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 (00:10):
Hello, you can't to wait two o nine. Yes, this
is Candy Medson.
Speaker 2 (00:34):
Well, hello there, Candy.
Speaker 1 (00:36):
How's the one woman in Scotland yard? Okay, Inspector. If
business was any better, you fellows could all retire on
your big fat engine. Is Mallard of his office? Oh?
Speaker 2 (00:45):
Sure, I just left him there. He's working on a deal.
But it's all right, a deal.
Speaker 1 (00:49):
Oh, I won't bother him. Then that's all right.
Speaker 3 (00:51):
When last observed he was perched neatly on the horns
of a dilemma.
Speaker 1 (00:56):
Well, in that case, i'd better go in, inspector right.
Speaker 2 (00:58):
Oh, drop around anytime.
Speaker 1 (01:00):
High heels sound so much nice and flat feet, Thank you, sir.
Good morning, Lieutenant Mellard Candy.
Speaker 2 (01:09):
For Pete's sake, I wish you'd knock when you'd come
in here. Why well, I might have been what Millard
did asleep or something. How that you're in and pull
up a chair and set a spell.
Speaker 1 (01:20):
I heard you were busy.
Speaker 2 (01:21):
You heard I was busy, So your barge ride in.
Speaker 1 (01:23):
I can always barge right out again, you know, no.
Speaker 2 (01:26):
No, no stick around. I've done all I can for now.
What if you got a murder in homicide? I'd be
working on a purse snatching. Yeah, take a look. Never
see anything like that before.
Speaker 1 (01:36):
Nope, looks like a small medallion of some kind.
Speaker 2 (01:39):
I don't think so here as I can figure, it's
the symbol of an order or a cult. You recognize
the characters on.
Speaker 1 (01:45):
It only seem to have an Egyptian flavor. That was
my thinking too, However, I'm not an Egyptologist. You can
always take it over to the University of California. University
of California. What's wrong with that?
Speaker 2 (01:58):
You like cutting off my own I've got Stanford and
six points on the big game.
Speaker 1 (02:03):
After what you see? Lady to them? Oh, from now on,
I will knock before I come in here, and if
I get an answer, I'm going to leave. You've got
a point there, I know I have. I mean about
taking this over to the university. Hey, wait a minute,
Why didn't I think of it before?
Speaker 2 (02:18):
Why?
Speaker 1 (02:19):
Rim Brand? He has a brushing acquaintance with the Egyptian
language and writing. Re Brand, rem Brad Watson, your kids, No,
I'm not. He spent quite a bit of time in
Egypt before the war. Come on, get in the car
and we'll drive over to his place. I've got to
see him anyway.
Speaker 2 (02:32):
I'm sorry, can't, I no, can do. I gotta be
in Judge Wallack's court in ten minutes.
Speaker 1 (02:36):
Who let me have it, and I'll take it over
to him. If rim Brandt comes up with anything, I'll
report right back.
Speaker 2 (02:41):
Okay, just don't lose it, that's all.
Speaker 1 (02:43):
Why can't you get another work, not.
Speaker 2 (02:45):
This particular one?
Speaker 4 (02:46):
We can't.
Speaker 2 (02:47):
We took it off the body of a woman they
found floating last night and stole.
Speaker 1 (02:50):
Lake still Lake and Golden Gate Park, the charming place
to take your last bath. Oh, I almost forgot what
I came here for to begin with. Here's the book
I borrowed from you, Mallard, dear book? Which book is
that latest tact and figures on the rise and fall
of crime throughout the Western Hemisphere, plus a comprehensive digest
on criminal trans in the United States as compiled by
(03:10):
police departments of major cities throughout the country. Oh, thanks,
Did you get anything out of it the book? Heck no,
I just barely managed to get through the title.
Speaker 5 (03:25):
So the National Broadcasting Company presents Candy Madson yukon two
eight two Old Irons.
Speaker 1 (03:36):
I slipped the medallion into my coin purse, slipped the
coin person into my handbag, slipped Mallard a peck on
the chief, and slipped out of the Hall of Justice.
I climbed it in my car and drove over to
California Street, opposite Old Saint Mary's Cathedral, almost bordering Little
Alley facing Saint Mary's Square. It is there that a
very old friend of mine lives, rem Brett Washington, the
eminent Pacific Coast photographer.
Speaker 4 (03:58):
I'm so glad you came by today, of all days.
I need the firm stension of your friendship upon which
to brace myself bred.
Speaker 1 (04:06):
What on earth are you talking about?
Speaker 4 (04:08):
Never has the weight of gloom rested so heavily on
my shoulders. Never has the metal of depression hung army
head as it does.
Speaker 1 (04:15):
Put the hand back in the eye, thoughts, What gives here? Duckie?
Speaker 4 (04:18):
You are gazing upon a man about to be bureat
of a home.
Speaker 1 (04:22):
You mean you're being a victor?
Speaker 4 (04:24):
Not yet? One must face eventuality.
Speaker 1 (04:27):
Can't you pay your red? Is that it? Oh? No,
be silly, candy. I have plenty of money. But then,
in Heaven's name, why the hamlet routine? What do you
mean you're going to be a victor.
Speaker 4 (04:35):
Sim be this girl. A bunch of uncouth bollets are
going to build an underground garage in the square next door,
I asked, But he's so funny.
Speaker 1 (04:44):
Well, you probably won't have to move. Chances are they'll
never touch this building. I think candy, the dirt, the noise. Well,
I've never known either one who will set you before rembread.
Speaker 4 (04:54):
It's not meself, I'm thinking about. It's Henry me Great Dane.
All those steam shovels, riveting machines that I have to
give Henry a nervous stomach on.
Speaker 1 (05:03):
A great day. And that's something, isn't it.
Speaker 4 (05:06):
And here's something that will prove I'll be addicted. Look
this morning's paper right down here.
Speaker 1 (05:13):
The preliminary to construction of the garage beneath Saint Mary's
Square was approved yesterday by the Board of Supervisor's Finance Committee.
The project, recommended by the San Francisco Parking authorready, involves
use of Saint Mary's Park subsurface area and seven adjacent
parcels of privately owned property in the area bounded by
Carney's Prine, California and Saint Andrews. There you see what
(05:35):
I mean. Well, I'd hardly call this hovel of a parcel,
but yes, I do see what you mean. Well, what
are you going to do about it?
Speaker 4 (05:42):
And what can I do about it? But for a
new place to live.
Speaker 1 (05:45):
That's all, laddie boy. I'm glad you said that. I've
been meaning to have a word with you for quite
some time. Think you're doing a whale of a good business.
More and more you're catering to an extremely fashionable clientele.
That's pool about time you live the park if photographs
are becoming known throughout the country. I couldn't have stayed
here much longer anyway, But it has such atmosphere, Candy
(06:05):
that it does, especially when the wind's from the east.
Tell you what you helped me on a little deal
right now, and I'll stand the rest of the day
looking at places.
Speaker 4 (06:12):
With you, Candy, will you? I was hoping you'd say
that you're.
Speaker 1 (06:16):
The lamb in the spring. I am.
Speaker 4 (06:18):
Oh, I get it, spring lamb, but you never so
much better.
Speaker 1 (06:23):
Already boy, But before you bound completely out of your skin,
does you take a look at this Wait a minute
there fascinating what is it? Amut? At some time? I
don't know, That's why I came to see you. What
does it say on there sea bic hopefully find Prince?
