May 23, 2025 • 29 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 (00:09):
Hello, you can't do eight two nine. Yes, this is
Candy Madson.
Speaker 2 (00:23):
Got an old.
Speaker 3 (00:23):
Corpse kicking around? You're want identified? No of any good
murders you want solved. We've got just the girl for you.
Her name is Candy Madson.
Speaker 2 (00:32):
Mighty cute too.
Speaker 3 (00:33):
She fills out a size twelve suit to jumpt the
right proportions, soft blonde.
Speaker 2 (00:38):
Hair, two sparkling blue eyes, and all in.
Speaker 3 (00:41):
All she looks as though she might have stepped right
off the voga calendar. And what's more, she's a private eye.
You scoff, you ridicule. I'll let you see for yourselves.
Speaker 2 (00:51):
Listen. She's talking on the phone right now.
Speaker 1 (00:58):
Hello Candy Madson, Hello missus Mudson.
Speaker 2 (01:02):
I'm afraid you don't know me.
Speaker 1 (01:04):
That makes it even you don't know me. Let's go
from there.
Speaker 4 (01:07):
I've read about you in the papers, Miss Mutson. You
handle confidential cases.
Speaker 1 (01:12):
That's right. However, there's a little matter of a fee involved.
Speaker 2 (01:15):
Yes I know I can pay.
Speaker 1 (01:17):
That's item number one. Now to item number two. What's
the confidential case?
Speaker 4 (01:21):
I can't possibly tell you on the phone, Miss Mutson.
I said it was confidential.
Speaker 1 (01:27):
Okay, where do you want to talk?
Speaker 4 (01:28):
I am the proprietor of a restaurant, The Charlemagne in
North Beach.
Speaker 1 (01:32):
Oh yeah, I ate their one.
Speaker 2 (01:34):
Oh that's nice.
Speaker 1 (01:35):
No, it wasn't. I didn't like the food. Oh, however,
I'll overlook it. Do you want to talk about now?
Speaker 2 (01:40):
That will be fine, Miss Matson.
Speaker 1 (01:42):
Good and your name would be Martinello.
Speaker 2 (01:45):
Carlo Martinello.
Speaker 1 (01:46):
Okay, mister Martinello, and have some ink in your pen.
It costs money just to talk. I probably sounded rough
and commercial, but you have to be in this racket.
Most people look into private eye as a musician. They
(02:07):
invite you to a party and expect you to bring
your harp for free. But uh uh, I learned the
hard way a long time ago, so now they pay
in advance and take their chances later. That's the way
it was with this Martin Nello. I was at home
in my penthouse on Telegraphy a lot on the porch,
taking a sunbath when the phone rings and it's this
Carlo character. That part was all right, because I can
always use new customers. But what made me mad was
(02:30):
the fact that I had to stop listening to the
forty nine ers belt the jabers out of the Cleveland
Browns at Keysar Stadium. But I followed through an uncovered
a couple of very doune in bodies along the way.
Do you like the grotesque in your whodunnis? Then follow
me and will tiptoe lightly through the tibbets, the ponds
and the baccalonies. Because part of this story unfolds at
(02:51):
the opera House. Reluctantly, I dressed into something CHARLEMAGNEI ish
turned off the forty nine ers clear, went down and
talked to Martinello. This place was typical, located on pal Street,
a Garish neon sign and as you walked in the
air place with air conditioned by Eau de garlique.
Speaker 2 (03:12):
Yes, miss, you wish a table?
Speaker 1 (03:14):
I wish the table. Yes, with the right party. I'm
looking for the owner.
Speaker 2 (03:18):
I am the owner.
Speaker 1 (03:19):
I am Candy Nets.
Speaker 2 (03:20):
Oh, miss Matson. Walk this way, please, If.
Speaker 1 (03:24):
I could walk that way, I'd revive Vaudeville. Pardon, where's
your office?
Speaker 2 (03:28):
Right over here? Allow me after you, Signora?
Speaker 1 (03:37):
Thank you?
Speaker 2 (03:37):
Signor dear sit down? Please?
Speaker 1 (03:41):
Thanks now, Martin Nello, what's on your mind?
Speaker 2 (03:45):
Always? All my life?
Speaker 4 (03:47):
I have run a very nice, respectable place until this morning.
Speaker 1 (03:53):
What's with this morning, I go down.
Speaker 4 (03:55):
To the basement. My ice box is down there. That
is where I keep all my meat.
Speaker 1 (04:00):
So you wanted some ground rounds?
Speaker 2 (04:01):
Oh no, no, but I have sid show you. Please,
you will come with me.
Speaker 1 (04:12):
Martinello led the way out of his office and down
a flight of stairs. A coold blast hit my face.
A monsi aroma smothered my nostrils, and if I had
a phobia about darkness, I'd have ducked out then. But
I followed the guy and we ended up in front
of a refrigerator about the size of an inquisition chamber.
He opened the door and it was the usual restaurant
ice box, choice legs of lamb hanging from hooks, potential filets,
(04:36):
and thick New York cuts. The box was coold, and
I started to shiver, not from the refrigeration, though, because
over in the corner was a man. He looked like
something out of a long lost Arctic expedition. He had
a long, flowing mustache, every bristle of which was coated
with ice. He was quite frozen and quite dead. I
(05:01):
slammed the door shut and reeled out. The sight had
staggered my thought processes Martinello reached over by a salami
slicing table and turned on a Mazda A week affair
of that cast dim shadows about the damp basement. Is
that your little surprise?
Speaker 2 (05:17):
Yes, mister Mudson, that is what I was greeted with
this morning.
Speaker 1 (05:21):
Have you notified the police? Why not?
Speaker 4 (05:24):
As I told you, I have run a very respectable place.
And two, that is why I am hiring you.
Speaker 1 (05:31):
You can get in trouble, you know.
Speaker 4 (05:33):
Yes, yes, that is why you must help me. Please please,
miss Madson, say you will help me. I will pay
you anything you say.
Speaker 1 (05:42):
I stick my neck out in the strangest places. Now
it's a refrigerator, okay, Martinello, two thousand dollars. What make
up your mind? Either I freeze your assets or the
police find your frozen friend.
Speaker 2 (05:58):
Yes, all right, come, I give you the money.
Speaker 1 (06:04):
Now, Now we're getting somewhere.
Speaker 2 (06:06):
What about him?
Speaker 1 (06:08):
Oh, he'll keep he's on ice. Well, this was one
for the books. Refrigeration the ugly way. I had to
ask a few questions if I was to get anywhere,
such as like, do you know the guy?
Speaker 4 (06:22):
No?
Speaker 1 (06:22):
Had you ever seen him before? Who was the last
one to close the ice box? Last night, I does
it lock from the inside. Unfortunately, Yes, I was getting
places like Wiley was with Houser. It was inevitable, and
I had to take my courage in my hand and
go down and look at that thing again. There it
(06:42):
was a male mona lisa etched in ice. This time
I looked closer. I had to, and as I did,
I realized I wasn't going to get any identification because
this guy was a study in Crimson. Underneath all that
cooting of ice, he was dressed in a devil's costume.
I slammed the door once again and went upstairs. There
(07:05):
I gave Martinello's strict orders not to do a thing.
Usually in cases like this you have to wait for
a break. They come along like a forcing hand in poker.
So I went home to do some thinking. As I arrived,
there was an old friend of mine, Rembrandt Watson.
Speaker 2 (07:20):
Hello, Dove, I'd almost given.
Speaker 1 (07:23):
Up, rembrand How did you get in?
Speaker 4 (07:25):
And your door was opened? There I took the liberty
of coming here.
Speaker 1 (07:28):
Oh, sure, that's okay.
Speaker 2 (07:29):
How are things candy?
Speaker 1 (07:31):
All right? I guess I'm kind of bushed, though I
feel about as devaluated as a British Pound.
Speaker 2 (07:36):
You look wonderful, dog. What's wrong?
Speaker 1 (07:39):
I've got a deal, but I don't know where to
start anything.
Speaker 2 (07:41):
I can help you with.
Speaker 1 (07:42):
No thanks, rem Brand. If I told you about it,
you wouldn't believe it.
