May 23, 2025 • 30 mins
Follows a savvy female private investigator as she tackles cases with intelligence and style in a male-dominated field.
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Episode Transcript
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Speaker 1 (00:08):
Hello, you gone to eight two o nine. Yes, this
is Candy Madson.
Speaker 2 (00:20):
The National Broadcasting Company presents Candy Madson yukon two eight
two o nine.
Speaker 3 (00:30):
Ladies and gentlemen.
Speaker 2 (00:31):
Before we commenced tonight's Candy Madson story, it's a very
great pleasure to welcomes our distinguished guest this evening, the
widely read radio columnist of the San Francisco Examiner who
conducts his own radio column under the title Day and
Night with Radio and Television, mister Dwyke Houton.
Speaker 3 (00:48):
Thank you, Dudley man Love.
Speaker 4 (00:49):
Recently, I conducted a popularity poll to determine our reader's
favorite radio program originating in San Francisco. Heading the list
and a top heavy favorite was your Andy Madson program.
In behalf of the Examiner readers who participated in the polls,
I am happy to present this award, which reads as follows,
nineteen fifty San Francisco Examiner Favorite Program Award. This certifies
(01:14):
that readers of the San Francisco Examiner have voted Candy
Madson their favorite local radio program in a poll conducted
by the underside writer of the column Day and Night
with Radio and Television. Congratulations to all who participate on
the Candy Matson Program, to Monti Masters, who writes and
directs it, and to you, Natalie Masters, the Candy Matson Stop.
Speaker 1 (01:37):
Thank you, Dwight Newton. We're doubly proud of this award
tonight because next week's program will mark Candy Matson's first birthday.
From all of us here at NBC and San Francisco
to Dwight Newton, the San Francisco Examiner, and most of
all you, the listeners who've made this award possible, are
very sincere.
Speaker 5 (01:55):
Things we continue now with Candy Madson. You can two
eight two oh nine.
Speaker 6 (02:16):
Just a moment. I'll be right there.
Speaker 1 (02:21):
How do you do it?
Speaker 6 (02:23):
You are Candy Madson, aren't you?
Speaker 1 (02:26):
Yes, that's right? And who are you?
Speaker 6 (02:28):
Willa Gray?
Speaker 1 (02:29):
Come in, won't you? WILLI there's something I can do
for you.
Speaker 6 (02:33):
But I don't quite know how to explain this.
Speaker 1 (02:36):
But it's my brother, your brother.
Speaker 6 (02:40):
Maybe you've heard of him, miss Madson. Gordon Gray?
Speaker 1 (02:44):
Were sure the songwriter? That's right? Who doesn't know him?
He's written almost as many hit songs aserving grill In?
What about him? Willa?
Speaker 6 (02:52):
Well, like many people I know, Gordon is a crime
student for relaxation. He reads all the books, lessons, all
the radio programs that naturally he's heard.
Speaker 1 (03:03):
And read a great deal about you. While I'm flattered.
Speaker 6 (03:06):
When I suggested talking to you, he'll agreed immediately talking
to me, Willa, what about Well, it's his mental condition,
Miss Mapson. He's suddenly become extremely childish. All day long,
he sits at the piano playing nothing but uncoordinated notes.
Speaker 1 (03:24):
Are you sure they're uncoordinated or is it some new
style he's trying to develop, Miss.
Speaker 6 (03:28):
Mapson, you're familiar with Gordon's work. It's always like lazy
old June, the tenderness of you. What he's doing now
is the musical gibberish.
Speaker 1 (03:37):
How well I remember lazy old June. I was just
a kid in high school at the time. How are
you living with your brother, Willa?
Speaker 6 (03:44):
No, I'm not just as well too. I don't think
I could take it. Why do you say that these
foolish notes he plays? He says he's working on a
thing to be called Symphony of Death, that someone is
going to kill him.
Speaker 1 (04:00):
Why now you've got me interested?
Speaker 6 (04:03):
I hope so, Miss Mason, you won't talk to me
every time I drop by Gordon to sits at piano,
laughing horribly and playing these Kindergarten notes. As I said,
he's a great fan of yours. Won't you go and
just speak to my brother?
Speaker 1 (04:18):
Sure, I'll see him, Gordon Gray, with a shattered mind.
What a pity is true? Think of all the jukeboxes
that would have to settle for promissory notes.
Speaker 2 (04:36):
Candy Madson, San Francisco's well known gal, private investigator, merely
trying to get her penthouse on Telegraph Hill cleaned, and
she walks into a stack of memories, memories created by
a songwriter named Gordon Gray.
Speaker 3 (04:51):
Symphony of Death.
Speaker 2 (04:52):
It never became a popular composition, but it will always
be on Candy's all time hit parade, a tune she'll
never forget because it brought about a very strange chain
of events and a fascinating finish to the entire story.
Oh at the end between departments. Well, here she is
the gal who never suffers from gaposis, Candy Matson.
Speaker 1 (05:16):
When I went into the cold, hard world to make
a living for myself, Gordon Gray was an American institution.
That's when he wrote his never to be forgotten the
Rhapsody of You. I'd had no idea that Gray was
in San Francisco. Last I'd heard he was in New
York working on the score of a brand new musical.
So when his sister confronted me like that, naturally I
(05:38):
was caught a bit off free. She wrote Gordon's address
for me, like the rabbity little elk. She seemed ducked
out as abruptly as she came. Then I dressed, drove
over to an apartment house on Paul Street, just down
from the Family Club. I pressed the button. It blew
an ugly little noise back at me. I entered, went
up the stairs to two twenty one. The door opened.
Speaker 7 (05:58):
Yeah, mister Gray, Yeah, that's right.
Speaker 1 (06:01):
I didn't call you on the phone. I thought, I
just more or less bored, you know, on you. I'm
candy medicine, Candy medicine.
Speaker 7 (06:09):
Do come in, Oh please, do come in.
Speaker 1 (06:12):
Thank you.
Speaker 7 (06:14):
So my little sister finally got up enough gumption to
call you.
Speaker 1 (06:17):
Yes, she came by this afternoon. We had quite a
nice little chat.
Speaker 3 (06:21):
A nice chat with my sister.
Speaker 7 (06:23):
Impossible, A little mouse doesn't know how to put one
word after another. Oh here, here, do sit down, won't you?
Places the mess and got manuscript all over the floor,
the high boy, the what not everywhere, high ball, spot of.
Speaker 1 (06:37):
Sherry and thank you. No, not right at the moment as.
Speaker 7 (06:40):
You say, I beg your pardon. It's nothing, really, I'm
just thinking of my monstrous joke. I'm going to be killed,
you know.
Speaker 8 (06:52):
Yes, so your sister said young, she's young, up to
buy a grandchild.
Speaker 3 (07:03):
Do you know what she thinks?
Speaker 7 (07:05):
I'm slipping my cable?
Speaker 1 (07:08):
You mind if I call you Gordon?
Speaker 7 (07:10):
I love it providing I can call you Candy.
Speaker 1 (07:13):
I despise myself in the am if you didn't.
Speaker 7 (07:16):
Candy, You're just as delightful as I had you pictured.
Speaker 1 (07:19):
Thanks Gordon. Now, frankly, what do you think? Are you
slipping your cable?
Speaker 7 (07:26):
I follow the idiotic of course not will it thing?
