Boiling Point by The Whistler

Summary

Relic Radio Thrillers: "Boiling Point" by The Whistler

Podcast Information:

• Title: Relic Radio Thrillers (Old Time Radio)
• Host/Author: RelicRadio.com
• Episode: Boiling Point by The Whistler
• Release Date: May 16, 2025

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Introduction

"Boiling Point," a gripping episode from Relic Radio Thrillers, immerses listeners in a tale of ambition, betrayal, and murder. Set against the backdrop of a small-town real estate business, the story delves into the complexities of personal relationships intertwined with ruthless professional aspirations. The Whistler, known for weaving suspenseful narratives, masterfully orchestrates a plot that culminates in a dramatic and tragic conclusion.

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Characters

• Kelly Jameson: A 29-year-old salesman struggling with personal failures who finds unexpected success through Janice.

• Janice Jamison: Kelly's wife and business partner at Star Realty Company. Ambitious and driven, she yearns for more significant success.

• Vera: A nurse with a captivating presence, who becomes the object of Kelly's desire, leading to dire consequences.

• Mac: A colleague involved in a pivotal real estate deal that propels the plot towards its climax.

• Dr. Allen: The physician attending to Janice after her alleged heart attack.

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Plot Summary

1. The Beginnings of Ambition

At the heart of "Boiling Point" lies the tumultuous relationship between Kelly and Janice Jamison. Kelly, portrayed as a man haunted by professional failures, experiences a turnaround when Janice, his wife, and business partner, secures him a position as a salesman at the Star Realty Company. This newfound success ignites a blend of gratitude and underlying tension.

Kelly: "I want to marry you. You won't be sorry. I'll work hard and be a successor. Oh, please. Please listen to me."
(05:08)

Janice's unwavering support and ambition propel the couple into a promising business venture, envisioning "Jameson and Jameson, Real estate brokers." However, beneath the surface of success, seeds of discontent begin to sprout.

2. Seeds of Discontent

As the Jamisons settle into their roles, Janice's dissatisfaction becomes palpable. Her constant push for greater achievements strains their relationship, triggering feelings of inadequacy and resentment in Kelly. The metaphor of a pot reaching its boiling point aptly illustrates the simmering tension between them.

The Whistler: "Perhaps it was then, too, that the fire began to burn under the kettle, and the temperature slowly but surely started to rise."
(05:24)

Kelly's internal struggle intensifies as Janice's relentless ambition overshadows their personal bond, setting the stage for the impending conflict.

3. The Introduction of Vera

In the midst of professional turmoil, Vera enters the scene as a nurse attending to Janice after her supposed heart attack. Vera's charm and allure captivate Kelly, offering him an escape from his mounting frustrations.

Kelly: "I'm crazy about you."
(08:28)

Their budding affair provides Kelly with the hope of love and companionship he feels is lacking in his marriage. However, this relationship becomes the catalyst for a series of catastrophic decisions.

4. The Murder Plot Unfolds

Driven by a desperate desire to break free from his strained marriage, Kelly devises a sinister plan. The metaphor of the boiling pot resurfaces as Kelly contemplates murder as an inevitable culmination of his suppressed emotions.

The Whistler: "I came to this town out of nowhere, really. I'm a failure. 29 years old... I met you at a party. From then on, everything's different."
(03:28)

Janice remains oblivious to Kelly's dark intentions, engrossed in expanding their business empire. The tension escalates when Janice proposes a significant real estate deal with Mac, which Kelly perceives as both an opportunity and a threat.

Janice: "I'm fit as a fiddle. I'm back on the job, that's all. Aren't you glad?"
(16:54)

The turning point occurs when Kelly sabotages a crucial bridge, ensuring that Vera's car will plummet, effectively eliminating Janice from the picture.

5. Climax: The Tragic Outcome

The culmination of Kelly's malevolent scheme is both shocking and tragic. As Vera arrives, Kelly's plan unfolds disastrously when Janice, instead of Vera, crosses the compromised bridge, leading to her untimely death.

The Whistler: "Vera lies dead in the wreckage at the bottom of the gorge beneath the bridge. The bridge whose support you'd hacked away to trap Janus, your wife so you'd be free to marry Vera."
(26:31)

This revelation unravels Kelly's facade, exposing his guilt and the irreversible nature of his actions.