Speaker 4 (07:45):
I've never doubted you in the past, Dear.
Speaker 1 (07:48):
I know well. I was just called in by a
minnestroni merchant in North Beach. The guy is stuck with
a corpse that's about paw for the course. The deceased
had been sealed in the ice box overnight. I've never
seen one like that before.
Speaker 2 (08:01):
That's the way it is, Dear. Many are called, but
few are frozen.
Speaker 1 (08:05):
Oh, get out of here.
Speaker 2 (08:07):
What do I just got here?
Speaker 1 (08:08):
I know, but I've got to change and get down
to see Mallard.
Speaker 4 (08:11):
I'll wait for you, Candy. I haven't seen the gum
shoe since before me vacation.
Speaker 1 (08:16):
All right, I'll be with you in a few moments.
I did a fast change and Rembrand and I climbed
into my car and we dropped off Telegraph Hill on
don Kearney Street. The Hall of Justice where Mallard hanged
his star, is only a few blocks away, so we
made it in about five minutes. Infector Ray Mallard homicide,
(08:36):
San Francisco Police. A lovable, shaggy dog type of character,
very keen with the crime, but done with the dame me.
For instance, if I want him to say yes, he
says no, and vice versa.
Speaker 5 (08:50):
Well, my ever loving Candy, what's new in the private
eye business?
Speaker 1 (08:54):
Very little? How's the legitimate set foot record?
Speaker 2 (08:57):
Oh, we're holding all archers up? Well, I'm bratt. I
haven't seen you since Pop was a hector. Please infector,
you're making your mixapause?
Speaker 1 (09:06):
Who writes this dialogue?
Speaker 2 (09:07):
I'm pretty weak? I know what's on your mind? Candy.
Speaker 1 (09:10):
A character named Carlo Martinello. Have you got anything on him?
What's so funny?
Speaker 6 (09:15):
Mellan?
Speaker 2 (09:16):
Nothing except I eat lunch there about every day of
the week.
Speaker 1 (09:19):
We'll answer my question.
Speaker 2 (09:20):
There's nothing on Martinello.
Speaker 5 (09:22):
The rest of a couple of times during prohibition he
was dabbling in grappa a lot under the table. Have
you got a case against a guy? Detecative? Matson cut
it out? No, seriously, why do you want to check
on a guy?
Speaker 2 (09:34):
Candy?
Speaker 1 (09:34):
No reason?
Speaker 5 (09:35):
Just thought i'd ask, Well, Martinello's okay, just trying to
make a living.
Speaker 2 (09:40):
The only thing I don't like he loves to sing
to his customers.
Speaker 1 (09:43):
That'd be enough to bankrupt him. Right there?
Speaker 2 (09:45):
Anything else I can do?
Speaker 1 (09:46):
No, that takes care of everything.
Speaker 5 (09:48):
I'll tell you what I'm throwing about an hour. I'll
take you up to Martinello's for dinner. You can see
for yourself.
Speaker 1 (09:54):
No, no, no, that's all right, okay, Candy, give why Mallard? Dear,
what on earth do you mean?
Speaker 2 (10:03):
You know something about something? I want in Mallard?
Speaker 1 (10:07):
And I want you to believe this. I mean it sincerely.
If I knew something, you'd be the last to know
about it.
Speaker 2 (10:14):
He's got something there, some love, believe it's a all.
Speaker 1 (10:21):
I hate to do things like that to Mallard. He's
been of great help to me in the past. More
than once he's saved my life. But on a deal
like this, you have to play it close. After old
girl has to make a living. But the first time
in a long time, I was completely baffled as to
where to start. Something had to be done about that
cadaver and the icebox for what. While I was beatling
my eyebrows, ren Brand invited me up to his place
(10:42):
for Tea. He lives on California Street, just down away
from Old Saint Mary's, only a bail bond broker's reach
from the Hall of Justice. So I accepted.
Speaker 4 (10:52):
Do forgive the looks of the place, Candy, Dear, I
had a meeting my flatteralous.
Speaker 1 (10:55):
Group last night, Philatalous, the stab Collector's Dear. Well, I
know what they are, but I didn't think they could
make such a men.
Speaker 2 (11:01):
You don't know for latterlus. Sit down there, make yourself comfortable.
I shamp be a moment. That's all right, Candy Deer.
Why the wrinkles?
Speaker 1 (11:09):
I've got cause for wrinkles. This chap in the ice box,
rem brand There's something I didn't tell you. He was
dressed in a devil's costume.
Speaker 4 (11:18):
There there, dear, your tea already in just a minute,
you'll feel better.
Speaker 1 (11:22):
I know it sounds crazy, but it's true.
Speaker 2 (11:24):
What are you going to do, Candy, I don't know.
Speaker 1 (11:27):
I can't leave him in that refrigerator forever.
Speaker 4 (11:29):
We'll get him out there. I hate to think of
a corpse catching pneumonia. Oh excuse me, Candy, help yourself
to the tea.
Speaker 2 (11:38):
How do you do? Ramrod Watson Enterprises quiet done?
Speaker 4 (11:43):
O Oh, hello, Templeton, how aout all your steamships.
Speaker 2 (11:49):
Oh that's good. What could I use? Do what to
the opera?
Speaker 4 (11:58):
Of course I could? Why so I'll pick them up
at your office. Thank you, Templeton. Goodbye, Candydia.
Speaker 1 (12:04):
You like the opera, I can take it or leave it.
Speaker 4 (12:06):
Why it certainly develops that I have two tickets tomorrow
night for Tales of Hoffman.
Speaker 1 (12:11):
Oh remembred. I don't think I call them.
Speaker 4 (12:12):
Come Candy, it'll do you good. You've been working too hard.
You need little relaxation.
Speaker 1 (12:17):
Tales of Hoffman. Okay, who's the pal who gave them
to you?
Speaker 4 (12:21):
An old friend of mine table from Woodworth. He runs
the steamship two Java and other places. It's your pins
things about.
Speaker 1 (12:33):
I finished the Tea and Less right there, and the
only opera I could think of was the one going
on in an ice Blox that Martin Nello's. I've always
tried to play straight with Ray Mallard, so I decided
to tell Martinello my plans.
Speaker 2 (12:45):
Missus Mutson. I don't think it's such a good idea, Carl.
I want to talk to you, That's what I mean.
There's a gentleman here who you've got a gentleman.
Speaker 1 (12:53):
That's fine. Three more and you've got a crowd. What
I want to talk to you about is this.
Speaker 2 (12:57):
Don't understand. The gentleman I'm talking about is from the police.
Speaker 1 (13:01):
The police.
Speaker 5 (13:02):
Yeah, hello, Candy Mallard.
Speaker 2 (13:06):
How about some scalliponi?
Speaker 1 (13:08):
Well up jumped? Hello Mallard.
Speaker 2 (13:11):
Dear, I had an idea you'd like dinner here tonight. Uh?
Do you know my boy Carl?
Speaker 1 (13:15):
Yes, yes, we've met.
Speaker 2 (13:16):
How do you do how do you do the s?
Wish something to eat?
Speaker 1 (13:20):
No, no thanks. I want to talk to you though, Mallard.
Speaker 2 (13:23):
Sure, come on into my booth. We'll share some salami.
Speaker 1 (13:26):
No, no thanks. I want to see you downstairs.
Speaker 2 (13:30):
I don't think the foods is good down there.
Speaker 1 (13:32):
I agree, but it isn't the food I'm talking about.
Speaker 2 (13:35):
Murders.
Speaker 1 (13:39):
Once again, I headed down into the catacombs of the Charlemagne.
This time the act was a double. Mallard was right
behind me. Then I looked around. We were a trio.
Mark Nello was right behind Millard.
Speaker 2 (13:54):
This is it. This is what.
Speaker 1 (13:56):
This is an icebox. Inside you will find a body
dressing a those costumes.
Speaker 2 (14:01):
Okay, Carlo, that's humor. The lady open the thing with you. Yes,
I'll open it. Lovely view of the beef.
Speaker 1 (14:19):
It's gone, the body's gone. Okay, Martinello's start talking. It
makes some sense while you're doing it.
