August 24, 2025 • 28 mins
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Speaker 1 (00:07):
Hello, Yukon two eight two o nine. Yes, this is
Candy Medson.
Speaker 2 (00:29):
Eat that baby on the tree. I'll think those Dolly
track and we'll talk about damer.
Speaker 1 (00:34):
Smellard, What in the name of the San Francisco Police
Department are you doing up here on Telegraph Hill.
Speaker 2 (00:39):
Working Candy in the name of the San Francisco Police.
Speaker 1 (00:42):
Department here with these kiods who were making the movie.
Speaker 3 (00:44):
Yeah, how about that?
Speaker 2 (00:46):
Me a lieutenantan homicide and I'm assigned to riding herd.
Speaker 3 (00:49):
On these Hollywood characters.
Speaker 1 (00:50):
Oh it's better than murders.
Speaker 3 (00:51):
I'll take murder any day. What are you doing around here?
Speaker 1 (00:54):
I did some shopping at Speedy's this morning. While I
was pinching the avocados, they told me that there was
a Hollywood gang over by a tower shooting some scenes
for a movie with the San Francisco background.
Speaker 2 (01:03):
A might just as well have stayed in the studio
and brought their own lawns, prop trees, fake bushes or works.
If it ever snowed up here on Telegraph Hill, they'd
brought some of that along too.
Speaker 1 (01:13):
You've never worked in Hollywood, Millard. Only God can make
a tree, but Hollywood presumes to improve on him. What
are you doing now?
Speaker 2 (01:20):
Just getting ready to shoot a scene? I think I've
been rehearsing it all morning.
Speaker 1 (01:23):
What's it all about?
Speaker 2 (01:24):
You know, as far as I can figure, it's a
story about San Francisco right after the gold Rush. Look
at all the costumes.
Speaker 1 (01:30):
Very authentic, looks like they've been shipped around the horn. So,
by the way, mad, you know who's in the picture.
Speaker 2 (01:36):
Some lush tomato named Cherry Dana and the colorade boy
buff Arnold Arnold. Did you say buff Arnold? That's right? What?
Speaker 1 (01:44):
Oh? Forgive me Millard?
Speaker 2 (01:46):
Did I?
Speaker 1 (01:47):
I knew buff Arnold and he didn't have a place
to houst him. He possessed to carry a very warm
torch for me.
Speaker 2 (01:53):
Ah, so that's why you so casually dropped by an
old flame? Huh, ridiculous.
Speaker 1 (02:00):
I didn't even know the guy was here, let alone
stealing picture.
Speaker 3 (02:03):
Hey, likely story?
Speaker 2 (02:04):
All right, quiet, please, let's have quiet. Quiet. This is
a take, I'll said mister Dixon. We're ready, good, okay, Jerry,
we'll roll this one. Take a chance on it. Just
remember to keep up against those trees. We don't want
any shots of those modern buildings below the hill. I
remember it's them. Where is my old child the final No,
I mean, judging by what's been going on, he's not.
Speaker 3 (02:25):
In this particular scene.
Speaker 2 (02:27):
All right, stand by, roll him seem forty seven eight ten?
Wait a minute? Cut cut? Oh where's that coming from
out on the bay, mister Dickson. Fine thing a present
day steamer whistle of an eighteen fifty picture. All it aims. Yes,
(02:51):
let me know when the fool ship is tied up.
We won't shoot the seam until it's dark, Yes, sir.
Speaker 1 (02:57):
Johnet, I was hoping i'd see an action.
Speaker 3 (02:59):
I'll give you something. Come on, walk around with me, Kenny.
Speaker 1 (03:02):
I'll show you all the sight site sight ut Brinston Selly.
Speaker 2 (03:05):
Oh, all the lights they brought up there. I must
have a thousand of.
Speaker 1 (03:08):
Them, undoubted me to wash out the wrinkles on the
leading ladies sat.
Speaker 3 (03:11):
And talk about props. They must have taken a whole
freight train to get them up here.
Speaker 2 (03:15):
Oh I had to have them. Uh for instance, look
right up there where, Mellie up up there above.
Speaker 3 (03:21):
In that tree, hanging by their necks. Oh no, stufn't
jump like that cupcake.
Speaker 2 (03:27):
They're only dummies hanging from those ropes.
Speaker 1 (03:29):
Three of them. They look so realistic.
Speaker 3 (03:33):
I must admit they really do.
Speaker 2 (03:34):
I understand they use them in a scene where they
recreate a lynching in Portsmouth Square.
Speaker 1 (03:39):
Recreated, you say, yuh, maybe you're right. Take another look, honey,
but a good look at the one in the middle.
Speaker 2 (03:45):
What are you trying to try?
Speaker 3 (03:47):
Me for a lark? At one in the middle is
no dummy.
Speaker 1 (03:50):
You're no dummy either, boy, am I? How many times
did you look up there?
Speaker 3 (03:53):
Just a couple of times.
Speaker 2 (03:54):
But the last time I looked the one in the
middle wasn't the next human being? Would that?
Speaker 1 (03:59):
I tossed the whole thing in your lap? Mallard, I
promote you back to homicide.
Speaker 2 (04:03):
Oh why didn't these characters stay in Hollywood?
Speaker 1 (04:05):
It's a machine with cluttering up our lovely telegraphs. Hill
trees were gently swaying corpses. Come on, Nollard, let's give
the director a slight touch of apoplexy.
Speaker 2 (04:21):
The National Broadcasting Company percent Candy MATSim yukon two eight
two oh nine.
Speaker 1 (04:33):
Funny how sometimes when you're lazy and want to do
nothing except live the good pure life, trouble comes up
and belt you over the head with a vengeance well,
that's the way it happened to me. I just finished
a deal. It took me three weeks to crack, so
I made some good money out of its, banked it
and sat back to relax. When I heard about the
movie company on location on the other side of the hill,
my curiosity got the better of me. As of that moment,
(04:54):
my contemplated relaxation was at an end period paragraph. I
literally walked right into trouble because there was Mallard and
there was this grim looking body swinging from the branch
of a tree. We contacted the director and he had
the body cut down.