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Key Quotes with Attribution and Timestamps

• Kelly's Confession to Janice:

  "I want to marry you. You won't be sorry. I'll work hard and be a successor. Oh, please. Please listen to me."
  (05:08)

• Janice on Business Philosophy:

  "Don't talk like that for me. Not unless you really mean it."
  (04:50)

• The Whistler's Metaphor:

  "Perhaps it was then, too, that the fire began to burn under the kettle, and the temperature slowly but surely started to rise."
  (05:24)

• Kelly's Plea to Mac:

  "Help me, Mac. Help me."
  (24:15)

• Janice's Final Confrontation:

  "I decided not to meet you at the cabin for a long time. I felt you no longer love me..."
  (27:31)

• The Tragic Realization:

  "Vera died. I know I know."
  (12:00)

---

Conclusion

"Boiling Point" serves as a poignant exploration of how suppressed emotions and unbridled ambition can lead to catastrophic outcomes. Through the characters of Kelly and Janice, the episode delves into the fragility of relationships under the strain of professional pressures. The introduction of Vera acts as a pivotal element that exposes Kelly's vulnerabilities and moral downfall. The narrative, rich with suspense and emotional depth, underscores the timeless theme that reaching one's boiling point without addressing underlying issues can result in irreversible consequences.

The Whistler's storytelling prowess shines as it weaves a tale that is both engaging and cautionary, leaving listeners reflecting on the delicate balance between personal desires and moral integrity. "Boiling Point" stands as a testament to the enduring allure of Old Time Radio thrillers, blending suspense, drama, and psychological complexity into a memorable auditory experience.

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Notable Production Details:

• Featured Voices: Wally Mayer and Betty Lou Gerson
• Production: Produced by George W. Allen with story by Joe Pagano and music by Wilbur Hatch
• Transmission: Delivered to troops overseas by the Armed Forces Radio Service
• Sponsor: Signal Oil Company

Final Thoughts:
"Boiling Point" captivates with its intricate plot and deep character development, embodying the essence of classic radio thrillers. For enthusiasts of crime, mystery, and suspense, this episode promises an enthralling journey through the dark corridors of human ambition and frailty.

Transcript

[Narrator]

Relicradio.com presents stories of mystery and intrigue, espionage and suspense. Hear tales of ticking time bombs, mysterious crime scenes and cloak and dagger action. This is Relic Radio thrillers.

[Announcer]

The Signal Oil Program the Whistler. That whistle is your signal for the Signal Oil Program the Whistler.

[The Whistler]

I am the whisper 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 in the shadows. Yes, I know the nameless terrors of which they dare not speak.

[Announcer]

Yes, friends, it's time for the signal oil program. The Whistler rated tops in popularity for a longer period of time than any other west coast program in radio history. And Signal Gasoline is tops. Two tops in quality. It takes extra quality, you know, to give you extra mileage. And signal is the famous go farther gasoline. So look for the signal circle sign in yellow and black that identifies friendly dealer owned signal stations from Canada to Mexico. And now the Whistler. Strange story. Boiling point.

[The Whistler]

Kelly never knew exactly when it was that he decided to kill her. Thinking it over afterwards, he realized that murder is something like a pot boiling over. The fire's underneath for a long time and nothing happens. Then all at once the heat reaches a certain point and there it blows. And you look back in horror to find you kill someone. The odd thing, of course, was that right to the end, it wasn't that he hated Jack. She had a kind of charm.

[Kelly]

She was capable.

[The Whistler]

And she was attractive enough that on the right kind of a spring day, with the sunlight filtering through the leaves of an oak tree hitting her face just right, a fellow like Kelly might think he was in love with her. At least that's how it started three years ago.

[Janice]

Kelly?

[Kelly]

Yes?

[Janice]

Another sandwich?

[Kelly]

Oh, no, no thanks, Janice, I'm mouthful of.

[Janice]

What's happened to your appetite?

[Kelly]

I don't know. Maybe it's a symptom.

[Janice]

Oh.

[Kelly]

Will you do something for me, Janice?

