ANNOUNCER:

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 Whistler"!

MUSIC:

THEME ... CONTINUES IN BG

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.

MUSIC:

TYMPANI ACCENT ... THEME CONTINUES IN BG

ANNOUNCER:

Yes, friends, it's time for "The Whistler," rated, by independent research, the most popular west coast program in radio history.

MUSIC:

TO A CLIMAX, THEN OUT

(COMMERCIAL BREAK)

 

MUSIC:

FOR AN INTRO, THEN IN BG

ANNOUNCER:

And now, the Whistler's strange story --

MUSIC:

AN ACCENT ... THEN IN BG

ANNOUNCER:

"Return to Riondo."

WHISTLER:

It was midday in the tiny, Mexican village of Riondo. The air was still, quiet - and the streets a glaze of white, hot dust. As the bus creaked to a halt at the far end of the single, main street, a lone passenger stepped down, stood for a moment looking around him. Moving away from the bus and along the street, it all came back to him -- the neglected fountain marking the plaza, the faded facades along the little row of shops, the old cafe -- all the same, unchanged. Just as when he had left on that same bus almost a year ago. At that time, Roy Collins was certain that he would never have reason to return. But now he did have a reason for returning -- a good reason.

MUSIC:

CHANGES BRIEFLY TO GUITAR

WHISTLER:

Crossing the plaza, the guitar music he heard reminded him again of his former mining partners -- old Dan Bosley, and Paul.

MUSIC:

CHANGES BACK TO ORCHESTRA, OUT AT [X]

WHISTLER:

Yes, Paul Fallon was the youngest -- and the laziest; interested only in learning to play that secondhand guitar he'd picked up somewhere.

SOUND:

ROY'S STEPS ON WOODEN PORCH

WHISTLER:

But now, it was Lola Mendez Roy wanted to see, the girl who ran the tiny cafe. [X]

SOUND:

DOOR OPENS - CLOSES ... STEPS IN

ROY:

(CALLS) Lola! (LOUDER) Lola! It's Roy -- Roy Collins!

LOLA:

(OFF, DISBELIEF) Roy?

ROY:

(LAUGHS)

SOUND:

FOOTSTEPS APPROACH

LOLA:

Señor Roy? Oh, but - no, no, it-- (SUDDENLY JOYOUS) It is you! It is!

ROY:

(LAUGHS)

LOLA:

(IN HIS ARMS) Ohhhhhh, Señor Roy!

ROY:

(HOLDING HER) There, there, Lola. Of course it's me. (KISSES HER, EXHALES)

LOLA:

(SOFTLY, CRYING) Oh, Señor Roy, Señor Roy.

ROY:

Heyyyyy, take it easy. Think I'd really stay away, Lola, from you?

LOLA:

Oh, no, no. I did not. I - I do not know what to think, Señor Roy. It's just-- Well, it's just that I am so happy to see you.

ROY:

(LAUGHS) Well, that's more like it.

LOLA:

You - you look tired.

ROY:

Tired? Oh, yeah. Tired, hot, and, uh-- Hey, Lola, I hope the cafe hasn't changed. Have you still got some of that good teq---?

LOLA:

Tequila? (THEY LAUGH) Yes, yes. Sit down, Señor Roy.

ROY:

All right.

LOLA:

No, no, no, over here by the bar. (MOVING OFF) Oh, I'm so happy, Señor Roy -- so happy that you're well, and back again. Back in Riondo!

ROY:

Yeah, me too, Lola. (SITS) Ahhhh, it's good to sit down without bouncing around on that rickety old bus.

LOLA:

(BACK ON) No, never mind that now. Here, drink this.

ROY:

Yeah.

SOUND:

POURS DRINKS

LOLA:

(A TOAST) To your return.

SOUND:

GLASSES TOUCH

ROY:

(DRINKS, EXHALES, CHUCKLES)

LOLA:

Señor Roy - Señor Roy, are you back to stay? Or maybe just to see your old friend Dan Bosley, hm?

ROY:

(CASUALLY) Oh, I don't know. I might look him up maybe. But I really came back to see you, Lola.

LOLA:

(PLEASED) Oh, that's nice.

ROY:

Yeah. (PAUSE) Uh - how is Dan? Is he making out okay?

LOLA:

Oh, si! He bought a watch. The silver one. I told you that in the letter I wrote. You asked me to let you know when he bought it.

ROY:

Yeah, that's right. (CHUCKLES) So Dan got his silver watch, huh? Always said he would, didn't he, - when he struck it rich?