Speaker 3 (07:30):
Convinced you are will as I'm youre babe, a suckling.
Speaker 1 (07:33):
What about this new thing you're working on, Gordon? This
symphony of death?
Speaker 7 (07:38):
She told you about that too. That's part of my
monstrous joke.
Speaker 1 (07:42):
Candy, want to confide in me, let me know what
this joke is.
Speaker 7 (07:48):
I don't mind in the least you have brains. Not
many people have brains in this world, Candy, But you do,
and because you have brains, I'm going to give you
a challenge.
Speaker 1 (07:57):
Okay, let me have it.
Speaker 7 (07:58):
Oh no, challenge will only come after he kills me.
Speaker 1 (08:03):
He who you're referring to, Gordon.
Speaker 7 (08:06):
That's part of the challenge, Candy.
Speaker 1 (08:08):
I see. Do you really believe that someone's out to
kill you?
Speaker 7 (08:12):
But of course that's the delicious part of the whole thing.
I'm going to be killed. It can't be avoided. That's
why I'm writing my Symphony of Death.
Speaker 1 (08:19):
Oh oh sure, now, I see.
Speaker 3 (08:22):
You're making fun of me, Candy.
Speaker 1 (08:23):
No, No, I'm not Gordon. Really, it's just that well,
I've never met anyone who was happy about the prospect
of getting knocked off.
Speaker 7 (08:30):
I don't mind. Actually, I've lived a full life. I've
seen the world, me lots of money. I've been wined
and dined by people in all walks of life. My
music will live after me.
Speaker 3 (08:40):
That's all I care about.
Speaker 1 (08:42):
Now I can understand.
Speaker 7 (08:43):
There, you see, that's why I like you. You have brains.
Shall I play my new composition for you?
Speaker 1 (08:49):
If you like?
Speaker 3 (08:50):
Very well?
Speaker 7 (08:52):
You will discover after I'm dead. It's all part of
my monster's joke.
Speaker 3 (08:56):
Excuse me.
Speaker 7 (08:58):
There ain't no attention to the technique. Ye, my fingers
aren't quite as supple as they used to be.
Speaker 3 (09:29):
What do you think of.
Speaker 1 (09:29):
It, Gordon? I think it's a great, monstrous joke.
Speaker 7 (09:34):
I knew you would see it. It's part of the joke.
You're reretty sharp.
Speaker 3 (09:37):
I knew it.
Speaker 2 (09:38):
That's part of the joke, and you can see it.
Speaker 1 (09:40):
You pay wonderful compliments, Gordon. Thank you. But don't you
think this Symphony of Death is a complete departure from
your usual style, from something like well, the Rhapsody of You,
for instance.
Speaker 7 (09:51):
Certainly, certainly it's because of him. I had to write
something dedicated to him, didn't I well.
Speaker 1 (09:57):
To scramble a dangling participle, Who's him?
Speaker 3 (10:01):
The man who's going to kill me?
Speaker 1 (10:09):
As I left, I tried to shake the picture of
a cackling man playing one finger doodles on a keyboard,
but I couldn't. The impression was indelible. When I arrived home,
I was greeted by the side of a familiar auto
parked out in front. It was my number one boy,
Inspector Ray Millard of San Francisco Homicide. I invited him
up to sit Aztel and chew the fact.
Speaker 3 (10:30):
What's new, cupcake? I haven't seen it for several days,
seems like weeks.
Speaker 1 (10:34):
Hah. A compliment that means you're after something.
Speaker 3 (10:37):
I am not. Can't I ever say something nice without you? Misconstruction?
Speaker 1 (10:41):
Okay, okay? Compliment expected? It brings you around here this
time of day. Mellard, dear, aren't you on duty?
Speaker 3 (10:46):
That's the trouble. I've been on duty for almost forty
eight hours straight. I had to take a little breather
from myself.
Speaker 1 (10:52):
Were he going to do?
Speaker 3 (10:53):
Yeah, a hot one, no leads, no clues, no nothing.
Speaker 1 (10:56):
For a slight consideration, I might be inclined to help
you crack the key. Shut up, sir right away.
Speaker 3 (11:02):
What are you working on?
Speaker 1 (11:03):
I think that, hope? And what's left of the bank account.
Speaker 3 (11:06):
Me say, the Great Lady Private High is temporarily at liberty.
Speaker 1 (11:09):
I mean to say just exactly that.
Speaker 9 (11:11):
Well, if I've many judge of your business ability, you've
got enough money tucked away to buy the Philadelphia Athletics
from Connie Mac.
Speaker 3 (11:17):
What do you do with all your lout candy sw.
Speaker 1 (11:19):
It in hair, mattresses and sleep on it? Oh? Excuse
me a moment, Nellie Sugar Oh, hello, Willa. I didn't
expect to see you so soon. I hope you won't
think me a nuisance, but I just had to see you,
I understand.
Speaker 6 (11:35):
Come in. No thanks, you've been to see Gordon. I
just spoke with him on.
Speaker 1 (11:40):
The phone and he told me, yes, that's right.
Speaker 6 (11:43):
What do you think, miss Mathison?
Speaker 1 (11:45):
Very sad, Willa? How long has he been like this?
Speaker 6 (11:49):
Just a week or so. He flew in from New
York and I could see the change in him right away.
Speaker 1 (11:54):
How long ago did he leave for New York?
Speaker 6 (11:57):
He left Hollywood for New York last month.
Speaker 1 (11:59):
Was he all right then? Oh?
Speaker 6 (12:01):
Yeah, just fine. He seems so happy. He just finished
writing the music for the new show in the East.
But when he got there, the back, as they say,
into business, told him the music was no good. He
said he'd return to the coast and redo it. But
instead of going back to Hollywood, he came here, took
(12:21):
that apartment on Paul Street and he's been holed up
there ever since.
Speaker 1 (12:25):
Do you think being told his music was no good
had anything to do with his present condition?
Speaker 6 (12:30):
Oh? I'm sure that, missus Madison. He's always been a person.
Speaker 1 (12:37):
Nah no, we'll uh unknown several people who snapped momentarily
under a trup strain. Maybe it's not as serious as
you think.
Speaker 3 (12:46):
But what am I going to do?
Speaker 1 (12:48):
A ver if he needs aid immediately? I know I
Judge Conway here in town, I says he'll help you
get Gordon committed to a sanitarium where he'll get the
finest medical aid available.
Speaker 6 (12:58):
A sanitarium. Oh no, Miss Mapson.
Speaker 1 (13:01):
That would kill Gordon with either that or have him
get progressively worse.
Speaker 6 (13:07):
I suppose you're right, could you, I mean, would you
talk to Gordon explain what must be done. I don't
think I'm capable.
Speaker 1 (13:16):
Sure, I'll do it. Willis you sit tight and I'll
call you just as soon as I speak with Judge Conry.
Speaker 6 (13:21):
Thank you, Thank you so much. I imagine I should
inquire us to how much you charge for your service?
Speaker 1 (13:29):
Do forget it? Willis Getting Gordon Gray back to normal
will be pay enough.
Speaker 6 (13:33):
You're You're just wonderful, Miss Madson.
Speaker 1 (13:36):
Goodbye, poor kidd, so helpless.
Speaker 3 (13:43):
Poor kid is right. I couldn't help overhearing she's about
ninety percent mouse.