[Janice]

What, Kelly?

[Kelly]

Tell me something honestly.

[Janice]

All right.

[Kelly]

I came to this town out of nowhere, really. I'm a failure. 29 years old. Been fired from the greatest assortment of jobs in captivity. I meet you at a party. From then on, everything's different.

[Janice]

Is it, Kelly?

[Kelly]

Yeah, sure. You gave me a build up with your boss at the Star Realty company. He puts me on as a salesman and suddenly, for the first time in my life, I'm a success.

[Janice]

Why? Well, it's simple. You're a good salesman.

[Kelly]

No, that's not what I mean. What I want to know is why did you do it for me? Oh, now, you said you'd be honest.

[Janice]

Oh, maybe I have. The interests of the Star really got me at heart. Maybe I just like it. Come on, have another sandwich. I don't want to take them back.

[Kelly]

All right.

[Janice]

I want to go over the escrow papers on that Williamson deal again.

[Kelly]

Oh, no, not now. Don't you ever relax?

[Janice]

I'm relaxed.

[Kelly]

Come on. Come on. Lean back and take your glasses off.

[Janice]

Oh, all right. All right.

[Kelly]

My brother. Mm. You ought to take them off more often.

[Janice]

I'm blind as a bat without Em.

[Kelly]

What's the difference? You're not looking at the wolves.

[Janice]

They're looking at you like you're looking at me.

[Kelly]

Oh, they better not. I don't want anybody else to look at you like this.

[Janice]

Don't talk like that for me. Not unless you really mean it.

[Kelly]

I do mean it, Janice. I'm crazy about you. Oh, I know I'm not much of a guy, and I'll never know why you bothered with me. Janice, I. I want to marry you. You won't be sorry. I'll work hard and be a successor. Oh, please. Please listen to me.

[Janice]

I heard all I want to hear when you said you loved me. Aren't you going to kiss me, darling?

[The Whistler]

Just like that, Kelly. A boy, a girl, a picnic on a green knoll at the edge of town, and it's over. She's Janice Jamison now. You have a small home together, and each morning you commute to town and your jobs with the Star Realty Company. But Janice isn't satisfied, Kelly. She talks of nothing but of the two of you in business together. Jameson and Jameson, Real estate brokers. It would take more than you could ever save on your salaries, of course. And it was about then you began to wonder if she'd ever be satisfied. Perhaps it was then, too, that the fire began to burn under the kettle, and the temperature slowly but surely started to rise.

[Kelly]

And here's a letter for Kennelly and Botsworth. Gentlemen. With reference to the lease on the property at Lillian Way and Gladstone Boulevard, we are informed that the present holder. Oh, yes, Janice, can I speak to.

[Janice]

You for a moment?

[Kelly]

Well, I'm tied up. Couldn't it.

[Janice]

No, please. Right now.

[Kelly]

All right. Excuse me, Ms. Eldred. Now, what's it all about?

[Janice]

Kelly, our chance has come.

[Kelly]

What are you talking about?

[Janice]

James Fernand. James. And remember.

[Kelly]

Oh, that. All right, Janet, what do we use for money?

[Janice]

Look at the Teletype from New York offering 40,000 for the corner of 8th and Maple.

[Kelly]

But Knowles has an option on that corner for 30 hasn't he?

[Janice]

Did have you mean. It expired yesterday.

[Kelly]

But shouldn't we tell Knowles? Give him a chance.

[Janice]

He won't be back until next Wednesday. There's no way I can get in touch with him. Honest, darling. Knowles will be tickled pink when he knows we've grabbed his chance to start on our own. He's a big man. More ways than one.

[Kelly]

I know.

[Janice]

That's why I. Kelly, I tried my best to get Knowles to renew his options. He said that corner would never be worth anything. This is 10,000 for us on a $1,500 investment. Now, you run right down to the bank, get a certified check. I'll teletype New York that knows no longer holds the option.

[Kelly]

I hope you know what you're doing.

[Janice]

Oh, I do know. And I know something else, too. In a few days, we'll have a brand new office with a nice glass door reading Nemitson and Davidson. And sign that Jameson and Jameson. That's all. Jameson and Jameson. I'll have it right out.