Speaker 2 (05:12):
Okay, mister Dix, take a good look at him. You
recognize the JEF. I recognized him, yes, but I don't
know him. He was one of the extras. We used
it a scene yesterday.
Speaker 3 (05:20):
Did you come up from Hollywood with him?
Speaker 2 (05:22):
I'm pretty sure he didn't. I think he was hired
here locally. Wait a minute, who's this young lady. I
don't want any outsiders in on.
Speaker 3 (05:28):
This, Oh fretch a little head, mister Dick.
Speaker 2 (05:30):
Aside from being a material witness, she's a well known
private investigator. Noah, excuse me, I didn't know.
Speaker 1 (05:35):
That's all i'd no need to apologize some of my
best friends and movie directors.
Speaker 3 (05:39):
Uh.
Speaker 2 (05:39):
Who would keep the roster on your personnel? My assistant
Bill Ames hiron Well, I'm right here, Lieutenant.
Speaker 3 (05:44):
Oh good. Can you give us any dope on this stall?
Speaker 4 (05:47):
Golly, I'm afraid not. I've seen him, but I wouldn't
know his name from Adam.
Speaker 1 (05:52):
How about the payroll? When do you pay off the extras?
Speaker 3 (05:55):
That's a thought? Will you pay off.
Speaker 2 (05:56):
At five o'clock tonight?
Speaker 1 (05:57):
Why don't we come back then, Mellard, you can check
off the names against the pave out is one thing
X's like to do in that decade. The name that
doesn't show up as our friend of the court.
Speaker 3 (06:06):
Okay, we'll let it go like that. What do you
pay off?
Speaker 2 (06:09):
Room mat seventy three Montter Hotel. Make sure everybody's there
unless they want a little trouble.
Speaker 3 (06:13):
Thrown at them. I'm sorry, mister Decks. You can go
on with the shooting now.
Speaker 2 (06:17):
No more today, it's too unnerving. James, knock it off.
Call at me for eight o'clock tomorrow morning. Shop right cheap,
break it up everybody eight o'clock tomorrow morning in costume.
Now that means eight o'clock on the sands morning?
Speaker 3 (06:31):
Do you mind waiting here for MoMA Caddy?
Speaker 2 (06:33):
I want to put in a call in the car
in his office for a wagon. Sure good, I want
to be a few minutes.
Speaker 1 (06:40):
Mister Dick's pardon me? Can you tell me where buff
Arnold is? Saying?
Speaker 2 (06:45):
What do you want with bof Arnold?
Speaker 3 (06:47):
Young lady?
Speaker 1 (06:48):
I used to know him when he was playing bit
parks in Hollywood?
Speaker 2 (06:51):
Oh, if you work in Hollywood?
Speaker 1 (06:54):
I did a little time down there sitting around in
agent's offices.
Speaker 3 (06:57):
You know what you're in?
Speaker 2 (06:58):
A sharp little cookie? Say all of a sudden, I've
got an idea I'll bet on and all on the level.
Believe me. I have a small part coming up that
I'll put you to a thieve. But looking goal? Why
supposed to work in her father's store selling supplies for
the miners? Then you uh act it all?
Speaker 1 (07:17):
I used to shoot as sarily shortness of dialog?
Speaker 2 (07:19):
Do you live close by?
Speaker 1 (07:21):
Right over there wind blocked penthouse.
Speaker 2 (07:23):
On the top, Mmm, all the better. As soon as
your policeman friend removes the de feast there, why don't
we go over to your place and the look at
the script.
Speaker 1 (07:33):
You know something, I've got an idea. That's the idea
you had the idea about. Okay, I'll look at the script,
but for your information, mister Dick, I'm interested only in
playing a part in your picture.
Speaker 2 (07:47):
Now.
Speaker 1 (07:47):
It came back and I told him what it developed
with Dick. He shot me a look that had more
question marks than this than a government income tax form.
I assured him I could handle the situation, and he left,
with the body still clad in its forty nine er
prospects out here Dick's issued and final orders took me
by the arm and we strolled over to my place.
Speaker 2 (08:08):
M charming but positively charming.
Speaker 3 (08:11):
Thank you, What a gorgeous view.
Speaker 2 (08:14):
How long have you lived here? Miss? Now?
Speaker 3 (08:17):
Isn't that silly?
Speaker 2 (08:18):
I don't even know your name? Mats and candy mats
and candy matts. Never have I heard a name match
of personality so completely. I'm Reginald Dix, and just call
me redg A. You say, Regg, would you like to
drink no spin it soda?
Speaker 1 (08:34):
I think I can scape when you get it.
Speaker 2 (08:38):
This is absolutely unchanging. I'm going to ask to make
all my pictures in San Francisco from now on.
Speaker 1 (08:44):
I don't think you'd go wrong. Of course, it'd be
a little rough if you were making a picture of
an Indian background and needed shots of the Tariz Mahala
and the Himalias are simple.
Speaker 2 (08:52):
I changed it to the fairy Billy in Twin Peaks.
Speaker 1 (08:55):
Very good.
Speaker 2 (08:56):
Hey, you are ed, Thank you. I can use this
after that messy discovery out there on that tree. Ouh,
here's the crime.
Speaker 1 (09:05):
Uh that's just charming. So now then, of about this
part you were speaking of. I don't even belong to
the screen Actors Guild anymore.
Speaker 2 (09:13):
I'm mere detail. I'll call the studio tonight. Have the
marine your membership.
Speaker 1 (09:17):
It's simple, as you know. I think if some of
your bright boys got together, you could win the war
in Korea without half trying.
Speaker 2 (09:24):
Oh, let's not be snide, my dear.
Speaker 1 (09:28):
Excuse me, am. I someone at the door.
Speaker 2 (09:30):
Certainly, whoever it is, that'll work some of them away.
Speaker 1 (09:34):
Yes, high high, But now that we've established our highs,
is there something I can do for you? I'm Cherry Dana,
is mister Dix here? Oh wait?
Speaker 2 (09:48):
Yes?
Speaker 3 (09:48):
Uh?
Speaker 1 (09:49):
Would you wait here for you? I will not wait here?
