May 23, 2025 • 30 mins
Follows a savvy female private investigator as she tackles cases with intelligence and style in a male-dominated field.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Now let's move up to the nineteen fifties with Candy
Madson played by Natalie Masters on the Cable car case.
Do you have a little unsolved.
Speaker 2 (00:11):
Murder in your home?
Speaker 1 (00:13):
Got some blackmail you want to unload? Are you the
victim of some vulgar extortionist? I know a girl you
should meet. She may not be the greatest private eye
in the world, So what if it does cost you
three or four hundred dollars? She sure is sweet, She's
(00:34):
Candy Madson.
Speaker 2 (00:35):
Like to meet her?
Speaker 3 (00:36):
Hello, Candy Madson. Well, I wasn't sure when I looked
in the mirror this morning. Had a rough night? Eh, oh,
there have been rougher one. Look, Boyce, before you get
caught with my receiver down, Who are you? And what
do you want? As to who I am?
Speaker 1 (00:50):
You'll find out very shortly. What I want is.
Speaker 3 (00:52):
You how romantic and over the phone? Yet let me finish.
Speaker 1 (00:56):
What I want is you to lay off that cable
car business.
Speaker 3 (00:59):
Oh that's what I'm afraid I can't. You see. I
was sitting beside him when they discovered his transfer had
been punched sort of permanently. That's how things happen with me.
I get into the craziest routines you see. I used
(01:23):
to be a model. I've been told I have the
proper displacement for such a career, but I found there
wasn't enough money in it. A girl has to maintain
a nice apartment on Telegraph Hills, keeping up clothes to
highlight the uh displacement I mentioned, and also eat, doesn't
she sure? Though I turned private eye, you meet a
(01:43):
better class of people, mostly named Rigor or Mortis. Now
take this cable car deal. It's positively fantastic. But after all,
this is radio, isn't it like to hear how the
whole thing happens? Leave this trip along to act one.
Speaker 1 (02:02):
You're listening to Candy Madson on the Golden Age of
radio theater. Once again notly masters as Candy Matson.
Speaker 3 (02:13):
I wanted to get downtown that morning, but I couldn't
take the f car on Stockton. They were ripping up
about eighty seven streets, which is par for the course.
So I walked down Telegraph Killing up to Mason. That's
where the Bay and Powell cable car stopped.
Speaker 1 (02:29):
Oh board, come on line A show up, shapefully ankles.
We gotta make the firm mount by wooson Tis.
Speaker 3 (02:38):
The car was loaded, and so was the character next
to me. I tried to budge into the seat between
him and the Fisherman's Wharf dowager, but I couldn't quite
make it. I'd forgotten my shoehorn. Say pardon me, but
would you mind reading your Wall Street Journal over that
away a bit? I'd like to sit in here.
Speaker 1 (02:56):
Oh, if you insist a.
Speaker 3 (02:58):
Night of old. He budged his hips a quarter of
an inch and I flipped in, ready for my rocket
ride over the hill and down into town. The trip,
as usual, was uneventful, three smashed fenders and several choice
words I'd never heard before, but I wrote him down.
By the time our Prairie schooner reached the turntable at
(03:20):
Market Street, the crowd on the car had dimmed out,
but Buster was still beside me, his head buried in
common and preferred aunt it's straight. I started to get down.
Speaker 1 (03:31):
Hey, waity, take your boyfriend with you. We're heading back
up the hill.
Speaker 3 (03:35):
Boyfriend allso he looks like the advance man for Lewis
and Clark.
Speaker 2 (03:39):
Out of your life.
Speaker 1 (03:40):
That he fell asleep over a stock and box.
Speaker 3 (03:43):
I looked again, hipsy wasn't asleep. Hipsy was stone cold
dead on market. What a twist, I who always went
on the prowl, bro who done it? Get one literally
tossed into my lap. He just hadn't gone out of
(04:04):
this world serene like. Oh no, it was a steady
slurp slurp of blood trickling down his vest, just north
by northeast of the equator. After a half hour wait
full of questioning my homicide leg men, I knew my
morning shopping tour was rained out. And after all, I
was only going to buy an emerald clip to match
the glint in my eye. Well that would have to wait.
(04:27):
I knew the next step. I grabbed a cab home.
I wasn't long in waiting, right on queue, and if
it was the right queue, it would be Lieutenant Ray
Millard from headquarters, daintily pressing his cuticles against my apartment buzzer.
I was right. Why I've been expecting you?
Speaker 1 (04:45):
Come on in, Millard, you've been expecting me?
Speaker 3 (04:49):
Why Candy na eve, little rover boy, you have a drink?
Speaker 2 (04:53):
No, No, I'm hu mo uh just make it a
double sit down.
Speaker 3 (04:57):
Millard, Let's be civilized. Take off your hats, it is off.
Speaker 2 (05:01):
Oh m, Candy, for once, I'm puzzled. You're just saying yeah,
because it's true. I've checked and rechecked. No matter how
many loose ends I tie together, I still get no
connection between you and Dwight Ellsworth.
Speaker 3 (05:17):
Dwight Who's worth Ellsworth?
Speaker 2 (05:18):
Your extremely limp traveling companion on the cable this morning, Mallard.
Speaker 3 (05:22):
I can give you an angle on that. Yeah, yeah,
the angle being that I didn't know him from Adam
level straight. Oh look, honey, pot this mediocre dialogue is
getting us nowhere. What did you haul your side? Eleven's
in here for? Oh?
Speaker 2 (05:36):
Frankly, I don't know. Uh here, I let up, Weddy
w You're not.
Speaker 3 (05:41):
Just going around in circles, Mallard. You're going around in
double Yeah. Yeah.
Speaker 2 (05:46):
Like I've said before, Candy, you've got a pretty view
from here.
Speaker 3 (05:49):
Oh way, light turn around, I mean from your window.
Speaker 2 (05:54):
I gotta ship down there, just docking?
Speaker 3 (05:56):
Hm?
Speaker 2 (05:57):
Where down there there's romance for yeah, probably just in
from the far east.
Speaker 3 (06:03):
Here's your drink?
Speaker 2 (06:03):
Oh thanks?
Speaker 3 (06:05):
You know it is sort of romantic. Don't you think
it'd be fun to jump on a tramp like that
and whisk off to the South Seas mm on honeymoon. No,
that's what I thought, South Seed. Mallard.
Speaker 2 (06:18):
Don't call me Mallard.
Speaker 3 (06:19):
Why not. We're just playing for ducks, aren't we.
Speaker 2 (06:21):
Uh uh very crisp, playing for ducks, Oh, Candy, we aren't.
Speaker 3 (06:25):
Uh.
Speaker 2 (06:25):
In this case, we've got a dead man in our hands.
Roady too toot shot right through the heart and you
were sitting next to 'em.
Speaker 3 (06:32):
Sure, sure, go on, I'll get out of here. Uh.
If you heard me, lift your hind quarters and get
back to head quarters.
Speaker 2 (06:37):
Candy, I don't like that.
Speaker 1 (06:38):
Look.
Speaker 2 (06:39):
You got something on your mind.
Speaker 3 (06:40):
Yeah, yeah, but you wouldn't recognize it if I told
you about it.
Speaker 2 (06:42):
Uh. One word a warning, don't dabble. You're in deep enough,
got it?
Speaker 3 (06:47):
Got it? Here's your hat, grab it. It's the long Mellard.
See you're around a jail house sometimes five twas. Then
I smell the big fat fee, that great, big, kind
of attractive Mallard. He missed the boat. Oh he saw it,
but he missed it. It was that ship he saw docking.
(07:11):
That was the first time I came out of the
dark sness my Tunerville ride down the hill in the morning.
I needed help, so I called an old friend of mine,
if you can call that help. Rembrandt Watson was his name.
He was a photographer and other things. He spent most
of his life in the dark room, dabbling with bottles.
His negatives and prints were sharp, his thought processes not quite,
(07:33):
but he'd given me assistance in the past, so I
called him.
Speaker 1 (07:37):
Reverron Watson, speaking photography, portraits and camera work.
Speaker 3 (07:41):
Yes, rem brand I know so available.
Speaker 1 (07:43):
For gardening, janitorial service, and babysitting.