[Kelly]

You made a slight error, Janice.

[Janice]

What?

[Kelly]

Not Jameson and Jameson. Jameson and Stu.

[Janice]

Kelly, let's not get into that again.

[Kelly]

Why not? Why not? Let's be honest. You got the brains, I run the errand. You set up the deals on paper. I go through the motion.

[Janice]

Well, that's not true.

[Kelly]

This Brewster deal, for instance. A nice, clean little deal. I'm all set to handle it myself.

[Janice]

Well, you're just being silly. There were. There were just a few things you hadn't considered. I thought it might help if I wrote them out for you, that's all.

[Kelly]

There's something I don't think you realize yet, angel. I'm really not a backward kid at all. Why, you act like I'm not quite right.

[Janice]

You're wrong, Kelly. I think you're the best salesman in the business. Besides, you're my husband and I love you. What difference does it make which one of us does?

[Kelly]

None. But why can't you give me credit for some intelligence once in a while? Why? You're not my wife anymore. You're a business machine as cold as a piece of steel.

[Janice]

You don't realize what you're saying.

[Kelly]

Shut down. I'm not through, Kelly. For once you're going to listen. I'm your husband, Janice, your business partner.

[Janice]

Please.

[Kelly]

Not a pet spaniel you lead around on a leash.

[Janice]

Janice.

[Kelly]

Janice. Janice. I'm sorry. Oh, Good Lord. Yes, Mr. Jameson. Listen, Mr. Jameson. Get a doctor up here. Hurry. I think Mrs. Jameson had a heart attack.

[The Whistler]

Looking down at her. Now you Have a queer sense of guilt when you realize that you've actually been wishing something like this would happen. Anything to free you, give you back your independence and self respect. Yes, Kelly, you're sorry and ashamed. And you almost take the kettle off the fire before it reaches the boiling point. Particularly as you hear the doctor telling you it was a heart attack. The Janus will have to stay in bed and rest with a day nurse in attendance. But that's what changes it all right back again. The nurse's name is Vera. And there's something like music in the deep cloudy blue of her eyes. Something about her voice, the youthful grace of her that sets your heart racing. Makes you think that here is everything you missed in your marriage to Janet.

[Kelly]

Good morning, Vera. How's the patient?

[Janice]

I. I just don't know. Mr. Jameson.

[Kelly]

Ellie.

[Janice]

Mr. Jameson.

[Kelly]

Check.

[Janice]

She seems to think the doctor's all wrong. That it's silly to think of heart trouble at her age. Well, that's the way she is. Well, something has to be done about it. She says it's all foolish and that she's going to get up and go back to work.

[Kelly]

I know, I know. I've been over that with her several times.

[Janice]

Well, you ought to talk to her, Mr. Jameson.

[Kelly]

Kelly, what good would it do for me to talk to her?

[Janice]

Well, after all, you are her husband.

[Kelly]

Yeah. Sometimes I wonder.

[Janice]

What do you mean?

[Kelly]

Oh, stupid. Ellie, is that you? Yes, Janice, I'm coming.

[Janice]

It was sweet of you to take me home, Mr. Jameson. Ellie, why do you keep him that I call you Kelly?

[Kelly]

Do I?

[Janice]

Every night you've taken me home. How long has it been now? 3 weeks? 4? 23 days. Did you keep a record of it?

[Kelly]

Uh huh, in the back of my head. If you want details, I can tell you what happened on every one of those days too.

[Janice]

You. You have a very good memory.

[Kelly]

It's easy when you have a reason to remember.

[Janice]

You ought to go on the stage. Professor Jameson's memory act or something. Well, I'd better go in now.

[Kelly]

Oh no, no, no, please, just a minute more.

[Janice]

I've got some work to do. I might go on another case soon.

[Kelly]

Another case? Vera, what are you talking about?

[Janice]

Well, I won't be on this one forever, you know.

[Kelly]

Vera, it's out of the question. She. She's a sick woman alone in the house and. Oh, why lie about it? I think you know why I'm talking this way, Vera.

[Janice]

Yes I do.

[The Whistler]

I love you.

[Janice]

I'd better go in.

[Kelly]

Oh no, no, Vera.