LOLA:

Yes.

ROY:

He still up in the hills, in our old camp?

LOLA:

I think so. Oh, si.

SOUND:

DOOR OPENS - CLOSES ... STEPS IN

LOLA:

(SURPRISED) Oh - Manuel! Manuel, look. It is Señor Roy -- he's come back to us.

ROY:

(REMEMBERING) Oh, yeah, yeah - the long arm of the law. (CHUCKLES) Hello, Manuel.

MANUEL:

(COLD ACKNOWLEDGMENT) Señor. Señor Collins.

LOLA:

Well, sit down, Manuel. Have a drink with us.

MANUEL:

No, thank you, Lola.

ROY:

(LIGHTLY) What's the matter, Manuel? The Southwest Mounty always "on duty"?

MANUEL:

Always, señor. Twenty-four hours of the day, I am "on duty."

ROY:

Well, that's fine, fine. (CHUCKLES)

MANUEL:

That still amuses you, señor?

ROY:

Oh, sorry, Manuel. It's just that in this sleepy little joint--

MANUEL:

--nothing ever happens. I remember, you always used used to say that.

ROY:

Did I?

MANUEL:

Always. But you forget, señor, that Riondo is just one place, one village.

LOLA:

(PROUDLY) Oh, Manuel has been promoted, Señor Roy. He patrols all this territory now -- travels over part of it each day.

ROY:

Well - congratulations, Manny boy.

MANUEL:

(COLD, HARD) Why did you come back, señor? Why didn't you keep going, like you promised?

ROY:

Oh now, wait a minute--

LOLA:

Oh, please, Manuel. Just because he and his partners had a little fight, you must not--

MANUEL:

I'm sorry, Lola. But it is my job to ask such questions of strangers.

ROY:

Strangers? (CHUCKLES) I'm hardly that, Manuel. I spent quite a few months here.

MANUEL:

Weeks, señor. You did not stay long enough to know Riondo -- but long enough for us to know you.

ROY:

Well, now, I wouldn't say that--

LOLA:

(SHORTLY) Neither would I!

MANUEL:

(MOVING OFF) I - I will see you later, Lola. I have some reports to make out.

SOUND:

FOOTSTEPS AWAY

LOLA:

(CALLS) But, Manuel--!

SOUND:

DOOR OPENS - CLOSES

MUSIC:

BRIDGE ... THEN IN BG

WHISTLER:

Well, Roy, the reception committee was actually as you expected. Lola, pleased and joyous at your return. Manuel Rosales, annoyed, suspicious, certain that your return threatens his obvious romantic inclinations toward Lola. With a promise to return later, you leave her and, walking through the village, your thoughts turn back to your old partner, Dan Bosley.

MUSIC:

CHANGES TO GUITAR

WHISTLER:

And then, the sound of the guitar startles you again, doesn't it, Roy?

MUSIC:

CHANGES BACK TO ORCHESTRAL ACCOMPANIMENT, IN BG, OUT AT [X]

WHISTLER:

But only for a moment. You're sure Paul Fallon, your other ex-partner, is far from Riondo at this moment. You're sure that he hasn't the knowledge you have of Dan's recent good fortune. [X] At a blacksmith shop at the end of the street, you stop, rouse the dozing old man, and present your proposition. He doesn't take to it too well, does he?

JUAN:

Ah, si, si, señor. I have burros. Good, strong pack animals. But I do not rent them without the pay -- in advance.

ROY:

Now, look, look, Juan -- I said you'd get your money. It's just that I haven't got it right now. Have to work a deal with a friend of mine.

MUSIC:

IDLY STRUMMED GUITAR ... FADES IN GRADUALLY DURING PREVIOUS LINE ... SLOWLY APPROACHING

JUAN:

No, no, señor. No pay - no burro. I am very sorry, señor--

ROY:

(ANGRY) Now, listen, you dried-up, old goat--

MUSIC:

GUITAR, ON CLOSE ... STRIKES A CHORD ... THEN STOPS

PAUL:

Why bother with him, Roy?

ROY:

What?!

PAUL:

I have enough, for our journey.

ROY:

Paul!

PAUL:

Uh huh. One of your old partners.

MUSIC:

GUITAR ... ACCOMPANIES FOLLOWING

PAUL:

(SINGS, NOT WELL)
Welcome back to Riondo, Roy,
And if I may be so bold,
May I ask did you come to see an old pal?
Or did you come for gold?