Speaker 3 (07:46):
Rembrand it's candy, especially.
Speaker 1 (07:48):
Twenty one ooh.
Speaker 3 (07:50):
Andy, Now you're tuned in.
Speaker 1 (07:52):
Damn you baggage. I was experimenting with a new type.
Speaker 3 (07:54):
Of formula ninety proud for one hundred.
Speaker 1 (07:57):
Hundred and candy. It works beautifully. It's a delightful little
pixie and a big ballet skirt in living room.
Speaker 3 (08:03):
Well leave it there and get over here immediately to
my place. Take a cab. I'll pay for.
Speaker 1 (08:07):
It much rather have a handsome carriage with a brace
of chestnuts.
Speaker 3 (08:11):
You've got him in your head. Now just do as
I say and get over here. Float in Rembrandt and Dadfrey,
(08:31):
where's a man who takes me cloak gloves and topper
You're wearing a sport coat and flax, and you know
I have no man.
Speaker 1 (08:37):
Therein lies or basic trouble, My dear, you have no man. Now,
every man should have a woman. Every woman should have
a man. It's the incontrovertible law of the universe. Candy,
you should have a man. You sure I'm no longer
a man. I'm a sprite transcending the world.
Speaker 3 (08:56):
Stop transcending a moment and come down to earth. We've
got a job to do.
Speaker 1 (09:00):
Poetic how I did it. We've got a job to do.
Uh for money?
Speaker 3 (09:05):
Eventually, Oh, one of those.
Speaker 1 (09:09):
Very well mindy bring me up to date.
Speaker 3 (09:12):
I don't really know if I can or not.
Speaker 1 (09:14):
I'm good and I shall leave and return to me formula.
Speaker 3 (09:17):
Oh no, what I mean is the whole stories are fantastic.
Speaker 2 (09:20):
You never believe I might prima, can they?
Speaker 3 (09:23):
Well? I get on a cable car and sit next
to a character reading the Wall Street Journal.
Speaker 1 (09:28):
A strange coupling a cable car and the Wall Street Journal.
Speaker 3 (09:32):
Yeah, and when we get to the end of the line,
my friend next to me is dead.
Speaker 1 (09:36):
Probably the ride down the hill frightened him today.
Speaker 3 (09:39):
Eh, he looked like a used punchboard. He had a
neat little bullet hole through his heart.
Speaker 1 (09:44):
Candy, my little badgerina friend in the pink skirt is
more believable than what you just told me.
Speaker 3 (09:50):
I told you was fantastic, but none of how it happened. Now.
Sooner or later Mallard is going to come out of
his fog, and what he does, I'm going to be
out of a fee.
Speaker 1 (09:59):
See that's so a dozen exists, mar Preter, it.
Speaker 3 (10:02):
Will if my hunt is right. Now, here's what I
want you to do. Go down to the Chronicle and
get all the backfiles you can on Southern Island Steamship Company.
Speaker 1 (10:09):
The Chronicle a pleasure. I have a few questionable companions
there who indulge in formulas.
Speaker 3 (10:16):
Stay away from those companions and just do as I ask.
Speaker 2 (10:19):
Very well.
Speaker 1 (10:19):
Might have I go, but entirely against my will?
Speaker 3 (10:24):
And where will you be around town, Rembred. I've got
to do some legwork.
Speaker 1 (10:28):
Let me assure you, Candy, you have just the right
equipment for it too.
Speaker 3 (10:48):
And what adjoint I'll bet the amount slip scullets on
the walls instead of deer heads. Well, come on, Candy,
get your tools out and screw up your courage.
Speaker 2 (11:03):
Uh me, that's what'll it be.
Speaker 3 (11:05):
There's nothing right at the moment. Accept information, information, water
both pray.
Speaker 1 (11:10):
What do you wanna know?
Speaker 3 (11:11):
Uh? I'm I'm looking for the purser off the Dwight Sonia.
I hear he does his short duty in here.
Speaker 1 (11:15):
Uh, that's right, named Campbell.
Speaker 2 (11:17):
I'd head on the table all of their bongs to him.
Speaker 3 (11:19):
MM. Thanks huh hello sailor pay Campbell? Wake up? Mm, Holly,
you all come on, snaper out of it?
Speaker 4 (11:34):
MM?
Speaker 2 (11:35):
Who are you you want?
Speaker 3 (11:37):
My name is Candy Matts, and I wanna ask a question.
Speaker 4 (11:39):
Oh, I'm only drinking.
Speaker 3 (11:41):
A not until I find out what I wanna know.
Dwight Ellsworth was murdered this morning.
Speaker 2 (11:46):
Huh huh.
Speaker 3 (11:48):
I thought that would bring you to huh huh.
Speaker 1 (11:50):
Oh, that's the nicest news I've heard since VJ Day.
Speaker 2 (11:54):
What do you wanna know?
Speaker 3 (11:55):
Where did his brother live?
Speaker 2 (11:57):
That's stuge. He's got about as.
Speaker 3 (11:59):
Much a ward real never mind, I wanna find him.
He seems to keep his ware about the Secret is
an atomic stockpile.
Speaker 2 (12:06):
The whole family ought to be knocked off.
Speaker 1 (12:09):
He he lives out of secret twenty five dash Road.
Speaker 3 (12:12):
Good a bartender by my friend little reward, and one
for yourself too. Oh so far, so good. Oh how
did I know about Campbell the purser? Let you see,
I have quite a few friends, most of whom my
(12:33):
pel Mallard doesn't approve. So I grabbed a cab and
navigated the driver out toward Diglim. It was so foggy
I couldn't see the meters, but I paid him anyway.
He gave him a neutral tip and dismissed him. There
it was twenty five dashal roads, an austere looking cabania,
one that dared you to ring the front doorbell. I dared.
(12:56):
I had the awful feeling I should have been around
at the side door delivering hand laundry. Good easy, Uh,
except for the fog. Yes, uh, is mister Ellsworth in
yes tears.
Speaker 2 (13:09):
But I'm afraid I must ask you to leave there.
Speaker 3 (13:13):
There's been a death.
Speaker 4 (13:14):
In the family.
Speaker 3 (13:15):
I know That's why I'm here. Come in, please say
walk this way? Please. Oh I'm afraid I couldn't even
if I lived to be a hundred Mind your tongue,
young lady. You're in the house of an Elsworth. Oh
weighty toity. The old babe had delusions of grandeur. Well,
(13:36):
no need to get up at eat with me. I've
mingled with royalty. I once played a bit part in
Rita Hayward's picture. But this old gal was really something.
She couldn't have been more than forty five, yet looked
like something out of the barracks of Wimpole Street. She
ushered me into a large ceiling living room, and there
on the divan was my boy, his head lowered into
his hands and quite obviously touched quite a Roger. This
(14:01):
young lady is here to see you. I don't believe
you mentioned your name, Candy met Madson.
Speaker 2 (14:08):
Are you in shipping too?
Speaker 3 (14:09):
Mm of a sort? Oh, well, this is my wife,
miss Madson.
Speaker 2 (14:14):
You'll pardon me if I don't seem hospitable. But my
brother was murdered this morning.
Speaker 3 (14:21):
I know I was sitting next to him when it happened.
You were.
Speaker 2 (14:25):
Don't talk to her, Roger. I don't trust her.
Speaker 1 (14:27):
This whole thing is a threat of some kind.
Speaker 3 (14:29):
No, it's not a threat. It's a business proposition. I'll
come right to the point. You see, I'm a private detective. Oh,
one of those persons. Put your nose back down, mister Ellsworth.
I wanna get the show on the road. Yes, I'm
a private detective and I'm in a spot too. The
police think I'm connected with the case in some way,
(14:49):
so I'm here for a double purpose. I'm Madison Roger.
I forbid you to speak with this this woman too late,
missus Ellsworth. Now this is it. I'm in this business
to make mine. Give me a check now for three
hundred dollars, and I'll find out who killed your brother,
and I'll also clear myself. Roger, I'm warning you naturally.
You wanna see the killer of your brother brought to justice,
(15:11):
don't you, mister Ellsworth, don't you alright?
Speaker 2 (15:15):
Yes, yes, here are I'll make a check out right now.