(06:43):
What did I do with the glasses on your forehead? O?
Speaker 4 (06:47):
L mady el hadda, el masta ball om when I
can't see the translate, Oh of course, Milky, What does
it mean? Well, I'm not exactly sure of my translation,
but I'm taken to read the past, the present, the
future our mind.
Speaker 1 (07:08):
That sounds good enough to me. Let me make a
phone call here and I'll be right with you. Tell me, Dougie,
does that expression mean anything to you? Have you ever
heard it before? No?
Speaker 4 (07:18):
There are literally thousands of such staying Canada. Big you
could the thread one with anything.
Speaker 1 (07:23):
So I was wondering about.
Speaker 3 (07:26):
Headquarters Deluci speaking.
Speaker 1 (07:28):
Oh hello, Deluchi, this is Candy Matson. Is Lieutenant Mellard there.
Speaker 3 (07:31):
Lieutenant Mallard Nomas Madison.
Speaker 6 (07:33):
He left with jell you Wallack and the jury on
that Happy Man supermarket killing at Lake Merced probably be there.
Speaker 1 (07:39):
The rest of the afternoon. Oh okay, would you write
this down for me? El Maggie l Hodder, el Mastack.
Call who Milky, there's Matson. This is a phone conversation. Well,
thank you. Now have you got that, I guess so good.
(08:00):
Just sign my name to it and put it on
Millard's jest, will you sure? Thank goodbye? Candy?
Speaker 4 (08:07):
Are you crazy?
Speaker 1 (08:08):
Now? I don't understand that crazy, just the other way around.
This is one night I know I'm going to get
Millard to call me Candy fool, but you're a nice fool.
Just having you assure me.
Speaker 4 (08:20):
That moving from here is the right thing to do
has removed all the troubled thoughts transform me into a
a blight spirit.
Speaker 1 (08:27):
A blind spirit. Well, come on, bline spirit, let's go
haunt for houses. Knowing Rembred as I do, he's the
sort of a man who would open a doll factory
across the street from a boy's school. But in this case,
I was going to make sure he'd get the locale
to the business and VI surpa. But what was the
locale to be? Suddenly I had it. There was a
(08:50):
barn type of building out on Octavia Street, just off Pacific,
used to be a dance studio, but somehow or other
I seem to recall it for rent, sign on the place,
and that's where we went a what is it, Candy?
The fact the place might have been a stable. I
imagine it was one time. I do know it was
a dance studio for a while for rent. All right,
there's the sign, and I hope we can get in.
(09:13):
You'll like it. I'm sure it's this ideal for a
photography studio, and it has plenty of room upstairs for
living quarters and a fine big backyard out and back
for Henry Strong's ideal, I could only see it. Let's
walk around on that little wooden bridge at the side it.
There's a window we can peak too. If not, we'll
run down the little real estate off say. Yeah, side
needs fixing up, but not too much.
Speaker 4 (09:33):
No, it's a matter of fact that the place is
any kind of shape at all, and the owner is
building to help the business. I might be interested in
buying the place. What and why not now that I'm
in the mood and I've saved the field amount of
money in the past year two.
Speaker 1 (09:44):
Well, here's the window. Pretty dirty. Wait a minute, can
you see anything, candy little not to give you an idea.
How much space do you have in the studio itself?
Do you take a look. Oh, it's wonderful, just perfect.
Speaker 4 (09:58):
I could do all the portrait work up in front
out there and put all the equipment back in the jackie.
What is this? I saw a man in there.
Speaker 1 (10:05):
Let's see he's motioning to us. I don't understand. What
is there a door down that way? Remember?
Speaker 4 (10:13):
Look?
Speaker 1 (10:14):
Yes, fussy one, Oh that's what he wants. Come on
this spousey is dear fare taker? Maybe?
Speaker 2 (10:31):
Or was there something you wanted?
Speaker 1 (10:33):
We're just looking around. We saw the sign out and front.
Are you the caretaker?
Speaker 2 (10:37):
No?
Speaker 3 (10:37):
No, I am the owner and you live here again? No,
there was a fire you last night. I came over
to investigate the fire. Yes, there wasn't much damage done.
One of the never started and the fire department or
I've almost immediately.
Speaker 4 (10:53):
Lucky for you.
Speaker 1 (10:55):
How much mend are you asking?
Speaker 3 (10:56):
I'm afraid you'll have to take that up with the
real estate people. I let them handle all my transactions.
Speaker 1 (11:03):
Would you be willing to tell?
Speaker 3 (11:05):
I might, but that's something you have to discuss with
them too. That sounds odd, does it not? But much
better off if I don't transact my own business.
Speaker 1 (11:16):
Sure, would you mind if we look around? Mister Watson?
Here is rather interesting.
Speaker 3 (11:21):
I'm afraid that is off of the question. You'll see
the electricity have been turned off. You would have to
use matches.
Speaker 1 (11:29):
We'll be very careful, sir. I've got matches right here
in my purity.
Speaker 4 (11:32):
No, no, no, it is impossible.
Speaker 3 (11:35):
After what happened last night, time afraid things might be misunderstood.
Speaker 1 (11:38):
I should be.
Speaker 2 (11:39):
Accused of.
Speaker 1 (11:41):
Accused, accused of what?
Speaker 3 (11:45):
And what did you say? Your name was?
Speaker 1 (11:48):
I didn't and need it, did you? We we have
a queen custom here in the United States.
Speaker 3 (11:54):
I am not interested in custom. I'm only interested in
keeping my appointment.
Speaker 1 (11:58):
You keep your appointment, I assure you. Do you remember
high low rembrandt.
Speaker 4 (12:04):
Yes, acquaint this is device us with a great deal
of success on the bread eyre yes.
Speaker 1 (12:08):
Would you like to take high and I'll take low pleasure?
Speaker 4 (12:11):
Really now, no.
Speaker 1 (12:16):
Getty arms if you can rembrand I'm trying to take
it like an I think he needs a little persuasion
on the head like.
Speaker 4 (12:24):
So oh, dear, I hope you didn't have him too hard.
Speaker 1 (12:32):
No, he just went sleepy by for a little while.
Speaker 4 (12:35):
I have the reason for this unwomanly utburst on your part.
Speaker 1 (12:39):
You certainly may look up there on that beam above
us a printer for it.
Speaker 4 (12:45):
Now, what did you want me to see?
Speaker 1 (12:47):
Up there a sign on that beam, just barely visible,
but you can't make it up. And No, and Maggie
and Harder and Massa, whom sure I saw when we
first came in. When the boy on the floor mentioned matches,
it gave me a perfectly natural chance to open my
purse and flash the medallion. He saw it, all right.
(13:09):
He stopped like he'd been sacked. He was twice yes,
once by the medallion, once by me. I think we've
got something, Rembred. Come on, let's get to a phone
call Mallard quick. And may I say something ducky Well,
I shouldn't say it, but that was the prettiest high
low I've ever seen From San Francisco.
Speaker 5 (13:33):
The National Broadcasting Company is presenting Candy Matson.
Speaker 1 (13:37):
You can two eight two o nine. I left my
gun with Rembrad, who by this time was sitting on
our little friends. I took off, found a grocery store
about three blocks down in place to call the Mallard.