ROY:

Shut up and put that thing down!

MUSIC:

GUITAR OUT

PAUL:

(CHUCKLES) Okay, okay. But if I can't sing, we'll talk.

ROY:

There's nothin' to talk about. What are you doin' here anyway?

PAUL:

Ah, you see - there is something to talk about. Now, you hate Riondo, but you're back. Now, there's gotta be a reason. A good reason.

ROY:

Like what?

PAUL:

Well, like maybe our dear old ex-partner Dan Bosley making a strike. (BEAT) Did he?

ROY:

I wouldn't know.

PAUL:

(CHUCKLES) Neither would I. But we'll go see him, won't we, Roy? Sort of renew our old partnership, just like you figured.

ROY:

I didn't figure anything of the sort.

PAUL:

No, not with me along, you didn't. But you'll lead me to him.

ROY:

Will I?

PAUL:

(HARD) You might as well get this straight, Roy. You're not going anywhere without me, partner.

MUSIC:

GUITAR ... ACCOMPANIES FOLLOWING

PAUL:

(SINGS)
Oh, yes, we're right back in Riondo,
Two of the unholy three.
We're goin' to take Dan's gold away --
Half for you and half for me.

MUSIC:

GUITAR OUT ... ORCHESTRA, TO A FINISH

(COMMERCIAL BREAK)

 

ANNOUNCER:

And now, back to "The Whistler."

MUSIC:

THEME ... THEN IN BG, OUT AT [X]

WHISTLER:

It's annoying, isn't it, Roy? After all your planning, your careful trip down here, your certainty that Paul knew nothing of Dan Bosley's good luck in the hills far back of Riondo? But it's all right now again, isn't it? Yes. You had to move fast and run the risk of Lola suspecting your plan, wondering if you'd really come back to see her after all. But you're almost in the clear and she doesn't seem to suspect a thing. [X] She's even helped you -- is still helping you -- here in the darkness in back of the old cafe.

ROY:

Lola, you're okay. I'm not forgetting this.

LOLA:

Oh, I hope you will be safe, Señor Roy, and that you will come back soon.

ROY:

Oh, yeah, yeah, I will, Lola. Real soon. Now, look, are you sure your uncle won't miss the burro, the supplies?

LOLA:

Oh, no, no. He will not. The supplies - I bought.

ROY:

I'll have the burro back to him in a week. And, after that, Lola, I'll make it up to you. We'll get out of this burg.

LOLA:

Be careful, Señor Roy -- the mountain trails, the rivers -- they are dangerous. Manuel says--

ROY:

Never mind what that half-baked deputy says. You heard what I said, didn't you? You and me, Lola.

LOLA:

Si, Señor Roy. You -- and me. (PAUSE) Adios, carajito.

MUSIC:

BRIDGE ... THEN IN BG, OUT AT [X]

WHISTLER:

On the trail, alone, with your movements covered by the night -- and Lola's assurance that she'll say nothing to anyone -- you're confident again, aren't you, Roy? Pleased that you've outmaneuvered Paul. Of the three of you, Paul knew the least about the territory around the old camp. He never went there alone so he'll be unable to find the hidden canyon. You have trouble remembering yourself, don't you Roy? But you remember enough to follow the river exactly as Dan always did. [X]

SOUND:

RIVER RUSHES BY, IN BG ... BURRO'S HOOFBEATS IN AGREEMENT WITH FOLLOWING

WHISTLER:

It's almost dawn before you decide to rest. You halt the burro -- sink down wearily near a tree on the river bank. You feel yourself starting to doze off. And then--

MUSIC:

PAUL'S GUITAR APPROACHES, IN BG

WHISTLER:

You leap to your feet, stare around the half-darkness of the near dawn, wonder if you're imagining things. But you're not, are you, Roy? You're not imagining anything at all.

PAUL:

(APPROACHES, SINGS)
Oh, my partner he does not like me.
He slipped out of town and fled.
But I've found him now by this old tree.
And I'll stick with him till I'm dead.

MUSIC:

GUITAR OUT

PAUL:

(PAUSE, SPEAKS, COLDLY) Okay, Roy. Let's go see Dan, huh?

MUSIC:

BRIDGE ... THEN IN BG, OUT AT [X]

WHISTLER:

You've lost, haven't you, Roy? At least for the present. Paul's tricked you -- followed you from Riondo -- and whatever you find at the end of the trail, at Dan's little cabin in the hidden canyon -- you must share with him. [X] Unless--

PAUL:

(FILTER, SINGS, WITH GUITAR ACCOMPANIMENT)
I've found him now by this old tree --
And I'll stick with him till I'm dead.