[Janice]

Kelly, please.

[Kelly]

Vera died. I know I know.

[Janice]

If only you were free.

[Kelly]

I'll be free, Vera. I'll.

[Janice]

What do you mean, Kevin?

[Kelly]

I don't know, Vera. I don't know.

[Announcer]

With the prologue of Boiling Point, the Signal Oil Company is bringing you another strange story by the Whistler. Friends, this being the first program of March, I'm reminded of that old saying. In like a lamb, out like a lion. With signal gasoline, it's always that way. It goes into your car as a clear, innocent looking liquid. But once inside your motor, it generates the power of a lion. Lithe, eager power that's quick to spurt ahead in crowded traffic or to send you springing effortlessly up steep grades in high with nary a ping of complaint. But while signal power may be likened to a lion, you'll find that your car's appetite for signal gasoline is gratifyingly small. That's because the extra efficiency which today's Signal gets from your motor naturally means extra mileage. So when it comes right down to it, your speedometer is really the best yardstick of gasoline quality. That's why Signal says to be sure of the tops in gasoline quality. There are just two things to remember. One, in gasoline, it takes extra quality to go farther. And two, Signal is the famous go farther gasoline. And now back to the Whistler.

[The Whistler]

It was strange, Kelly. You didn't know it, but that night in the car, the last night you took Vera home, a murder was taking shape. A murder made of several things. Of your love for Vera, of Jameson and Jameson and $20,000 in the company account. And naturally of Janet. He'd never give you up, Kelly. You're sure of that. And the next day, as you sit alone in your office, you're wondering about alternatives, puzzled, even a little frightened by the sudden impossible that popped into your head as you said good night to Vera.

[Kelly]

I'll be free, Vera.

[Janice]

What do you mean, Kelly?

[The Whistler]

Yes, Kelly, what did you mean? You thrust it out of your mind. Try to concentrate on the stack of letters in your desk. And then, just before noon.

[Mac]

Dear Mrs. Kelly, this is Mac.

[Kelly]

Oh, hi. Hi, Mac. What's on your mind?

[Mac]

I've been trying to reach you people. I may have run onto something. Not sure.

[Kelly]

Well, what is it?

[Mac]

Well, I had dinner last night with one of the lawyers from Mayberry and Company.

[Announcer]

Yeah?

[Mac]

He had a few drinks and sort of got to talking.

[Kelly]

Oh, about what?

[Mac]

A property deal. It seems that Mayberry and Company are going to put up a six story branch on the corner of 84th and Pine.

[Kelly]

What?

[Janice]

What?

[Kelly]

Why, that's way out in the middle of nowhere.

[Mac]

It's straight stuff, Kelly.

[Kelly]

Hey, anybody else know about this?

[Mac]

I don't think so. The whole thing's been on the qt. They picked up that corner for a song. Wish I'd had it.

[Kelly]

Well, never mind that. Maybe the surrounding property will go for the same kind of a song.

[Mac]

That's what I wondered about.

[Kelly]

Why, in a year, maybe 18 months, there'll be a whole community out there. And if we had the lots, why, the sky's the limit.

[Mac]

You think so?

[Kelly]

Oh, no doubt about it. Yeah. I'm glad you called me, Mac.

[Mac]

Yeah, well, I really wanted to talk to Janice, Kelly, if she thinks it sounds.

[Kelly]

Well, Janice isn't well. You know that. Look, we'll have to move fast on this, Mac. I'll tell you what we do.

[Mac]

Wait a minute, Kelly. Not that fast. It's a forty thousand dollar investment. I'm not going ahead until we have her opinion.

[Kelly]

What's the matter with you? I'm running the office now.

[Mac]

Maybe, maybe not. This is a big thing.

[Kelly]

I realize that.

[Mac]

Lucky to have someone like Janice to turn to.

[Kelly]

Yeah, but, Mac, I.

[Mac]

Listen, either talk it over with her or count me out. Kelly, I have a lot of faith.

[Kelly]

Skip it. I'll. I'll get back to you.

[Mac]

Okay. I'll be waiting.

[The Whistler]

Jamis.

[Kelly]

What does he take me for? I'll go ahead with it. Alone, if he doesn't want. James.