Speaker 3 (09:51):
I want it.
Speaker 1 (09:51):
I just admit there you are read a short memory.
Speaker 2 (09:55):
Haven't your cherry?
Speaker 3 (09:56):
What are you doing here?
Speaker 2 (09:58):
I'm having a conference, so.
Speaker 1 (10:00):
I hate to mention it, but this happens to be
a private homeless Dana, I'll have.
Speaker 2 (10:03):
To ascious leave dope, be boring.
Speaker 1 (10:05):
You lured my director up here, and I'm going to
see the some little local wench doesn't put the squeeze
play on him. Why you pampered brat, get out of
here right now. I'll show you how a local wench
can back up words with action ball.
Speaker 2 (10:15):
I'll hold on here are both of you, Cherry? I
resent this inclusion just as much as miss Madison does.
I'm sure we'll bet. What about me?
Speaker 1 (10:23):
He said you were going to drive me back to
the hotel.
Speaker 2 (10:26):
Very well, that's slipped my mind. But I'm sorry, Candy.
I just like scenes of this sort. We'll discuss our business. Lad.
Speaker 1 (10:35):
It's good I find out that I'm extremely interested. Good afternoon,
miss Dana. I'll see you later. I was so mad,
I was boiling. If i'd been a thermometer, quick silver
would have been streaming out of my ears. I did
the most natural thing to the shower, and little by
little eye simmered down. Actors and actresses are like anybody else.
(10:59):
Most of them are daring people just trying to make
a living. But one ham like Cherry Dana, can ruin
the picture. Just as I was getting dressed, the Fairy
Building siren blew its top, indicating four point thirty. I
had to step on it if I was going to
beat the monster at five and time for the table
was seeping for the estra, so I stepped on it
and found myself in a minor mob scene outside room
eight seventy three at the Montterre Hotel. Mallard spotted me,
(11:19):
grabbed me by the arm, and took me inside the room.
Speaker 3 (11:22):
I really didn't expect to see you, Candy, Hm.
Speaker 1 (11:25):
Why not?
Speaker 3 (11:26):
I thought perhaps you were.
Speaker 2 (11:27):
Discussing contract terms with Dick's final big Hollywood star and
all that. Oh, Mallard cut it out, all right, ladies
and gentlemen, as I called out your name, step up
fast and signed aboutcher Anderson, Robert Afferson, Lou Yeah, Vennett,
Burt Beverly.
Speaker 1 (11:43):
I said he'd the faces as they stepped by the
cashier's table set up in the room. They were all tight.
Anyone could have been a A Dylan, the dancehall girl,
a hero when I was. They were just playing next
to her dull called drone in the background. The whole
thing took about ten minutes and suddenly we were alone,
aims the assistant, the girl who had done the actual
pain mallard than myself.
Speaker 2 (12:04):
Well that's it.
Speaker 1 (12:06):
Who's missing in?
Speaker 2 (12:07):
You're in for a bit of a shock.
Speaker 3 (12:09):
Are a name?
Speaker 2 (12:10):
Nobody's missing? Everybody listened on our hero checked in. It
was paid off.
Speaker 3 (12:14):
What that's right?
Speaker 1 (12:16):
Did you recognize every person who didn't paid off?
Speaker 2 (12:18):
I'm pretty sure I did. Well, this is a fine
tittle of nothing. We have an extra who's working in
the picture, and yet he isn't, so he ends up
hanging by his neck from a tray on Telegraph Hill.
Speaker 3 (12:28):
Who was a joker?
Speaker 1 (12:30):
A joker the one you can play wild?
Speaker 2 (12:31):
Are you sure they're all paid or positive? Double check
with their guild cards and signatures?
Speaker 3 (12:39):
Oh excuse me, please?
Speaker 2 (12:42):
Hello?
Speaker 4 (12:44):
Yes this is same?
Speaker 2 (12:46):
Oh oh oh yes, cherry? What he's what? Great? Jop?
Speaker 1 (13:02):
The matter rains?
Speaker 2 (13:03):
What is it? You white as a sheet dick?
Speaker 5 (13:06):
He just then found shot to death in his room from.
Speaker 2 (13:19):
From from pistol. The NA should have Broadcasting company is
presenting time me MATSim UConn two eight two o nine.
Speaker 1 (13:35):
Reginald Dick's well known Hollywood director, shot dead in his
hotel room. We were looking for development and we got them,
but not the kind we expected. Mallard led the way
up to the suite that Dick had been occupying on
the top floor. There was a mob around the door,
and my boy and Mallard soon dispersed them and instituted
some semblance of order. Dix was sprawled out on the
balcony overlooking the bay, and an ever widening pool of
(13:55):
blood showed that he'd been hit in the chest. Cherry
Dana was sinking the room, smoking a cigarette, aims in
the middle with his jaw flapping. And who should be
in the room too, but my old padal for my
days in Hollywood, Buff.
Speaker 4 (14:10):
Arnold, Candy, Candy Maxim.
Speaker 3 (14:16):
What a place for a reunion, isn't it?
Speaker 2 (14:19):
How are you ground?
Speaker 3 (14:20):
Ill? Terribly ill?
Speaker 4 (14:22):
If I have to step into the other room, I
hope you'll understand.
Speaker 2 (14:25):
Red was a great friend of mine.
Speaker 1 (14:27):
Surely I'm sure let's go in the bedroom.
Speaker 3 (14:29):
Uh sort of green.
Speaker 1 (14:31):
Besides, I got a few questions I'd like to ask you.
Speaker 4 (14:33):
Buff. It's a deal anything to get out of here.
Speaker 3 (14:35):
Let's go. Wait a minute, Candy, who is this guy?
Speaker 1 (14:38):
Buff Arnold Millard? The fellow I was speaking about.
Speaker 3 (14:40):
Where are you going in there?
Speaker 1 (14:42):
He doesn't kill too good. The closest he's ever been
the blood is the bottle of ketchup in color.
Speaker 2 (14:47):
Okay, I'll let him out of your sight. I have
a flock of questions and need a flock of answers.
As you say it, and don't get carried away yourself.