Speaker 1 (13:48):
She and Gordon must have been poured right out of
the same mold. As far as sensitivity is concerned.
Speaker 3 (13:53):
Is that the Gordon Gray Candy, the famous songwriter.
Speaker 1 (13:57):
That's the one, and he's cracked up all right ya?
Speaker 9 (14:02):
Well, thanks pal, just the sight of you it has
picked me up considerably.
Speaker 3 (14:06):
I'll be getting back to the grind.
Speaker 1 (14:07):
Millie, dear hold me type for just a moment.
Speaker 10 (14:10):
Will you sure.
Speaker 3 (14:15):
Don't let Gordon Greg get you down?
Speaker 1 (14:16):
A cup came Well, it wasn't a very pretty sight
and I've got to face him again. Thanks for the hood, Mellard.
I'll return it someday. Mellard released his grip unless I
snapped my ribs back in place and sealed myself for
the ordeal ahead of me. It wasn't going to be easy,
(14:38):
but it had to be done. So once again I
found myself ducking down Green Street, over Powell across California,
and down the roller coaster of a hill the Gordon's apartment.
He answered the door and I was met with just
as much enthusiasm as before.
Speaker 7 (14:55):
Kendy Madson, I was wondering where you'd been. You've been
gone for ages, darling. Do come here and I've got
a surprise for you.
Speaker 3 (15:03):
When did you get back from Europe?
Speaker 1 (15:05):
When did I get back, Oh, just a day or
so ago.
Speaker 7 (15:10):
Your letters were wonderful, and I especially adored the one
from Naples. By the time you must have had.
Speaker 1 (15:16):
Yes, yes, quite a time, Gordon. How's the new symphony
coming along?
Speaker 3 (15:22):
That's a surprise, my dear.
Speaker 7 (15:24):
It's completed, long last, It's finished, to be perfectly Frank Candy,
I think it's great.
Speaker 3 (15:31):
I've been in touch with Tuscanini.
Speaker 7 (15:33):
He's going to give its premier performance of Connegie next month.
I've already sent him the revised manuscript. Can you picture
a Candy, a hushed crowd. The master raps his baton,
The orchestra comes to pull attention. Then that magnificent, firm
downbeat of Toscanini's and Symphony of Death. It's making its debut,
(15:55):
first the Ali Gretto, then the Moco Handante. The audiences
at first inclined to Scott to think that Gordon Gray
(16:16):
could write serious music. From lazy old June to Symphony
of Death. Too much of a step, they say. Then
dusk Keanini glides into the Komoto. The audience, chance is
not believing their ears. Little by little they understand.
Speaker 11 (16:33):
What Gordon Gray is trying to express. Then as if
it were not enough, toss Keanini moves into the breath
taking finale.
Speaker 3 (16:41):
It sour as it moves, it.
Speaker 11 (16:43):
Transports everyone in Carnegie Hall in another world, and abruptly,
Symphony of.
Speaker 7 (16:49):
Death of Death is over. The audience A right, this one.
They shot for Gordon Gray, the composer. History is being made,
more shots for the composer. But Gordon Gray isn't there.
(17:10):
Gordon Gray is dead because of him, Gordon, listen to me.
Because of him, the world will have to be denied
any further music and the PM Gordon Gray.
Speaker 1 (17:26):
I said, listen to me, Gordon, mm hm oh. I
want to talk to you, and you've got to listen
very carefully. You're sick, you need help. Your sister and
I are arranging to have you sent to a home nearby.
They'll have you on your feet in short order.
Speaker 3 (17:46):
Send away.
Speaker 7 (17:47):
Yes, that means he will visit me soon as the
night playing very well, Candy, tell Well to do whatever
she thinks best. I won't give her any It's.
Speaker 1 (18:00):
For your own good, Gordon.
Speaker 7 (18:01):
Believe me.
Speaker 3 (18:03):
I know.
Speaker 7 (18:06):
Kenny, you never went to Europe, did you? You were
here earlier this afternoon, Isn't that right, that's right.
Speaker 3 (18:18):
You just went along with the gag.
Speaker 1 (18:21):
That's right, Gordon.
Speaker 7 (18:23):
Yeah, he'll be here sooner much I expected.
Speaker 1 (18:37):
Gordon Gray went into the other room and lay down
on his studio coach based on That's when I tipped
it out of the apartment. If only I could have
peaked in the future, I'd never have left, because that
was the last time Gordon Gray was seen alive. I
went home and fixed myself and in the east, turned
the radio on low and sat down with a book
called That Frail Vessel about the Behavior of the human Mind.
(19:02):
Out of one corner of my ear, I heard it.
It was at ten o'clock news over NBC with Sam Hayes,
and there it was. The body of Gordon Gray had
been found in his apartment. The book clattered out of
my hands, and I sat there for a moment's sunned,
but only for a moment. Another second, I was driving
over to pick up an old pal of mine, rem
Brandt Walton. There was a good reason for it, rem Brandt.
(19:25):
Studying to play the channel. On the way over, I
noticed the headlines. The police had the net out for
Gordon's sister, Willem rem Brandt was whom he was agreeable,
going to Gordon and Gray's apartment with me, and before
you could bat an eyelash, providing your batting average was good.
We were in set apartments alone.
Speaker 3 (19:44):
What a word, girl, What a garish looking place.
Speaker 1 (19:48):
It didn't belong to Gordon Christmaly, remember it. He was
merely renting.
Speaker 3 (19:51):
He still doesn't deny the fact that it's garish. Candy
the proof. Now, why did you want me to come
with this Victorian masco liam with you?
Speaker 1 (19:58):
Yes, a hunch, ducky. Are you still taking cello lessons?
Speaker 3 (20:02):
Taking them, girl will be ridiculous. I'm now giving them
even better.
Speaker 1 (20:08):
Just as I thought, the boys in Blue haven't touched anything.
The manuscript for Symphony of Death is still on the piano.
Can you play single notes on the piano? Rem bread,
frock and dry? Good, run your hangnails.
Speaker 3 (20:20):
Over this, m strange. This is music, except a series
of notes with no meter, phrasing or regard for the
proper time to the ball.
Speaker 1 (20:29):
Exactly, play it just the way it's written, well, and
call out the notes as you go along. I think
I'm beginning to understand Gordon's Symphony of.
Speaker 3 (20:38):
It as you say, and for no reason at all
is a rest candy D A D and a rest
go ahead g G and another rest mm hmm. Then
it goes D a long gap in the manuscript.
Speaker 1 (20:59):
You know what that spells musically, ducky bad Egg did
after confusion. On the other hand, I don't think so,
as we say in the movies, continue.
Speaker 3 (21:08):
On no timing at all.
Speaker 1 (21:16):
That stells FG, so am I.
Speaker 3 (21:18):
However, it goes on like it g C another rest
that be what through? It's the pool to finish.
Speaker 1 (21:33):
Bad Egg did fegg de B can be love.
Speaker 3 (21:39):
If you're going to the notes of the musical scale,
you could spell practically anything out of A B, C,
D E, F N E, even from a tune ragma.
Speaker 1 (21:48):
But this means something. I know it is. Gordon told
me it was going to be a challenge. But who's there?
Speaker 6 (21:56):
It's only me, Willa, Willa.
