing. (BEAT) Who were those men I saw leaving the house?

HAZEL:

So, you lent your car to Charlie Fremont. You won't let ME drive, because you don't think I'm careful enough. But you lent the car to Charlie Fremont.

TOM:

How'd you know? Who were those two men that--

HAZEL:

That accident you saw from the bus, that was YOUR car. Charlie Fremont had an accident in YOUR car, and got killed at that railroad crossing.

TOM:

What? Why, I had no idea that--

HAZEL:

Well, he did. What'd you loan it to him for? I can understand your driving him home if you want to, but what'd you loan him the car for? You were coming home, and he was coming home. Why didn't you come home together?

TOM:

He told me he was going over to the other side o' town to see a customer. How did I know he was gonna come right home?

HAZEL:

(BEAT) Let me smell your breath.

TOM:

What?

HAZEL:

(SNIFFS) You had a few drinks, didn't you? I thought you had. You and that Charlie Fremont. You stop and have a cocktail before dinner, and keep the dinner waiting until it's not fit to eat! Then come home and tell me some fantastic story about loaning the car to Charlie Fremont!

TOM:

What are you talking about?

HAZEL:

Those men who were here. They asked me if we had any relatives living around us. I told them the only relative we had was my sister in California. That it must have been YOU they talked with on that bus. Maybe you can fool SOME people, but you can't fool ME. I know you, Tom Reddick. You were in that car, and you got scared because you were both drunk!

TOM:

I told ya, I lent Charlie the car! How many times do I have to tell ya, I lent Charlie the car!

HAZEL:

Those two men told me about you. They saw you there at the railroad crossing. One of those men talked to you on the bus, and you made believe you'd never seen him before. Made believe you didn't even know people named Charlie Fremont and Tom Reddick! You're just a good-for-nothing drunk, and I wish I'd never married you!!!

TOM:

(TRYING TO PLACATE HER) Look... Look, Hazel, there's no sense in getting upset about this. Sure, I was in the car. We had a couple o' drinks in town before coming home. Charlie insisted on it. I got scared when we had the accident. So I ran. You're not gonna... go and tell? Now, are ya?

HAZEL:

I most certainly am! I never did like Charlie Fremont. And his wife! That no-good! Calling me up in the middle of the afternoon to crow over me.

TOM:

Mrs. Fremont called you up?

HAZEL:

To CROW over me! Bragging about how HER Charlie got your job away from you. He takes your job away from you, so YOU go and have a drink with him to celebrate!

TOM:

STOP IT! What'sa matter with you? Aren't you ever happy? Don't you have any feeling toward me at all?!

SFX:

DOORBELL, INSISTENTLY

TOM:

What's that?

HAZEL:

I'm sure I don't know. It's the doorbell.

TOM:

Answer it. I'm not home.

HAZEL:

Don't you dare order me around, you drunk! Don't you dare even talk to me!

TOM:

(HOARSELY) Shut up!

SFX:

HE WALKS TO DOOR, AND OPENS IT

TOM:

Yes?

LARRY:

Uh, good evening. We thought that-- (RECOGNIZES HIM) Hey, Max! It's the guy!

MAX:

Yeah... Maybe you were right.

TOM:

What do you want here? Who are you?

LARRY:

Hey now, look, Mr. Reddick. Why didn't you tell us, on the bus, who you were? We were just tryin' to help you.

TOM:

It's none o' your business who I am! Now, get out o' here!

LARRY:

Now, now, now, take it easy, Mr. Reddick. Somebody has to do these unpleasant things. Me and Max here thought we would.

SFX:

HAZEL'S FAST-APPROACHING FOOTSTEPS, UNDER

LARRY:

It's the least you can do.

HAZEL:

He WAS in that car! I told you he was!

TOM:

(HOARSELY) Hazel, shut up!

HAZEL:

I will NOT shut up! You WERE in that car! You told me you were! You're so smart, having a drink with the man who takes your job away from you.

LARRY:

(WITH EMPATHY) Mr. Reddick lost his job? Aw, gee, I'm sorry to hear that.

HAZEL:

Mr. Fremont got his job. So he had a drink with him to celebrate. And then, they were drunk and had that accident.

LARRY:

Wait a minute. You mean... You mean that Mr. Fremont got Mr. Reddick's job away from him, and they had some drinks together, and then they were both in the car when it hit the train?

HAZEL:

Sure they were. Only Mr. Reddick ran away.

LARRY:

Maybe he ran away because--

SFX:

TOM STARTS RUNNING AWAY, OUT DOOR AND INTO HEDGE, UNDER

LARRY:

Hey, wait a minute! Max! Max, he's tryin' to-- Get him, Max! He can't run far; he's got a bum ankle!

MAX:

Yeah, yeah, okay!