Fortunately he was in, and after I told him what
was happening, he was out again, this time headed for
the former dance studio. I ran back to the place
(14:00):
Sleeping Beauty was showing signs of coming too, with Rembrand
still riding a choppy sea on the guy's twisting chest.
Speaker 4 (14:09):
I'm so glad you're back here. Miss Steed is beginning
to buck a bit, and I did so want to
avoid backing him on the nogging again.
Speaker 1 (14:16):
Yeah, I don't blame you. After a while it begins
to hurt.
Speaker 4 (14:19):
Here.
Speaker 1 (14:19):
Give me the gun, rememberand thanks. Now stand back. If
the joker tries anything, there's going to be badminton with
bullets for birds. Yes, he'll be here in a moment
or two. The holl of justice that'll be forever. Usually
Mallard when he has a chance to play with that siren.
Oh justin snapping out of it.
Speaker 3 (14:37):
Oh, I think miss, you're will regret exceedingly what you
have done.
Speaker 1 (14:42):
Maybe so maybe no now care to tell us about
this past presence and future our minds stuff?
Speaker 2 (14:49):
I'm not saying there were.
Speaker 1 (14:52):
Does it surprise you? I know the translation? You might
as well tell us you'll have to have a long way.
I have nothing to say. I'm I mean I'll bet
you do. Wait minute, see who it is. Remember it's
Mallard in his petuiting system. Good open the door for them.
Speaker 2 (15:14):
H this is cozy all you need is a fourth
foot bridge.
Speaker 4 (15:20):
And I kip it.
Speaker 1 (15:21):
He's all yours for that.
Speaker 2 (15:22):
Okay, get them boys, let's go.
Speaker 1 (15:24):
Hey, wait a minute, you haven't seen the building.
Speaker 2 (15:26):
The building can wait. This cookie's hot, and I want
to keep them that way, Like I said, boys, take
them away, give him that big hall of justice.
Speaker 1 (15:37):
One two three O'Leary and we were at the jail
house on Washington Street four or five six Oliary and
our lad was whisked away into the inner sanctums for
a pleasant little game called information please, seven, eight nine O'Leary,
and Mallard was back in his office snorting fire at me.
And when he snorts fire, sister Susie, it's frightening.
Speaker 2 (15:57):
What are you trying to do?
Speaker 1 (15:58):
Have the whole city of minister stretchings out on my neck?
But Millard, what do you mean?
Speaker 2 (16:02):
I'll tell you what I mean.
Speaker 1 (16:03):
We've arrested a man who's completely in the clear. He
can shoot the works at us. So is the false arrest?
Wait a minute, something's off the beam here. What's his name?
Speaker 2 (16:11):
Testament Al Testament?
Speaker 1 (16:12):
How do you know he's in the clear because we
checked just now.
Speaker 2 (16:15):
He's been a respectable citizen of San Francisco for over
twenty years, owns a lot of real estate around town,
fine reputation, excellent credit, the works, and you have to
stir up a hornet's nest.
Speaker 1 (16:24):
I don't know what to say.
Speaker 2 (16:26):
I do go home and stay there. And I have
a hunch that guy's going to press an assault and
battery charge against you and Rembrandt, and he's got a
very legal right to do it too.
Speaker 1 (16:35):
Yipes. I wonder how I'll look in stripes. Mellard was
just playing out and outdoor, judging the myths, and at
faith value, he was entitled to be sore. But I'm
not the gual to take things on face value. That
time on the beam out at the old studio definitely
had a link with the inscription on the ad minute.
I was sure of them, and I was sure that
(16:57):
Tessaman was a link too, So I fell back on
the prime eyes first lesson how to shadow a suspect,
the use of doorways, trees, building shrubs, senses, and et cetera.
So hiding behind an et cetera, I waited outside the
Hall of Justice until I saw Testament leave the building.
All he did was snag a cab and disappeared into
an apartment house on the top of Clay Street. I
(17:17):
checked the ground floor and found there were only three outlets,
the main entrance, the service entrance alongside, and the garage
around the corner. I parked across the street where I
could see all three and waited and waited. About two am,
I figured Testament had hold up for the night, so
I went home and got myself a nice little joke.
(17:38):
My penthouse was a myth. It looked like a senior
grade monsoon had ripped through the place. It stacked up
that Tessaman couldn't have done it, so there must be
somebody else who wanted in on the act. As far
as I could tell, nothing was missing, so I straightened
up as best I could and hit the sack. The
alarm went off at five o'clock the next morning, and
I struggled into my clothes, drove over to Rembrandt's place,
rustled him into my car, and we took off. Your
(18:02):
man can be positively mad. What's the idea waking me
up in the middle of the night. It's not the
middle of the night that it is morning. Remember, the
early birds get the worms for the change.
Speaker 4 (18:11):
I'd like to see the early worm get the bird.
Speaker 1 (18:13):
What are we doing gallivanting about like this? Can we're
putting the shadow on Testam?
Speaker 2 (18:17):
Is he the word?
Speaker 1 (18:18):
One of them? In spite of the fact that Mallard
whitewashed him. Here we are, How nice did Blake Essex.
We'll just park here. Hunch down in your seat, Docky.
I hardly imagine our worm has departed yet A half
hour passed by. Just as the sun peeked over the
(18:39):
East Bay Hills and scattered its own bright rays on
the water of the bay, a car backed out of
the Blake Essex garage. It was Testament, all right. He
wheeled the car down Clay Street and we followed. He
turned left on Taylor and again when he reached the Pacific.
I had a hunch where he was going. He crossed
Vans Avenue when we did LifeWise. That was when Rimbread
spoke up. I hate to mention it, dear, but I
(19:05):
think the shadowers are being shadowed. What do you mean?
I looked behind him several times. There seems to be
a car following us. Just a coincidence. I wouldn't worry
about it. Look our boys turning off onto Octavia, just
as I thought, he's returning to the studio. What we
do now, go as slowly as we can give him
time to part the car, get inside the building, and
(19:26):
then go in after him. Are you sure you know
what you're doing, Candy? Nope? Oh well then it's all right.
We'll go past our Tavia Laguna and down the Broadway
and come back from that direction. That should do it.
(19:46):
Now to double back along Broadway. I dislike being repetitious, girl,
but the car is still following us. Well, there's nothing
like a showdown here we are at Octavia. Let's find out.
Look across the street at the studio out in front
there bags of cement, sand and a pile of bricks
(20:08):
that wasn't there when we left yesterday. No, our friend
can they if he is. I'm going to find out
about this right now.
Speaker 6 (20:18):
Please, miss Matson, remain seated in your car.
Speaker 1 (20:23):
There's a gun, Candy, that's a naive observation room brand
looks more me like a cannon.
Speaker 6 (20:28):
I assure you I won't hesitate using it. Now, if
you and mister Watson will get out in an orderly
manner and walk across the street into the studio.
Speaker 1 (20:36):
There will be no trouble. Looks like we have no choice.
Come on, ducky, this should be great spots. When you
have a gun that side poking into your nose, it's
easy to be convinced. We walked across the street and
into the studio. Even with a brilliant morning sunshine outside,
the place was dark and grim, and tessaman Lad was
(20:58):
waiting to meet us, wearing the very related and smirks.