Speaker 1 (21:59):
How did you get in here? Don't you know the
police are looking all over town for you.
Speaker 6 (22:02):
Let's me look, I don't care my brothers. Did I
read it in the papers?
Speaker 1 (22:09):
How did you get any One of the cops were
surrounding the place.
Speaker 6 (22:12):
I just walked in through the front door.
Speaker 1 (22:14):
Oh little Mellard hears about this Willa. You didn't kill Gordon,
did you.
Speaker 6 (22:19):
No, Miss Matt, I didn't, honestly I didn't.
Speaker 1 (22:23):
I believe you will because I think I know who
did kill your brother.
Speaker 6 (22:28):
You do tell me, Oh, please tell me.
Speaker 1 (22:31):
Down at the Hall of Justice. Okay, let's go. Oh
remember it? Bring along that bunch of Beethoven sitting on
the piano, will you.
Speaker 3 (22:38):
Pleasure, dear, I'll be glad to Kennedy. This thing must
worthy fifteen pounds.
Speaker 1 (22:44):
Well you're the only man in the group.
Speaker 3 (22:46):
Oh, oh, very well, come along bust all the justice
or likewise.
Speaker 9 (23:01):
Candy, what are you doing here at a time like this?
Can't you say I'm busy?
Speaker 3 (23:05):
Sure?
Speaker 1 (23:05):
I only want to see you busier. This is Willa Gray,
remember her?
Speaker 3 (23:09):
Just the girl we're looking for a.
Speaker 1 (23:10):
Savior, breast Miller. Willa's innocent. She had nothing to do
with Gordon Gray's death.
Speaker 3 (23:15):
Okay, you know so much? Who in Tarnation did with.
Speaker 1 (23:19):
That bus to Beethoven a Mallard's desk?
Speaker 3 (23:23):
I was wondering how long I'd have to hold this
thingking the name of Schonenectady do I want with that?
Speaker 1 (23:30):
There's it's your murderer.
Speaker 3 (23:32):
Candy, Are you out of your head.
Speaker 1 (23:35):
No, it's so complex, simple meld. Gordon Gray works like
a beaver for two months writing a musical score for
a new Broadway show. He takes the score to New York.
Producer is telling him it's no good. It's the first
time it's ever happened to Gordon. It does something to
his mind, He broods. It comes to San Francisco, his
mental condition becomes worse.
Speaker 3 (23:54):
So it's yours.
Speaker 1 (23:56):
Well, you're concerned, yes, but let me finish here. Take
a look at this.
Speaker 10 (24:03):
Bad egg dead, fag death b Okay, I give up?
Speaker 3 (24:12):
What does it mean?
Speaker 1 (24:13):
Bad egg dead? Gordon Gray is referring to himself. Bags.
That means he had come to the end of his rope.
His musical knowledge and creative ability were running dry. Gray
had nothing more to live for.
Speaker 3 (24:27):
Okay, miss edra Allen Poe. What does death be mean?
Speaker 1 (24:31):
How that had met said for a while too. Then
I got to looking at this bust of Beethoven standing
on the piano. It seemed to dominate the entire room.
Then I put two and two together and got Ludwig
van Beethoven b was an abbreviation of Beethoven. Beethoven was
death death, bee.
Speaker 3 (24:50):
I don't get him.
Speaker 1 (24:51):
You will. Beethoven is going to hit an old time low.
The answer lies inside that plaster bust. I'm sure. Stand back, mallard.
I'm about to splatter a genius.
Speaker 10 (25:06):
Take a look, good gravy a small fortune than green bags,
that's right, and.
Speaker 6 (25:12):
A note too.
Speaker 1 (25:13):
If these eyes don't receive me, congratulations, whoever you might be,
you learn the true meaning of my symphony of death.
You've also just executed my killers on Beethoven. Now perhaps
he knows how it feels to be cracked up too.
(25:35):
Thanks for participating in my little joke, my last charade.
This is my entire estate. Put it to whatever good
use you may be fit. Gordon Gray, Oh, rember, do
me a favor. Take will outside. The poor kids pretty
badly shot.
Speaker 3 (25:54):
Certainly, come along, young lady. I still don't get.
Speaker 1 (26:01):
It, Candy, that's easy to fill in the gaps now mimed.
Gordon's music was falling apart. He knew it, so he
started swiping melodies from obscure Beethoven themes. But Gordon, with
only his player for writing popular music, couldn't grasp what
Beethoven had originally intended. Consequently, the things he wrote were terrible.
(26:23):
The more he copied, the more he realized that Beethoven
was becoming an all ruling obsession. It was Beethoven in
the morning, Beethoven at night, Beethoven twenty four hours a day,
until it drove Gordon completely out of his mind.
Speaker 3 (26:34):
That I can understand. But what's this joke he mentioned?
Speaker 1 (26:37):
Well, he was a great mystery fan. That's why he
wrote this gibberish thing called Symphony a Death, a group
of notes that spelled out bad egg, dead, fagged death,
bee and so on, all part of his warped mental condition.
Speaker 10 (26:54):
Huh, that makes sense, except for one thing. How did
Gordon Graat die exactly when he wanted to die?
Speaker 1 (27:03):
Mallard, Dear, I now know there are some mighty strange
things in this world, even a completely sick mind such
as Gordon's, as great powers of concentration. Gordon was like
a captain without a ship, like a man who's been
married fifty years who suddenly has no wife. You probably
won't believe it, Mallard. But Gordon Gray, knowing that his
(27:27):
mind was shot, and knowing too that every last bar
of creative music had been drained from his heart, his
soul willed himself to die fantastic not necessarily so. There
(27:52):
are many stories about animals who have done the same thing.
That animals can do it, why can't a human being
with a so called higher plane of intelligence to it too?
So that's what Gordon had done. Taken his life savings,
healed him into a plaster bust of Beethoven, along with
his last last note, and sat himself down to die.
(28:14):
In Gordon's mind, Beethoven had killed him. I can understand
why too, for just before we left his apartment, I
found another manuscript. I had Rembrandt run over it note
for note. It was the Moonlight Sonata backwards. But in
one respect Gordon had outscored the old masters. He had
(28:34):
completed his Symphony of Death, and Beethoven was in little
pieces That left him one up on another old master,
a fellow named Franz Schubert. He'd left one entirely unfinished.
Speaker 2 (29:03):
The characters in Tonight's story are entirely fictitious. Any resemblance
to actual people is purely coincidental. Actors heard this evening
were Phyllis Skelton as Willa Gray, John Grover was her brother,
Gordon Gray Jack Thomas as Rembrandt Watson and Henry Left
as inspector Ray Mallard.
Speaker 3 (29:22):
From the style of.
Speaker 2 (29:23):
Our program, Natalie Masters, and from her husband Mati Masters,
who writes and directs Candy Madson, and from the staff
of the National Broadcasting Company, we wish to express our
deep thanks and sincere appreciation to the San Francisco Examiner
and White Newton Radio columnist of the Examiner for tonight's
presentation naming Candy Madson as the number one program in
(29:44):
the San Francisco Metropolitan Bay Area. Listen again next week
at the same time for excitement and adventure.
Speaker 1 (29:53):
Just dial Candy Madson. You can two wait, two oh nine.