Speaker 1 (14:58):
This the bedrooms. M yeah, well the bus you seem
to be doing all right.
Speaker 4 (15:09):
Mm A lot different than when I knew in Hollywood.
Speaker 1 (15:11):
Candy, you look swell bus through darning.
Speaker 2 (15:14):
S Hm.
Speaker 1 (15:16):
What do you mean you'd bring back too many memories?
Speaker 4 (15:19):
You look mighty god yourself, Candy, you know longer a
plump little kid just s oarut of high school? Yeh,
down right, pretty down.
Speaker 1 (15:27):
In the good old days, i'd have jumped through.
Speaker 3 (15:29):
Hoops to here.
Speaker 4 (15:29):
You say that, gott I knew hoops, handy. I'll say
it again, no soap. Maybe we could revise some of
those memories, Candy.
Speaker 1 (15:36):
Not a chance, buf boy. Things it changed to Hollywood,
and everyone in it, including you, were a part of
a dim sad pat and instead of just came buff
at a rebuff.
Speaker 4 (15:45):
Not very cute. I haven't heard the gag closes yesterday.
Speaker 1 (15:49):
Uh tell me? Did you hear about the body that
was done until I got there this morning?
Speaker 4 (15:53):
I'm sure did now, Poor reg I told him this
picture of the jamesonner before we left the studio. Little
things that happened writing the start, like what well in
the first place, I wasn't even supposed to be in
the picture. They're going to give to some new kids
a build up a week before the first day of shooting.
Haven't disappeared. He hasn't been aircone since then. They shout
me into the breach. Then the assistant director tripped and
(16:15):
fell off.
Speaker 3 (16:15):
A catwalk, broke both ways. He had to be replaced.
Speaker 1 (16:18):
Anything else though, Yeah.
Speaker 4 (16:21):
About that time, Cherry Dane I whipped herself in a
batch of temperament and walked off the lot. Held up
production a week. Then the luggage for San Francisco was
rerouted somewhere else. Never has caught up with this and
other body this morning and.
Speaker 3 (16:34):
Fixed just now.
Speaker 1 (16:35):
It me sounds like a dre By the way, how
do you and the great Cherry get along the MM.
Speaker 4 (16:42):
Fine, fine, I'm tryna see it tip on the set.
Speaker 3 (16:48):
Give me attempted though, what.
Speaker 4 (16:50):
Just let me hold you my ears once, this once
on the feel of someone who is truly genuine.
Speaker 1 (16:57):
Yes, it was just a little boy at your boot.
Speaker 2 (17:02):
Okay, Arnold, I'd like to, uh, well, pardon me. I
hate to break this up, eh, but I wanna talk to.
Speaker 3 (17:14):
You, mister Arnold.
Speaker 1 (17:22):
It was a fine time. Mallard picked to walk in,
and then I got to thinking maybe it was a
fine time he was due to have a little fire
set under him if they walked out. In the other room,
the boys in Blue had arrived and they were swarming
all over the place. Ames was no longer present, neither
was Cherry Dana. I wasn't going to give an out
at the satisfaction of an explanation, so I eased out
the door and went down to the lobby. I asked
where Ames was staying, went back up to his room
(17:44):
six seventy two. I knocked on the door of produced results.
Speaker 2 (17:48):
That's a moment, oh ms Maslin, Uh something you wanted?
Speaker 1 (17:55):
Yeah, Nia commune, why I.
Speaker 2 (17:58):
Yes, I just want to do this thing about Reggie
has knocked me for complete loop.
Speaker 1 (18:03):
It seems to be quite a shock to everybody. You've
been with Reginald Dix for a long time, haven't you?
Speaker 2 (18:09):
Oo awful?
Speaker 3 (18:10):
Mom?
Speaker 2 (18:10):
Yeah, it's a good number of years.
Speaker 1 (18:13):
How about loud Dina Cherry, Well.
Speaker 4 (18:16):
I've known her extremely well, even before she became a
top flight star.
Speaker 1 (18:20):
Can you give me any idea who might have had
it in predict? If you can, you better? Still, the
truth will come out sooner or later, Aams, It always
doesnt things?
Speaker 4 (18:26):
You should have only one little thing I can tell
I've already told it to.
Speaker 2 (18:31):
Your lieutenant friends.
Speaker 1 (18:32):
Oh what's that?
Speaker 2 (18:34):
As I got back from Telegraph Hill, I dropped by
Reggie's Sweet wanted to talk about tomorrow's shooting.
Speaker 3 (18:40):
If I drew near the door, I.
Speaker 2 (18:42):
Heard Loud arguing arguing.
Speaker 1 (18:44):
Who were the opponents Rag, Cherry Dana And what were
they arguing about? Ams?
Speaker 2 (18:52):
You?
Speaker 1 (18:54):
So that's it? Tell me? Is Cherry the kind of
woman who would turn killer on an impulse?
Speaker 3 (19:00):
Hard to say?
Speaker 2 (19:01):
If she has a terrible temper.
Speaker 1 (19:04):
Does buff Arnold sit into the picture?
Speaker 4 (19:05):
And anyway, I don't know.
Speaker 2 (19:08):
He's a sly one, that's Arnold.
Speaker 4 (19:10):
He placed his cards in strictly a commercial manner may
sit into the picture. He and Redgs were never too friendly.
Speaker 1 (19:19):
Oh thanks, James. Here, I'll leave now, and you'd better
lock your door. The way things are going, you might
wake up to find yourself dead. I went up to
cherry it down this week, but I drew a blank
there and no answer. So I went back to the
scene of the murderer Dickt's rooms on the top floor.
(19:39):
Now it was just leaving. He shot me a look
that would have knocked out a North Korean tank at
assaws and Yards and started to brush on by me.
But I would have none of it. Now just a moment,
boy Blue, come on back to that over twenty one level.
It's because Bruff had his arms around me. It's no
time we were playing a scene from Romeo and Juliet.
Speaker 2 (19:56):
I don't think I've seen that close a grip, even
in professional rusty.
Speaker 1 (20:00):
Oh got it out? Would you turn up in there
anything at all?