WHISTLER:

Yes, Roy, there might be something in Paul's ridiculous song -- a way out for you -- something not quite as ridiculous as it sounds. You've been thinking about it all day and you're still thinking about it as the two of you make camp that night on a rocky cliff over the river which winds through the twisting canyon below. Then as you stand there, looking down on the river -- a ribbon of silver, gleaming in the bright moonlight--

SOUND:

CRICKETS CHIRP, IN BG ... COYOTE HOWLS IN DISTANCE

PAUL:

Say, Roy -- look down there, along the river. Isn't that smoke?

ROY:

Yeah. Dan's place.

PAUL:

Say, that's not very far. Why'd we stop here? Why--

ROY:

A lot farther than it looks.

PAUL:

I see. Hm! Seems to me we could have come along the river all the way instead of hiking up over this mountain.

ROY:

(IRONIC) I thought you might enjoy the view.

PAUL:

Well, thanks. (CHUCKLES) It's an inspiring sight.

ROY:

Sure. Sure it is.

PAUL:

Quite a drop from here, isn't it -- down there to the river?

ROY:

Yeah. Quite a drop.

MUSIC:

BRIDGE ... THEN IN BG, OUT AT [X]

WHISTLER:

The following morning finds you alone on the trail again leading down the mountainside. And it's almost noon when you reach the river's edge. You stop for a moment, look up to the lone tree high above at the top of the cliffs where you were camped last night. Yes, it's a long drop, isn't it, Roy? Paul Fallon couldn't possibly have survived a fall like that. Then as you turn and start up the river-- [X]

SOUND:

RIFLE SHOT, OFF ... BULLET RICOCHETS OFF BOULDER, ON

WHISTLER:

You freeze in your tracks as the bullet kicks up a tiny cloud of dust at the top of a nearby boulder. And then a smile crosses your face, and you relax. Yet you don't make a move. You wait. And, presently, he appears, walking easily along the path, coming toward you.

ROY:

Hello, Dan.

DAN:

(OFF) Roy?

SOUND:

DAN'S FOOTSTEPS APPROACH

ROY:

Yeah. Roy Collins, your old partner. Hiya, Dan.

DAN:

(APPROACHES) Didn't recognize you.

ROY:

Still pretty quick with the trigger finger, huh? But then you always were, er, cautious.

DAN:

I don't like strangers nosing around.

ROY:

Yeah, I know.

DAN:

So you're - back, huh?

ROY:

Well, I'm pushing through, Dan, into the interior. Figured as long as I was in the neighborhood, I'd drop in, say hello.

DAN:

I see. Just passing through, huh?

ROY:

Yeah. Hey, look, you don't mind if I stay over a day or so, do you, Dan? I, er, I could stand the rest.

DAN:

(BEAT) No, I guess I don't mind. Come on -- shack's down this way. Built me a new place after you, Paul and I split up.

SOUND:

MEN AND BURROS MOVE ON TRAIL, IN BG

ROY:

How have things been going, Dan?

DAN:

Fair. Just fair.

ROY:

That so?

DAN:

Yeah. Been thinking about moving on. (CHANGES THE SUBJECT) Uh, how'd you find things back in Riondo?

ROY:

Oh, nothing's changed.

DAN:

No. Guess not.

ROY:

Only stopped long enough to pick up the burro and supplies. Say, uh, what time is it getting to be?

DAN:

(PULLS OUT WATCH) Uh, let's see. It's, uh, quarter after twelve.

ROY:

(PAUSE) That's a - nice looking watch, Dan.

DAN:

Huh? Oh, yeah. Yeah.

ROY:

Silver, too. (CHUCKLES) Always wanted a silver watch, didn't you? I remember you said you'd get one first thing - after you struck it rich.

DAN:

That's right. Well, I, uh, I got tired of waiting, so I - I bought the watch. I figured I'd never hit pay dirt.

ROY:

Things been real slow, huh?

DAN:

Real slow. Been working a spot back there, along the river, at the base of the cliffs. That's where I was heading for when I spotted you.

MUSIC:

AN ACCENT ... THEN IN BG

WHISTLER:

You had no way of knowing, Roy, last night when you pushed Paul Fallon off the cliffs that Dan's diggings were below, on the river's edge, not far away. And you wonder what will happen if Dan accidentally finds Paul's body. After lunch at Dan's shack, Dan strolls out on the porch, settles down in a chair, leans back, his hat pulled down over his eyes. You walk away casually. Then when you're a few hundred feet down the path, you look back. Dan hasn't moved. Now's your chance, Roy.