Speaker 2 (14:24):
He is, missus Mautson. I don't know anything. I haven't
been down here all day.
Speaker 1 (14:29):
Get rid of those arched eyebrows. Martinello, you know something?
Speaker 6 (14:32):
What is it?
Speaker 5 (14:32):
A minute, Candy, I'll do the questioning in the first place,
Carlo was there or was there not?
Speaker 2 (14:37):
A body in here?
Speaker 6 (14:39):
Will sure there was?
Speaker 1 (14:41):
He can't deny. Here's a check for two thousand dollars.
Sound by Martinello himself.
Speaker 2 (14:48):
Well, Carlo, yes, it was about the old right, Who
was it?
Speaker 5 (14:53):
Friend of yours? No, inspective, I never saw him before.
Why did you call miss Matson? Why didn't you come
to see me about it?
Speaker 2 (15:00):
Really, you know, inspector to the police.
Speaker 5 (15:04):
Just because you were once arrested for a bootlegint Carlo
is no reason to be afraid of the police. Put
a couple of my men on the job and see
what we can turn up.
Speaker 1 (15:13):
What is that all you're going to do? Mallard?
Speaker 5 (15:16):
No, right now, I'm going back upstairs and have some
of Carlo's scallipini.
Speaker 6 (15:22):
Mallard, are you out of your head?
Speaker 2 (15:24):
Look, Caddy. In order to have a murder case, you've
got to have a body. Obviously, we're fresh.
Speaker 5 (15:29):
Out, and until you're a pal with the devil's costume
turns up. I intend to live my typical, everyday life.
Don't forget the mushrooms, Carlo.
Speaker 1 (15:42):
There are times when I get so at Mallard I
want to scream. I didn't, though, I only scrammed. I
hung on to the two thousand. However, I thought I
deserved it just forgetting my curiosity aroused. And it was
aroused plenty. Corpses don't get up and walk out of
ice boxes by themselves. But after all, Mallard had a point.
There was nothing to be done without a body. So
(16:03):
I went home and waded into a stack of dirty
dishes that had been piling up. Then I fixed dinner
and started a news stack of dirty dishes, got a book,
and ducked into bed. In the morning, I had an idea.
After breakfast, I went down to the corner of Broadway
and Columbus. That's where North Beach doesn't eat blend with Chinatown.
On the corner was a Joe who sold newspapers. I'd
known him for some time and he seemed to like me.
Speaker 2 (16:29):
Hi a bud Well, Hello, old lady, how are you good?
Speaker 1 (16:33):
Can't complain? Who won the football game yesterday?
Speaker 2 (16:35):
Funny thing? I got all the news right inside here
for seven cents.
Speaker 1 (16:39):
I guess your point. Give me a chronicle?
Speaker 2 (16:42):
Sure? Here?
Speaker 1 (16:43):
Thanks? Who do you like in the feature by Meadows?
Speaker 2 (16:46):
Who goat named Candy?
Speaker 6 (16:47):
What?
Speaker 1 (16:48):
What did you say?
Speaker 2 (16:49):
There's a pig name Candy running on the seventh Take
it and leave it?
Speaker 6 (16:52):
What it you?
Speaker 2 (16:53):
I don't get him? Well, what's really.
Speaker 6 (16:55):
On your mind?
Speaker 2 (16:55):
Lady?
Speaker 1 (16:56):
Here? Here's a twenty you can play it on Candy
all for yourself.
Speaker 2 (17:00):
Who do you know?
Speaker 1 (17:01):
A gent named Martin Ello? But he owns of Charlemagne
down the box?
Speaker 2 (17:05):
Sure? What about him?
Speaker 1 (17:07):
That's what I'm asking you? What about him? Oh? He's
all right, little scroy, but he keeps his nose.
Speaker 2 (17:11):
Claim?
Speaker 1 (17:11):
Is that all?
Speaker 2 (17:12):
Yeah? Should there be more?
Speaker 1 (17:14):
I don't know, thanks, butch I hope Candy pays off.
I was getting nowhere, that was for sure, And the
rest of the day went the same way. Dead ends
blind Alley's I checked as many loose ends as I
possibly could, but I was still stuck in a quandary.
(17:35):
But the crusher claim late in the afternoon when I
got a copy of the light paper and read where
Candy came in at day Meadows and paid thirty two twenty,
and I hadn't had sense enough to get a board.
When I got home, the phone was ringing, Hello, Candy Meds.
Speaker 2 (17:53):
And oh your candy mets and I should play.
Speaker 1 (17:55):
A pan Oh, hello, rem Brand, Dear, HOI like in
October morning?
Speaker 4 (18:00):
Every single one of the pause is breathing great, huge
gulps of air. What I just had a facial dove,
most invigorated?
Speaker 1 (18:09):
What on earth for? I loved your old pores just
the way they were.
Speaker 2 (18:13):
Candy, you've forgotten.
Speaker 1 (18:15):
I had forgotten what Brand going to awkward tonight? Oh duckie,
I'm sorry I had forgotten. I'm afraid I'll have to renee.
Speaker 2 (18:22):
No candy, you promise.
Speaker 4 (18:24):
And I don't care what you're involved, and it'll do
you good.
Speaker 1 (18:26):
But rem Brand, I'm working on it. Perhaps you're right, Okay,
I'll get ready.
Speaker 4 (18:32):
Wonderful dear, picking up about quarter of age?
Speaker 1 (18:34):
Will you pick you up a quarter of eight?
Speaker 5 (18:35):
Yeah?
Speaker 2 (18:36):
Yeah?
Speaker 1 (18:36):
Yeah?
Speaker 2 (18:36):
Oh? And another thing?
Speaker 4 (18:37):
Lamb we may have to do some entertaining afterward.
Speaker 2 (18:41):
H do bring some cash with you?
Speaker 1 (18:44):
Air that rem Brand always stony broke. I guess photography
isn't what it's cracked up to be. I didn't mind, though,
He's in a friend to me on more than one
occasion that if I was going to the opera, I
had to start thinking an operatic terms. I fished around
(19:05):
in the closet and came up with something that would
have done any woman's heart good, one of those strapless
affairs that you can't stop breathing in for one moment,
otherwise the opera is no longer the main attraction. I powdered, perfume,
pouted and rouge, and took off after Rembrand. But just
as I started to leave, just the.
Speaker 5 (19:25):
Moment, Oh, get a load of the Duchess. It won't
be Halloween for another couple of weeks yet.
Speaker 1 (19:36):
Oh, very funny. Come on in, Millard, what are you
decked out for? Can it something you wouldn't understand? I'm
going to the opera.
Speaker 5 (19:44):
Oh I love the opera, any horse opera with text
acuff in it.
Speaker 1 (19:48):
That's what I thought. What's on your mind? Millard? I've
got to pick up Rembrandt in ten minutes.
Speaker 2 (19:52):
I was just driving bus. I thought I'd stop and
tell you the news news.
Speaker 1 (19:56):
But what we found el the oblo the guy in
the ice box.
Speaker 2 (19:59):
Yeah, Martinello identified him. It was floating in.
Speaker 5 (20:02):
The water off Aquatic Park and he lead on him
the best. It was Salovini, the second baritone with the
opera company. That's all candy, I hope you enjoyed the performance.
Speaker 1 (20:11):
Night a baritone with the opera company. All that explained
the costume, but it didn't explain a lot of other things.
I walked down the stairs with Mallard. He got in
his squad car, picked on the flashing red light, and
with a burst of his siren, rolled down the street.
I had to speak to Mallard about that. All the
neighbors had their heads out of their windows as I
(20:33):
climbed into my car and followed what an exit. I
picked up Rembrandt and we drove up to the Civic center.
I found a place to park, a minor miracle. The
last time I went to the opera I had to
drive almost to Paloaldo and come back by train. Rembrandt's
friend must have been very influential. We had seats in
(20:53):
the Diamond Horseshoe. They were presenting Tales of Hoffman and
a friend of mine Dorothy Warrenshuald was singing the ro
of Antonia. Was a fine performance, and after the last
curtain night took friend Brandt. We went backstage to see Dorothy.
This is your dressing room, Brent. Yes, hello, Dorothy, this
(21:16):
is Candy Matts and I have a friend with me.