Speaker 4 (21:04):
Just as your plan, Master.
Speaker 1 (21:05):
It was so easy.
Speaker 6 (21:07):
They fell into our trap beautifully, and now they shall
feel no pain. The work test man. There can be
no further delay. He is master, he shall be no
He calls me master, And that is as it should be. Now,
miss Madson, Now that you so conveniently returned to our shrine,
the ambulet, please.
Speaker 1 (21:27):
I haven't got it. I left it at home in
another purse. It wasn't in your place last night. So
you're the character who wrecked my apartment. That is right.
Speaker 6 (21:37):
And now if you would be so kind as to
empty your purse on the table there, you better do it, Candy.
Speaker 1 (21:43):
Yes, there seems to be no alternative. Ah, now the
coin first, please, I yes, the ambulet, thank you, missus
Streaker tooken to You can have that if you are the.
Speaker 6 (22:04):
Past, the presence, the future are mine mine, Miss Madson,
an old saying of one of the ancient pharaohs.
Speaker 1 (22:11):
I adapted it for myself. Rather brilliant, wouldn't you say?
I say you need a new scriptwriter.
Speaker 6 (22:18):
Now I shall tell you about your future. This building,
being on a hill, was built on solid rock foundations.
My faithful servant, tess Man is an expert stonemason. You
see that chamber like a fair hewn into the rock.
Tests Man is going to build a brick wall across it.
You are going to be sealed inside, also like the
(22:39):
ancient pharaohs, only it would take more than a Howard
Carter or Lord Carnavan to discover you.
Speaker 1 (22:51):
The guy who was a madman, and a madman usually
keeps his word. Tess Man went to work. It's by
little des fling. Wall of bricks took shape. Once I
pressed my hand against the bricks. You must have been
using a fast hardening mortar mix of some kind. The
wall was as firm as the ages. Zooma smiled. Finally
(23:14):
there was an opening just large enough to crawl through.
That's when Zomas spoke up.
Speaker 6 (23:24):
Enough, test Man, I will complete the work as you
will master.
Speaker 1 (23:29):
My mission here has finished.
Speaker 6 (23:31):
You three are the only ones who know about me,
and so I shall destroy all evidence and move on
to you.
Speaker 1 (23:38):
What feels test Man? In your goal? What muster?
Speaker 2 (23:45):
No?
Speaker 1 (23:47):
No?
Speaker 4 (23:48):
I have served you.
Speaker 1 (23:48):
Pestfully, I said, getting No, I won't I I won't
not even.
Speaker 4 (24:02):
That fool.
Speaker 6 (24:04):
The future belongs to me. You two, get him, shove
him into the tomb. Now, I trust you won't be
quite so idiotic. Suffocation isn't too unbearable. I think I
shall call this the Tomb of the wayward Three. Yes,
(24:27):
that will be good?
Speaker 1 (24:29):
Is he in? Yes? Very well? You may follow. Go ahead, remembered,
I'm sorry I got you in it. It's all right.
Speaker 6 (24:41):
And now for the final lack, the complete obliteration. A
people all over the world have lost their way. They
struggle in darkness. It is up to me to bring
them the truth that all hardy and harder and mostak
(25:04):
balhum milk is all mine.
Speaker 1 (25:08):
What about that woman you jumped into stoe leg Gama.
Speaker 6 (25:11):
A very generous lady. She contributed over fifteen thousand dollars
to the cause. But then the poor thing began to
doubt me said something about going to the authority mouse
Untfortunately it was then that even eyes Zoma made a mistake.
I forgot about the ambulet I had given her. She
(25:33):
was still wearing it about her neck. I will not
make that error again now, Like the final toast to life,
the last brick, Sleep well, foolish ones, forever.
Speaker 1 (25:48):
Get your hair straight up, the wear mac you you
that's a great Alison. Get your hands up. Yes, I
will like this.
Speaker 4 (26:02):
Kenny.
Speaker 1 (26:03):
Where are you over here? Ellen? Behind a trip ball?
Speaker 2 (26:09):
A fine thing, That's all I've got to say. Running
around and messing things up. Boy, he's really got you
tucked away, hasn't he?
Speaker 1 (26:16):
Come on, Dard, get us out of here. We can
hardly breathe. We you're pal Tetman? Who was bathing?
Speaker 2 (26:25):
Boy? You can sure do it? Catch a caddy. I
think I ought to leave you in there. He almost
messed this whole thing up.
Speaker 1 (26:32):
I did. How Why did you think we released Testman? Testman? Yeah?
Speaker 2 (26:37):
I know, Ali Tesman. I'll call him Testamon because it
was the first lead we got on this joker Zoma.
We've been after him for months. Why playing on the
superstitious people with a yen for the occult. We had
nothing to go on until we fished that woman out
of Stow Lake with the amulet around her neck. And
you have to go and stick your pretty nose.
Speaker 1 (26:56):
Into the picture.
Speaker 2 (26:56):
What about Up until he met Zoma? He was okay,
going quite well in real estate. Then along came the
master Tessamond turned over the studio for Zoma to uses
a temple. But after he dumped the tomato into Stole Lake,
Zoma realized he'd have to liquidate his affairs and get
the bejaviors to other parts of the country with you
and Rembrandt making like cops and robbers.
Speaker 1 (27:18):
He knew he had three people to get out of
the way.
Speaker 2 (27:20):
He almost got away with it. How did you get
here when you did?
Speaker 1 (27:24):
Sheer luck, cupcake? I was only returning to make a
routine check.
Speaker 4 (27:27):
Up on this joint.
Speaker 1 (27:28):
Sister, Are you lucky? You can say that again? All right?
Speaker 4 (27:32):
Sister?
Speaker 1 (27:32):
Are you?
Speaker 2 (27:33):
On second thought?
Speaker 1 (27:35):
Maybe you aren't.
Speaker 2 (27:36):
What do you mean now, I dear, if there's one
thing I can't stand, it's an interfering woman.
Speaker 1 (27:42):
I think I'll just leave.
Speaker 4 (27:44):
You in there.
Speaker 2 (27:45):
No none goodenough, Rene, a good life.
Speaker 1 (27:59):
Okay?
Speaker 2 (28:00):
On one condition?
Speaker 1 (28:01):
Sure? Sure? What is it?
Speaker 2 (28:03):
Promise you'll go to a roy Acuff movie with me tonight?
Speaker 1 (28:07):
Roy Acuff movie. What do you think? Rembrandt of State
worse than Day? That's what I thought too, So long
Mallards on your way out, just stealing that last Drake Williams.
Speaker 5 (28:41):
Listen again next week at this same time for excitement
and adventure.
Speaker 1 (28:46):
Just dial Candy Madson you come to A two o nine.
Speaker 5 (28:59):
The part of Testaman was played by John Groeber Zoma
was Lou Tobin. Henry Laugh is heard as Lieutenant Ray Millard,
and Jack Thomas is rehn Brandt Watson. The program stars
Natalie Masters and is written and directed by Marti Masters.
Bill Brownell creates the sound effects, and Eloise Rowan is.
Speaker 2 (29:17):
Heard at the Organs.
Speaker 5 (29:18):
Our engineer was Frank Barron. Any resemblance to actual people
is purely coincidental. The characters in the story were entirely fictitious.