Speaker 3 (15:19):
Thanks. Just make it out to Candy Mets payable today.
The lovely collection of guns you have, mister Elswick, you hunt.
Speaker 1 (15:30):
Much m o oh, yes, yes, my wife and I
are quite fond of shooting that.
Speaker 3 (15:35):
She's an excellent shot.
Speaker 2 (15:37):
Ah here you are.
Speaker 3 (15:39):
Think I'll be in touch with you sometime tomorrow. Mister
e didn't say a word. She just stood there against
the fireplace and shot sparks through me. After I waved
the check in the air a few times to dry
the inks she showed me to the door. Very clever,
aren't you taking advantage.
Speaker 1 (15:57):
Of a weak willed ma'am?
Speaker 3 (15:59):
I wa who made him that way? Don't cash that check,
I mean it. Don't cash that check, missus. El's worth
three hundred dollars. I need the money badly. I need
some new roles for my player piano.
Speaker 1 (16:18):
You're listening to Candy Matson on the Golden Age of
Radio theater once again, Natley Masters as Candy Matson.
Speaker 3 (16:30):
I buzzed back downtown. I wanted to cash that check
in a hurry, and you were only one person who
would give me the crisp green at that hour of
the night. Uncle Charlie, the honest miller who ran the
chase room. Uncle Charlie, in the strict sense of the word,
was a gentleman. So the tender little pat on my cheek.
He cashed the check and I went up Telegraph Hill
and home. All of a sudden, my eyes did a
(16:52):
couple of inverted loops. All my lights were on. Who's
in here? All right? Speaker Gramdy, the.
Speaker 1 (17:02):
Light of my life, come join our party.
Speaker 3 (17:04):
Oh rem Brant, you gave me a scare.
Speaker 2 (17:06):
You don't scary? He see either Candy got something on
your mind?
Speaker 3 (17:09):
And Mallard, well, how a ducky a midnight? Soare what
goes on here?
Speaker 2 (17:14):
Chicken you had in the ice box?
Speaker 1 (17:15):
It is delicious?
Speaker 3 (17:16):
Was delicious? Looks like you've done everything but eat the bone.
Speaker 1 (17:19):
Yeah, vintage is suburb too, Candy, have a little formula?
Speaker 3 (17:22):
No, now, come on, what gives?
Speaker 2 (17:24):
That's my line? Candy?
Speaker 1 (17:25):
What gibbs?
Speaker 2 (17:26):
You ran on something and I want to know about it?
Speaker 3 (17:28):
Oh, Mellard, believe me, it's nothing. I'm just trying to
parley a couple of hunches tall hunches.
Speaker 2 (17:33):
Are all those clippings on the south Sea Island Steamship Company?
What are they for?
Speaker 1 (17:37):
I meant to tell you, Candy, I had remarkable success
to the chronicle has everything you want on that steamship line.
Speaker 3 (17:43):
Now, rem Brandt? Did you have to tell the whole world?
Speaker 2 (17:46):
Candy?
Speaker 1 (17:46):
Who tied me?
Speaker 2 (17:47):
Unnecessarily?
Speaker 1 (17:48):
I merely had the clippings on the table. Ran the
hawkshaw here walks in on me.
Speaker 2 (17:52):
Okay, Candy take it from there.
Speaker 3 (17:54):
I can't tell you yet, Mellard. Nothing makes sense yet.
I've got about four loose ends that need to I'd.
Speaker 2 (18:01):
Only put two men to following you. I'd save myself
a lot of great two days, that's.
Speaker 3 (18:05):
All, malar. Just give me two days. I think I'll
have it for you, all right.
Speaker 2 (18:09):
But don't forget the boys down at Turney Street headquarters.
Don't love you the way I do. Two days, no
more or less. I gotta go. Thanks for the foul chicken.
Speaker 3 (18:20):
Ah very gay. Here Remembrad, here's fifty dollars for you.
Speaker 1 (18:24):
Fifty my word, what's all this talk about the recession?
Speaker 3 (18:30):
Go on and take it, go someplace and stabilize the economy.
I whipped through the old newspaper clipping it was all there.
Fire at sea on ellsworthship. Two seamen lost off ellsworthship
(18:52):
near Honolulu, south Sea Island Line ship loses ruddering storm.
On and on it went over a period of three years.
I threw the papers back on the table, helped myself
to some of Rembrandt's formula, turned down the lights, and
went out on the porch. The day was dark except
for an occasional path of light from a passing freighter.
(19:13):
I sat down to think and think. Then quick click,
just like that, two little tumblers in my mind fell
into place. Only one thing to do and that was
to do it the hard way. The next morning, just
as the Ferry Building siren was announcing eight o'clock to
downtown San Francisco, I got Rembrandt on the phone.
Speaker 1 (19:32):
Can't they What on earth you're calling me for it
this hour?
Speaker 3 (19:36):
Can't help it. There's work to be done.
Speaker 1 (19:37):
I did my work last night so extremely well that
I'm just going to bed now.
Speaker 3 (19:42):
Sorry, you'll just have to delay your sack time. Meet
me at the corner of Mason and Union in ten minutes,
right where the cable car stops.
Speaker 1 (19:48):
Now, what are we going to do?
Speaker 3 (19:50):
We're going to take a cable car ride.
Speaker 1 (19:52):
I'm one of those bouncing, junky little contraptions. Not the
way I feel this morning.
Speaker 3 (19:58):
Oh yes, you are Union and Mason in ten minutes. Alright, Rembrandt,
get on.
Speaker 1 (20:12):
This is the silliest thing you've ever done in Candy.
Speaker 3 (20:15):
Maybe we'll see blight. Ellsworth was already on the car
when I got on.
Speaker 2 (20:21):
Here and alive awkward hotel.
Speaker 3 (20:24):
He mumbled something when I asked him to move over.
Speaker 1 (20:26):
Downs logical, although I once remember stumbling into a corpse
mumble for hours after it been liquor.
Speaker 3 (20:32):
At it mm Rambrandt was and in one of his
rambling moods. So I let him alone. The car pulled
over Mason Street, down Washington, and then swung on to
Powelling up the hill. Now I watched the buildings and
apartments carefully. It was a little red brick building. Now
a big apartment house, a woman's residence, club, and so on.
Then over the hill, more apartments, and the possibilities petered
(20:53):
out of Bush. Well, only one thing to do, canvas
all those blocks between Washington and Bush.
Speaker 1 (21:00):
Okay, Rembrandt, Off the car, sprang just copse I ever
did see?
Speaker 3 (21:04):
Uh?
Speaker 1 (21:04):
What'd you say, Candy?
Speaker 3 (21:05):
Off the car?
Speaker 1 (21:06):
Come on now what I just want to get to bed.
Speaker 3 (21:09):
Well, not for a long time, boy Blue. Now here's
the pitch. You take this building and I'll take the next. Well,
alternate as we go along. Ask if a tall woman
with a horsey face and dress something like Queen Victoria
ever lived around here.
Speaker 2 (21:22):
Oh, Candy, I know.
Speaker 3 (21:25):
It sounds wild, but it's got to be done.
Speaker 1 (21:27):
House with a tall face and dress something right?
Speaker 3 (21:29):
Well, Rembrandt, look at me. Get that smoke out of
your brain. A tall woman with a horsey face and
dress something like Queen Victoria? You got it, Got it okay,
get going. It was slow and tiresome, and the answers
I got.
Speaker 1 (21:48):
A tall gal dressed like Queen Victoria.
Speaker 3 (21:51):
Oh, sister, that was about.
Speaker 1 (21:55):
Par No nobody liked that.
Speaker 2 (21:57):
I ever left here.
Speaker 3 (21:58):
Are you positive fetch that description?
Speaker 1 (22:02):
Yeah, I'm positive.
Speaker 3 (22:04):
The morning wore on, and so did we. We were
over on the other side of California Street now, so
we stopped and had a bite to eat. I had
pickles with mine, and Rembrandt had olives on tooth picks
in a glass. And again we picked up the hunt.
My heart was suddenly making with a rumba. There just
on the other side of Clay, in front of a
(22:25):
three story red brick house with a police squad car.