Speaker 6 (21:18):
Oh, do come in please, Candy, Candy, how are you?
Speaker 1 (21:23):
Couldn't be better? Dorothy? May I present mister Watson Brandt.
Speaker 4 (21:26):
This is miss Warren Short delighted you were in magnificent
voice tonight the idea thank.
Speaker 6 (21:31):
You so down, won't you? I've only a woman. Were
rehearsing some of the scenes in Faults.
Speaker 1 (21:35):
Tonight, rehearsing after a full evening's performance, and.
Speaker 6 (21:38):
Has to be done. Candy, our baritone disappeared. We've had
to replace him with a new man.
Speaker 1 (21:43):
Yes, yes, I know. By the way, Dorothy, I heard
you on your standard our broadcast a few weeks ago.
Was a wonderful performance.
Speaker 6 (21:49):
I'm glad you liked to Candy. I always look forward
to those.
Speaker 1 (21:52):
What do you plan, Dorothy?
Speaker 6 (21:53):
Well, the season closes here and then we open him all. Oh, yes,
of course, excuse me, come in.
Speaker 2 (22:01):
Oh I'm sorry. I didn't know you had guests.
Speaker 6 (22:03):
That's all right, Oh, Candy, I'd like to introduce Ralph Herberts.
This is Ms. Matson and mister Watson. Mister Herbert is
our new baritone.
Speaker 2 (22:11):
Oh.
Speaker 6 (22:12):
Yes, that's why we're rehearsing tonight.
Speaker 2 (22:14):
I won't take any more A good time, gath there.
Speaker 6 (22:16):
I just thought we'd save a few moments of rehearsal.
Speaker 5 (22:19):
If I told you that I don't move in that
last scene I seen.
Speaker 4 (22:23):
Upstage, that will leave you free to take as much stage.
Speaker 2 (22:26):
As you like.
Speaker 6 (22:27):
Fine, Ralph, that will save time.
Speaker 3 (22:28):
Thanks, not at all glad to have met you, Miss Metton.
Speaker 6 (22:32):
Mister Watson stays, yes, Rol. Ralph has a wonderful voice,
and he's a good actor too. You know, I think
he'd be even better than Salavini.
Speaker 1 (22:43):
I've seen him before.
Speaker 6 (22:44):
Oh yes, he's been in pictures and on the concert
stage and in opera too, but he's he's never really
had a good break. This might be it. Oh that's it, Candy.
I'm sorry, but I'll have to leave certainly.
Speaker 1 (22:55):
Dorothy, say, why don't you stand in the wings.
Speaker 6 (22:57):
You can watch the rehearsal if you'd like. Oh I
love it, Come on and then follow me.
Speaker 1 (23:08):
Ali.
Speaker 6 (23:09):
Thanks everyone, Wait, this is all right, Candy, you can
stay right here.
Speaker 1 (23:13):
Thanks already.
Speaker 6 (23:14):
Glad to have met you, mister Watson.
Speaker 2 (23:15):
Also, as we used to say in the theater, go
out there and kiddo.
Speaker 6 (23:19):
See you later.
Speaker 2 (23:21):
Wait this WI show. There you are. I bet wad.
Speaker 6 (23:26):
I saw him just a moment ago in the dressing room.
Speaker 2 (23:28):
Plain We're about to keep moving. Please, somebody find Herbert.
Speaker 1 (23:43):
From way up in the heights of the stage, the
opera house was pierced with a blood curdling scream that
was no ordinary scream, with a scream of death. You
wait here, and Brandt, keep your eyes open. I'm going
up to have a look. That scream wasn't in the
score of false. I punched the button for the backstage elevator.
(24:03):
It's a good thing they worked fast and her speedy.
Once inside, I pressed the button for the fourth gallery.
I got up. This was the top of the opera house.
The place was loaded with old sets, props, paper mache, alligators,
gold goblets. Then over on the other side of the catwalk,
I saw it. The body of a man, all crumpled
and distorted. I hit the catwalk and ran over. It
(24:27):
was one hundred feet above the stage, and as I
looked down I could see a score of strained faces
looking up through the darkness. I got on the other
side and bent over the body. It was that of
raw Kerbert.
Speaker 2 (24:39):
Come here, I think your man.
Speaker 1 (24:41):
Your stop down underneath.
Speaker 6 (24:42):
The stay.
Speaker 1 (24:46):
Again. I did a mal patent. The elevator shot me
down at the stage level, and there was Rembrandt, wild eyed.
Speaker 4 (24:52):
He came down the elevator on the other side Candy.
Then he cut across the stage and down those steps.
Speaker 1 (24:56):
Come on, rem Bread, follow me, I may need help.
We ran down the steps and into the bottels of
the stage. It looked like a nightmare, a myriad of
cross beams of steel for the rising stages. We cleared
those and went around by the chorus dressing rooms. There
was only one out. I remembered it a door over
in the corner, very seldom used, but it was open.
(25:19):
It led into a long tunnel with giant steam pints
running overhead into the right. This went underground over to
the Veterans building. Down by your feet is a stream
of water flowing in a trough at the old Hayes
Valley Creek. Our killer decidedly knew his opera house. As
we entered the tunnel, I could see him up ahead,
running like crazy, so we took off after him. We
made the other side and it breaks into a big
(25:40):
engine room. As we came into the opening, I looked around.
The engineer was lying on the floor out like a light,
blood spurting from his skelp. Then I glanced up. There
was another door. This led into the Veterans building itself
in an avenue of escape onto Vanett. I ran up.
Then as we got into the long corridor, I saw
Martinello breaking for the door. Stop stop Martinello, you think
(26:01):
I am a pool I do if you don't stop? Okay,
pal you asked for it. It was the first time
I had ever shot a man. It didn't feel good,
(26:23):
but he lived, and later the doctors of law gave
him a little pill, the cyanide kind they dropped inside
the gas chamber at San Quentin, martin Nello paid his debt.
Details sure, I'll fill him in now. Martin Nello loved
to sing. Ray Millard had told me that for years
Carlo had been hanging around the opera house hoping to
(26:44):
step into a roll this season. That director had jokingly
told him that if he ran out of baritones, he
let Carlo take over. Carlo took him seriously. He lured
Celavini down to his restaurant on a fake emergency call,
costume in all and did him in. But then he
became frightened. That's when he called me, it was worth
two thousand dollars to have me hush things up, but
(27:04):
I don't operate like that. He had a hunch I
was going to tip off Mallard. That's when he removed
the body from the ice box and dumped him into
the bay. Carlo had also been at the performance of
Tales of Hoffmann. That's when he learned that they'd rustled
up ral Herbert's to sing in place as Slovenia. By
(27:25):
this time, Martinello was obsessed with the idea of singing
in the opera house and wouldn't stop at anything. Right
after Herbert's left Warren Schol's dressing room, he managed to
get Herbert's into the elevator and up to the fourth
gallery behind the stage. That scream was produced by a
six inch to little through Herbert's heart from the hands
of Martinello, and that's when our chase began. I hope
(27:47):
I never see that tunnel under the opera house again.
That Mallard and his sentiments. It was he who gave
me that gun just a week before for my birthday.
He said I needed protection. Well darn it, I do,
but I can't get Mallard to believe me. Instead, he
just gives me guns.
Speaker 3 (28:11):
Listen again at the same time next week for excitement
and adventure, just style.
Speaker 1 (28:15):
Candy Met You Can two A two o nine.
Speaker 3 (28:38):
Heard tonight were Harry Bechtel as Ralph Herberts, Jerry Walter
as Carlo Martinello. Henry Left plays the role of Inspector Mallard,
and Jack Thomas's Rembrandt. Dorothy Warren should Star of The
Standard Hour and the San Francisco Opera Company, was heard
as herself. The program stars Natalie Masters as Candy and
has written and produced.
Speaker 2 (28:55):
By Marti Masters.
Speaker 3 (28:57):
With the exception of Miss Warren Schold and he resembles
to actual people in tonight's play is purely coincidental. Candy
Madsen comes to you from San Francisco. This is Dudley
man Love speaking.