Speaker 3 (20:02):
No, not a thing. Can't even find the murder.
Speaker 1 (20:05):
Weapons, got any ideas a lot?
Speaker 2 (20:07):
Tell them we've already taken mus Dana into custody.
Speaker 1 (20:10):
I had a hunch that was leading in that direction.
Speaker 3 (20:12):
Uh.
Speaker 2 (20:12):
Incidentally, did you ever hear of a Christopher Seema.
Speaker 3 (20:16):
He's been a booky around town here for several years.
Speaker 1 (20:19):
Christopher Seema. No, we can't say there was.
Speaker 3 (20:22):
He was a boy who was hanging from the tree.
Speaker 2 (20:24):
According to our finals, he dabbled and everything from gambling to.
Speaker 1 (20:26):
Blackmail, Tema Tuma that that name rings bills somehow, Ellie
h one other thing.
Speaker 2 (20:33):
This isn't personally you understand. Yeah, but stay away from
buff Arnold. We've got our eye on him too.
Speaker 1 (20:46):
Those things were suddenly clicking way back in my mind.
Also be vague, but the old processes from years before
were coming to life every so slowly. Mallard had work
to do, plenty of it down at the Hall of Justice,
work in which I was included. Out I went out there,
I got on California Street, watched him get into a
squad car with two of his men, and I waved
him a goodbye. That was when I had another idea.
Picked this sweet coped was through with it. The body
(21:09):
had been removed, m but I had a hunch that
was the key to the situation. Knowing the manager of
the monster, it was no trouble at all to get
a key to read the sweet and that's where I
headed up to the top floor. I let myself into
the darkened room, closed the door behind me, with the
light of the city way below sweeping through the balcony window.
I found a place in back of the settee and
sat down to wait and sinked. The balcony window being opened,
(21:33):
the door of the city traffic underneath came gently through
and tooked my thinking. That's when it hit me, Huma.
Several years before I had served my term in Hollywood,
there was an actress, same vision tema, the same face
as that of Cherry Dana. Now the crowds were beginning
to lift, and at the same time, the door opened
the suite and the flow wetted figure of a man
entered the room. Okay, buff, relax, what candy going over
(22:03):
you by the Dicky? Hurry and make Peck and company.
Speaker 2 (22:09):
What are you doing your candy?
Speaker 1 (22:11):
You've got the wrong gage at the script.
Speaker 6 (22:13):
That's my line.
Speaker 1 (22:14):
What are you doing here?
Speaker 3 (22:15):
Bok Honestly, you've got to believe me.
Speaker 4 (22:17):
I I left my lighter here this afternoon. I was
afraid the police would find it. Naturally, I can't afford
any bad publicity I ruin my career.
Speaker 1 (22:25):
I believe you, bro, You're always worth hunt. That creator
was don't ask, don't right?
Speaker 2 (22:30):
What's up?
Speaker 1 (22:31):
A guy in steamer up and right? He's regular indicts
didn't like him.
Speaker 6 (22:45):
Wait a minute, I can hear someone going on in
the hall. The door slowly opened, the encouraged the dim
lights in the horse you the form of another man.
Then the dark figure moved slowly but truly across the room.
Stop for a second or two and there listening for something.
(23:08):
Then moved again into the balcony. Out onto the balcony,
and whoever was grabbed the ledge above horst.
Speaker 1 (23:13):
To his feet, up under the iron glow work and
hung over the city. That's when I acted. Okay, Aims,
stay right where you are in that position.
Speaker 2 (23:20):
What you think?
Speaker 3 (23:21):
I'm a fool hand?
Speaker 2 (23:22):
He's not on that list. He's stuck around the outside
on that ledge.
Speaker 1 (23:25):
Quick buff put down the hall and get out of
the fire. Steats cut him off.
Speaker 2 (23:27):
Okay, where are you gonna do?
Speaker 1 (23:28):
Go on that leg after him? You better come back, Aims,
you're cut off, and both ins.
Speaker 2 (23:38):
Oh no, I'm not not of this gun. I'm cut
That's a shame.
Speaker 1 (23:41):
Gun you killed dix Wood.
Speaker 2 (23:42):
Isn't it very clever?
Speaker 1 (23:44):
Of hiding it up on his ledg yard. Here the
wonder Mallards and his voice didn't find it. Look out
there on the city, Aims one miss check and you
go off into space.
Speaker 2 (23:52):
Think it over.
Speaker 1 (23:53):
You better come back. I'm coming after you.
Speaker 4 (23:58):
I'm gonna be able to run again.
Speaker 1 (24:00):
Good now he's got him, Yes, yes you have.
Speaker 2 (24:04):
Obviously this is the end. Perhaps you don't know what
it is to love. Perhaps you don't know what it
is to be scorned. I do painfully. So this is
the end. But I'm not gonna go alone. You're going
with me, miss Mapson like this.
Speaker 1 (24:18):
No, no, the recoil not you.
Speaker 2 (24:19):
Right?
Speaker 3 (24:39):
So it was just a matter of jealousy, Is that right, Kenny?
Speaker 1 (24:42):
That's right now. It is the same thing you developed
when you're walking on buffnolds knee.
Speaker 3 (24:46):
Okay, okay, So I was burned up. Tell me more.
Speaker 1 (24:50):
Was the name of Sema that did it?
Speaker 2 (24:51):
Now? Do you know what that is?
Speaker 3 (24:53):
All right?
Speaker 2 (24:53):
I'll play quizzies with you. What's the name Seema?
Speaker 1 (24:57):
Seema is aims, so deftly see that was Ames's real name.
At one time he had married Cherry Dana under the
name of Stema. When she began to be big in pictures.
She divorced him, but he carried the eternal torch. Solly
she wasn't working, of course, not because she collected and
then Reginald Dix, not because she loved him, but because
she was fading in pictures, and because Dix was the
(25:17):
only one who was keep her in front of the public.
Speaker 3 (25:19):
Logical. But what about the sema hung up on the
tree on telegraph him?
Speaker 2 (25:22):
U huh.
Speaker 1 (25:23):
There we have the plot. The sema up in the
tree was Ames's brother, a ne'er do well. The night
that Aames arrived in town here he looked up his brother,
got a bit tired and told him what he'd done.