There was a little knot of people gathered around, daintily
lifting my crinoline. I didn't mel patten down the block
and up the front steps. I didn't have any trouble
finding the room. The door was wide open and there
was a body on the floor. Four representatives of the
law were buzzing back and forth. One of the buzzies
was Mallared.
Speaker 2 (22:45):
Oh, my little ambassador of violence. Why is it you're
always around the extremely dead candy.
Speaker 3 (22:51):
I've got no time to brandy the ad libs, mallared.
Who is it?
Speaker 2 (22:54):
I don't know yet, no identification.
Speaker 3 (22:56):
Let me see h a pen pal.
Speaker 2 (23:00):
Maybe I was right.
Speaker 3 (23:03):
I knew it, it knew what You're right. He was
a pen pal. He wrote me a check last night
for three hundred dollars. His name is Roger Ellsworth.
Speaker 2 (23:17):
Very interesting. Must be open season on Ellsworth's. Okay, candy,
time you filled in in the.
Speaker 3 (23:22):
Blanks start Wait a minute, I wanna look at the
window over here, Mallard. There are a couple of younger
Ellsworths living around town here. I'm sure you'd like to
see them. Stay healthy. Uh, get out to twenty five,
dash a road and pick up an old crone also
named Ellsworth. Five will get you twenty. She's the one
(23:42):
you're after.
Speaker 2 (23:43):
Uh, alright, but you get back to your place and
stay put. Understand. I wanna have a moral illuminating chat
with you.
Speaker 3 (23:51):
Oh, Mallard. I'm I'm just like putty in your hands.
The moon was coming up over Diablo and spraying a
path of silver on the bay. Still low, Mallard, I
wondered what could be wrong?
Speaker 2 (24:11):
This was it?
Speaker 3 (24:13):
This was a showdown.
Speaker 1 (24:15):
Have you seen a tall face with a harsey woman?
Speaker 3 (24:17):
Ohm?
Speaker 1 (24:18):
Brand Day, I'm so mad at you I could u
oh see.
Speaker 3 (24:24):
Now, what's the matter?
Speaker 1 (24:25):
What's the matter? She says, I've been rolling all over
Powell Street ringing doorbells.
Speaker 2 (24:32):
Where did you go?
Speaker 1 (24:33):
Your traitorm?
Speaker 3 (24:34):
Bread? I'm sorry? And in the excitement I forgot all
about you?
Speaker 1 (24:38):
What the excitement?
Speaker 3 (24:39):
There's been another murder in a.
Speaker 1 (24:41):
Moment, there's going to be another. I'm looking right at you.
Speaker 2 (24:45):
Can they cool?
Speaker 3 (24:46):
Uh? Have some formula and stop snorting steam?
Speaker 1 (24:50):
What was that your window?
Speaker 2 (24:52):
Candy?
Speaker 3 (24:52):
Just shut it? What? Oh? Wait a minute, that window
didn't shutter by itself. Could get the lights rim Brant, Now,
duck down here. It's sort of a silly game we're playing. Now,
this isn't a game, believe me, Andy, Andy?
Speaker 1 (25:06):
You all right? Sits the gum shoe?
Speaker 3 (25:09):
Yeah, I'm all right? Where are you? Mallard?
Speaker 2 (25:11):
Over here?
Speaker 3 (25:12):
Two houses over?
Speaker 1 (25:13):
We've got your girlfriend papped on the roof next to you.
Don't move and stay over. Okay, all right, this is Elsworth.
Speaker 4 (25:21):
Are you coming down peacefully or do we have to play?
Speaker 3 (25:23):
Pop her off? I'm not coming down until I get
that Candy night she did it. She bossed me to
kill my own brother in law. Of it's your own wife.
Speaker 2 (25:32):
Okay, loosen her up a bit, boys, better though off
of July.
Speaker 3 (25:37):
I keep your head down, rim Branton, step up? Was up?
Speaker 1 (25:40):
Why did it come down?
Speaker 3 (25:41):
This is elfwork? No, I'm not that. She's the woman.
She's roaring my whole life. Oh, my son, just because
of her snoopy can pry. She's going to die. I
tell you.
Speaker 2 (26:11):
It was a miracle. Candy. You must have moved slightly
just as she shot at you.
Speaker 3 (26:16):
It was too close. I didn't tell you she's dead.
Speaker 2 (26:19):
Oh, decidedly. I think she was dead before she hit
the ground. That one shot got her. We went out
to her house and she was just driving off when
we got there. We trailed her up to North Beach,
lost her for a block, and then spotted a car
at the top of the hill.
Speaker 3 (26:31):
Here.
Speaker 2 (26:32):
We arrived just as she was getting on the roof
next door. Okay, now you tell me your little dream.
Speaker 3 (26:38):
Well, it was that ship docking that set my wheels
going around. The name Elsworth started burning in back somewhere.
You saw the clippings we dug up. Uh the south
Sea Island steamship lines were slowly being sabotaged. I did
some checking, and I I found that the insurance companies
weren't going to renew.
Speaker 2 (26:55):
Yeah, I don't know why I didn't tie that in sooner.
Speaker 3 (26:58):
Oh, it's just that you have too many things on
your mind, my malady. I went out to the place
on Dashall Road, and when I left, I was pretty
sure the old girl had knocked off her brother in law.
Why well, for several reasons. One, she was a venomous
old witch. Two, you've never seen such a collection of
guns in all your life. And her husband admitted she
was a darn good shot. I also saw one little
(27:21):
pot gun that was very interesting. It had a silencer
on it.
Speaker 2 (27:25):
Uh huh. That was the one she used on you tonight.
Speaker 3 (27:27):
And also the one she used on Dwight Illsworth. From
the window of that apartment where you found her husband,
I didn't all go back there. You'll see a nice
little bullet hole in the curtain with burned powder all
around him.
Speaker 2 (27:38):
Now, don't tell me that.
Speaker 3 (27:40):
Yes, I'm telling you that she rented that place knowing
that her brother in law always went downtown on a
certain cable car. She waited that morning until we were
riding by and she plussed him. I have now heard
everything and the reason. Dwight Illsworth, rather than fighting the
insurance companies, had decided to sell his steamship lines. But
the old gal thought she beat him to the punch
(28:01):
by knocking him off. The steamship company would then fall
into her husband's hands.
Speaker 2 (28:05):
Ah, what about her husband?
Speaker 3 (28:08):
After he gave me the check and I left, they
evidently had a fearful row and she spilled the beans.
Somehow she jured him down to that place on Powell
and gave him some lead poisoning too. And that's all
there is to it.
Speaker 2 (28:20):
Her, Candy. I wish you'd have told me all these
things earlier. We might have been able to save the
life of Roger Ellsworth.
Speaker 3 (28:26):
M It wouldn't do any good because if she hadn't
killed him. I was going to what MM. While I
was waiting for you to get here, the phone rang.
It was Uncle Charlie, the honest miller. That no good
Roger Ellsworth. His check bounced like a brand new golf ball.
What's so funny? Mallard?
Speaker 2 (28:46):
Listening again to the further adventures of Candy Matson, Girl Sucker.
Speaker 4 (28:54):
And that's Candy Matson. I'm the cable car case on
the Golden Age of Radio theater for you, Candy Mats
and fans, And based on our listener letters and comments,
there are quite a number.
Speaker 1 (29:04):
Of you you might be interested in knowing that.
Speaker 4 (29:07):
Candy Madson, played by Natalie Masters, was written by Monty Masters,
Natalie's husband in real life. The program was produced in
San Francisco and lasted until May twenty first, nineteen fifty one.
This might be unfair to give away the ending of
the series, but maybe if you don't want to know,
plug your ears up and I won't tell you you know.
(29:27):
In each program, Candy is obviously somewhat taken by the
San Francisco Policeman Ray Mallard played by Henry Left and
at the final program of the series, the policeman asked
Candy to marry him, and then he announces that it
would be Candy's last case. And it was, and the
(29:50):
show went off the air and left a string of
broken hearts, including mine. I was really taken with Candy
Madson and I was hoping that she would wait for
me to grow up and jump with there. And that's
it for this Golden Age of radio theater program Victor
rives here. I hope I didn't leave a whole trail
of broken hearts with that information, inviting you to join
us next time we turned back the clock to relive
(30:11):
the golden moments of radios yesteryear.