Speaker 2 (30:03):
The program came to you from San Francisco. Dudley Man
loves speaking. This is NBC the National Broadcasting Company
Speaker 8 (30:19):
O
Hello, you gone to eight two o nine. Yes, this
is Candy Madson.
Speaker 2 (00:20):
The National Broadcasting Company presents Candy Madson yukon two eight
two o nine.
Speaker 3 (00:30):
Ladies and gentlemen.
Speaker 2 (00:31):
Before we commenced tonight's Candy Madson story, it's a very
great pleasure to welcomes our distinguished guest this evening, the
widely read radio columnist of the San Francisco Examiner who
conducts his own radio column under the title Day and
Night with Radio and Television, mister Dwyke Houton.
Speaker 3 (00:48):
Thank you, Dudley man Love.
Speaker 4 (00:49):
Recently, I conducted a popularity poll to determine our reader's
favorite radio program originating in San Francisco. Heading the list
and a top heavy favorite was your Andy Madson program.
In behalf of the Examiner readers who participated in the polls,
I am happy to present this award, which reads as follows,
nineteen fifty San Francisco Examiner Favorite Program Award. This certifies
(01:14):
that readers of the San Francisco Examiner have voted Candy
Madson their favorite local radio program in a poll conducted
by the underside writer of the column Day and Night
with Radio and Television. Congratulations to all who participate on
the Candy Matson Program, to Monti Masters, who writes and
directs it, and to you, Natalie Masters, the Candy Matson Stop.
Speaker 1 (01:37):
Thank you, Dwight Newton. We're doubly proud of this award
tonight because next week's program will mark Candy Matson's first birthday.
From all of us here at NBC and San Francisco
to Dwight Newton, the San Francisco Examiner, and most of
all you, the listeners who've made this award possible, are
very sincere.
Speaker 5 (01:55):
Things we continue now with Candy Madson. You can two
eight two oh nine.
Speaker 6 (02:16):
Just a moment. I'll be right there.
Speaker 1 (02:21):
How do you do it?
Speaker 6 (02:23):
You are Candy Madson, aren't you?
Speaker 1 (02:26):
Yes, that's right? And who are you?
Speaker 6 (02:28):
Willa Gray?
Speaker 1 (02:29):
Come in, won't you? WILLI there's something I can do
for you.
Speaker 6 (02:33):
But I don't quite know how to explain this.
Speaker 1 (02:36):
But it's my brother, your brother.
Speaker 6 (02:40):
Maybe you've heard of him, miss Madson. Gordon Gray?
Speaker 1 (02:44):
Were sure the songwriter? That's right? Who doesn't know him?
He's written almost as many hit songs aserving grill In?
What about him? Willa?
Speaker 6 (02:52):
Well, like many people I know, Gordon is a crime
student for relaxation. He reads all the books, lessons, all
the radio programs that naturally he's heard.
Speaker 1 (03:03):
And read a great deal about you. While I'm flattered.
Speaker 6 (03:06):
When I suggested talking to you, he'll agreed immediately talking
to me, Willa, what about Well, it's his mental condition,
Miss Mapson. He's suddenly become extremely childish. All day long,
he sits at the piano playing nothing but uncoordinated notes.
Speaker 1 (03:24):
Are you sure they're uncoordinated or is it some new
style he's trying to develop, Miss.
Speaker 6 (03:28):
Mapson, you're familiar with Gordon's work. It's always like lazy
old June, the tenderness of you. What he's doing now
is the musical gibberish.
Speaker 1 (03:37):
How well I remember lazy old June. I was just
a kid in high school at the time. How are
you living with your brother, Willa?
Speaker 6 (03:44):
No, I'm not just as well too. I don't think
I could take it. Why do you say that these
foolish notes he plays? He says he's working on a
thing to be called Symphony of Death, that someone is
going to kill him.
Speaker 1 (04:00):
Why now you've got me interested?
Speaker 6 (04:03):
I hope so, Miss Mason, you won't talk to me
every time I drop by Gordon to sits at piano,
laughing horribly and playing these Kindergarten notes. As I said,
he's a great fan of yours. Won't you go and
just speak to my brother?
Speaker 1 (04:18):
Sure, I'll see him, Gordon Gray, with a shattered mind.
What a pity is true? Think of all the jukeboxes
that would have to settle for promissory notes.
Speaker 2 (04:36):
Candy Madson, San Francisco's well known gal, private investigator, merely
trying to get her penthouse on Telegraph Hill cleaned, and
she walks into a stack of memories, memories created by
a songwriter named Gordon Gray.
Speaker 3 (04:51):
Symphony of Death.
Speaker 2 (04:52):
It never became a popular composition, but it will always
be on Candy's all time hit parade, a tune she'll
never forget because it brought about a very strange chain
of events and a fascinating finish to the entire story.
Oh at the end between departments. Well, here she is
the gal who never suffers from gaposis, Candy Matson.
Speaker 1 (05:16):
When I went into the cold, hard world to make
a living for myself, Gordon Gray was an American institution.
That's when he wrote his never to be forgotten the
Rhapsody of You. I'd had no idea that Gray was
in San Francisco. Last I'd heard he was in New
York working on the score of a brand new musical.
So when his sister confronted me like that, naturally I
(05:38):
was caught a bit off free. She wrote Gordon's address
for me, like the rabbity little elk. She seemed ducked
out as abruptly as she came. Then I dressed, drove
over to an apartment house on Paul Street, just down
from the Family Club. I pressed the button. It blew
an ugly little noise back at me. I entered, went
up the stairs to two twenty one. The door opened.
Speaker 7 (05:58):
Yeah, mister Gray, Yeah, that's right.
Speaker 1 (06:01):
I didn't call you on the phone. I thought, I
just more or less bored, you know, on you. I'm
candy medicine, Candy medicine.
Speaker 7 (06:09):
Do come in, Oh please, do come in.
Speaker 1 (06:12):
Thank you.
Speaker 7 (06:14):
So my little sister finally got up enough gumption to
call you.
Speaker 1 (06:17):
Yes, she came by this afternoon. We had quite a
nice little chat.
Speaker 3 (06:21):
A nice chat with my sister.
Speaker 7 (06:23):
Impossible, A little mouse doesn't know how to put one
word after another. Oh here, here, do sit down, won't you?
Places the mess and got manuscript all over the floor,
the high boy, the what not everywhere, high ball, spot of.
Speaker 1 (06:37):
Sherry and thank you. No, not right at the moment as.
Speaker 7 (06:40):
You say, I beg your pardon. It's nothing, really, I'm
just thinking of my monstrous joke. I'm going to be killed,
you know.
Speaker 8 (06:52):
Yes, so your sister said young, she's young, up to
buy a grandchild.
Speaker 3 (07:03):
Do you know what she thinks?
Speaker 7 (07:05):
I'm slipping my cable?
Speaker 1 (07:08):
You mind if I call you Gordon?
Speaker 7 (07:10):
I love it providing I can call you Candy.
Speaker 1 (07:13):
I despise myself in the am if you didn't.
Speaker 7 (07:16):
Candy, You're just as delightful as I had you pictured.
Speaker 1 (07:19):
Thanks Gordon. Now, frankly, what do you think? Are you
slipping your cable?
Speaker 7 (07:26):
I follow the idiotic of course not will it thing?
Speaker 3 (07:30):
Convinced you are will as I'm youre babe, a suckling.