Caused the original leading man to disappear, shoved the original
assistant director off a platform, breaking his legs. In general,
did everything he could to sabotage the pictures. Then he
pulled the strings to get himself named his assistant director
so he could be near Cherry.
Speaker 3 (25:44):
Loving jealousy.
Speaker 1 (25:45):
Now learn I'll get to that in time. Cherry had
vaguely promised that she'd remarry Ames. When he saw his
own brother was going to blackmail him, and he went crazy,
as when he strung him up with the dummies and
the trees from there which had the steps knock off
original Dix and have a clear trees.
Speaker 3 (26:01):
I'll go back to what I said to begin with.
Speaker 2 (26:03):
When did these characters from Hollywood have to come up
here to San Francisco and louse up our scenery as
well as our police department?
Speaker 6 (26:09):
Oh?
Speaker 1 (26:09):
To heck with your police department. That's the last time
I'm going to climb around a ledge hundreds of feet
in the ear.
Speaker 3 (26:15):
Not so strange.
Speaker 2 (26:16):
Buff Arnold was out on that ledge too, wasn't he?
Speaker 1 (26:19):
Oh, Mallard, sometimes you make me. That reminds me. I
have a date tomorrow night.
Speaker 3 (26:25):
Sure, buff Arnold, no, no.
Speaker 1 (26:28):
Back tomorrow morning. I'm driving him down to the railroad station.
Date for tomorrow night with you, Mellard, Dear, We're going
to see a roy Acough movie.
Speaker 2 (26:36):
Oh, Jerry roy Aircuff, Monarch of all the Cowboys.
Speaker 1 (26:42):
Yeah, Monit of all the Cowboys. I'll see him with you.
And if that isn't love, I don't know what is.
Speaker 2 (27:01):
Listen again next week at this same time or Excitement
and adventure.
Speaker 1 (27:05):
Just dial Sandy Medson U con to ray two O nine.
Speaker 2 (27:15):
Heard tonight were hald Verdick as Reginald Dix, John Grover
as Ames, the assistant director, Mary Milford as Cherry, Dana
Kirk Martel as Buff Arnold, and included in the cast
was Ken Langley. Henry Left plays the part of Lieutenant
Ray Mallards. The program stars Natalie Masters as Candy and
is written and directed by Maudie Masters. Sound effects are
(27:37):
created by Bill Brownell and Eloise Rowan is heard at
the organ. The characters in tonight's play were entirely fictitious,
and the resemblance to actual people is purely coincidental. The
Knight's engineer was Clarence Stephens. The program came to you
from Sam Francisco. Dudley Man loved speaking. This is NBC's
(28:01):
the National Broadcasting Company
Hello, Yukon two eight two o nine. Yes, this is
Candy Medson.
Speaker 2 (00:29):
Eat that baby on the tree. I'll think those Dolly
track and we'll talk about damer.
Speaker 1 (00:34):
Smellard, What in the name of the San Francisco Police
Department are you doing up here on Telegraph Hill.
Speaker 2 (00:39):
Working Candy in the name of the San Francisco Police.
Speaker 1 (00:42):
Department here with these kiods who were making the movie.
Speaker 3 (00:44):
Yeah, how about that?
Speaker 2 (00:46):
Me a lieutenantan homicide and I'm assigned to riding herd.
Speaker 3 (00:49):
On these Hollywood characters.
Speaker 1 (00:50):
Oh it's better than murders.
Speaker 3 (00:51):
I'll take murder any day. What are you doing around here?
Speaker 1 (00:54):
I did some shopping at Speedy's this morning. While I
was pinching the avocados, they told me that there was
a Hollywood gang over by a tower shooting some scenes
for a movie with the San Francisco background.
Speaker 2 (01:03):
A might just as well have stayed in the studio
and brought their own lawns, prop trees, fake bushes or works.
If it ever snowed up here on Telegraph Hill, they'd
brought some of that along too.
Speaker 1 (01:13):
You've never worked in Hollywood, Millard. Only God can make
a tree, but Hollywood presumes to improve on him. What
are you doing now?
Speaker 2 (01:20):
Just getting ready to shoot a scene? I think I've
been rehearsing it all morning.
Speaker 1 (01:23):
What's it all about?
Speaker 2 (01:24):
You know, as far as I can figure, it's a
story about San Francisco right after the gold Rush. Look
at all the costumes.
Speaker 1 (01:30):
Very authentic, looks like they've been shipped around the horn. So,
by the way, mad, you know who's in the picture.
Speaker 2 (01:36):
Some lush tomato named Cherry Dana and the colorade boy
buff Arnold Arnold. Did you say buff Arnold? That's right? What?
Speaker 1 (01:44):
Oh? Forgive me Millard?
Speaker 2 (01:46):
Did I?
Speaker 1 (01:47):
I knew buff Arnold and he didn't have a place
to houst him. He possessed to carry a very warm
torch for me.
Speaker 2 (01:53):
Ah, so that's why you so casually dropped by an
old flame? Huh, ridiculous.
Speaker 1 (02:00):
I didn't even know the guy was here, let alone
stealing picture.
Speaker 3 (02:03):
Hey, likely story?
Speaker 2 (02:04):
All right, quiet, please, let's have quiet. Quiet. This is
a take, I'll said mister Dixon. We're ready, good, okay, Jerry,
we'll roll this one. Take a chance on it. Just
remember to keep up against those trees. We don't want
any shots of those modern buildings below the hill. I
remember it's them. Where is my old child the final No,
I mean, judging by what's been going on, he's not.
Speaker 3 (02:25):
In this particular scene.
Speaker 2 (02:27):
All right, stand by, roll him seem forty seven eight ten?
Wait a minute? Cut cut? Oh where's that coming from
out on the bay, mister Dickson. Fine thing a present
day steamer whistle of an eighteen fifty picture. All it aims. Yes,
(02:51):
let me know when the fool ship is tied up.
We won't shoot the seam until it's dark, Yes, sir.
Speaker 1 (02:57):
Johnet, I was hoping i'd see an action.