Speaker 3 (30:13):
Bye Bye,
Now let's move up to the nineteen fifties with Candy
Madson played by Natalie Masters on the Cable car case.
Do you have a little unsolved.
Speaker 2 (00:11):
Murder in your home?
Speaker 1 (00:13):
Got some blackmail you want to unload? Are you the
victim of some vulgar extortionist? I know a girl you
should meet. She may not be the greatest private eye
in the world, So what if it does cost you
three or four hundred dollars? She sure is sweet, She's
(00:34):
Candy Madson.
Speaker 2 (00:35):
Like to meet her?
Speaker 3 (00:36):
Hello, Candy Madson. Well, I wasn't sure when I looked
in the mirror this morning. Had a rough night? Eh, oh,
there have been rougher one. Look, Boyce, before you get
caught with my receiver down, Who are you? And what
do you want? As to who I am?
Speaker 1 (00:50):
You'll find out very shortly. What I want is.
Speaker 3 (00:52):
You how romantic and over the phone? Yet let me finish.
Speaker 1 (00:56):
What I want is you to lay off that cable
car business.
Speaker 3 (00:59):
Oh that's what I'm afraid I can't. You see. I
was sitting beside him when they discovered his transfer had
been punched sort of permanently. That's how things happen with me.
I get into the craziest routines you see. I used
(01:23):
to be a model. I've been told I have the
proper displacement for such a career, but I found there
wasn't enough money in it. A girl has to maintain
a nice apartment on Telegraph Hills, keeping up clothes to
highlight the uh displacement I mentioned, and also eat, doesn't
she sure? Though I turned private eye, you meet a
(01:43):
better class of people, mostly named Rigor or Mortis. Now
take this cable car deal. It's positively fantastic. But after all,
this is radio, isn't it like to hear how the
whole thing happens? Leave this trip along to act one.
Speaker 1 (02:02):
You're listening to Candy Madson on the Golden Age of
radio theater. Once again notly masters as Candy Matson.
Speaker 3 (02:13):
I wanted to get downtown that morning, but I couldn't
take the f car on Stockton. They were ripping up
about eighty seven streets, which is par for the course.
So I walked down Telegraph Killing up to Mason. That's
where the Bay and Powell cable car stopped.
Speaker 1 (02:29):
Oh board, come on line A show up, shapefully ankles.
We gotta make the firm mount by wooson Tis.
Speaker 3 (02:38):
The car was loaded, and so was the character next
to me. I tried to budge into the seat between
him and the Fisherman's Wharf dowager, but I couldn't quite
make it. I'd forgotten my shoehorn. Say pardon me, but
would you mind reading your Wall Street Journal over that
away a bit? I'd like to sit in here.
Speaker 1 (02:56):
Oh, if you insist a.
Speaker 3 (02:58):
Night of old. He budged his hips a quarter of
an inch and I flipped in, ready for my rocket
ride over the hill and down into town. The trip,
as usual, was uneventful, three smashed fenders and several choice
words I'd never heard before, but I wrote him down.
By the time our Prairie schooner reached the turntable at
(03:20):
Market Street, the crowd on the car had dimmed out,
but Buster was still beside me, his head buried in
common and preferred aunt it's straight. I started to get down.
Speaker 1 (03:31):
Hey, waity, take your boyfriend with you. We're heading back
up the hill.
Speaker 3 (03:35):
Boyfriend allso he looks like the advance man for Lewis
and Clark.
Speaker 2 (03:39):
Out of your life.
Speaker 1 (03:40):
That he fell asleep over a stock and box.
Speaker 3 (03:43):
I looked again, hipsy wasn't asleep. Hipsy was stone cold
dead on market. What a twist, I who always went
on the prowl, bro who done it? Get one literally
tossed into my lap. He just hadn't gone out of
(04:04):
this world serene like. Oh no, it was a steady
slurp slurp of blood trickling down his vest, just north
by northeast of the equator. After a half hour wait
full of questioning my homicide leg men, I knew my
morning shopping tour was rained out. And after all, I
was only going to buy an emerald clip to match
the glint in my eye. Well that would have to wait.
(04:27):
I knew the next step. I grabbed a cab home.
I wasn't long in waiting, right on queue, and if
it was the right queue, it would be Lieutenant Ray
Millard from headquarters, daintily pressing his cuticles against my apartment buzzer.
I was right. Why I've been expecting you?
Speaker 1 (04:45):
Come on in, Millard, you've been expecting me?
Speaker 3 (04:49):
Why Candy na eve, little rover boy, you have a drink?
Speaker 2 (04:53):
No, No, I'm hu mo uh just make it a
double sit down.
Speaker 3 (04:57):
Millard, Let's be civilized. Take off your hats, it is off.
Speaker 2 (05:01):
Oh m, Candy, for once, I'm puzzled. You're just saying yeah,
because it's true. I've checked and rechecked. No matter how
many loose ends I tie together, I still get no
connection between you and Dwight Ellsworth.
Speaker 3 (05:17):
Dwight Who's worth Ellsworth?
Speaker 2 (05:18):
Your extremely limp traveling companion on the cable this morning, Mallard.
Speaker 3 (05:22):
I can give you an angle on that. Yeah, yeah,
the angle being that I didn't know him from Adam
level straight. Oh look, honey, pot this mediocre dialogue is
getting us nowhere. What did you haul your side? Eleven's
in here for? Oh?
Speaker 2 (05:36):
Frankly, I don't know. Uh here, I let up, Weddy
w You're not.
Speaker 3 (05:41):
Just going around in circles, Mallard. You're going around in
double Yeah. Yeah.
Speaker 2 (05:46):
Like I've said before, Candy, you've got a pretty view
from here.
Speaker 3 (05:49):
Oh way, light turn around, I mean from your window.
Speaker 2 (05:54):
I gotta ship down there, just docking?
Speaker 3 (05:56):
Hm?
Speaker 2 (05:57):
Where down there there's romance for yeah, probably just in
from the far east.
Speaker 3 (06:03):
Here's your drink?
Speaker 2 (06:03):
Oh thanks?
Speaker 3 (06:05):
You know it is sort of romantic. Don't you think
it'd be fun to jump on a tramp like that
and whisk off to the South Seas mm on honeymoon. No,
that's what I thought, South Seed. Mallard.
Speaker 2 (06:18):
Don't call me Mallard.
Speaker 3 (06:19):
Why not. We're just playing for ducks, aren't we.
Speaker 2 (06:21):
Uh uh very crisp, playing for ducks, Oh, Candy, we aren't.
Speaker 3 (06:25):
Uh.
Speaker 2 (06:25):
In this case, we've got a dead man in our hands.
Roady too toot shot right through the heart and you
were sitting next to 'em.
Speaker 3 (06:32):
Sure, sure, go on, I'll get out of here. Uh.
If you heard me, lift your hind quarters and get
back to head quarters.
Speaker 2 (06:37):
Candy, I don't like that.
Speaker 1 (06:38):
Look.
Speaker 2 (06:39):
You got something on your mind.
Speaker 3 (06:40):
Yeah, yeah, but you wouldn't recognize it if I told
you about it.
Speaker 2 (06:42):
Uh. One word a warning, don't dabble. You're in deep enough,
got it?
Speaker 3 (06:47):
Got it? Here's your hat, grab it. It's the long Mellard.
See you're around a jail house sometimes five twas. Then
I smell the big fat fee, that great, big, kind
of attractive Mallard. He missed the boat. Oh he saw it,
but he missed it. It was that ship he saw docking.
(07:11):
That was the first time I came out of the
dark sness my Tunerville ride down the hill in the morning.
I needed help, so I called an old friend of mine,
if you can call that help. Rembrandt Watson was his name.
He was a photographer and other things. He spent most
of his life in the dark room, dabbling with bottles.
His negatives and prints were sharp, his thought processes not quite,
(07:33):
but he'd given me assistance in the past, so I
called him.
Speaker 1 (07:37):
Reverron Watson, speaking photography, portraits and camera work.
Speaker 3 (07:41):
Yes, rem brand I know so available.
Speaker 1 (07:43):
For gardening, janitorial service, and babysitting.
Speaker 3 (07:46):
Rembrand it's candy, especially.