The program came to you from San Francisco. Dudley Man
loves speaking
Hello, you can't to wait two o nine. Yes, this
is Candy Medson.
Speaker 2 (00:34):
Well, hello there, Candy.
Speaker 1 (00:36):
How's the one woman in Scotland yard? Okay, Inspector. If
business was any better, you fellows could all retire on
your big fat engine. Is Mallard of his office? Oh?
Speaker 2 (00:45):
Sure, I just left him there. He's working on a deal.
But it's all right, a deal.
Speaker 1 (00:49):
Oh, I won't bother him. Then that's all right.
Speaker 3 (00:51):
When last observed he was perched neatly on the horns
of a dilemma.
Speaker 1 (00:56):
Well, in that case, i'd better go in, inspector right.
Speaker 2 (00:58):
Oh, drop around anytime.
Speaker 1 (01:00):
High heels sound so much nice and flat feet, Thank you, sir.
Good morning, Lieutenant Mellard Candy.
Speaker 2 (01:09):
For Pete's sake, I wish you'd knock when you'd come
in here. Why well, I might have been what Millard
did asleep or something. How that you're in and pull
up a chair and set a spell.
Speaker 1 (01:20):
I heard you were busy.
Speaker 2 (01:21):
You heard I was busy, So your barge ride in.
Speaker 1 (01:23):
I can always barge right out again, you know, no.
Speaker 2 (01:26):
No, no stick around. I've done all I can for now.
What if you got a murder in homicide? I'd be
working on a purse snatching. Yeah, take a look. Never
see anything like that before.
Speaker 1 (01:36):
Nope, looks like a small medallion of some kind.
Speaker 2 (01:39):
I don't think so here as I can figure, it's
the symbol of an order or a cult. You recognize
the characters on.
Speaker 1 (01:45):
It only seem to have an Egyptian flavor. That was
my thinking too, However, I'm not an Egyptologist. You can
always take it over to the University of California. University
of California. What's wrong with that?
Speaker 2 (01:58):
You like cutting off my own I've got Stanford and
six points on the big game.
Speaker 1 (02:03):
After what you see? Lady to them? Oh, from now on,
I will knock before I come in here, and if
I get an answer, I'm going to leave. You've got
a point there, I know I have. I mean about
taking this over to the university. Hey, wait a minute,
Why didn't I think of it before?
Speaker 2 (02:18):
Why?
Speaker 1 (02:19):
Rim Brand? He has a brushing acquaintance with the Egyptian
language and writing. Re Brand, rem Brad Watson, your kids, No,
I'm not. He spent quite a bit of time in
Egypt before the war. Come on, get in the car
and we'll drive over to his place. I've got to
see him anyway.
Speaker 2 (02:32):
I'm sorry, can't, I no, can do. I gotta be
in Judge Wallack's court in ten minutes.
Speaker 1 (02:36):
Who let me have it, and I'll take it over
to him. If rim Brandt comes up with anything, I'll
report right back.
Speaker 2 (02:41):
Okay, just don't lose it, that's all.
Speaker 1 (02:43):
Why can't you get another work, not.
Speaker 2 (02:45):
This particular one?
Speaker 4 (02:46):
We can't.
Speaker 2 (02:47):
We took it off the body of a woman they
found floating last night and stole.
Speaker 1 (02:50):
Lake still Lake and Golden Gate Park, the charming place
to take your last bath. Oh, I almost forgot what
I came here for to begin with. Here's the book
I borrowed from you, Mallard, dear book? Which book is
that latest tact and figures on the rise and fall
of crime throughout the Western Hemisphere, plus a comprehensive digest
on criminal trans in the United States as compiled by
(03:10):
police departments of major cities throughout the country. Oh, thanks,
Did you get anything out of it the book? Heck no,
I just barely managed to get through the title.
Speaker 5 (03:25):
So the National Broadcasting Company presents Candy Madson yukon two
eight two Old Irons.
Speaker 1 (03:36):
I slipped the medallion into my coin purse, slipped the
coin person into my handbag, slipped Mallard a peck on
the chief, and slipped out of the Hall of Justice.
I climbed it in my car and drove over to
California Street, opposite Old Saint Mary's Cathedral, almost bordering Little
Alley facing Saint Mary's Square. It is there that a
very old friend of mine lives, rem Brett Washington, the
eminent Pacific Coast photographer.
Speaker 4 (03:58):
I'm so glad you came by today, of all days.
I need the firm stension of your friendship upon which
to brace myself bred.
Speaker 1 (04:06):
What on earth are you talking about?
Speaker 4 (04:08):
Never has the weight of gloom rested so heavily on
my shoulders. Never has the metal of depression hung army
head as it does.
Speaker 1 (04:15):
Put the hand back in the eye, thoughts, What gives here? Duckie?
Speaker 4 (04:18):
You are gazing upon a man about to be bureat
of a home.
Speaker 1 (04:22):
You mean you're being a victor?
Speaker 4 (04:24):
Not yet? One must face eventuality.
Speaker 1 (04:27):
Can't you pay your red? Is that it? Oh? No,
be silly, candy. I have plenty of money. But then,
in Heaven's name, why the hamlet routine? What do you
mean you're going to be a victor.
Speaker 4 (04:35):
Sim be this girl. A bunch of uncouth bollets are
going to build an underground garage in the square next door,
I asked, But he's so funny.
Speaker 1 (04:44):
Well, you probably won't have to move. Chances are they'll
never touch this building. I think candy, the dirt, the noise. Well,
I've never known either one who will set you before rembread.
Speaker 4 (04:54):
It's not meself, I'm thinking about. It's Henry me Great Dane.
All those steam shovels, riveting machines that I have to
give Henry a nervous stomach on.
Speaker 1 (05:03):
A great day. And that's something, isn't it.
Speaker 4 (05:06):
And here's something that will prove I'll be addicted. Look
this morning's paper right down here.
Speaker 1 (05:13):
The preliminary to construction of the garage beneath Saint Mary's
Square was approved yesterday by the Board of Supervisor's Finance Committee.
The project, recommended by the San Francisco Parking authorready, involves
use of Saint Mary's Park subsurface area and seven adjacent
parcels of privately owned property in the area bounded by
Carney's Prine, California and Saint Andrews. There you see what
(05:35):
I mean. Well, I'd hardly call this hovel of a parcel,
but yes, I do see what you mean. Well, what
are you going to do about it?
Speaker 4 (05:42):
And what can I do about it? But for a
new place to live.
Speaker 1 (05:45):
That's all, laddie boy. I'm glad you said that. I've
been meaning to have a word with you for quite
some time. Think you're doing a whale of a good business.
More and more you're catering to an extremely fashionable clientele.
That's pool about time you live the park if photographs
are becoming known throughout the country. I couldn't have stayed
here much longer anyway, But it has such atmosphere, Candy
(06:05):
that it does, especially when the wind's from the east.
Tell you what you helped me on a little deal
right now, and I'll stand the rest of the day
looking at places.
Speaker 4 (06:12):
With you, Candy, will you? I was hoping you'd say
that you're.
Speaker 1 (06:16):
The lamb in the spring. I am.
Speaker 4 (06:18):
Oh, I get it, spring lamb, but you never so
much better.
Speaker 1 (06:23):
Already boy, But before you bound completely out of your skin,
does you take a look at this Wait a minute
there fascinating what is it? Amut? At some time? I
don't know, That's why I came to see you. What
does it say on there sea bic hopefully find Prince?