[Janice]

Surprise. Am I interrupting something big?

[Kelly]

Well, never mind that. What are you doing here?

[Janice]

I thought I belonged in bed. I know Dr. Allen thought the same thing. But today he had to admit it was all brought on by strain overwork. The rest did it. I'm fit as a fiddle. I'm back on the job, that's all. Aren't you glad?

[Kelly]

Why, of course, naturally. But what about Vera?

[Janice]

What about Vera? Well, I dismissed her. Is that what you mean?

[Kelly]

Well, do you think it was the wise thing to do?

[Janice]

Don't you? Now, now, I'm. Well, I certainly don't need a nurse. Tell me, what are you so excited about? Who are you talking to?

[Kelly]

Oh, it wasn't anything.

[Janice]

Tell me, dad, you're bursting with it. Come on, come on. You got a hot tip. Well, tell me about it, darling. Who's buying what from who? And who thinks we ought to be in on it? I tell you, it's nothing.

[Kelly]

Janice. I, I. All right. It was Mac. Oh, yeah. Listen, Mayberry and company are building at 84th and Pine. We've got a chance to buy the surrounding lots and you're all for it. Who wouldn't be me? Now, wait a minute. Wait a minute. This is the biggest thing that's ever hit this office.

[Janice]

It sure is. And it could knock us flat. No, we're not going into it without examining.

[Kelly]

But there isn't time.

[Janice]

Then it isn't a deal.

[Kelly]

Isn't a deal? Janice, do you realize what you're saying?

[Janice]

So if we can't look before we leap, it's not for us. Kelly. I suppose Mac has it wrong. What if they don't bill? Then we're left with a row of weed covered lots that'll never be worth a thing.

[Kelly]

Yeah, but if they do build, it's.

[Janice]

A mighty big ear. Now, where did Mac hear about it?

[Kelly]

Oh, one of their lawyers. He had dinner with them. The guy started talking.

[Janice]

Why?

[Kelly]

What do you mean, why? He had some drinks, that's why.

[Janice]

Are you sure? How well does Mac know?

[Kelly]

Oh, for the love of.

[Janice]

How do we know it wasn't a setup to get all of us worrying about the 84th street section while they quietly buy up things somewhere else in town?

[Kelly]

Janice. Janice, you have to take chances sometimes.

[Janice]

I've taken plenty of chances. Not with every cent we've got.

[Kelly]

But we might make enough to pull out, to forget the whole business.

[Janice]

If you want to do. Kelly.

[Kelly]

What do you mean? I don't. Just say what's on your mind. You're as suspicious of me as you are of every one of your deals. It's the truth, Janice.

[Janice]

You're wrong, darling. I've always trusted you, even while I was ill. If you think I'm suspicious of you, there must be reason.

[Kelly]

Maybe there is.

[Janice]

No, you don't mean that. Listen, Kelly, it was two years ago today. We bought the cabin.

[Kelly]

Do you remember? Yes. Yes. And we've been up there once since.

[Janice]

Let's go once more, Kelly. Right now. Right away.

[Kelly]

Oh, but what about the Mayberry deal? Mac is waiting to hear from us.

[Janice]

At least till we get back from the cabin. Maybe we can think more clearly up there. And when we come back, we. We may feel differently about a lot of things.

[Kelly]

I don't know. I don't know. I'm supposed to drive out to the Paxtons tomorrow. They want an appraiser on the ranch. Maybe. Maybe he's. Some other time, Janice.

[Janice]

You can go by the Paxton from their place. You can come up the back road to the cabin. I'll drive up the main road, meet you there tomorrow afternoon.

[Kelly]

What time?

[Janice]

2:00, Kelly.

[Kelly]

All right, Janice. 2:00 clock at the tavern. I'll be Waiting for you.