Speaker 2 (29:23):
You are tuned for the Stars on NBC
Hello, you can't do eight two nine. Yes, this is
Candy Madson.
Speaker 2 (00:23):
Got an old.
Speaker 3 (00:23):
Corpse kicking around? You're want identified? No of any good
murders you want solved. We've got just the girl for you.
Her name is Candy Madson.
Speaker 2 (00:32):
Mighty cute too.
Speaker 3 (00:33):
She fills out a size twelve suit to jumpt the
right proportions, soft blonde.
Speaker 2 (00:38):
Hair, two sparkling blue eyes, and all in.
Speaker 3 (00:41):
All she looks as though she might have stepped right
off the voga calendar. And what's more, she's a private eye.
You scoff, you ridicule. I'll let you see for yourselves.
Speaker 2 (00:51):
Listen. She's talking on the phone right now.
Speaker 1 (00:58):
Hello Candy Madson, Hello missus Mudson.
Speaker 2 (01:02):
I'm afraid you don't know me.
Speaker 1 (01:04):
That makes it even you don't know me. Let's go
from there.
Speaker 4 (01:07):
I've read about you in the papers, Miss Mutson. You
handle confidential cases.
Speaker 1 (01:12):
That's right. However, there's a little matter of a fee involved.
Speaker 2 (01:15):
Yes I know I can pay.
Speaker 1 (01:17):
That's item number one. Now to item number two. What's
the confidential case?
Speaker 4 (01:21):
I can't possibly tell you on the phone, Miss Mutson.
I said it was confidential.
Speaker 1 (01:27):
Okay, where do you want to talk?
Speaker 4 (01:28):
I am the proprietor of a restaurant, The Charlemagne in
North Beach.
Speaker 1 (01:32):
Oh yeah, I ate their one.
Speaker 2 (01:34):
Oh that's nice.
Speaker 1 (01:35):
No, it wasn't. I didn't like the food. Oh, however,
I'll overlook it. Do you want to talk about now?
Speaker 2 (01:40):
That will be fine, Miss Matson.
Speaker 1 (01:42):
Good and your name would be Martinello.
Speaker 2 (01:45):
Carlo Martinello.
Speaker 1 (01:46):
Okay, mister Martinello, and have some ink in your pen.
It costs money just to talk. I probably sounded rough
and commercial, but you have to be in this racket.
Most people look into private eye as a musician. They
(02:07):
invite you to a party and expect you to bring
your harp for free. But uh uh, I learned the
hard way a long time ago, so now they pay
in advance and take their chances later. That's the way
it was with this Martin Nello. I was at home
in my penthouse on Telegraphy a lot on the porch,
taking a sunbath when the phone rings and it's this
Carlo character. That part was all right, because I can
always use new customers. But what made me mad was
(02:30):
the fact that I had to stop listening to the
forty nine ers belt the jabers out of the Cleveland
Browns at Keysar Stadium. But I followed through an uncovered
a couple of very doune in bodies along the way.
Do you like the grotesque in your whodunnis? Then follow
me and will tiptoe lightly through the tibbets, the ponds
and the baccalonies. Because part of this story unfolds at
(02:51):
the opera House. Reluctantly, I dressed into something CHARLEMAGNEI ish
turned off the forty nine ers clear, went down and
talked to Martinello. This place was typical, located on pal Street,
a Garish neon sign and as you walked in the
air place with air conditioned by Eau de garlique.
Speaker 2 (03:12):
Yes, miss, you wish a table?
Speaker 1 (03:14):
I wish the table. Yes, with the right party. I'm
looking for the owner.
Speaker 2 (03:18):
I am the owner.
Speaker 1 (03:19):
I am Candy Nets.
Speaker 2 (03:20):
Oh, miss Matson. Walk this way, please, If.
Speaker 1 (03:24):
I could walk that way, I'd revive Vaudeville. Pardon, where's
your office?
Speaker 2 (03:28):
Right over here? Allow me after you, Signora?
Speaker 1 (03:37):
Thank you?
Speaker 2 (03:37):
Signor dear sit down? Please?
Speaker 1 (03:41):
Thanks now, Martin Nello, what's on your mind?
Speaker 2 (03:45):
Always? All my life?
Speaker 4 (03:47):
I have run a very nice, respectable place until this morning.
Speaker 1 (03:53):
What's with this morning, I go down.
Speaker 4 (03:55):
To the basement. My ice box is down there. That
is where I keep all my meat.
Speaker 1 (04:00):
So you wanted some ground rounds?
Speaker 2 (04:01):
Oh no, no, but I have sid show you. Please,
you will come with me.
Speaker 1 (04:12):
Martinello led the way out of his office and down
a flight of stairs. A coold blast hit my face.
A monsi aroma smothered my nostrils, and if I had
a phobia about darkness, I'd have ducked out then. But
I followed the guy and we ended up in front
of a refrigerator about the size of an inquisition chamber.
He opened the door and it was the usual restaurant
ice box, choice legs of lamb hanging from hooks, potential filets,
(04:36):
and thick New York cuts. The box was coold, and
I started to shiver, not from the refrigeration, though, because
over in the corner was a man. He looked like
something out of a long lost Arctic expedition. He had
a long, flowing mustache, every bristle of which was coated
with ice. He was quite frozen and quite dead. I
(05:01):
slammed the door shut and reeled out. The sight had
staggered my thought processes Martinello reached over by a salami
slicing table and turned on a Mazda A week affair
of that cast dim shadows about the damp basement. Is
that your little surprise?
Speaker 2 (05:17):
Yes, mister Mudson, that is what I was greeted with
this morning.
Speaker 1 (05:21):
Have you notified the police? Why not?
Speaker 4 (05:24):
As I told you, I have run a very respectable place.
And two, that is why I am hiring you.
Speaker 1 (05:31):
You can get in trouble, you know.
Speaker 4 (05:33):
Yes, yes, that is why you must help me. Please please,
miss Madson, say you will help me. I will pay
you anything you say.
Speaker 1 (05:42):
I stick my neck out in the strangest places. Now
it's a refrigerator, okay, Martinello, two thousand dollars. What make
up your mind? Either I freeze your assets or the
police find your frozen friend.
Speaker 2 (05:58):
Yes, all right, come, I give you the money.
Speaker 1 (06:04):
Now, Now we're getting somewhere.
Speaker 2 (06:06):
What about him?
Speaker 1 (06:08):
Oh, he'll keep he's on ice. Well, this was one
for the books. Refrigeration the ugly way. I had to
ask a few questions if I was to get anywhere,
such as like, do you know the guy?
Speaker 4 (06:22):
No?
Speaker 1 (06:22):
Had you ever seen him before? Who was the last
one to close the ice box? Last night, I does
it lock from the inside. Unfortunately, Yes, I was getting
places like Wiley was with Houser. It was inevitable, and
I had to take my courage in my hand and
go down and look at that thing again. There it
(06:42):
was a male mona lisa etched in ice. This time
I looked closer. I had to, and as I did,
I realized I wasn't going to get any identification because
this guy was a study in Crimson. Underneath all that
cooting of ice, he was dressed in a devil's costume.
I slammed the door once again and went upstairs. There
(07:05):
I gave Martinello's strict orders not to do a thing.
Usually in cases like this you have to wait for
a break. They come along like a forcing hand in poker.
So I went home to do some thinking. As I arrived,
there was an old friend of mine, Rembrandt Watson.
Speaker 2 (07:20):
Hello, Dove, I'd almost given.
Speaker 1 (07:23):
Up, rembrand How did you get in?
Speaker 4 (07:25):
And your door was opened? There I took the liberty
of coming here.
Speaker 1 (07:28):
Oh, sure, that's okay.
Speaker 2 (07:29):
How are things candy?
Speaker 1 (07:31):
All right? I guess I'm kind of bushed, though I
feel about as devaluated as a British Pound.
Speaker 2 (07:36):
You look wonderful, dog. What's wrong?
Speaker 1 (07:39):
I've got a deal, but I don't know where to
start anything.
Speaker 2 (07:41):
I can help you with.
Speaker 1 (07:42):
No thanks, rem Brand. If I told you about it,
you wouldn't believe it.
