 The Whistler, presented by the United States Air Forces in Europe. 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. Tonight, it's the Whistler's strange story, Mark Mann transcribed. The man standing in the open door of the swiftly moving boxcar looked incongruous, out of place. Certainly, Frank Seto wasn't used to this mode of travel. But even with the careful planning you always employ, things can go wrong, can't they Frank? Yes, you were the brains behind a successful swindle across the border in Tijuana, weren't you? But part two of your plan in which you tried to outwit your own associates, backfire, didn't it? And you had to run, leaving $70,000 hidden in a baggage check stand in San Diego. And now, poised by the open door of a moving boxcar approaching the LA railroad yard, you wonder if anyone followed you, wonder what's ahead as the train rolled into the yard. And then you leave. On Main Street, you enter a nondescript hotel and cross the lobby past a group of guests, avidly watching television, and approach the desk. Hey! Hey, anybody here? Rome, Clark! Coming, I'm coming! Interruption, nothing but interrupts. Well, what's the matter? What does the other fella look like? Or did he win? Never mind the jokes. I've been traveling only not first class. I want a room and a shower. Well, we got them. They're separate. Room's a dollar and a half. Shower's 50 cents. In advance. The shower makes you feel better, doesn't it, Frank? And a good night's sleep helps, too. Even in these surroundings, and somehow you feel that you'll be able to work things out. For one thing, the pressure is off for a while. The following day, except for meals, you stay close to the hotel. And that night, you even feel sufficiently relaxed to join a few of the other guests in the lobby as they watch a question-and-answer program on the television screen. Now, ladies and gentlemen, our next pair of contestants. This young lady, whose name is what's her name? Larkin. Nor Larkin. Nor Larkin. And your young gentleman friend? Wally Neal. Eh? What would you say? Tell him your name. Oh, it's all right, sir. Don't you worry about that. Names aren't as important as the right answers to the question. My name's Wally Neal. All right, Wally. All right. Now, you and Miss Larkin have a chance to win some of that lucky cash we've been talking about. It's lucky for you, and lucky for those who've come to town. Excuse me, folks. I just remembered some business I got to attend to. It's a shock, isn't it, Frank? Seeing Wally Neal on that television screen. Wally Neal, one of your associates in San Diego. And you're certain that he followed you, aren't you? Followed you to Los Angeles. And that's why you take a fast cab ride to the television station. Inside, you learn that you're just in time. You see Wally and the girl leave and follow them down the street to a parked car. Wally helps Nora in. As he starts around to the driver's seat, you hurry forward. Oh, Wally. Frank. Yeah, Frank. Saw you on TV. Oh, yeah. Yeah, you were just fine. I'd like to talk to you, Wally. Sure. Uh, Nora. Yes? Nora, this is a friend of mine. Frank said, oh, Nora Larkin. Hello. Miss Larkin. Nora, could I drive you home? Frank wants to talk to me in his business. Oh, sure. Sure. Come on. Sorry to break up your date, Wally. And Nora's quite a girl. Yeah, she's a nice girl. Cooperative, too. Let's you drop her off. No explanations. Lend your car. Turn up here, Wally. But this leads to the bridge over the freeway. No place to talk is anywhere. OK. Just park by the curb. Ah, shut her off. We'll get out. Come on. I'm not going to shove you over the rail. Nobody's that you were. I know, but you're nervous, boy. Very nervous. Ah, lots of cars rushing along down there on Cawinga. Would be a pity for anybody to fall over. But, Frank, Nora knows where together. Just remember that. Nora knows. Wally, Wally, boy, you are imagining things. I just want a few questions answered, that's all. You, uh, didn't try to pick up the money alone. Well, how could I? You had the check stuff. But you know the check box. Oh, I wouldn't try anything like that, Frank. Who told the boys where to look for me? I don't know. They found out for themselves. Sure, sure. Only the two of us knew. But somebody tells Dutch and Duke to watch for me at the railroad station. Pick me off as I get the 70,000 at the check stand. Of course, you didn't tell them. You left the money there for me, did you? Frank, I didn't tell anybody anything. You didn't follow me here. No, I left on my own. Why? Well, I wanted to be with Nora. We're going to get married. That takes dough. No. I'm out of it. I don't want my split on the job. Oh, no, really, I'm out of it, Frank. Sure, sure, Wally. Hey, uh, you were kind of lucky tonight. One of the, uh, lucky cash winners. Here, here, I'll give you my half. We're 1,600. Nora has a