Speaker 1 (07:48):
Twenty one ooh.
Speaker 3 (07:50):
Andy, Now you're tuned in.
Speaker 1 (07:52):
Damn you baggage. I was experimenting with a new type.
Speaker 3 (07:54):
Of formula ninety proud for one hundred.
Speaker 1 (07:57):
Hundred and candy. It works beautifully. It's a delightful little
pixie and a big ballet skirt in living room.
Speaker 3 (08:03):
Well leave it there and get over here immediately to
my place. Take a cab. I'll pay for.
Speaker 1 (08:07):
It much rather have a handsome carriage with a brace
of chestnuts.
Speaker 3 (08:11):
You've got him in your head. Now just do as
I say and get over here. Float in Rembrandt and Dadfrey,
(08:31):
where's a man who takes me cloak gloves and topper
You're wearing a sport coat and flax, and you know
I have no man.
Speaker 1 (08:37):
Therein lies or basic trouble, My dear, you have no man. Now,
every man should have a woman. Every woman should have
a man. It's the incontrovertible law of the universe. Candy,
you should have a man. You sure I'm no longer
a man. I'm a sprite transcending the world.
Speaker 3 (08:56):
Stop transcending a moment and come down to earth. We've
got a job to do.
Speaker 1 (09:00):
Poetic how I did it. We've got a job to do.
Uh for money?
Speaker 3 (09:05):
Eventually, Oh, one of those.
Speaker 1 (09:09):
Very well mindy bring me up to date.
Speaker 3 (09:12):
I don't really know if I can or not.
Speaker 1 (09:14):
I'm good and I shall leave and return to me formula.
Speaker 3 (09:17):
Oh no, what I mean is the whole stories are fantastic.
Speaker 2 (09:20):
You never believe I might prima, can they?
Speaker 3 (09:23):
Well? I get on a cable car and sit next
to a character reading the Wall Street Journal.
Speaker 1 (09:28):
A strange coupling a cable car and the Wall Street Journal.
Speaker 3 (09:32):
Yeah, and when we get to the end of the line,
my friend next to me is dead.
Speaker 1 (09:36):
Probably the ride down the hill frightened him today.
Speaker 3 (09:39):
Eh, he looked like a used punchboard. He had a
neat little bullet hole through his heart.
Speaker 1 (09:44):
Candy, my little badgerina friend in the pink skirt is
more believable than what you just told me.
Speaker 3 (09:50):
I told you was fantastic, but none of how it happened. Now.
Sooner or later Mallard is going to come out of
his fog, and what he does, I'm going to be
out of a fee.
Speaker 1 (09:59):
See that's so a dozen exists, mar Preter, it.
Speaker 3 (10:02):
Will if my hunt is right. Now, here's what I
want you to do. Go down to the Chronicle and
get all the backfiles you can on Southern Island Steamship Company.
Speaker 1 (10:09):
The Chronicle a pleasure. I have a few questionable companions
there who indulge in formulas.
Speaker 3 (10:16):
Stay away from those companions and just do as I ask.
Speaker 2 (10:19):
Very well.
Speaker 1 (10:19):
Might have I go, but entirely against my will?
Speaker 3 (10:24):
And where will you be around town, Rembred. I've got
to do some legwork.
Speaker 1 (10:28):
Let me assure you, Candy, you have just the right
equipment for it too.
Speaker 3 (10:48):
And what adjoint I'll bet the amount slip scullets on
the walls instead of deer heads. Well, come on, Candy,
get your tools out and screw up your courage.
Speaker 2 (11:03):
Uh me, that's what'll it be.
Speaker 3 (11:05):
There's nothing right at the moment. Accept information, information, water
both pray.
Speaker 1 (11:10):
What do you wanna know?
Speaker 3 (11:11):
Uh? I'm I'm looking for the purser off the Dwight Sonia.
I hear he does his short duty in here.
Speaker 1 (11:15):
Uh, that's right, named Campbell.
Speaker 2 (11:17):
I'd head on the table all of their bongs to him.
Speaker 3 (11:19):
MM. Thanks huh hello sailor pay Campbell? Wake up? Mm, Holly,
you all come on, snaper out of it?
Speaker 4 (11:34):
MM?
Speaker 2 (11:35):
Who are you you want?
Speaker 3 (11:37):
My name is Candy Matts, and I wanna ask a question.
Speaker 4 (11:39):
Oh, I'm only drinking.
Speaker 3 (11:41):
A not until I find out what I wanna know.
Dwight Ellsworth was murdered this morning.
Speaker 2 (11:46):
Huh huh.
Speaker 3 (11:48):
I thought that would bring you to huh huh.
Speaker 1 (11:50):
Oh, that's the nicest news I've heard since VJ Day.
Speaker 2 (11:54):
What do you wanna know?
Speaker 3 (11:55):
Where did his brother live?
Speaker 2 (11:57):
That's stuge. He's got about as.
Speaker 3 (11:59):
Much a ward real never mind, I wanna find him.
He seems to keep his ware about the Secret is
an atomic stockpile.
Speaker 2 (12:06):
The whole family ought to be knocked off.
Speaker 1 (12:09):
He he lives out of secret twenty five dash Road.
Speaker 3 (12:12):
Good a bartender by my friend little reward, and one
for yourself too. Oh so far, so good. Oh how
did I know about Campbell the purser? Let you see,
I have quite a few friends, most of whom my
(12:33):
pel Mallard doesn't approve. So I grabbed a cab and
navigated the driver out toward Diglim. It was so foggy
I couldn't see the meters, but I paid him anyway.
He gave him a neutral tip and dismissed him. There
it was twenty five dashal roads, an austere looking cabania,
one that dared you to ring the front doorbell. I dared.
(12:56):
I had the awful feeling I should have been around
at the side door delivering hand laundry. Good easy, Uh,
except for the fog. Yes, uh, is mister Ellsworth in
yes tears.
Speaker 2 (13:09):
But I'm afraid I must ask you to leave there.
Speaker 3 (13:13):
There's been a death.
Speaker 4 (13:14):
In the family.
Speaker 3 (13:15):
I know That's why I'm here. Come in, please say
walk this way? Please. Oh I'm afraid I couldn't even
if I lived to be a hundred Mind your tongue,
young lady. You're in the house of an Elsworth. Oh
weighty toity. The old babe had delusions of grandeur. Well,
(13:36):
no need to get up at eat with me. I've
mingled with royalty. I once played a bit part in
Rita Hayward's picture. But this old gal was really something.
She couldn't have been more than forty five, yet looked
like something out of the barracks of Wimpole Street. She
ushered me into a large ceiling living room, and there
on the divan was my boy, his head lowered into
his hands and quite obviously touched quite a Roger. This
(14:01):
young lady is here to see you. I don't believe
you mentioned your name, Candy met Madson.
Speaker 2 (14:08):
Are you in shipping too?
Speaker 3 (14:09):
Mm of a sort? Oh, well, this is my wife,
miss Madson.
Speaker 2 (14:14):
You'll pardon me if I don't seem hospitable. But my
brother was murdered this morning.
Speaker 3 (14:21):
I know I was sitting next to him when it happened.
You were.
Speaker 2 (14:25):
Don't talk to her, Roger. I don't trust her.
Speaker 1 (14:27):
This whole thing is a threat of some kind.
Speaker 3 (14:29):
No, it's not a threat. It's a business proposition. I'll
come right to the point. You see, I'm a private detective. Oh,
one of those persons. Put your nose back down, mister Ellsworth.
I wanna get the show on the road. Yes, I'm
a private detective and I'm in a spot too. The
police think I'm connected with the case in some way,
(14:49):
so I'm here for a double purpose. I'm Madison Roger.
I forbid you to speak with this this woman too late,
missus Ellsworth. Now this is it. I'm in this business
to make mine. Give me a check now for three
hundred dollars, and I'll find out who killed your brother,
and I'll also clear myself. Roger, I'm warning you naturally.
You wanna see the killer of your brother brought to justice,
(15:11):
don't you, mister Ellsworth, don't you alright?
Speaker 2 (15:15):
Yes, yes, here are I'll make a check out right now.
Speaker 3 (15:19):
Thanks. Just make it out to Candy Mets payable today.