Speaker 4 (07:45):
I've never doubted you in the past, Dear.
Speaker 1 (07:48):
I know well. I was just called in by a
minnestroni merchant in North Beach. The guy is stuck with
a corpse that's about paw for the course. The deceased
had been sealed in the ice box overnight. I've never
seen one like that before.
Speaker 2 (08:01):
That's the way it is, Dear. Many are called, but
few are frozen.
Speaker 1 (08:05):
Oh, get out of here.
Speaker 2 (08:07):
What do I just got here?
Speaker 1 (08:08):
I know, but I've got to change and get down
to see Mallard.
Speaker 4 (08:11):
I'll wait for you, Candy. I haven't seen the gum
shoe since before me vacation.
Speaker 1 (08:16):
All right, I'll be with you in a few moments.
I did a fast change and Rembrand and I climbed
into my car and we dropped off Telegraph Hill on
don Kearney Street. The Hall of Justice where Mallard hanged
his star, is only a few blocks away, so we
made it in about five minutes. Infector Ray Mallard homicide,
(08:36):
San Francisco Police. A lovable, shaggy dog type of character,
very keen with the crime, but done with the dame me.
For instance, if I want him to say yes, he
says no, and vice versa.
Speaker 5 (08:50):
Well, my ever loving Candy, what's new in the private
eye business?
Speaker 1 (08:54):
Very little? How's the legitimate set foot record?
Speaker 2 (08:57):
Oh, we're holding all archers up? Well, I'm bratt. I
haven't seen you since Pop was a hector. Please infector,
you're making your mixapause?
Speaker 1 (09:06):
Who writes this dialogue?
Speaker 2 (09:07):
I'm pretty weak? I know what's on your mind? Candy.
Speaker 1 (09:10):
A character named Carlo Martinello. Have you got anything on him?
What's so funny?
Speaker 6 (09:15):
Mellan?
Speaker 2 (09:16):
Nothing except I eat lunch there about every day of
the week.
Speaker 1 (09:19):
We'll answer my question.
Speaker 2 (09:20):
There's nothing on Martinello.
Speaker 5 (09:22):
The rest of a couple of times during prohibition he
was dabbling in grappa a lot under the table. Have
you got a case against a guy? Detecative? Matson cut
it out? No, seriously, why do you want to check
on a guy?
Speaker 2 (09:34):
Candy?
Speaker 1 (09:34):
No reason?
Speaker 5 (09:35):
Just thought i'd ask, Well, Martinello's okay, just trying to
make a living.
Speaker 2 (09:40):
The only thing I don't like he loves to sing
to his customers.
Speaker 1 (09:43):
That'd be enough to bankrupt him. Right there?
Speaker 2 (09:45):
Anything else I can do?
Speaker 1 (09:46):
No, that takes care of everything.
Speaker 5 (09:48):
I'll tell you what I'm throwing about an hour. I'll
take you up to Martinello's for dinner. You can see
for yourself.
Speaker 1 (09:54):
No, no, no, that's all right, okay, Candy, give why Mallard? Dear,
what on earth do you mean?
Speaker 2 (10:03):
You know something about something? I want in Mallard?
Speaker 1 (10:07):
And I want you to believe this. I mean it sincerely.
If I knew something, you'd be the last to know
about it.
Speaker 2 (10:14):
He's got something there, some love, believe it's a all.
Speaker 1 (10:21):
I hate to do things like that to Mallard. He's
been of great help to me in the past. More
than once he's saved my life. But on a deal
like this, you have to play it close. After old
girl has to make a living. But the first time
in a long time, I was completely baffled as to
where to start. Something had to be done about that
cadaver and the icebox for what. While I was beatling
my eyebrows, ren Brand invited me up to his place
(10:42):
for Tea. He lives on California Street, just down away
from Old Saint Mary's, only a bail bond broker's reach
from the Hall of Justice. So I accepted.
Speaker 4 (10:52):
Do forgive the looks of the place, Candy, Dear, I
had a meeting my flatteralous.
Speaker 1 (10:55):
Group last night, Philatalous, the stab Collector's Dear. Well, I
know what they are, but I didn't think they could
make such a men.
Speaker 2 (11:01):
You don't know for latterlus. Sit down there, make yourself comfortable.
I shamp be a moment. That's all right, Candy Deer.
Why the wrinkles?
Speaker 1 (11:09):
I've got cause for wrinkles. This chap in the ice box,
rem brand There's something I didn't tell you. He was
dressed in a devil's costume.
Speaker 4 (11:18):
There there, dear, your tea already in just a minute,
you'll feel better.
Speaker 1 (11:22):
I know it sounds crazy, but it's true.
Speaker 2 (11:24):
What are you going to do, Candy, I don't know.
Speaker 1 (11:27):
I can't leave him in that refrigerator forever.
Speaker 4 (11:29):
We'll get him out there. I hate to think of
a corpse catching pneumonia. Oh excuse me, Candy, help yourself
to the tea.
Speaker 2 (11:38):
How do you do? Ramrod Watson Enterprises quiet done?
Speaker 4 (11:43):
O Oh, hello, Templeton, how aout all your steamships.
Speaker 2 (11:49):
Oh that's good. What could I use? Do what to
the opera?
Speaker 4 (11:58):
Of course I could? Why so I'll pick them up
at your office. Thank you, Templeton. Goodbye, Candydia.
Speaker 1 (12:04):
You like the opera, I can take it or leave it.
Speaker 4 (12:06):
Why it certainly develops that I have two tickets tomorrow
night for Tales of Hoffman.
Speaker 1 (12:11):
Oh remembred. I don't think I call them.
Speaker 4 (12:12):
Come Candy, it'll do you good. You've been working too hard.
You need little relaxation.
Speaker 1 (12:17):
Tales of Hoffman. Okay, who's the pal who gave them
to you?
Speaker 4 (12:21):
An old friend of mine table from Woodworth. He runs
the steamship two Java and other places. It's your pins
things about.
Speaker 1 (12:33):
I finished the Tea and Less right there, and the
only opera I could think of was the one going
on in an ice Blox that Martin Nello's. I've always
tried to play straight with Ray Mallard, so I decided
to tell Martinello my plans.
Speaker 2 (12:45):
Missus Mutson. I don't think it's such a good idea, Carl.
I want to talk to you, That's what I mean.
There's a gentleman here who you've got a gentleman.
Speaker 1 (12:53):
That's fine. Three more and you've got a crowd. What
I want to talk to you about is this.
Speaker 2 (12:57):
Don't understand. The gentleman I'm talking about is from the police.
Speaker 1 (13:01):
The police.
Speaker 5 (13:02):
Yeah, hello, Candy Mallard.
Speaker 2 (13:06):
How about some scalliponi?
Speaker 1 (13:08):
Well up jumped? Hello Mallard.
Speaker 2 (13:11):
Dear, I had an idea you'd like dinner here tonight. Uh?
Do you know my boy Carl?
Speaker 1 (13:15):
Yes, yes, we've met.
Speaker 2 (13:16):
How do you do how do you do the s?
Wish something to eat?
Speaker 1 (13:20):
No, no thanks. I want to talk to you though, Mallard.
Speaker 2 (13:23):
Sure, come on into my booth. We'll share some salami.
Speaker 1 (13:26):
No, no thanks. I want to see you downstairs.
Speaker 2 (13:30):
I don't think the foods is good down there.
Speaker 1 (13:32):
I agree, but it isn't the food I'm talking about.
Speaker 2 (13:35):
Murders.
Speaker 1 (13:39):
Once again, I headed down into the catacombs of the Charlemagne.
This time the act was a double. Mallard was right
behind me. Then I looked around. We were a trio.
Mark Nello was right behind Millard.
Speaker 2 (13:54):
This is it. This is what.
Speaker 1 (13:56):
This is an icebox. Inside you will find a body
dressing a those costumes.
Speaker 2 (14:01):
Okay, Carlo, that's humor. The lady open the thing with you. Yes,
I'll open it. Lovely view of the beef.
Speaker 1 (14:19):
It's gone, the body's gone. Okay, Martinello's start talking. It
makes some sense while you're doing it.
Speaker 2 (14:24):
He is, missus Mautson. I don't know anything. I haven't
been down here all day.