Speaker 1 (07:33):
What about this new thing you're working on, Gordon? This
symphony of death?
Speaker 7 (07:38):
She told you about that too. That's part of my
monstrous joke.
Speaker 1 (07:42):
Candy, want to confide in me, let me know what
this joke is.
Speaker 7 (07:48):
I don't mind in the least you have brains. Not
many people have brains in this world, Candy, But you do,
and because you have brains, I'm going to give you
a challenge.
Speaker 1 (07:57):
Okay, let me have it.
Speaker 7 (07:58):
Oh no, challenge will only come after he kills me.
Speaker 1 (08:03):
He who you're referring to, Gordon.
Speaker 7 (08:06):
That's part of the challenge, Candy.
Speaker 1 (08:08):
I see. Do you really believe that someone's out to
kill you?
Speaker 7 (08:12):
But of course that's the delicious part of the whole thing.
I'm going to be killed. It can't be avoided. That's
why I'm writing my Symphony of Death.
Speaker 1 (08:19):
Oh oh sure, now, I see.
Speaker 3 (08:22):
You're making fun of me, Candy.
Speaker 1 (08:23):
No, No, I'm not Gordon. Really, it's just that well,
I've never met anyone who was happy about the prospect
of getting knocked off.
Speaker 7 (08:30):
I don't mind. Actually, I've lived a full life. I've
seen the world, me lots of money. I've been wined
and dined by people in all walks of life. My
music will live after me.
Speaker 3 (08:40):
That's all I care about.
Speaker 1 (08:42):
Now I can understand.
Speaker 7 (08:43):
There, you see, that's why I like you. You have brains.
Shall I play my new composition for you?
Speaker 1 (08:49):
If you like?
Speaker 3 (08:50):
Very well?
Speaker 7 (08:52):
You will discover after I'm dead. It's all part of
my monster's joke.
Speaker 3 (08:56):
Excuse me.
Speaker 7 (08:58):
There ain't no attention to the technique. Ye, my fingers
aren't quite as supple as they used to be.
Speaker 3 (09:29):
What do you think of.
Speaker 1 (09:29):
It, Gordon? I think it's a great, monstrous joke.
Speaker 7 (09:34):
I knew you would see it. It's part of the joke.
You're reretty sharp.
Speaker 3 (09:37):
I knew it.
Speaker 2 (09:38):
That's part of the joke, and you can see it.
Speaker 1 (09:40):
You pay wonderful compliments, Gordon. Thank you. But don't you
think this Symphony of Death is a complete departure from
your usual style, from something like well, the Rhapsody of You,
for instance.
Speaker 7 (09:51):
Certainly, certainly it's because of him. I had to write
something dedicated to him, didn't I well.
Speaker 1 (09:57):
To scramble a dangling participle, Who's him?
Speaker 3 (10:01):
The man who's going to kill me?
Speaker 1 (10:09):
As I left, I tried to shake the picture of
a cackling man playing one finger doodles on a keyboard,
but I couldn't. The impression was indelible. When I arrived home,
I was greeted by the side of a familiar auto
parked out in front. It was my number one boy,
Inspector Ray Millard of San Francisco Homicide. I invited him
up to sit Aztel and chew the fact.
Speaker 3 (10:30):
What's new, cupcake? I haven't seen it for several days,
seems like weeks.
Speaker 1 (10:34):
Hah. A compliment that means you're after something.
Speaker 3 (10:37):
I am not. Can't I ever say something nice without you? Misconstruction?
Speaker 1 (10:41):
Okay, okay? Compliment expected? It brings you around here this
time of day. Mellard, dear, aren't you on duty?
Speaker 3 (10:46):
That's the trouble. I've been on duty for almost forty
eight hours straight. I had to take a little breather
from myself.
Speaker 1 (10:52):
Were he going to do?
Speaker 3 (10:53):
Yeah, a hot one, no leads, no clues, no nothing.
Speaker 1 (10:56):
For a slight consideration, I might be inclined to help
you crack the key. Shut up, sir right away.
Speaker 3 (11:02):
What are you working on?
Speaker 1 (11:03):
I think that, hope? And what's left of the bank account.
Speaker 3 (11:06):
Me say, the Great Lady Private High is temporarily at liberty.
Speaker 1 (11:09):
I mean to say just exactly that.
Speaker 9 (11:11):
Well, if I've many judge of your business ability, you've
got enough money tucked away to buy the Philadelphia Athletics
from Connie Mac.
Speaker 3 (11:17):
What do you do with all your lout candy sw.
Speaker 1 (11:19):
It in hair, mattresses and sleep on it? Oh? Excuse
me a moment, Nellie Sugar Oh, hello, Willa. I didn't
expect to see you so soon. I hope you won't
think me a nuisance, but I just had to see you,
I understand.
Speaker 6 (11:35):
Come in. No thanks, you've been to see Gordon. I
just spoke with him on.
Speaker 1 (11:40):
The phone and he told me, yes, that's right.
Speaker 6 (11:43):
What do you think, miss Mathison?
Speaker 1 (11:45):
Very sad, Willa? How long has he been like this?
Speaker 6 (11:49):
Just a week or so. He flew in from New
York and I could see the change in him right away.
Speaker 1 (11:54):
How long ago did he leave for New York?
Speaker 6 (11:57):
He left Hollywood for New York last month.
Speaker 1 (11:59):
Was he all right then? Oh?
Speaker 6 (12:01):
Yeah, just fine. He seems so happy. He just finished
writing the music for the new show in the East.
But when he got there, the back, as they say,
into business, told him the music was no good. He
said he'd return to the coast and redo it. But
instead of going back to Hollywood, he came here, took
(12:21):
that apartment on Paul Street and he's been holed up
there ever since.
Speaker 1 (12:25):
Do you think being told his music was no good
had anything to do with his present condition?
Speaker 6 (12:30):
Oh? I'm sure that, missus Madison. He's always been a person.
Speaker 1 (12:37):
Nah no, we'll uh unknown several people who snapped momentarily
under a trup strain. Maybe it's not as serious as
you think.
Speaker 3 (12:46):
But what am I going to do?
Speaker 1 (12:48):
A ver if he needs aid immediately? I know I
Judge Conway here in town, I says he'll help you
get Gordon committed to a sanitarium where he'll get the
finest medical aid available.
Speaker 6 (12:58):
A sanitarium. Oh no, Miss Mapson.
Speaker 1 (13:01):
That would kill Gordon with either that or have him
get progressively worse.
Speaker 6 (13:07):
I suppose you're right, could you, I mean, would you
talk to Gordon explain what must be done. I don't
think I'm capable.
Speaker 1 (13:16):
Sure, I'll do it. Willis you sit tight and I'll
call you just as soon as I speak with Judge Conry.
Speaker 6 (13:21):
Thank you, Thank you so much. I imagine I should
inquire us to how much you charge for your service?
Speaker 1 (13:29):
Do forget it? Willis Getting Gordon Gray back to normal
will be pay enough.
Speaker 6 (13:33):
You're You're just wonderful, Miss Madson.
Speaker 1 (13:36):
Goodbye, poor kidd, so helpless.
Speaker 3 (13:43):
Poor kid is right. I couldn't help overhearing she's about
ninety percent mouse.