rest. Here, look at my wallet. You'll see it's all there, Frank. Yeah, sure, it's all here. Your identification, Duke. Private's license, social security. Take them a little while to tag you in a strange town. Frank, please, Frank. Look, I'll never tell anybody anything. I know, Wally. I know. Frank, the guard's real. Sorry, Wally. I'm not leaving any trail for the boys or anybody. Thanks for the spendin' money. Now, back to the whistler. It's over quickly, isn't it, Frank? As the shove sends Wally Neal over the guardrail on the freeway bridge. As you drive hurriedly away in Nora Larkin's car, you're still clutching the leather wallet that Wally handed over to you. He won't be identified immediately, will he, Frank? No. You smile as you light a cigarette, drive Nora's car back in pocket where she'd instructed Wally to leave it. Place the key under the floor mat as she was supposed to do, and then take a cab back to your hotel. From there, you put through a call to San Diego, person to person, to a miss Irene Webb. Hello. Hello, Irene. Hello? Irene, this is Frank. Oh, Franky, baby. I'll be quick. Now, listen. Listen, I'm mailing you a check stand stub. They stand at the railroad station. Yeah. Now go there, pick up the package and bring it to me here. Shall I give up my apartment, Frank? No, I wouldn't. It'll give somebody ideas. Just pack and come on. What am I saying, Frank? We'll have enough to buy other things, Irene. Just do as I say. Anything else, Frank? Like what? Like, love me. Oh, sure, sure. I love you. I'll make it fast, Irene. Goodbye. Goodbye, darling. At least that part's in motion, isn't it, Frank? Two days, Frank. It'll be that at least before Irene arrives with the stolen $70,000. But during those two days, the $300 you took from Wally's wallet, the $300 he'd won on a TV show, gives you enough to live on comfortably. And the following morning, you check out of your room. Your first stop is at a fashionable men's shop. And you suit, shoes, hats, a complete change of wardrobe. And then you register at a swank Hollywood hotel. Nothing but the best, Frank. You spend Wally's money freely. And late that afternoon, you're in your hotel suite when the buzzer rings. Can't be Irene, you can't, Frank. She's not due until tomorrow. Hello, Frank. Well, Nora. Mind if I come in? No, of course not. This is a surprise, Nora. How'd you know where to find me? Just by chance. You left an empty book of matches on the floor of my car. They were from the Alden Hotel. Oh. When you checked out of there, you asked the desk clerk. Oh, sure. Yeah, he recommended this place. All right, sit down. Thanks. Drink? This name it, I got it. So I see. Scotch? Fine. Quite a cozy little place here, Frank. A rich uncle suddenly leaves you a fortune? Oh, no. Now, nothing like that. I looked up a friend here in town this morning. He owed me a few bucks. Uh, soda and Nora? Thanks. Anna, what's on your mind? Wally. That little affair in San Diego. Wally just wants to forget about it. Well, tell him I've forgotten it, too. I wish I could. What do you mean? Wally's a funny guy. Lately, he's been jittery, upset. Sure, get to the point, Nora. Then running into you last night. He's scared, Frank. He's probably hiding out like a frightened rabbit. Hiding out? I've been up to his apartment half a dozen times today. I've called him on the phone. No ends. Ducked out on me before. And he's scared, Frank. He doesn't want to see anybody. Not even me. Don't worry about it, Nora. He'll be all right. Oh, sure. He's just got to think it all out by himself for a while. Then he'll call me. If I could tell him you weren't sore... I'm not. Thanks, Frank. Thanks a lot. Yeah, bell boy, sir. Now, come in. You asked for the evening paper, Mr. Settle? Oh, yeah. Thanks. There you are. Thank you, sir. Sure, go by yourself. Something wrong, sir? No. Your heart suddenly leaps up into your throat, doesn't it, Frank? The folded newspaper on the table. Nora reaching out for it. And you wonder if the story is there. The story of Wally Neal's death and what Nora will think. You hold your breath as she unfolds the paper, glances casually over the front page, and then drops the paper on the chair beside it. Same old stuff. Hurricanes, crime, taxes. That's all you read about nowadays. Look, Nora. Yeah? About Wally. I know how you feel about the guy. Well, I'm sorry if I gave him the jitters. Let me make up for it, huh? Oh, you don't have to, Frank. You know what I insist? Why don't we run over to his place, eh? He might be there now. Well, yeah. Tell you what, I'll take the two of you out to dinner. We'll make a night of it, huh? On me. What do you say? All right. All right, Frank. Of course, there's no answer at Wally's apartment, is there, Frank? And so you take Nora on to dinner. Just the two of you. An attractive girl, isn't she? Warm, exciting. And later, while you're dancing, holding