(06:43):
What did I do with the glasses on your forehead? O?
Speaker 4 (06:47):
L mady el hadda, el masta ball om when I
can't see the translate, Oh of course, Milky, What does
it mean? Well, I'm not exactly sure of my translation,
but I'm taken to read the past, the present, the
future our mind.
Speaker 1 (07:08):
That sounds good enough to me. Let me make a
phone call here and I'll be right with you. Tell me, Dougie,
does that expression mean anything to you? Have you ever
heard it before? No?
Speaker 4 (07:18):
There are literally thousands of such staying Canada. Big you
could the thread one with anything.
Speaker 1 (07:23):
So I was wondering about.
Speaker 3 (07:26):
Headquarters Deluci speaking.
Speaker 1 (07:28):
Oh hello, Deluchi, this is Candy Matson. Is Lieutenant Mellard there.
Speaker 3 (07:31):
Lieutenant Mallard Nomas Madison.
Speaker 6 (07:33):
He left with jell you Wallack and the jury on
that Happy Man supermarket killing at Lake Merced probably be there.
Speaker 1 (07:39):
The rest of the afternoon. Oh okay, would you write
this down for me? El Maggie l Hodder, el Mastack.
Call who Milky, there's Matson. This is a phone conversation. Well,
thank you. Now have you got that, I guess so good.
(08:00):
Just sign my name to it and put it on
Millard's jest, will you sure? Thank goodbye? Candy?
Speaker 4 (08:07):
Are you crazy?
Speaker 1 (08:08):
Now? I don't understand that crazy, just the other way around.
This is one night I know I'm going to get
Millard to call me Candy fool, but you're a nice fool.
Just having you assure me.
Speaker 4 (08:20):
That moving from here is the right thing to do
has removed all the troubled thoughts transform me into a
a blight spirit.
Speaker 1 (08:27):
A blind spirit. Well, come on, bline spirit, let's go
haunt for houses. Knowing Rembred as I do, he's the
sort of a man who would open a doll factory
across the street from a boy's school. But in this case,
I was going to make sure he'd get the locale
to the business and VI surpa. But what was the
locale to be? Suddenly I had it. There was a
(08:50):
barn type of building out on Octavia Street, just off Pacific,
used to be a dance studio, but somehow or other
I seem to recall it for rent, sign on the place,
and that's where we went a what is it, Candy?
The fact the place might have been a stable. I
imagine it was one time. I do know it was
a dance studio for a while for rent. All right,
there's the sign, and I hope we can get in.
(09:13):
You'll like it. I'm sure it's this ideal for a
photography studio, and it has plenty of room upstairs for
living quarters and a fine big backyard out and back
for Henry Strong's ideal, I could only see it. Let's
walk around on that little wooden bridge at the side it.
There's a window we can peak too. If not, we'll
run down the little real estate off say. Yeah, side
needs fixing up, but not too much.
Speaker 4 (09:33):
No, it's a matter of fact that the place is
any kind of shape at all, and the owner is
building to help the business. I might be interested in
buying the place. What and why not now that I'm
in the mood and I've saved the field amount of
money in the past year two.
Speaker 1 (09:44):
Well, here's the window. Pretty dirty. Wait a minute, can
you see anything, candy little not to give you an idea.
How much space do you have in the studio itself?
Do you take a look. Oh, it's wonderful, just perfect.
Speaker 4 (09:58):
I could do all the portrait work up in front
out there and put all the equipment back in the jackie.
What is this? I saw a man in there.
Speaker 1 (10:05):
Let's see he's motioning to us. I don't understand. What
is there a door down that way? Remember?
Speaker 4 (10:13):
Look?
Speaker 1 (10:14):
Yes, fussy one, Oh that's what he wants. Come on
this spousey is dear fare taker? Maybe?
Speaker 2 (10:31):
Or was there something you wanted?
Speaker 1 (10:33):
We're just looking around. We saw the sign out and front.
Are you the caretaker?
Speaker 2 (10:37):
No?
Speaker 3 (10:37):
No, I am the owner and you live here again? No,
there was a fire you last night. I came over
to investigate the fire. Yes, there wasn't much damage done.
One of the never started and the fire department or
I've almost immediately.
Speaker 4 (10:53):
Lucky for you.
Speaker 1 (10:55):
How much mend are you asking?
Speaker 3 (10:56):
I'm afraid you'll have to take that up with the
real estate people. I let them handle all my transactions.
Speaker 1 (11:03):
Would you be willing to tell?
Speaker 3 (11:05):
I might, but that's something you have to discuss with
them too. That sounds odd, does it not? But much
better off if I don't transact my own business.
Speaker 1 (11:16):
Sure, would you mind if we look around? Mister Watson?
Here is rather interesting.
Speaker 3 (11:21):
I'm afraid that is off of the question. You'll see
the electricity have been turned off. You would have to
use matches.
Speaker 1 (11:29):
We'll be very careful, sir. I've got matches right here
in my purity.
Speaker 4 (11:32):
No, no, no, it is impossible.
Speaker 3 (11:35):
After what happened last night, time afraid things might be misunderstood.
Speaker 1 (11:38):
I should be.
Speaker 2 (11:39):
Accused of.
Speaker 1 (11:41):
Accused, accused of what?
Speaker 3 (11:45):
And what did you say? Your name was?
Speaker 1 (11:48):
I didn't and need it, did you? We we have
a queen custom here in the United States.
Speaker 3 (11:54):
I am not interested in custom. I'm only interested in
keeping my appointment.
Speaker 1 (11:58):
You keep your appointment, I assure you. Do you remember
high low rembrandt.
Speaker 4 (12:04):
Yes, acquaint this is device us with a great deal
of success on the bread eyre yes.
Speaker 1 (12:08):
Would you like to take high and I'll take low pleasure?
Speaker 4 (12:11):
Really now, no.
Speaker 1 (12:16):
Getty arms if you can rembrand I'm trying to take
it like an I think he needs a little persuasion
on the head like.
Speaker 4 (12:24):
So oh, dear, I hope you didn't have him too hard.
Speaker 1 (12:32):
No, he just went sleepy by for a little while.
Speaker 4 (12:35):
I have the reason for this unwomanly utburst on your part.
Speaker 1 (12:39):
You certainly may look up there on that beam above
us a printer for it.
Speaker 4 (12:45):
Now, what did you want me to see?
Speaker 1 (12:47):
Up there a sign on that beam, just barely visible,
but you can't make it up. And No, and Maggie
and Harder and Massa, whom sure I saw when we
first came in. When the boy on the floor mentioned matches,
it gave me a perfectly natural chance to open my
purse and flash the medallion. He saw it, all right.
(13:09):
He stopped like he'd been sacked. He was twice yes,
once by the medallion, once by me. I think we've
got something, Rembred. Come on, let's get to a phone
call Mallard quick. And may I say something ducky Well,
I shouldn't say it, but that was the prettiest high
low I've ever seen From San Francisco.
Speaker 5 (13:33):
The National Broadcasting Company is presenting Candy Matson.
Speaker 1 (13:37):
You can two eight two o nine. I left my
gun with Rembrad, who by this time was sitting on
our little friends. I took off, found a grocery store
about three blocks down in place to call the Mallard.