The lovely collection of guns you have, mister Elswick, you hunt.
Speaker 1 (15:30):
Much m o oh, yes, yes, my wife and I
are quite fond of shooting that.
Speaker 3 (15:35):
She's an excellent shot.
Speaker 2 (15:37):
Ah here you are.
Speaker 3 (15:39):
Think I'll be in touch with you sometime tomorrow. Mister
e didn't say a word. She just stood there against
the fireplace and shot sparks through me. After I waved
the check in the air a few times to dry
the inks she showed me to the door. Very clever,
aren't you taking advantage.
Speaker 1 (15:57):
Of a weak willed ma'am?
Speaker 3 (15:59):
I wa who made him that way? Don't cash that check,
I mean it. Don't cash that check, missus. El's worth
three hundred dollars. I need the money badly. I need
some new roles for my player piano.
Speaker 1 (16:18):
You're listening to Candy Matson on the Golden Age of
Radio theater once again, Natley Masters as Candy Matson.
Speaker 3 (16:30):
I buzzed back downtown. I wanted to cash that check
in a hurry, and you were only one person who
would give me the crisp green at that hour of
the night. Uncle Charlie, the honest miller who ran the
chase room. Uncle Charlie, in the strict sense of the word,
was a gentleman. So the tender little pat on my cheek.
He cashed the check and I went up Telegraph Hill
and home. All of a sudden, my eyes did a
(16:52):
couple of inverted loops. All my lights were on. Who's
in here? All right? Speaker Gramdy, the.
Speaker 1 (17:02):
Light of my life, come join our party.
Speaker 3 (17:04):
Oh rem Brant, you gave me a scare.
Speaker 2 (17:06):
You don't scary? He see either Candy got something on
your mind?
Speaker 3 (17:09):
And Mallard, well, how a ducky a midnight? Soare what
goes on here?
Speaker 2 (17:14):
Chicken you had in the ice box?
Speaker 1 (17:15):
It is delicious?
Speaker 3 (17:16):
Was delicious? Looks like you've done everything but eat the bone.
Speaker 1 (17:19):
Yeah, vintage is suburb too, Candy, have a little formula?
Speaker 3 (17:22):
No, now, come on, what gives?
Speaker 2 (17:24):
That's my line? Candy?
Speaker 1 (17:25):
What gibbs?
Speaker 2 (17:26):
You ran on something and I want to know about it?
Speaker 3 (17:28):
Oh, Mellard, believe me, it's nothing. I'm just trying to
parley a couple of hunches tall hunches.
Speaker 2 (17:33):
Are all those clippings on the south Sea Island Steamship Company?
What are they for?
Speaker 1 (17:37):
I meant to tell you, Candy, I had remarkable success
to the chronicle has everything you want on that steamship line.
Speaker 3 (17:43):
Now, rem Brandt? Did you have to tell the whole world?
Speaker 2 (17:46):
Candy?
Speaker 1 (17:46):
Who tied me?
Speaker 2 (17:47):
Unnecessarily?
Speaker 1 (17:48):
I merely had the clippings on the table. Ran the
hawkshaw here walks in on me.
Speaker 2 (17:52):
Okay, Candy take it from there.
Speaker 3 (17:54):
I can't tell you yet, Mellard. Nothing makes sense yet.
I've got about four loose ends that need to I'd.
Speaker 2 (18:01):
Only put two men to following you. I'd save myself
a lot of great two days, that's.
Speaker 3 (18:05):
All, malar. Just give me two days. I think I'll
have it for you, all right.
Speaker 2 (18:09):
But don't forget the boys down at Turney Street headquarters.
Don't love you the way I do. Two days, no
more or less. I gotta go. Thanks for the foul chicken.
Speaker 3 (18:20):
Ah very gay. Here Remembrad, here's fifty dollars for you.
Speaker 1 (18:24):
Fifty my word, what's all this talk about the recession?
Speaker 3 (18:30):
Go on and take it, go someplace and stabilize the economy.
I whipped through the old newspaper clipping it was all there.
Fire at sea on ellsworthship. Two seamen lost off ellsworthship
(18:52):
near Honolulu, south Sea Island Line ship loses ruddering storm.
On and on it went over a period of three years.
I threw the papers back on the table, helped myself
to some of Rembrandt's formula, turned down the lights, and
went out on the porch. The day was dark except
for an occasional path of light from a passing freighter.
(19:13):
I sat down to think and think. Then quick click,
just like that, two little tumblers in my mind fell
into place. Only one thing to do and that was
to do it the hard way. The next morning, just
as the Ferry Building siren was announcing eight o'clock to
downtown San Francisco, I got Rembrandt on the phone.
Speaker 1 (19:32):
Can't they What on earth you're calling me for it
this hour?
Speaker 3 (19:36):
Can't help it. There's work to be done.
Speaker 1 (19:37):
I did my work last night so extremely well that
I'm just going to bed now.
Speaker 3 (19:42):
Sorry, you'll just have to delay your sack time. Meet
me at the corner of Mason and Union in ten minutes,
right where the cable car stops.
Speaker 1 (19:48):
Now, what are we going to do?
Speaker 3 (19:50):
We're going to take a cable car ride.
Speaker 1 (19:52):
I'm one of those bouncing, junky little contraptions. Not the
way I feel this morning.
Speaker 3 (19:58):
Oh yes, you are Union and Mason in ten minutes. Alright, Rembrandt,
get on.
Speaker 1 (20:12):
This is the silliest thing you've ever done in Candy.
Speaker 3 (20:15):
Maybe we'll see blight. Ellsworth was already on the car
when I got on.
Speaker 2 (20:21):
Here and alive awkward hotel.
Speaker 3 (20:24):
He mumbled something when I asked him to move over.
Speaker 1 (20:26):
Downs logical, although I once remember stumbling into a corpse
mumble for hours after it been liquor.
Speaker 3 (20:32):
At it mm Rambrandt was and in one of his
rambling moods. So I let him alone. The car pulled
over Mason Street, down Washington, and then swung on to
Powelling up the hill. Now I watched the buildings and
apartments carefully. It was a little red brick building. Now
a big apartment house, a woman's residence, club, and so on.
Then over the hill, more apartments, and the possibilities petered
(20:53):
out of Bush. Well, only one thing to do, canvas
all those blocks between Washington and Bush.
Speaker 1 (21:00):
Okay, Rembrandt, Off the car, sprang just copse I ever
did see?
Speaker 3 (21:04):
Uh?
Speaker 1 (21:04):
What'd you say, Candy?
Speaker 3 (21:05):
Off the car?
Speaker 1 (21:06):
Come on now what I just want to get to bed.
Speaker 3 (21:09):
Well, not for a long time, boy Blue. Now here's
the pitch. You take this building and I'll take the next. Well,
alternate as we go along. Ask if a tall woman
with a horsey face and dress something like Queen Victoria
ever lived around here.
Speaker 2 (21:22):
Oh, Candy, I know.
Speaker 3 (21:25):
It sounds wild, but it's got to be done.
Speaker 1 (21:27):
House with a tall face and dress something right?
Speaker 3 (21:29):
Well, Rembrandt, look at me. Get that smoke out of
your brain. A tall woman with a horsey face and
dress something like Queen Victoria? You got it, Got it okay,
get going. It was slow and tiresome, and the answers
I got.
Speaker 1 (21:48):
A tall gal dressed like Queen Victoria.
Speaker 3 (21:51):
Oh, sister, that was about.
Speaker 1 (21:55):
Par No nobody liked that.
Speaker 2 (21:57):
I ever left here.
Speaker 3 (21:58):
Are you positive fetch that description?
Speaker 1 (22:02):
Yeah, I'm positive.
Speaker 3 (22:04):
The morning wore on, and so did we. We were
over on the other side of California Street now, so
we stopped and had a bite to eat. I had
pickles with mine, and Rembrandt had olives on tooth picks
in a glass. And again we picked up the hunt.
My heart was suddenly making with a rumba. There just
on the other side of Clay, in front of a
(22:25):
three story red brick house with a police squad car.
There was a little knot of people gathered around, daintily
lifting my crinoline. I didn't mel patten down the block
and up the front steps. I didn't have any trouble
finding the room. The door was wide open and there
was a body on the floor. Four representatives of the
law were buzzing back and forth. One of the buzzies
was Mallared.