SFX:

THEY GIVE CHASE, UNDER

LARRY:

There he goes, down the lawn! Follow him, Max!

SFX:

TOM FALLS ... THEY RUN TO HIM

MAX:

Hey, look! Look! He fell!

TOM:

(STRUGGLING) Leave me alone! Leave me alone!!!

LARRY:

I'm sorry, Mr. Reddick, but I think we'd better take you to the police station. I think you MURDERED Mr. Fremont!

MUSIC:

DRAMATIC CURTAIN

ANNCR:

"The Whistler" will return in just a moment, with the strange ending to tonight's story.

Meantime, I'd like to make clear just what we mean by the more consciensious service your car gets from a SIGNAL GASOLINE dealer. For example, take Larry Doody's SIGNAL GASOLINE station, in Oakland, California. While checking your water and oil, Larry's also busy making sure that excessive grease and corrosion isn't clogging your cooling system. Or that a loose or fraying fan-belt isn't about to give you trouble. Or that acid corrosion isn't eating your battery cables. And, while he's testing your tires, he's on the alert for any little breaks in the rubber that could spread and ruin the tire. What's more, there's a good reason why you'll find these, plus many more unasked-for extras, not only at Larry Doody's SIGNAL station in Oakland, but right at your own neighbourhood SIGNAL dealer. You see, being in business for himself, your SIGNAL dealer will go out of his way to keep you pleased, so that you'll remain his regular customer. You can prove this for yourself, by looking up the station in your neighbourhood wearing SIGNAL's black and yellow circle sign. And there never was a more important time to do this than now, when your car need's SIGNAL'S more-thorough service to help it last out the duration.

And now... back to "The Whistler".

MUSIC:

DRAMATIC TRANSITION, INTO ORCHESTRAL THEME, THEN UNDER

WHISTL:

Well, Tom, you bungled your perfect plan, didn't you? But then, you never were any good at planning. That's why Charlie got ahead of you. And of course, you let the little man who was always butting in, make you so nervous that you gave yourself away. But when you got to the police station, you really thought fast for once. You kept your mouth shut, and let them believe what they wanted to. Your wife's story helped. You were drunk...the accident happened...you weren't hurt, but you got scared and ran away. Maybe they'll believe that...and all you'll get will be a few years for manslaughter. Maybe they'll believe it. But even as you think it, you know very well they won't. The motive is too apparent. Charlie got your job, so you killed him. No, Tom. You won't get away with it. And so, as you sit in your cell, and brood over the fate that awaits you, you make up your mind. And you start resolutely into action. The small, barred window is high over your head. And as you strain, you think of that little man who was always butting in. The little man who caused all your troubles...and you can almost hear his voice.

MUSIC:

OUT

SFX:

MAX, LARRY, COP, UNDER

LARRY:

Sure, sure, we know. We'll only be a minute. We got something very important to tell him.

COP:

Reddick, huh? Well, he's in two-fourteen.

MAX:

Boy, he'll really be glad to see us.

LARRY:

Yeah, you bet. We just came from the au-TOP-sy. The Coroner's au-TOP-sy. We got news for Mr. Reddick.

COP:

Yeah? What kind o' news?

LARRY:

Well, there was something fishy about the accident where Mr. Fremont got killed, so they had an au-TOP-sy.

MAX:

Yeah. And they found out somethin'. They don't really have anything on Mr. Reddick. They're gonna let him go.

COP:

Let him go?

LARRY:

Sure! And we came right over to tell him. (GOSSIPY) When they had the au-TOP-sy, they found Mr. Fremont wasn't murdered at all. He was dead when the train hit the car. He wasn't supposed to drink, and he died of a heart attack, twenty minutes before the accident, while he was still ridin' in the car.

COP:

No kiddin'? Well, he'll be glad to hear that. Here's his--

MAX:

(HORRIFIED) Hey! Hey, Mr. Reddick!

LARRY:

Well, whattaya know about that? Mr. Reddick went and hung himself!

MUSIC:

TYMP. BEATS ... THEME (WHISTLED) ... HARP GLISSANDO, INTO ORCHESTRAL THEME, THEN UNDER

ANNCR:

Next Monday, at nine o'clock, "The Whistler" will bring you another strange tale: the curious story of "A Friendly Case of Blackmail".

"The Whistler" is broadcast for your entertainment, by the marketers of SIGNAL GASOLINE AND MOTOR OIL, and fine quality automotive accessories. And by your neighbourhood SIGNAL dealer.

This program directed by George W. Allan, with tonight's story by Bruce Elliott, music by Wilbur Hatch, is transmitted to our troops overseas by the Armed Forces Radio Service. This is Marvin Miller speaking, and suggesting that you let every traffic signal remind you that you DO go farther with SIGNAL GASOLINE. Yes, you DO go farther with SIGNAL.

This is CBS, the Columbia Broadcasting System.