Fortunately he was in, and after I told him what
was happening, he was out again, this time headed for
the former dance studio. I ran back to the place
(14:00):
Sleeping Beauty was showing signs of coming too, with Rembrand
still riding a choppy sea on the guy's twisting chest.
Speaker 4 (14:09):
I'm so glad you're back here. Miss Steed is beginning
to buck a bit, and I did so want to
avoid backing him on the nogging again.
Speaker 1 (14:16):
Yeah, I don't blame you. After a while it begins
to hurt.
Speaker 4 (14:19):
Here.
Speaker 1 (14:19):
Give me the gun, rememberand thanks. Now stand back. If
the joker tries anything, there's going to be badminton with
bullets for birds. Yes, he'll be here in a moment
or two. The holl of justice that'll be forever. Usually
Mallard when he has a chance to play with that siren.
Oh justin snapping out of it.
Speaker 3 (14:37):
Oh, I think miss, you're will regret exceedingly what you
have done.
Speaker 1 (14:42):
Maybe so maybe no now care to tell us about
this past presence and future our minds stuff?
Speaker 2 (14:49):
I'm not saying there were.
Speaker 1 (14:52):
Does it surprise you? I know the translation? You might
as well tell us you'll have to have a long way.
I have nothing to say. I'm I mean I'll bet
you do. Wait minute, see who it is. Remember it's
Mallard in his petuiting system. Good open the door for them.
Speaker 2 (15:14):
H this is cozy all you need is a fourth
foot bridge.
Speaker 4 (15:20):
And I kip it.
Speaker 1 (15:21):
He's all yours for that.
Speaker 2 (15:22):
Okay, get them boys, let's go.
Speaker 1 (15:24):
Hey, wait a minute, you haven't seen the building.
Speaker 2 (15:26):
The building can wait. This cookie's hot, and I want
to keep them that way, Like I said, boys, take
them away, give him that big hall of justice.
Speaker 1 (15:37):
One two three O'Leary and we were at the jail
house on Washington Street four or five six Oliary and
our lad was whisked away into the inner sanctums for
a pleasant little game called information please, seven, eight nine O'Leary,
and Mallard was back in his office snorting fire at me.
And when he snorts fire, sister Susie, it's frightening.
Speaker 2 (15:57):
What are you trying to do?
Speaker 1 (15:58):
Have the whole city of minister stretchings out on my neck?
But Millard, what do you mean?
Speaker 2 (16:02):
I'll tell you what I mean.
Speaker 1 (16:03):
We've arrested a man who's completely in the clear. He
can shoot the works at us. So is the false arrest?
Wait a minute, something's off the beam here. What's his name?
Speaker 2 (16:11):
Testament Al Testament?
Speaker 1 (16:12):
How do you know he's in the clear because we
checked just now.
Speaker 2 (16:15):
He's been a respectable citizen of San Francisco for over
twenty years, owns a lot of real estate around town,
fine reputation, excellent credit, the works, and you have to
stir up a hornet's nest.
Speaker 1 (16:24):
I don't know what to say.
Speaker 2 (16:26):
I do go home and stay there. And I have
a hunch that guy's going to press an assault and
battery charge against you and Rembrandt, and he's got a
very legal right to do it too.
Speaker 1 (16:35):
Yipes. I wonder how I'll look in stripes. Mellard was
just playing out and outdoor, judging the myths, and at
faith value, he was entitled to be sore. But I'm
not the gual to take things on face value. That
time on the beam out at the old studio definitely
had a link with the inscription on the ad minute.
I was sure of them, and I was sure that
(16:57):
Tessaman was a link too, So I fell back on
the prime eyes first lesson how to shadow a suspect,
the use of doorways, trees, building shrubs, senses, and et cetera.
So hiding behind an et cetera, I waited outside the
Hall of Justice until I saw Testament leave the building.
All he did was snag a cab and disappeared into
an apartment house on the top of Clay Street. I
(17:17):
checked the ground floor and found there were only three outlets,
the main entrance, the service entrance alongside, and the garage
around the corner. I parked across the street where I
could see all three and waited and waited. About two am,
I figured Testament had hold up for the night, so
I went home and got myself a nice little joke.
(17:38):
My penthouse was a myth. It looked like a senior
grade monsoon had ripped through the place. It stacked up
that Tessaman couldn't have done it, so there must be
somebody else who wanted in on the act. As far
as I could tell, nothing was missing, so I straightened
up as best I could and hit the sack. The
alarm went off at five o'clock the next morning, and
I struggled into my clothes, drove over to Rembrandt's place,
rustled him into my car, and we took off. Your
(18:02):
man can be positively mad. What's the idea waking me
up in the middle of the night. It's not the
middle of the night that it is morning. Remember, the
early birds get the worms for the change.
Speaker 4 (18:11):
I'd like to see the early worm get the bird.
Speaker 1 (18:13):
What are we doing gallivanting about like this? Can we're
putting the shadow on Testam?
Speaker 2 (18:17):
Is he the word?
Speaker 1 (18:18):
One of them? In spite of the fact that Mallard
whitewashed him. Here we are, How nice did Blake Essex.
We'll just park here. Hunch down in your seat, Docky.
I hardly imagine our worm has departed yet A half
hour passed by. Just as the sun peeked over the
(18:39):
East Bay Hills and scattered its own bright rays on
the water of the bay, a car backed out of
the Blake Essex garage. It was Testament, all right. He
wheeled the car down Clay Street and we followed. He
turned left on Taylor and again when he reached the Pacific.
I had a hunch where he was going. He crossed
Vans Avenue when we did LifeWise. That was when Rimbread
spoke up. I hate to mention it, dear, but I
(19:05):
think the shadowers are being shadowed. What do you mean?
I looked behind him several times. There seems to be
a car following us. Just a coincidence. I wouldn't worry
about it. Look our boys turning off onto Octavia, just
as I thought, he's returning to the studio. What we
do now, go as slowly as we can give him
time to part the car, get inside the building, and
(19:26):
then go in after him. Are you sure you know
what you're doing, Candy? Nope? Oh well then it's all right.
We'll go past our Tavia Laguna and down the Broadway
and come back from that direction. That should do it.
(19:46):
Now to double back along Broadway. I dislike being repetitious, girl,
but the car is still following us. Well, there's nothing
like a showdown here we are at Octavia. Let's find out.
Look across the street at the studio out in front
there bags of cement, sand and a pile of bricks
(20:08):
that wasn't there when we left yesterday. No, our friend
can they if he is. I'm going to find out
about this right now.
Speaker 6 (20:18):
Please, miss Matson, remain seated in your car.
Speaker 1 (20:23):
There's a gun, Candy, that's a naive observation room brand
looks more me like a cannon.
Speaker 6 (20:28):
I assure you I won't hesitate using it. Now, if
you and mister Watson will get out in an orderly
manner and walk across the street into the studio.
Speaker 1 (20:36):
There will be no trouble. Looks like we have no choice.
Come on, ducky, this should be great spots. When you
have a gun that side poking into your nose, it's
easy to be convinced. We walked across the street and
into the studio. Even with a brilliant morning sunshine outside,
the place was dark and grim, and tessaman Lad was
(20:58):
waiting to meet us, wearing the very related and smirks.