Speaker 1 (14:29):
Get rid of those arched eyebrows. Martinello, you know something?
Speaker 6 (14:32):
What is it?
Speaker 5 (14:32):
A minute, Candy, I'll do the questioning in the first place,
Carlo was there or was there not?
Speaker 2 (14:37):
A body in here?
Speaker 6 (14:39):
Will sure there was?
Speaker 1 (14:41):
He can't deny. Here's a check for two thousand dollars.
Sound by Martinello himself.
Speaker 2 (14:48):
Well, Carlo, yes, it was about the old right, Who
was it?
Speaker 5 (14:53):
Friend of yours? No, inspective, I never saw him before.
Why did you call miss Matson? Why didn't you come
to see me about it?
Speaker 2 (15:00):
Really, you know, inspector to the police.
Speaker 5 (15:04):
Just because you were once arrested for a bootlegint Carlo
is no reason to be afraid of the police. Put
a couple of my men on the job and see
what we can turn up.
Speaker 1 (15:13):
What is that all you're going to do? Mallard?
Speaker 5 (15:16):
No, right now, I'm going back upstairs and have some
of Carlo's scallipini.
Speaker 6 (15:22):
Mallard, are you out of your head?
Speaker 2 (15:24):
Look, Caddy. In order to have a murder case, you've
got to have a body. Obviously, we're fresh.
Speaker 5 (15:29):
Out, and until you're a pal with the devil's costume
turns up. I intend to live my typical, everyday life.
Don't forget the mushrooms, Carlo.
Speaker 1 (15:42):
There are times when I get so at Mallard I
want to scream. I didn't, though, I only scrammed. I
hung on to the two thousand. However, I thought I
deserved it just forgetting my curiosity aroused. And it was
aroused plenty. Corpses don't get up and walk out of
ice boxes by themselves. But after all, Mallard had a point.
There was nothing to be done without a body. So
(16:03):
I went home and waded into a stack of dirty
dishes that had been piling up. Then I fixed dinner
and started a news stack of dirty dishes, got a book,
and ducked into bed. In the morning, I had an idea.
After breakfast, I went down to the corner of Broadway
and Columbus. That's where North Beach doesn't eat blend with Chinatown.
On the corner was a Joe who sold newspapers. I'd
known him for some time and he seemed to like me.
Speaker 2 (16:29):
Hi a bud Well, Hello, old lady, how are you good?
Speaker 1 (16:33):
Can't complain? Who won the football game yesterday?
Speaker 2 (16:35):
Funny thing? I got all the news right inside here
for seven cents.
Speaker 1 (16:39):
I guess your point. Give me a chronicle?
Speaker 2 (16:42):
Sure? Here?
Speaker 1 (16:43):
Thanks? Who do you like in the feature by Meadows?
Speaker 2 (16:46):
Who goat named Candy?
Speaker 6 (16:47):
What?
Speaker 1 (16:48):
What did you say?
Speaker 2 (16:49):
There's a pig name Candy running on the seventh Take
it and leave it?
Speaker 6 (16:52):
What it you?
Speaker 2 (16:53):
I don't get him? Well, what's really.
Speaker 6 (16:55):
On your mind?
Speaker 2 (16:55):
Lady?
Speaker 1 (16:56):
Here? Here's a twenty you can play it on Candy
all for yourself.
Speaker 2 (17:00):
Who do you know?
Speaker 1 (17:01):
A gent named Martin Ello? But he owns of Charlemagne
down the box?
Speaker 2 (17:05):
Sure? What about him?
Speaker 1 (17:07):
That's what I'm asking you? What about him? Oh? He's
all right, little scroy, but he keeps his nose.
Speaker 2 (17:11):
Claim?
Speaker 1 (17:11):
Is that all?
Speaker 2 (17:12):
Yeah? Should there be more?
Speaker 1 (17:14):
I don't know, thanks, butch I hope Candy pays off.
I was getting nowhere, that was for sure, And the
rest of the day went the same way. Dead ends
blind Alley's I checked as many loose ends as I
possibly could, but I was still stuck in a quandary.
(17:35):
But the crusher claim late in the afternoon when I
got a copy of the light paper and read where
Candy came in at day Meadows and paid thirty two twenty,
and I hadn't had sense enough to get a board.
When I got home, the phone was ringing, Hello, Candy Meds.
Speaker 2 (17:53):
And oh your candy mets and I should play.
Speaker 1 (17:55):
A pan Oh, hello, rem Brand, Dear, HOI like in
October morning?
Speaker 4 (18:00):
Every single one of the pause is breathing great, huge
gulps of air. What I just had a facial dove,
most invigorated?
Speaker 1 (18:09):
What on earth for? I loved your old pores just
the way they were.
Speaker 2 (18:13):
Candy, you've forgotten.
Speaker 1 (18:15):
I had forgotten what Brand going to awkward tonight? Oh duckie,
I'm sorry I had forgotten. I'm afraid I'll have to renee.
Speaker 2 (18:22):
No candy, you promise.
Speaker 4 (18:24):
And I don't care what you're involved, and it'll do
you good.
Speaker 1 (18:26):
But rem Brand, I'm working on it. Perhaps you're right, Okay,
I'll get ready.
Speaker 4 (18:32):
Wonderful dear, picking up about quarter of age?
Speaker 1 (18:34):
Will you pick you up a quarter of eight?
Speaker 5 (18:35):
Yeah?
Speaker 2 (18:36):
Yeah?
Speaker 1 (18:36):
Yeah?
Speaker 2 (18:36):
Oh? And another thing?
Speaker 4 (18:37):
Lamb we may have to do some entertaining afterward.
Speaker 2 (18:41):
H do bring some cash with you?
Speaker 1 (18:44):
Air that rem Brand always stony broke. I guess photography
isn't what it's cracked up to be. I didn't mind, though,
He's in a friend to me on more than one
occasion that if I was going to the opera, I
had to start thinking an operatic terms. I fished around
(19:05):
in the closet and came up with something that would
have done any woman's heart good, one of those strapless
affairs that you can't stop breathing in for one moment,
otherwise the opera is no longer the main attraction. I powdered, perfume,
pouted and rouge, and took off after Rembrand. But just
as I started to leave, just the.
Speaker 5 (19:25):
Moment, Oh, get a load of the Duchess. It won't
be Halloween for another couple of weeks yet.
Speaker 1 (19:36):
Oh, very funny. Come on in, Millard, what are you
decked out for? Can it something you wouldn't understand? I'm
going to the opera.
Speaker 5 (19:44):
Oh I love the opera, any horse opera with text
acuff in it.
Speaker 1 (19:48):
That's what I thought. What's on your mind? Millard? I've
got to pick up Rembrandt in ten minutes.
Speaker 2 (19:52):
I was just driving bus. I thought I'd stop and
tell you the news news.
Speaker 1 (19:56):
But what we found el the oblo the guy in
the ice box.
Speaker 2 (19:59):
Yeah, Martinello identified him. It was floating in.
Speaker 5 (20:02):
The water off Aquatic Park and he lead on him
the best. It was Salovini, the second baritone with the
opera company. That's all candy, I hope you enjoyed the performance.
Speaker 1 (20:11):
Night a baritone with the opera company. All that explained
the costume, but it didn't explain a lot of other things.
I walked down the stairs with Mallard. He got in
his squad car, picked on the flashing red light, and
with a burst of his siren, rolled down the street.
I had to speak to Mallard about that. All the
neighbors had their heads out of their windows as I
(20:33):
climbed into my car and followed what an exit. I
picked up Rembrandt and we drove up to the Civic center.
I found a place to park, a minor miracle. The
last time I went to the opera I had to
drive almost to Paloaldo and come back by train. Rembrandt's
friend must have been very influential. We had seats in
(20:53):
the Diamond Horseshoe. They were presenting Tales of Hoffman and
a friend of mine Dorothy Warrenshuald was singing the ro
of Antonia. Was a fine performance, and after the last
curtain night took friend Brandt. We went backstage to see Dorothy.
This is your dressing room, Brent. Yes, hello, Dorothy, this
(21:16):
is Candy Matts and I have a friend with me.