her close to your arms. Oh, come on, sweetheart. Cheer up. Wally's going to be all right. I'm sorry to spoil your evening this way. You're not spoiling anything, Nora. I'm not very good company, I'm afraid. I disagree. I think you're a very nice company. Thanks. I mean it. Frank? Hmm? I was wondering, do you think Wally might... Oh, look, sweetheart. I told you he'll be all right. Stop worrying. Stop thinking about Wally. Just for a little while anyway. Come on. All right, Frank. I'll try. I want her to forget Wally, don't you, Frank? But not only for just a little while. And you're almost certain you can get her mind off Wally. As the evening progresses, she seems to be enjoying herself. And it's after three in the morning when you see her to her apartment. Leave her after making a date to call for her the next season. But the following afternoon... Nora? Hello, Frank. I thought I was to pick you up at your place. I wanted to see you sooner, Frank. Well, something wrong? You look like... Yeah, something's wrong. Here, have you seen this? The paper? No. There, at the bottom of the page. Okay, so what? So the police found a body by the freeway, unidentified. What's this got to do with me? Everything. I had a hunch. I went down to the morgue an hour ago. It's Wally. Wally? Don't look so surprised. Now, wait a minute, sweetheart. You needn't put on an act, Frank. I know what happened. I know you killed Wally and I know why. Look, Nora... I know all about that rotten mess in San Diego. So what? How's this? And I looked, Nora. Take it easy. Better put that letter open or away. It doesn't scare me. Doesn't it, Frank? Doesn't it? As she lunges toward you, you reach out, miss, and the letter opener rips into your arm. In a blinding rage, you lash out, twist Nora's arm behind her. Then you stumble and both of you fall to the floor. You get up quickly. Nora lies very still. Nora? Yeah. Yeah, who is it? Just a second. Quickly, you drag Nora Larkin's body into the closet. Close the door. And you look around the room. Her purse, Frank. Lying there on the floor. Scoop it up and flip it under the sofa cushion. Oh, darling. Come on in, baby. Is that the only welcome I get? Come on in, baby. Sorry? Just one little kiss. After I've come all the way... You get the stuff okay. What stuff? Oh, oh yeah. It's here in my suitcase. That's fine, Irene. Fine. Well, well, look at the bar. How about offering a lady a drink? We don't have the time. Oh, now, Frank. I'll feel better if we skip right now. Oh, why? What's the rush? Never mind the questions. We're leaving. Okay. Okay. Don't get sore. I'll meet you in the lobby in five minutes. Leave your stuff here. I'll have the bellhop take care of it. I'm going to beat it. Oh, now, wait. Why? Well, you stop asking why. Do as I say. No, Frank. Sure. I'll grab a cab after the airport. Take the next plane. New York is nice this time of year. I like Seattle. Seattle? Just to skip across the border into Canada. That's why, baby. I love you, darling. Whatever you say. Canada. All this money. Just the two of us. Yeah, just the two of us. Go on, beat it, huh? Wait. Honey. I'll be waiting for you, sweetie doll. Okay. Yeah. Yeah, you wait, baby. Nice long wait. Well, we're slurred. Well, Frank, the way is clearing, isn't it? But you've had to kill twice. Wally Neal and then his girlfriend, Nora Larkin. Only you feel sure now that it's been worth it, don't you? Yes. Considering the $70,000 stolen dollars that Irene brought from the check stand in San Diego. You had to get her out of your hotel room because Nora lies dead in the closet. And now you're through with Irene, too. You don't intend to share the money with anyone. You pack your bag quickly. Take the money from Irene's suitcase. It's going to be as simple as slipping out the back entrance of the hotel alone, isn't it, Frank? Yes. A cab to Union Station. A train to San Francisco. From there, a freighter to part unknown. You cross to the door and open it. Hello. Who are you? What do you want? My name is Roman. Lieutenant Roman. Homicide. Homicide? You're Frank Cerro, aren't you? Yeah, that's right. You've been throwing your money around quite freely, haven't you? Paying your bill at the Alden, buying new clothes? What have I had? Too bad you didn't know that money was marked. Marked? Yeah. Yeah. Money belonged to a gentleman, Wally Neal, wanted on a TV show a couple of nights ago. And all the bills were marked as part of a stunt. Anyone receiving any of that money was to notify the television station and get a prize. No, it can't be. And the man who killed Wally Neal took that money. You've been spreading around. Look, I can explain. I don't think so. You didn't realize that once you killed Neal and took his money, you were a marked man. Be with us again next week when once again the United States Air Force is in Europe. Present the Whistler.