[The Whistler]

At the moment you agree to meet Janice. The kettle is beginning to boil, isn't it, Captain? The first tiny bubbles are rising dangerously close to the rim, threatening to pour over. And there's no way to stop them. It's the same the next day as you drive up to the cabin, grinding up the narrow mountain road. You admit to yourself that the Paxton ranch was just an excuse. That you weren't even thinking of keeping your appointment there. You are thinking of an old wooden bridge. A bridge over a 200 foot drop straight down. A bridge that Janice would have to cross to reach the cabin. What you have to do is simple. A few bolts removed from the right places and the bridge is ready. It loosened ancient support certain to give way under the weight of the next car to cross. You stand at the brink for a moment, looking down, then walk back to the cabin. Approaching the port, you stop to suddenly staring. Max car is there, parked next to yours. You move forward stiffly, slowly, wondering if Mac saw you at the bridge. At the door, you take a deep breath and brace yourself before going inside.

[Announcer]

Well, decided to come back, huh?

[Kelly]

Hello, Mac.

[Narrator]

Didn't think it'd be long.

[Kelly]

You mean you saw me when you drove up?

[Narrator]

No, I saw that good scotch on the table.

[Kelly]

Oh, yeah, yeah. I was just out back checking the wood supply. Hey, what bring you up here, Mac? I should think you'd be in town hot after that deal.

[Narrator]

The town end of. It's okay, Kelly. Under control. All I need is your signature.

[Kelly]

What?

[Narrator]

Tried to catch you at the Paxton place, but you didn't show, so I figured you decided to skip it.

[Kelly]

Oh, yeah, yeah, I thought I could.

[Narrator]

Keep sure, but the Mayberry thing can't. Here, sign this thing and I'll be on my way.

[Kelly]

Oh, Mack, I. I meant to get back to you. I. I talked to Janice and she isn't interested.

[Narrator]

Well, that's not what she told me.

[Kelly]

What, you talked to her this morning?

[Narrator]

She was worried about my tip. But that lawyer is a good friend of mine. She's convinced.

[Kelly]

And she signed already, huh?

[Narrator]

Now you okay?

[Kelly]

Well, sure. Okay. Give me the pen. Right here.

[Narrator]

Yes, sir.

[Kelly]

Well, there you are. And now. Now you better get back. We don't want any slip ups, huh? You came up the back road, didn't you?

[Narrator]

Yeah, but I'll go back by the front road.

[Announcer]

It's fast.

[Kelly]

Oh, I don't think so, Mac. I take the other way.

[Narrator]

No, no, I'm in a hurry.

[Kelly]

But.

[Announcer]

But what?

[The Whistler]

Look, Mac.

[Kelly]

Look, do me a favor before you go, will you? Fella run over these papers on the Paxton property, see if you think my ideas are right.

[Narrator]

I don't know. Didn't Janice go over?

[Kelly]

Oh, yeah, yeah, sure, sure. But Paxton's a pretty tough guy to handle and I'll need all the ideas I can get. And look it over, will you? I'll be right back.

[The Whistler]

You're trembling as you go out of the door, aren't you, Kelly? Because everything is ruined. If you can't talk Mac out of driving down the front road and over the bridge, you've got to stop him or keep him from leaving at all. You wanted to get rid of him, wanted to tell your own story of the accident. But now you have to settle for the next big best thing. If only you can keep him here. If there's something you can do, you glance at his car parked next to yours. Hurry over to it, lift the hood. Won't take a minute to fix it so the car won't start. You just get the hood down again as Mac comes out of the cabin waving the papers.

[Narrator]

Hey, these look fine to me, Kelly. I'd say you'd covered all the angles.

[Kelly]

Oh, you. You think?

[Narrator]

So far as I can see here, I. I better be on my way. Can't let any grand grass grow under our feet on this one.

[Kelly]

Yeah, I guess you're right.

[Narrator]

What's the matter with this thing? I'm sure it's got gas.

[Kelly]

Well, maybe there's vapor lock in the gas line.

[Narrator]

Oh, no. She ought to start.

[Kelly]

I better have a look. Hey, listen, Mac.

[Janice]

Huh?

[Kelly]

Listen. That sounds like a car coming up the front road.

[Narrator]

It is a car. Well, that settles it. I gotta wait a little while now. One way road, isn't it?

[Kelly]

Oh, yeah, yeah, that's right, Mac. You'll just have to wait. I guess it's Janice. She's meeting me here this afternoon. Supposed to get here about two.

[Narrator]

Oh, that reminds me, Kelly, I forgot to.