Speaker 6 (21:18):
Oh, do come in please, Candy, Candy, how are you?
Speaker 1 (21:23):
Couldn't be better? Dorothy? May I present mister Watson Brandt.
Speaker 4 (21:26):
This is miss Warren Short delighted you were in magnificent
voice tonight the idea thank.
Speaker 6 (21:31):
You so down, won't you? I've only a woman. Were
rehearsing some of the scenes in Faults.
Speaker 1 (21:35):
Tonight, rehearsing after a full evening's performance, and.
Speaker 6 (21:38):
Has to be done. Candy, our baritone disappeared. We've had
to replace him with a new man.
Speaker 1 (21:43):
Yes, yes, I know. By the way, Dorothy, I heard
you on your standard our broadcast a few weeks ago.
Was a wonderful performance.
Speaker 6 (21:49):
I'm glad you liked to Candy. I always look forward
to those.
Speaker 1 (21:52):
What do you plan, Dorothy?
Speaker 6 (21:53):
Well, the season closes here and then we open him all. Oh, yes,
of course, excuse me, come in.
Speaker 2 (22:01):
Oh I'm sorry. I didn't know you had guests.
Speaker 6 (22:03):
That's all right, Oh, Candy, I'd like to introduce Ralph Herberts.
This is Ms. Matson and mister Watson. Mister Herbert is
our new baritone.
Speaker 2 (22:11):
Oh.
Speaker 6 (22:12):
Yes, that's why we're rehearsing tonight.
Speaker 2 (22:14):
I won't take any more A good time, gath there.
Speaker 6 (22:16):
I just thought we'd save a few moments of rehearsal.
Speaker 5 (22:19):
If I told you that I don't move in that
last scene I seen.
Speaker 4 (22:23):
Upstage, that will leave you free to take as much stage.
Speaker 2 (22:26):
As you like.
Speaker 6 (22:27):
Fine, Ralph, that will save time.
Speaker 3 (22:28):
Thanks, not at all glad to have met you, Miss Metton.
Speaker 6 (22:32):
Mister Watson stays, yes, Rol. Ralph has a wonderful voice,
and he's a good actor too. You know, I think
he'd be even better than Salavini.
Speaker 1 (22:43):
I've seen him before.
Speaker 6 (22:44):
Oh yes, he's been in pictures and on the concert
stage and in opera too, but he's he's never really
had a good break. This might be it. Oh that's it, Candy.
I'm sorry, but I'll have to leave certainly.
Speaker 1 (22:55):
Dorothy, say, why don't you stand in the wings.
Speaker 6 (22:57):
You can watch the rehearsal if you'd like. Oh I
love it, Come on and then follow me.
Speaker 1 (23:08):
Ali.
Speaker 6 (23:09):
Thanks everyone, Wait, this is all right, Candy, you can
stay right here.
Speaker 1 (23:13):
Thanks already.
Speaker 6 (23:14):
Glad to have met you, mister Watson.
Speaker 2 (23:15):
Also, as we used to say in the theater, go
out there and kiddo.
Speaker 6 (23:19):
See you later.
Speaker 2 (23:21):
Wait this WI show. There you are. I bet wad.
Speaker 6 (23:26):
I saw him just a moment ago in the dressing room.
Speaker 2 (23:28):
Plain We're about to keep moving. Please, somebody find Herbert.
Speaker 1 (23:43):
From way up in the heights of the stage, the
opera house was pierced with a blood curdling scream that
was no ordinary scream, with a scream of death. You
wait here, and Brandt, keep your eyes open. I'm going
up to have a look. That scream wasn't in the
score of false. I punched the button for the backstage elevator.
(24:03):
It's a good thing they worked fast and her speedy.
Once inside, I pressed the button for the fourth gallery.
I got up. This was the top of the opera house.
The place was loaded with old sets, props, paper mache, alligators,
gold goblets. Then over on the other side of the catwalk,
I saw it. The body of a man, all crumpled
and distorted. I hit the catwalk and ran over. It
(24:27):
was one hundred feet above the stage, and as I
looked down I could see a score of strained faces
looking up through the darkness. I got on the other
side and bent over the body. It was that of
raw Kerbert.
Speaker 2 (24:39):
Come here, I think your man.
Speaker 1 (24:41):
Your stop down underneath.
Speaker 6 (24:42):
The stay.
Speaker 1 (24:46):
Again. I did a mal patent. The elevator shot me
down at the stage level, and there was Rembrandt, wild eyed.
Speaker 4 (24:52):
He came down the elevator on the other side Candy.
Then he cut across the stage and down those steps.
Speaker 1 (24:56):
Come on, rem Bread, follow me, I may need help.
We ran down the steps and into the bottels of
the stage. It looked like a nightmare, a myriad of
cross beams of steel for the rising stages. We cleared
those and went around by the chorus dressing rooms. There
was only one out. I remembered it a door over
in the corner, very seldom used, but it was open.
(25:19):
It led into a long tunnel with giant steam pints
running overhead into the right. This went underground over to
the Veterans building. Down by your feet is a stream
of water flowing in a trough at the old Hayes
Valley Creek. Our killer decidedly knew his opera house. As
we entered the tunnel, I could see him up ahead,
running like crazy, so we took off after him. We
made the other side and it breaks into a big
(25:40):
engine room. As we came into the opening, I looked around.
The engineer was lying on the floor out like a light,
blood spurting from his skelp. Then I glanced up. There
was another door. This led into the Veterans building itself
in an avenue of escape onto Vanett. I ran up.
Then as we got into the long corridor, I saw
Martinello breaking for the door. Stop stop Martinello, you think
(26:01):
I am a pool I do if you don't stop? Okay,
pal you asked for it. It was the first time
I had ever shot a man. It didn't feel good,
(26:23):
but he lived, and later the doctors of law gave
him a little pill, the cyanide kind they dropped inside
the gas chamber at San Quentin, martin Nello paid his debt.
Details sure, I'll fill him in now. Martin Nello loved
to sing. Ray Millard had told me that for years
Carlo had been hanging around the opera house hoping to
(26:44):
step into a roll this season. That director had jokingly
told him that if he ran out of baritones, he
let Carlo take over. Carlo took him seriously. He lured
Celavini down to his restaurant on a fake emergency call,
costume in all and did him in. But then he
became frightened. That's when he called me, it was worth
two thousand dollars to have me hush things up, but
(27:04):
I don't operate like that. He had a hunch I
was going to tip off Mallard. That's when he removed
the body from the ice box and dumped him into
the bay. Carlo had also been at the performance of
Tales of Hoffmann. That's when he learned that they'd rustled
up ral Herbert's to sing in place as Slovenia. By
(27:25):
this time, Martinello was obsessed with the idea of singing
in the opera house and wouldn't stop at anything. Right
after Herbert's left Warren Schol's dressing room, he managed to
get Herbert's into the elevator and up to the fourth
gallery behind the stage. That scream was produced by a
six inch to little through Herbert's heart from the hands
of Martinello, and that's when our chase began. I hope
(27:47):
I never see that tunnel under the opera house again.
That Mallard and his sentiments. It was he who gave
me that gun just a week before for my birthday.
He said I needed protection. Well darn it, I do,
but I can't get Mallard to believe me. Instead, he
just gives me guns.
Speaker 3 (28:11):
Listen again at the same time next week for excitement
and adventure, just style.
Speaker 1 (28:15):
Candy Met You Can two A two o nine.
Speaker 3 (28:38):
Heard tonight were Harry Bechtel as Ralph Herberts, Jerry Walter
as Carlo Martinello. Henry Left plays the role of Inspector Mallard,
and Jack Thomas's Rembrandt. Dorothy Warren should Star of The
Standard Hour and the San Francisco Opera Company, was heard
as herself. The program stars Natalie Masters as Candy and
has written and produced.
Speaker 2 (28:55):
By Marti Masters.
Speaker 3 (28:57):
With the exception of Miss Warren Schold and he resembles
to actual people in tonight's play is purely coincidental. Candy
Madsen comes to you from San Francisco. This is Dudley
man Love speaking.
Speaker 2 (29:23):
You are tuned for the Stars on NBC
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