Speaker 1 (13:48):
She and Gordon must have been poured right out of
the same mold. As far as sensitivity is concerned.
Speaker 3 (13:53):
Is that the Gordon Gray Candy, the famous songwriter.
Speaker 1 (13:57):
That's the one, and he's cracked up all right ya?
Speaker 9 (14:02):
Well, thanks pal, just the sight of you it has
picked me up considerably.
Speaker 3 (14:06):
I'll be getting back to the grind.
Speaker 1 (14:07):
Millie, dear hold me type for just a moment.
Speaker 10 (14:10):
Will you sure.
Speaker 3 (14:15):
Don't let Gordon Greg get you down?
Speaker 1 (14:16):
A cup came Well, it wasn't a very pretty sight
and I've got to face him again. Thanks for the hood, Mellard.
I'll return it someday. Mellard released his grip unless I
snapped my ribs back in place and sealed myself for
the ordeal ahead of me. It wasn't going to be easy,
(14:38):
but it had to be done. So once again I
found myself ducking down Green Street, over Powell across California,
and down the roller coaster of a hill the Gordon's apartment.
He answered the door and I was met with just
as much enthusiasm as before.
Speaker 7 (14:55):
Kendy Madson, I was wondering where you'd been. You've been
gone for ages, darling. Do come here and I've got
a surprise for you.
Speaker 3 (15:03):
When did you get back from Europe?
Speaker 1 (15:05):
When did I get back, Oh, just a day or
so ago.
Speaker 7 (15:10):
Your letters were wonderful, and I especially adored the one
from Naples. By the time you must have had.
Speaker 1 (15:16):
Yes, yes, quite a time, Gordon. How's the new symphony
coming along?
Speaker 3 (15:22):
That's a surprise, my dear.
Speaker 7 (15:24):
It's completed, long last, It's finished, to be perfectly Frank Candy,
I think it's great.
Speaker 3 (15:31):
I've been in touch with Tuscanini.
Speaker 7 (15:33):
He's going to give its premier performance of Connegie next month.
I've already sent him the revised manuscript. Can you picture
a Candy, a hushed crowd. The master raps his baton,
The orchestra comes to pull attention. Then that magnificent, firm
downbeat of Toscanini's and Symphony of Death. It's making its debut,
(15:55):
first the Ali Gretto, then the Moco Handante. The audiences
at first inclined to Scott to think that Gordon Gray
(16:16):
could write serious music. From lazy old June to Symphony
of Death. Too much of a step, they say. Then
dusk Keanini glides into the Komoto. The audience, chance is
not believing their ears. Little by little they understand.
Speaker 11 (16:33):
What Gordon Gray is trying to express. Then as if
it were not enough, toss Keanini moves into the breath
taking finale.
Speaker 3 (16:41):
It sour as it moves, it.
Speaker 11 (16:43):
Transports everyone in Carnegie Hall in another world, and abruptly,
Symphony of.
Speaker 7 (16:49):
Death of Death is over. The audience A right, this one.
They shot for Gordon Gray, the composer. History is being made,
more shots for the composer. But Gordon Gray isn't there.
(17:10):
Gordon Gray is dead because of him, Gordon, listen to me.
Because of him, the world will have to be denied
any further music and the PM Gordon Gray.
Speaker 1 (17:26):
I said, listen to me, Gordon, mm hm oh. I
want to talk to you, and you've got to listen
very carefully. You're sick, you need help. Your sister and
I are arranging to have you sent to a home nearby.
They'll have you on your feet in short order.
Speaker 3 (17:46):
Send away.
Speaker 7 (17:47):
Yes, that means he will visit me soon as the
night playing very well, Candy, tell Well to do whatever
she thinks best. I won't give her any It's.
Speaker 1 (18:00):
For your own good, Gordon.
Speaker 7 (18:01):
Believe me.
Speaker 3 (18:03):
I know.
Speaker 7 (18:06):
Kenny, you never went to Europe, did you? You were
here earlier this afternoon, Isn't that right, that's right.
Speaker 3 (18:18):
You just went along with the gag.
Speaker 1 (18:21):
That's right, Gordon.
Speaker 7 (18:23):
Yeah, he'll be here sooner much I expected.
Speaker 1 (18:37):
Gordon Gray went into the other room and lay down
on his studio coach based on That's when I tipped
it out of the apartment. If only I could have
peaked in the future, I'd never have left, because that
was the last time Gordon Gray was seen alive. I
went home and fixed myself and in the east, turned
the radio on low and sat down with a book
called That Frail Vessel about the Behavior of the human Mind.
(19:02):
Out of one corner of my ear, I heard it.
It was at ten o'clock news over NBC with Sam Hayes,
and there it was. The body of Gordon Gray had
been found in his apartment. The book clattered out of
my hands, and I sat there for a moment's sunned,
but only for a moment. Another second, I was driving
over to pick up an old pal of mine, rem
Brandt Walton. There was a good reason for it, rem Brandt.
(19:25):
Studying to play the channel. On the way over, I
noticed the headlines. The police had the net out for
Gordon's sister, Willem rem Brandt was whom he was agreeable,
going to Gordon and Gray's apartment with me, and before
you could bat an eyelash, providing your batting average was good.
We were in set apartments alone.
Speaker 3 (19:44):
What a word, girl, What a garish looking place.
Speaker 1 (19:48):
It didn't belong to Gordon Christmaly, remember it. He was
merely renting.
Speaker 3 (19:51):
He still doesn't deny the fact that it's garish. Candy
the proof. Now, why did you want me to come
with this Victorian masco liam with you?
Speaker 1 (19:58):
Yes, a hunch, ducky. Are you still taking cello lessons?
Speaker 3 (20:02):
Taking them, girl will be ridiculous. I'm now giving them
even better.
Speaker 1 (20:08):
Just as I thought, the boys in Blue haven't touched anything.
The manuscript for Symphony of Death is still on the piano.
Can you play single notes on the piano? Rem bread,
frock and dry? Good, run your hangnails.
Speaker 3 (20:20):
Over this, m strange. This is music, except a series
of notes with no meter, phrasing or regard for the
proper time to the ball.
Speaker 1 (20:29):
Exactly, play it just the way it's written, well, and
call out the notes as you go along. I think
I'm beginning to understand Gordon's Symphony of.
Speaker 3 (20:38):
It as you say, and for no reason at all
is a rest candy D A D and a rest
go ahead g G and another rest mm hmm. Then
it goes D a long gap in the manuscript.
Speaker 1 (20:59):
You know what that spells musically, ducky bad Egg did
after confusion. On the other hand, I don't think so,
as we say in the movies, continue.
Speaker 3 (21:08):
On no timing at all.
Speaker 1 (21:16):
That stells FG, so am I.
Speaker 3 (21:18):
However, it goes on like it g C another rest
that be what through? It's the pool to finish.
Speaker 1 (21:33):
Bad Egg did fegg de B can be love.
Speaker 3 (21:39):
If you're going to the notes of the musical scale,
you could spell practically anything out of A B, C,
D E, F N E, even from a tune ragma.
Speaker 1 (21:48):
But this means something. I know it is. Gordon told
me it was going to be a challenge. But who's there?
Speaker 6 (21:56):
It's only me, Willa, Willa.
Speaker 1 (21:59):
How did you get in here? Don't you know the
police are looking all over town for you.