[Kelly]

Hey, Mac.

[Janice]

Mac, that's not Janice's car.

[Narrator]

No, it isn't, is it? Here, Kelly, I meant to give you this.

[Kelly]

Hey, Mac. Mac, that's Vera's car.

[Narrator]

Okay, so it's Vera. Maybe this.

[Kelly]

Come on, come on. We've got to stop her, Mac. She'll go through the bridge.

[Narrator]

What are you talking about?

[Kelly]

It's a trap. I thought Janice would be driving up and I weakened the supports.

[Narrator]

You planned that?

[The Whistler]

Yes, yes.

[Kelly]

Help me, Mac. Help me. Mirror, mirror.

[Janice]

Now help.

[Announcer]

The Whistler will return in just a moment with a strange ending to tonight's story. Meantime, in place of the little chat about one of signals products or services that we usually have at this point on the Whistler Signal Oil Company is giving this time tonight for an announcement in the interest of public welfare. Once each year in March, we're asked to think of those who, in time of unexpected emergency, need the quick, friendly help that you and I make possible through the Red Cross. Just who are these people? Why, they're the victims of disasters such as earthquake, flood, fire, wreck or epidemic disasters that can strike any one of us any time without warning. Who else? Millions of discharged veterans and their dependents have called on the Red Cross for a helping hand. And don't forget the thousands of hospitalized veterans who may depend on the Red Cross for a long time to come for their recreation and entertainment, their letter writing, shopping and other assistance. These are just a few of the hundreds of ways the Red Cross is called upon to help every day. It's going to take $75 million to answer all the calls for help the Red Cross will receive this year. So give as generously as you can, remembering that you're the lucky one to be in a position to give help rather than to need help. Now, back to the Whistler.

[The Whistler]

Yes, Kelly. It was strange, wasn't it? The way it sneaked up on you. The way the temperature rose slowly, quietly, to the boiling point. Now, with the temperature back at zero, Vera lies dead in the wreckage at the bottom of the gorge beneath the bridge. The bridge whose support you'd hacked away to trap Janus, your wife so you'd be free to marry Vera. And as you stare down in fascinated horror, the words of Mac begin to penetrate the cloud of fog surrounding your brain.

[Narrator]

If you hadn't been so insistent on my going over those Paxton papers, this might not have happened.

[Kelly]

Paxton papers?

[Narrator]

That's right. I had a note for you from Janice.

[Kelly]

Janice?

[Narrator]

Yeah. She decided not to come and ask me to deliver this when I got here. Every time I tried to tell you about it, you interrupted me. Here, you'd better read it while I phone the police.

[Kelly]

The police? Oh, wait a minute, Matt.

[Narrator]

I can't wait.

[Announcer]

Kelly, I've got a report of murder.

[Narrator]

Better take a look at Janice's note.

[Kelly]

Yes, I guess I had Mac. Why not? Dear Kelly, I decided not to meet you at the cabin for a long time. I felt you no longer love me. Now I'm sure. I had it out with Sarah after you left yesterday. At first she denied everything, then admitted the two of you were in love. I was tempted to tell her she couldn't have you. Then I realized you weren't worth the fight. So I'm going to Reno and you'll be free. I have an idea. Vera will join you at the cabin. He's your kind, Kelly. I hope you both will be happy. Janet.

[Announcer]

Let that whistle be your signal for the Signal Oil program. The Whistler each Wednesday night at this same time, brought to you by the Signal Oil Company. Marketers of Signal gasoline and motor oil and fine quality automotive accessories. Signal has asked me to remind you to get the most driving pleasure. Drive at sensible speed, be courteous and obey traffic regulations. It may save a life, possibly your own. Featured in tonight's story were Wally Mayer and Betty Lou Gerson. The Whistler was produced by George W. Allen with story by Joe Pagano and music by Wilbur Hatch, and was transmitted to our troops overseas by the Armed Forces Radio Service. Next Wednesday for a full hour of mystery over most of these stations. Tune in a half hour earlier. Enjoy the Saints as well as the Whistler. Marvin Miller speaking. This is cbs, the Columbia Broadcasting System.

[Janice]

Sa.