Speaker 2 (22:45):
Oh, my little ambassador of violence. Why is it you're
always around the extremely dead candy.
Speaker 3 (22:51):
I've got no time to brandy the ad libs, mallared.
Who is it?
Speaker 2 (22:54):
I don't know yet, no identification.
Speaker 3 (22:56):
Let me see h a pen pal.
Speaker 2 (23:00):
Maybe I was right.
Speaker 3 (23:03):
I knew it, it knew what You're right. He was
a pen pal. He wrote me a check last night
for three hundred dollars. His name is Roger Ellsworth.
Speaker 2 (23:17):
Very interesting. Must be open season on Ellsworth's. Okay, candy,
time you filled in in the.
Speaker 3 (23:22):
Blanks start Wait a minute, I wanna look at the
window over here, Mallard. There are a couple of younger
Ellsworths living around town here. I'm sure you'd like to
see them. Stay healthy. Uh, get out to twenty five,
dash a road and pick up an old crone also
named Ellsworth. Five will get you twenty. She's the one
(23:42):
you're after.
Speaker 2 (23:43):
Uh, alright, but you get back to your place and
stay put. Understand. I wanna have a moral illuminating chat
with you.
Speaker 3 (23:51):
Oh, Mallard. I'm I'm just like putty in your hands.
The moon was coming up over Diablo and spraying a
path of silver on the bay. Still low, Mallard, I
wondered what could be wrong?
Speaker 2 (24:11):
This was it?
Speaker 3 (24:13):
This was a showdown.
Speaker 1 (24:15):
Have you seen a tall face with a harsey woman?
Speaker 3 (24:17):
Ohm?
Speaker 1 (24:18):
Brand Day, I'm so mad at you I could u
oh see.
Speaker 3 (24:24):
Now, what's the matter?
Speaker 1 (24:25):
What's the matter? She says, I've been rolling all over
Powell Street ringing doorbells.
Speaker 2 (24:32):
Where did you go?
Speaker 1 (24:33):
Your traitorm?
Speaker 3 (24:34):
Bread? I'm sorry? And in the excitement I forgot all
about you?
Speaker 1 (24:38):
What the excitement?
Speaker 3 (24:39):
There's been another murder in a.
Speaker 1 (24:41):
Moment, there's going to be another. I'm looking right at you.
Speaker 2 (24:45):
Can they cool?
Speaker 3 (24:46):
Uh? Have some formula and stop snorting steam?
Speaker 1 (24:50):
What was that your window?
Speaker 2 (24:52):
Candy?
Speaker 3 (24:52):
Just shut it? What? Oh? Wait a minute, that window
didn't shutter by itself. Could get the lights rim Brant, Now,
duck down here. It's sort of a silly game we're playing. Now,
this isn't a game, believe me, Andy, Andy?
Speaker 1 (25:06):
You all right? Sits the gum shoe?
Speaker 3 (25:09):
Yeah, I'm all right? Where are you? Mallard?
Speaker 2 (25:11):
Over here?
Speaker 3 (25:12):
Two houses over?
Speaker 1 (25:13):
We've got your girlfriend papped on the roof next to you.
Don't move and stay over. Okay, all right, this is Elsworth.
Speaker 4 (25:21):
Are you coming down peacefully or do we have to play?
Speaker 3 (25:23):
Pop her off? I'm not coming down until I get
that Candy night she did it. She bossed me to
kill my own brother in law. Of it's your own wife.
Speaker 2 (25:32):
Okay, loosen her up a bit, boys, better though off
of July.
Speaker 3 (25:37):
I keep your head down, rim Branton, step up? Was up?
Speaker 1 (25:40):
Why did it come down?
Speaker 3 (25:41):
This is elfwork? No, I'm not that. She's the woman.
She's roaring my whole life. Oh, my son, just because
of her snoopy can pry. She's going to die. I
tell you.
Speaker 2 (26:11):
It was a miracle. Candy. You must have moved slightly
just as she shot at you.
Speaker 3 (26:16):
It was too close. I didn't tell you she's dead.
Speaker 2 (26:19):
Oh, decidedly. I think she was dead before she hit
the ground. That one shot got her. We went out
to her house and she was just driving off when
we got there. We trailed her up to North Beach,
lost her for a block, and then spotted a car
at the top of the hill.
Speaker 3 (26:31):
Here.
Speaker 2 (26:32):
We arrived just as she was getting on the roof
next door. Okay, now you tell me your little dream.
Speaker 3 (26:38):
Well, it was that ship docking that set my wheels
going around. The name Elsworth started burning in back somewhere.
You saw the clippings we dug up. Uh the south
Sea Island steamship lines were slowly being sabotaged. I did
some checking, and I I found that the insurance companies
weren't going to renew.
Speaker 2 (26:55):
Yeah, I don't know why I didn't tie that in sooner.
Speaker 3 (26:58):
Oh, it's just that you have too many things on
your mind, my malady. I went out to the place
on Dashall Road, and when I left, I was pretty
sure the old girl had knocked off her brother in law.
Why well, for several reasons. One, she was a venomous
old witch. Two, you've never seen such a collection of
guns in all your life. And her husband admitted she
was a darn good shot. I also saw one little
(27:21):
pot gun that was very interesting. It had a silencer
on it.
Speaker 2 (27:25):
Uh huh. That was the one she used on you tonight.
Speaker 3 (27:27):
And also the one she used on Dwight Illsworth. From
the window of that apartment where you found her husband,
I didn't all go back there. You'll see a nice
little bullet hole in the curtain with burned powder all
around him.
Speaker 2 (27:38):
Now, don't tell me that.
Speaker 3 (27:40):
Yes, I'm telling you that she rented that place knowing
that her brother in law always went downtown on a
certain cable car. She waited that morning until we were
riding by and she plussed him. I have now heard
everything and the reason. Dwight Illsworth, rather than fighting the
insurance companies, had decided to sell his steamship lines. But
the old gal thought she beat him to the punch
(28:01):
by knocking him off. The steamship company would then fall
into her husband's hands.
Speaker 2 (28:05):
Ah, what about her husband?
Speaker 3 (28:08):
After he gave me the check and I left, they
evidently had a fearful row and she spilled the beans.
Somehow she jured him down to that place on Powell
and gave him some lead poisoning too. And that's all
there is to it.
Speaker 2 (28:20):
Her, Candy. I wish you'd have told me all these
things earlier. We might have been able to save the
life of Roger Ellsworth.
Speaker 3 (28:26):
M It wouldn't do any good because if she hadn't
killed him. I was going to what MM. While I
was waiting for you to get here, the phone rang.
It was Uncle Charlie, the honest miller. That no good
Roger Ellsworth. His check bounced like a brand new golf ball.
What's so funny? Mallard?
Speaker 2 (28:46):
Listening again to the further adventures of Candy Matson, Girl Sucker.
Speaker 4 (28:54):
And that's Candy Matson. I'm the cable car case on
the Golden Age of Radio theater for you, Candy Mats
and fans, And based on our listener letters and comments,
there are quite a number.
Speaker 1 (29:04):
Of you you might be interested in knowing that.
Speaker 4 (29:07):
Candy Madson, played by Natalie Masters, was written by Monty Masters,
Natalie's husband in real life. The program was produced in
San Francisco and lasted until May twenty first, nineteen fifty one.
This might be unfair to give away the ending of
the series, but maybe if you don't want to know,
plug your ears up and I won't tell you you know.
(29:27):
In each program, Candy is obviously somewhat taken by the
San Francisco Policeman Ray Mallard played by Henry Left and
at the final program of the series, the policeman asked
Candy to marry him, and then he announces that it
would be Candy's last case. And it was, and the
(29:50):
show went off the air and left a string of
broken hearts, including mine. I was really taken with Candy
Madson and I was hoping that she would wait for
me to grow up and jump with there. And that's
it for this Golden Age of radio theater program Victor
rives here. I hope I didn't leave a whole trail
of broken hearts with that information, inviting you to join
us next time we turned back the clock to relive
(30:11):
the golden moments of radios yesteryear.
Speaker 3 (30:13):
Bye Bye,
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