Speaker 6 (22:02):
Let's me look, I don't care my brothers. Did I
read it in the papers?
Speaker 1 (22:09):
How did you get any One of the cops were
surrounding the place.
Speaker 6 (22:12):
I just walked in through the front door.
Speaker 1 (22:14):
Oh little Mellard hears about this Willa. You didn't kill Gordon,
did you.
Speaker 6 (22:19):
No, Miss Matt, I didn't, honestly I didn't.
Speaker 1 (22:23):
I believe you will because I think I know who
did kill your brother.
Speaker 6 (22:28):
You do tell me, Oh, please tell me.
Speaker 1 (22:31):
Down at the Hall of Justice. Okay, let's go. Oh
remember it? Bring along that bunch of Beethoven sitting on
the piano, will you.
Speaker 3 (22:38):
Pleasure, dear, I'll be glad to Kennedy. This thing must
worthy fifteen pounds.
Speaker 1 (22:44):
Well you're the only man in the group.
Speaker 3 (22:46):
Oh, oh, very well, come along bust all the justice
or likewise.
Speaker 9 (23:01):
Candy, what are you doing here at a time like this?
Can't you say I'm busy?
Speaker 3 (23:05):
Sure?
Speaker 1 (23:05):
I only want to see you busier. This is Willa Gray,
remember her?
Speaker 3 (23:09):
Just the girl we're looking for a.
Speaker 1 (23:10):
Savior, breast Miller. Willa's innocent. She had nothing to do
with Gordon Gray's death.
Speaker 3 (23:15):
Okay, you know so much? Who in Tarnation did with.
Speaker 1 (23:19):
That bus to Beethoven a Mallard's desk?
Speaker 3 (23:23):
I was wondering how long I'd have to hold this
thingking the name of Schonenectady do I want with that?
Speaker 1 (23:30):
There's it's your murderer.
Speaker 3 (23:32):
Candy, Are you out of your head.
Speaker 1 (23:35):
No, it's so complex, simple meld. Gordon Gray works like
a beaver for two months writing a musical score for
a new Broadway show. He takes the score to New York.
Producer is telling him it's no good. It's the first
time it's ever happened to Gordon. It does something to
his mind, He broods. It comes to San Francisco, his
mental condition becomes worse.
Speaker 3 (23:54):
So it's yours.
Speaker 1 (23:56):
Well, you're concerned, yes, but let me finish here. Take
a look at this.
Speaker 10 (24:03):
Bad egg dead, fag death b Okay, I give up?
Speaker 3 (24:12):
What does it mean?
Speaker 1 (24:13):
Bad egg dead? Gordon Gray is referring to himself. Bags.
That means he had come to the end of his rope.
His musical knowledge and creative ability were running dry. Gray
had nothing more to live for.
Speaker 3 (24:27):
Okay, miss edra Allen Poe. What does death be mean?
Speaker 1 (24:31):
How that had met said for a while too. Then
I got to looking at this bust of Beethoven standing
on the piano. It seemed to dominate the entire room.
Then I put two and two together and got Ludwig
van Beethoven b was an abbreviation of Beethoven. Beethoven was
death death, bee.
Speaker 3 (24:50):
I don't get him.
Speaker 1 (24:51):
You will. Beethoven is going to hit an old time low.
The answer lies inside that plaster bust. I'm sure. Stand back, mallard.
I'm about to splatter a genius.
Speaker 10 (25:06):
Take a look, good gravy a small fortune than green bags,
that's right, and.
Speaker 6 (25:12):
A note too.
Speaker 1 (25:13):
If these eyes don't receive me, congratulations, whoever you might be,
you learn the true meaning of my symphony of death.
You've also just executed my killers on Beethoven. Now perhaps
he knows how it feels to be cracked up too.
(25:35):
Thanks for participating in my little joke, my last charade.
This is my entire estate. Put it to whatever good
use you may be fit. Gordon Gray, Oh, rember, do
me a favor. Take will outside. The poor kids pretty
badly shot.
Speaker 3 (25:54):
Certainly, come along, young lady. I still don't get.
Speaker 1 (26:01):
It, Candy, that's easy to fill in the gaps now mimed.
Gordon's music was falling apart. He knew it, so he
started swiping melodies from obscure Beethoven themes. But Gordon, with
only his player for writing popular music, couldn't grasp what
Beethoven had originally intended. Consequently, the things he wrote were terrible.
(26:23):
The more he copied, the more he realized that Beethoven
was becoming an all ruling obsession. It was Beethoven in
the morning, Beethoven at night, Beethoven twenty four hours a day,
until it drove Gordon completely out of his mind.
Speaker 3 (26:34):
That I can understand. But what's this joke he mentioned?
Speaker 1 (26:37):
Well, he was a great mystery fan. That's why he
wrote this gibberish thing called Symphony a Death, a group
of notes that spelled out bad egg, dead, fagged death,
bee and so on, all part of his warped mental condition.
Speaker 10 (26:54):
Huh, that makes sense, except for one thing. How did
Gordon Graat die exactly when he wanted to die?
Speaker 1 (27:03):
Mallard, Dear, I now know there are some mighty strange
things in this world, even a completely sick mind such
as Gordon's, as great powers of concentration. Gordon was like
a captain without a ship, like a man who's been
married fifty years who suddenly has no wife. You probably
won't believe it, Mallard. But Gordon Gray, knowing that his
(27:27):
mind was shot, and knowing too that every last bar
of creative music had been drained from his heart, his
soul willed himself to die fantastic not necessarily so. There
(27:52):
are many stories about animals who have done the same thing.
That animals can do it, why can't a human being
with a so called higher plane of intelligence to it too?
So that's what Gordon had done. Taken his life savings,
healed him into a plaster bust of Beethoven, along with
his last last note, and sat himself down to die.
(28:14):
In Gordon's mind, Beethoven had killed him. I can understand
why too, for just before we left his apartment, I
found another manuscript. I had Rembrandt run over it note
for note. It was the Moonlight Sonata backwards. But in
one respect Gordon had outscored the old masters. He had
(28:34):
completed his Symphony of Death, and Beethoven was in little
pieces That left him one up on another old master,
a fellow named Franz Schubert. He'd left one entirely unfinished.
Speaker 2 (29:03):
The characters in Tonight's story are entirely fictitious. Any resemblance
to actual people is purely coincidental. Actors heard this evening
were Phyllis Skelton as Willa Gray, John Grover was her brother,
Gordon Gray Jack Thomas as Rembrandt Watson and Henry Left
as inspector Ray Mallard.
Speaker 3 (29:22):
From the style of.
Speaker 2 (29:23):
Our program, Natalie Masters, and from her husband Mati Masters,
who writes and directs Candy Madson, and from the staff
of the National Broadcasting Company, we wish to express our
deep thanks and sincere appreciation to the San Francisco Examiner
and White Newton Radio columnist of the Examiner for tonight's
presentation naming Candy Madson as the number one program in
(29:44):
the San Francisco Metropolitan Bay Area. Listen again next week
at the same time for excitement and adventure.
Speaker 1 (29:53):
Just dial Candy Madson. You can two wait, two oh nine.
Speaker 2 (30:03):
The program came to you from San Francisco. Dudley Man
loves speaking. This is NBC the National Broadcasting Company
Speaker 8 (30:19):
O
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