MUSIC:

AN ACCENT ... THEN IN BG, OUT AT [X]

WHISTLER:

At the base of the cliffs, you stare at the crude set-up for washing gold dust out of the river sand. Then your eyes wander up the smooth face of the cliff to the top -- the lone tree directly overhead. Paul must have fallen close by. But there's no sign of his body. [X]

SOUND:

ROCK RUMBLES DOWN SIDE OF CLIFF ... CRASHES INTO BRUSH

WHISTLER:

You whirl at the sound. It's only a loose boulder, Roy. And then suddenly a thought hits you. Is it possible that Paul is still alive -- that he wasn't killed in the fall? Is he somewhere close by, at this moment -- watching you?

DAN:

(OFF, CALLS) Roy!

ROY:

(STARTLED) What?! (BEAT, RELIEVED) Oh. Oh, Dan.

DAN:

(APPROACHES) Out for a walk, Roy?

ROY:

Uh, yeah. Yeah. Thought I'd come down here, take a look at your layout. Too bad it isn't paying off.

DAN:

Yeah. Too bad. Uh, look, Roy. I'm going down river - check some traps I set. Want to come along?

ROY:

Well, I guess I'd better not, Dan. I - I think I'll stay around here and catch up on my sleep. I'll be leaving in the morning, probably.

DAN:

Oh, I - I see. Well, all right, Roy. I'll be back by dinnertime.

ROY:

Okay, Dan.

MUSIC:

BRIDGE ... THEN IN BG

WHISTLER:

It's a break, isn't it, Roy? With Dan out of the way -- if only for a few hours -- you'll have time to search his shack, look for the gold you're certain is there. You watch Dan as he disappears around the bend and then you race back to the camp and begin your search.

MUSIC:

AN ACCENT ... THEN IN BG, OUT SHARPLY AT [X]

WHISTLER:

After an hour or two, you finally find what you're looking for, hidden away under the loose floor boards of the shack. Yes, Dan's gold. Sack after sack. A small fortune, Roy. Now you'll have to act quickly. Pack as much gold as you can on your burro and get out before Dan returns. As you reach down to pull up the first sack of gold, your hand freezes in mid-air. [X] (PAUSE, QUIETLY) You're certain you heard something outside. The snap of a twig perhaps. You remain motionless, unable to move, hardly daring to breathe.

SOUND:

ROY'S FOOTSTEPS IN AGREEMENT WITH FOLLOWING

WHISTLER:

Finally, you slip across to the window and look out. There's no one in sight. Your hand is trembling as you return to the gold cache, begin piling the gold sacks on the table, and then--

DAN:

(OFF) Hello, Roy.

ROY:

(SURPRISED) Dan!

DAN:

Found what you've been looking for, I see.

ROY:

Now wait a minute, Dan. Take it easy with that - that trigger finger, huh?

DAN:

(CLOSER) Didn't expect me back so soon, eh?

ROY:

Now, wait a minute, look. Look, Dan. I - I know you don't think that I--

DAN:

I didn't go far, Roy. Had to find out what you were up to, let you show your hand. And you did.

ROY:

Now, listen. Dan, I - I was just looking around. You got me all wrong! Sure. (SWINGS, WITH EFFORT) All wrong!

MUSIC:

AN ACCENT ... THEN IN BG, OUT AT [X]

SOUND:

SCUFFLE, IN AGREEMENT WITH FOLLOWING

WHISTLER:

As Dan staggers back from the blow, you kick the gun from his hand. It clatters to the floor. You pick it up quickly, and you're ready for him as he lunges at you. [X]

SOUND:

GUN SHOT

WHISTLER:

Dan sinks slowly to one knee, and then crumples to the floor.

SOUND:

DAN CRUMPLES TO FLOOR ... ROY'S FOOTSTEPS TO DAN

ROY:

You really shouldn't have come back, Dan - not so soon.

DAN:

(WITH DIFFICULTY) You - you won't get - away, Roy.

ROY:

No?

DAN:

Look. Look outside. The burro. I let him go. I was gonna - make you walk back to Riondo.

ROY:

Okay, Dan. I'll walk back. And I'll make it, partner -- even with all that gold I'll be carrying. Your gold.

DAN:

No. No, you'll never get there. You don't know your way well enough.