Speaker 4 (21:04):
Just as your plan, Master.
Speaker 1 (21:05):
It was so easy.
Speaker 6 (21:07):
They fell into our trap beautifully, and now they shall
feel no pain. The work test man. There can be
no further delay. He is master, he shall be no
He calls me master, And that is as it should be. Now,
miss Madson, Now that you so conveniently returned to our shrine,
the ambulet, please.
Speaker 1 (21:27):
I haven't got it. I left it at home in
another purse. It wasn't in your place last night. So
you're the character who wrecked my apartment. That is right.
Speaker 6 (21:37):
And now if you would be so kind as to
empty your purse on the table there, you better do it, Candy.
Speaker 1 (21:43):
Yes, there seems to be no alternative. Ah, now the
coin first, please, I yes, the ambulet, thank you, missus
Streaker tooken to You can have that if you are the.
Speaker 6 (22:04):
Past, the presence, the future are mine mine, Miss Madson,
an old saying of one of the ancient pharaohs.
Speaker 1 (22:11):
I adapted it for myself. Rather brilliant, wouldn't you say?
I say you need a new scriptwriter.
Speaker 6 (22:18):
Now I shall tell you about your future. This building,
being on a hill, was built on solid rock foundations.
My faithful servant, tess Man is an expert stonemason. You
see that chamber like a fair hewn into the rock.
Tests Man is going to build a brick wall across it.
You are going to be sealed inside, also like the
(22:39):
ancient pharaohs, only it would take more than a Howard
Carter or Lord Carnavan to discover you.
Speaker 1 (22:51):
The guy who was a madman, and a madman usually
keeps his word. Tess Man went to work. It's by
little des fling. Wall of bricks took shape. Once I
pressed my hand against the bricks. You must have been
using a fast hardening mortar mix of some kind. The
wall was as firm as the ages. Zooma smiled. Finally
(23:14):
there was an opening just large enough to crawl through.
That's when Zomas spoke up.
Speaker 6 (23:24):
Enough, test Man, I will complete the work as you
will master.
Speaker 1 (23:29):
My mission here has finished.
Speaker 6 (23:31):
You three are the only ones who know about me,
and so I shall destroy all evidence and move on
to you.
Speaker 1 (23:38):
What feels test Man? In your goal? What muster?
Speaker 2 (23:45):
No?
Speaker 1 (23:47):
No?
Speaker 4 (23:48):
I have served you.
Speaker 1 (23:48):
Pestfully, I said, getting No, I won't I I won't
not even.
Speaker 4 (24:02):
That fool.
Speaker 6 (24:04):
The future belongs to me. You two, get him, shove
him into the tomb. Now, I trust you won't be
quite so idiotic. Suffocation isn't too unbearable. I think I
shall call this the Tomb of the wayward Three. Yes,
(24:27):
that will be good?
Speaker 1 (24:29):
Is he in? Yes? Very well? You may follow. Go ahead, remembered,
I'm sorry I got you in it. It's all right.
Speaker 6 (24:41):
And now for the final lack, the complete obliteration. A
people all over the world have lost their way. They
struggle in darkness. It is up to me to bring
them the truth that all hardy and harder and mostak
(25:04):
balhum milk is all mine.
Speaker 1 (25:08):
What about that woman you jumped into stoe leg Gama.
Speaker 6 (25:11):
A very generous lady. She contributed over fifteen thousand dollars
to the cause. But then the poor thing began to
doubt me said something about going to the authority mouse
Untfortunately it was then that even eyes Zoma made a mistake.
I forgot about the ambulet I had given her. She
(25:33):
was still wearing it about her neck. I will not
make that error again now, Like the final toast to life,
the last brick, Sleep well, foolish ones, forever.
Speaker 1 (25:48):
Get your hair straight up, the wear mac you you
that's a great Alison. Get your hands up. Yes, I
will like this.
Speaker 4 (26:02):
Kenny.
Speaker 1 (26:03):
Where are you over here? Ellen? Behind a trip ball?
Speaker 2 (26:09):
A fine thing, That's all I've got to say. Running
around and messing things up. Boy, he's really got you
tucked away, hasn't he?
Speaker 1 (26:16):
Come on, Dard, get us out of here. We can
hardly breathe. We you're pal Tetman? Who was bathing?
Speaker 2 (26:25):
Boy? You can sure do it? Catch a caddy. I
think I ought to leave you in there. He almost
messed this whole thing up.
Speaker 1 (26:32):
I did. How Why did you think we released Testman? Testman? Yeah?
Speaker 2 (26:37):
I know, Ali Tesman. I'll call him Testamon because it
was the first lead we got on this joker Zoma.
We've been after him for months. Why playing on the
superstitious people with a yen for the occult. We had
nothing to go on until we fished that woman out
of Stow Lake with the amulet around her neck. And
you have to go and stick your pretty nose.
Speaker 1 (26:56):
Into the picture.
Speaker 2 (26:56):
What about Up until he met Zoma? He was okay,
going quite well in real estate. Then along came the
master Tessamond turned over the studio for Zoma to uses
a temple. But after he dumped the tomato into Stole Lake,
Zoma realized he'd have to liquidate his affairs and get
the bejaviors to other parts of the country with you
and Rembrandt making like cops and robbers.
Speaker 1 (27:18):
He knew he had three people to get out of
the way.
Speaker 2 (27:20):
He almost got away with it. How did you get
here when you did?
Speaker 1 (27:24):
Sheer luck, cupcake? I was only returning to make a
routine check.
Speaker 4 (27:27):
Up on this joint.
Speaker 1 (27:28):
Sister, Are you lucky? You can say that again? All right?
Speaker 4 (27:32):
Sister?
Speaker 1 (27:32):
Are you?
Speaker 2 (27:33):
On second thought?
Speaker 1 (27:35):
Maybe you aren't.
Speaker 2 (27:36):
What do you mean now, I dear, if there's one
thing I can't stand, it's an interfering woman.
Speaker 1 (27:42):
I think I'll just leave.
Speaker 4 (27:44):
You in there.
Speaker 2 (27:45):
No none goodenough, Rene, a good life.
Speaker 1 (27:59):
Okay?
Speaker 2 (28:00):
On one condition?
Speaker 1 (28:01):
Sure? Sure? What is it?
Speaker 2 (28:03):
Promise you'll go to a roy Acuff movie with me tonight?
Speaker 1 (28:07):
Roy Acuff movie. What do you think? Rembrandt of State
worse than Day? That's what I thought too, So long
Mallards on your way out, just stealing that last Drake Williams.
Speaker 5 (28:41):
Listen again next week at this same time for excitement
and adventure.
Speaker 1 (28:46):
Just dial Candy Madson you come to A two o nine.
Speaker 5 (28:59):
The part of Testaman was played by John Groeber Zoma
was Lou Tobin. Henry Laugh is heard as Lieutenant Ray Millard,
and Jack Thomas is rehn Brandt Watson. The program stars
Natalie Masters and is written and directed by Marti Masters.
Bill Brownell creates the sound effects, and Eloise Rowan is.
Speaker 2 (29:17):
Heard at the Organs.
Speaker 5 (29:18):
Our engineer was Frank Barron. Any resemblance to actual people
is purely coincidental. The characters in the story were entirely fictitious.
The program came to you from San Francisco. Dudley Man
loves speaking
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