Speaker 3 (02:59):
I'll give you something. Come on, walk around with me, Kenny.
Speaker 1 (03:02):
I'll show you all the sight site sight ut Brinston Selly.
Speaker 2 (03:05):
Oh, all the lights they brought up there. I must
have a thousand of.
Speaker 1 (03:08):
Them, undoubted me to wash out the wrinkles on the
leading ladies sat.
Speaker 3 (03:11):
And talk about props. They must have taken a whole
freight train to get them up here.
Speaker 2 (03:15):
Oh I had to have them. Uh for instance, look
right up there where, Mellie up up there above.
Speaker 3 (03:21):
In that tree, hanging by their necks. Oh no, stufn't
jump like that cupcake.
Speaker 2 (03:27):
They're only dummies hanging from those ropes.
Speaker 1 (03:29):
Three of them. They look so realistic.
Speaker 3 (03:33):
I must admit they really do.
Speaker 2 (03:34):
I understand they use them in a scene where they
recreate a lynching in Portsmouth Square.
Speaker 1 (03:39):
Recreated, you say, yuh, maybe you're right. Take another look, honey,
but a good look at the one in the middle.
Speaker 2 (03:45):
What are you trying to try?
Speaker 3 (03:47):
Me for a lark? At one in the middle is
no dummy.
Speaker 1 (03:50):
You're no dummy either, boy, am I? How many times
did you look up there?
Speaker 3 (03:53):
Just a couple of times.
Speaker 2 (03:54):
But the last time I looked the one in the
middle wasn't the next human being? Would that?
Speaker 1 (03:59):
I tossed the whole thing in your lap? Mallard, I
promote you back to homicide.
Speaker 2 (04:03):
Oh why didn't these characters stay in Hollywood?
Speaker 1 (04:05):
It's a machine with cluttering up our lovely telegraphs. Hill
trees were gently swaying corpses. Come on, Nollard, let's give
the director a slight touch of apoplexy.
Speaker 2 (04:21):
The National Broadcasting Company percent Candy MATSim yukon two eight
two oh nine.
Speaker 1 (04:33):
Funny how sometimes when you're lazy and want to do
nothing except live the good pure life, trouble comes up
and belt you over the head with a vengeance well,
that's the way it happened to me. I just finished
a deal. It took me three weeks to crack, so
I made some good money out of its, banked it
and sat back to relax. When I heard about the
movie company on location on the other side of the hill,
my curiosity got the better of me. As of that moment,
(04:54):
my contemplated relaxation was at an end period paragraph. I
literally walked right into trouble because there was Mallard and
there was this grim looking body swinging from the branch
of a tree. We contacted the director and he had
the body cut down.
Speaker 2 (05:12):
Okay, mister Dix, take a good look at him. You
recognize the JEF. I recognized him, yes, but I don't
know him. He was one of the extras. We used
it a scene yesterday.
Speaker 3 (05:20):
Did you come up from Hollywood with him?
Speaker 2 (05:22):
I'm pretty sure he didn't. I think he was hired
here locally. Wait a minute, who's this young lady. I
don't want any outsiders in on.
Speaker 3 (05:28):
This, Oh fretch a little head, mister Dick.
Speaker 2 (05:30):
Aside from being a material witness, she's a well known
private investigator. Noah, excuse me, I didn't know.
Speaker 1 (05:35):
That's all i'd no need to apologize some of my
best friends and movie directors.
Speaker 3 (05:39):
Uh.
Speaker 2 (05:39):
Who would keep the roster on your personnel? My assistant
Bill Ames hiron Well, I'm right here, Lieutenant.
Speaker 3 (05:44):
Oh good. Can you give us any dope on this stall?
Speaker 4 (05:47):
Golly, I'm afraid not. I've seen him, but I wouldn't
know his name from Adam.
Speaker 1 (05:52):
How about the payroll? When do you pay off the extras?
Speaker 3 (05:55):
That's a thought? Will you pay off.
Speaker 2 (05:56):
At five o'clock tonight?
Speaker 1 (05:57):
Why don't we come back then, Mellard, you can check
off the names against the pave out is one thing
X's like to do in that decade. The name that
doesn't show up as our friend of the court.
Speaker 3 (06:06):
Okay, we'll let it go like that. What do you
pay off?
Speaker 2 (06:09):
Room mat seventy three Montter Hotel. Make sure everybody's there
unless they want a little trouble.
Speaker 3 (06:13):
Thrown at them. I'm sorry, mister Decks. You can go
on with the shooting now.
Speaker 2 (06:17):
No more today, it's too unnerving. James, knock it off.
Call at me for eight o'clock tomorrow morning. Shop right cheap,
break it up everybody eight o'clock tomorrow morning in costume.
Now that means eight o'clock on the sands morning?
Speaker 3 (06:31):
Do you mind waiting here for MoMA Caddy?
Speaker 2 (06:33):
I want to put in a call in the car
in his office for a wagon. Sure good, I want
to be a few minutes.
Speaker 1 (06:40):
Mister Dick's pardon me? Can you tell me where buff
Arnold is? Saying?
Speaker 2 (06:45):
What do you want with bof Arnold?
Speaker 3 (06:47):
Young lady?
Speaker 1 (06:48):
I used to know him when he was playing bit
parks in Hollywood?
Speaker 2 (06:51):
Oh, if you work in Hollywood?
Speaker 1 (06:54):
I did a little time down there sitting around in
agent's offices.
Speaker 3 (06:57):
You know what you're in?
Speaker 2 (06:58):
A sharp little cookie? Say all of a sudden, I've
got an idea I'll bet on and all on the level.
Believe me. I have a small part coming up that
I'll put you to a thieve. But looking goal? Why
supposed to work in her father's store selling supplies for
the miners? Then you uh act it all?
Speaker 1 (07:17):
I used to shoot as sarily shortness of dialog?
Speaker 2 (07:19):
Do you live close by?
Speaker 1 (07:21):
Right over there wind blocked penthouse.
Speaker 2 (07:23):
On the top, Mmm, all the better. As soon as
your policeman friend removes the de feast there, why don't
we go over to your place and the look at
the script.