ROY:

I'll find my way, Dan. I got in here. I'll follow the river back out. Long way around, but easier with a load.

DAN:

The - the river? No, no. You'll never - make it.

ROY:

That's where you're wrong, pal. I'll make it all right. You're the one who isn't going to make it.

DAN:

They'll find me -- know what happened.

ROY:

Not right away they won't find you. You know, Dan, when you dug that place under the floor to hide your gold, you were diggin' something else. Your own grave!

MUSIC:

TO A FINISH

ANNOUNCER:

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

(COMMERCIAL BREAK)

 

ANNOUNCER:

And now, back to "The Whistler."

MUSIC:

THEME ... THEN IN BG, OUT AT [X]

WHISTLER:

Yes, Roy, you have it all figured out, haven't you? With Dan's body rolled under the floor of his shack and the loose boards back in place over it, you have only to pack all the gold you can carry into knapsacks, strap them on to your back, and then hurry to the river. [X]

SOUND:

RIVER RUSHES BY, IN BG

WHISTLER:

At its edge, you stop a moment near the diggings -- wondering for a fleeting moment about Paul's body. What became of it? And then you have another idea. You can cover your tracks, can't you, Roy? So that if anyone else happened along, they won't know what direction you took.

SOUND:

ROY WADES INTO RIVER

WHISTLER:

You wade along the river's edge, ankle-deep, Move along for several yards in the cold water. And then a sudden clutching fear grips you as your feet seem to give way ...

ROY:

Hey! What--?

WHISTLER:

... and you begin to sink. Now you know what happened to Paul's body. It fell into quicksand, Roy. And you've walked into the same quicksand!

MUSIC:

AN ACCENT ... THEN OUT

DAN:

(FILTER) You don't know your way in these parts. The river? No, you'll never make it. Never make it.

SOUND:

ROY THRASHES IN WATER, IN BG

WHISTLER:

Frantically, you claw at the packs strapped to your shoulders. It's Dan Bosley's gold, weighing you down, forcing you to sink deeper and deeper. Yes, Dan's gold, the gold you killed for, hurrying you to your own death. Desperately, you reach out, manage to grab the branch of a tree. But all you can do is hold on to try to keep from sinking deeper.

SOUND:

THRASHING STOPS ... RIVER CONTINUES IN BG, BUT FADES BRIEFLY DURING NEXT LINE AS ECHO EFFECT TAKES OVER

ROY:

Help! Help! Help me! (ECHO) Help! Help! Help me!

WHISTLER:

Your own voice, Roy, bouncing against the hills and back. And then the memory of another voice seems to fill the air around you.

PAUL:

(FILTER, SINGS, WITH GUITAR)
I've found him now by this old tree
And I'll stick with him till I'm dead.

WHISTLER:

Suddenly, the bushes on the river's edge part and someone appears there.

MANUEL:

Hello, señor.

ROY:

Who is it? Manuel! Manuel, help me! Give me a hand, I--

MANUEL:

I know, señor. You are tiring fast. You cannot hold on too long, huh? (BEAT) My position is a strange one, señor. If I leave you there, you would never bother Lola again.

ROY:

Manuel, you can't - you can't leave me like this. (SCARED) Manuel?! Where are you going?! Come back!

MANUEL:

(MOVING OFF) It's all right, señor. I will be back.

ROY:

Hey! No! Don't leave! Those tree branches! Throw some of them out here! Something that'll give me support!

MANUEL:

(BACK ON) Oh, no, señor. Believe me, I have had to do this before. I will help you the same.

ROY:

What are you--? What are you going to do?

MANUEL:

I know this quicksand. We need something long and flat. Something you can hold onto while I pull you out.

ROY:

All right. Anything. But hurry, Manuel.

MANUEL:

Si, Señor, I will hurry. I will tear up the floorboards in Dan's shack!

ROY:

Floorboards?! No, not the floorboards!

MANUEL:

Si, señor -- they are the only supports I can get here. (WITH A CHUCKLE) I am sure that -- under the circumstances -- your old partner, Dan Bosley, will not mind my pulling them up!

MUSIC:

TYMPANI ACCENT ... THEME ... CONTINUES IN BG

ANNOUNCER:

All music for "The Whistler" is composed and conducted by Wilbur Hatch and is the property of Herman Music, Incorporated, ASCAP, Hollywood, California. Broadcast rights granted solely to Audio Arts Productions, Amerada, California.

MUSIC:

CONTINUES TO END