Speaker 1 (07:33):
You know something, I've got an idea. That's the idea
you had the idea about. Okay, I'll look at the script,
but for your information, mister Dick, I'm interested only in
playing a part in your picture.
Speaker 2 (07:47):
Now.
Speaker 1 (07:47):
It came back and I told him what it developed
with Dick. He shot me a look that had more
question marks than this than a government income tax form.
I assured him I could handle the situation, and he left,
with the body still clad in its forty nine er
prospects out here Dick's issued and final orders took me
by the arm and we strolled over to my place.
Speaker 2 (08:08):
M charming but positively charming.
Speaker 3 (08:11):
Thank you, What a gorgeous view.
Speaker 2 (08:14):
How long have you lived here? Miss? Now?
Speaker 3 (08:17):
Isn't that silly?
Speaker 2 (08:18):
I don't even know your name? Mats and candy mats
and candy matts. Never have I heard a name match
of personality so completely. I'm Reginald Dix, and just call
me redg A. You say, Regg, would you like to
drink no spin it soda?
Speaker 1 (08:34):
I think I can scape when you get it.
Speaker 2 (08:38):
This is absolutely unchanging. I'm going to ask to make
all my pictures in San Francisco from now on.
Speaker 1 (08:44):
I don't think you'd go wrong. Of course, it'd be
a little rough if you were making a picture of
an Indian background and needed shots of the Tariz Mahala
and the Himalias are simple.
Speaker 2 (08:52):
I changed it to the fairy Billy in Twin Peaks.
Speaker 1 (08:55):
Very good.
Speaker 2 (08:56):
Hey, you are ed, Thank you. I can use this
after that messy discovery out there on that tree. Ouh,
here's the crime.
Speaker 1 (09:05):
Uh that's just charming. So now then, of about this
part you were speaking of. I don't even belong to
the screen Actors Guild anymore.
Speaker 2 (09:13):
I'm mere detail. I'll call the studio tonight. Have the
marine your membership.
Speaker 1 (09:17):
It's simple, as you know. I think if some of
your bright boys got together, you could win the war
in Korea without half trying.
Speaker 2 (09:24):
Oh, let's not be snide, my dear.
Speaker 1 (09:28):
Excuse me, am. I someone at the door.
Speaker 2 (09:30):
Certainly, whoever it is, that'll work some of them away.
Speaker 1 (09:34):
Yes, high high, But now that we've established our highs,
is there something I can do for you? I'm Cherry Dana,
is mister Dix here? Oh wait?
Speaker 2 (09:48):
Yes?
Speaker 3 (09:48):
Uh?
Speaker 1 (09:49):
Would you wait here for you? I will not wait here?
Speaker 3 (09:51):
I want it.
Speaker 1 (09:51):
I just admit there you are read a short memory.
Speaker 2 (09:55):
Haven't your cherry?
Speaker 3 (09:56):
What are you doing here?
Speaker 2 (09:58):
I'm having a conference, so.
Speaker 1 (10:00):
I hate to mention it, but this happens to be
a private homeless Dana, I'll have.
Speaker 2 (10:03):
To ascious leave dope, be boring.
Speaker 1 (10:05):
You lured my director up here, and I'm going to
see the some little local wench doesn't put the squeeze
play on him. Why you pampered brat, get out of
here right now. I'll show you how a local wench
can back up words with action ball.
Speaker 2 (10:15):
I'll hold on here are both of you, Cherry? I
resent this inclusion just as much as miss Madison does.
I'm sure we'll bet. What about me?
Speaker 1 (10:23):
He said you were going to drive me back to
the hotel.
Speaker 2 (10:26):
Very well, that's slipped my mind. But I'm sorry, Candy.
I just like scenes of this sort. We'll discuss our business. Lad.
Speaker 1 (10:35):
It's good I find out that I'm extremely interested. Good afternoon,
miss Dana. I'll see you later. I was so mad,
I was boiling. If i'd been a thermometer, quick silver
would have been streaming out of my ears. I did
the most natural thing to the shower, and little by
little eye simmered down. Actors and actresses are like anybody else.
(10:59):
Most of them are daring people just trying to make
a living. But one ham like Cherry Dana, can ruin
the picture. Just as I was getting dressed, the Fairy
Building siren blew its top, indicating four point thirty. I
had to step on it if I was going to
beat the monster at five and time for the table
was seeping for the estra, so I stepped on it
and found myself in a minor mob scene outside room
eight seventy three at the Montterre Hotel. Mallard spotted me,
(11:19):
grabbed me by the arm, and took me inside the room.
Speaker 3 (11:22):
I really didn't expect to see you, Candy, Hm.
Speaker 1 (11:25):
Why not?
Speaker 3 (11:26):
I thought perhaps you were.
Speaker 2 (11:27):
Discussing contract terms with Dick's final big Hollywood star and
all that. Oh, Mallard cut it out, all right, ladies
and gentlemen, as I called out your name, step up
fast and signed aboutcher Anderson, Robert Afferson, Lou Yeah, Vennett,
Burt Beverly.
Speaker 1 (11:43):
I said he'd the faces as they stepped by the
cashier's table set up in the room. They were all tight.
Anyone could have been a A Dylan, the dancehall girl,
a hero when I was. They were just playing next
to her dull called drone in the background. The whole
thing took about ten minutes and suddenly we were alone,
aims the assistant, the girl who had done the actual
pain mallard than myself.
Speaker 2 (12:04):
Well that's it.
Speaker 1 (12:06):
Who's missing in?
Speaker 2 (12:07):
You're in for a bit of a shock.
Speaker 3 (12:09):
Are a name?
Speaker 2 (12:10):
Nobody's missing? Everybody listened on our hero checked in. It
was paid off.
Speaker 3 (12:14):
What that's right?
Speaker 1 (12:16):
Did you recognize every person who didn't paid off?
Speaker 2 (12:18):
I'm pretty sure I did. Well, this is a fine
tittle of nothing. We have an extra who's working in
the picture, and yet he isn't, so he ends up
hanging by his neck from a tray on Telegraph Hill.
Speaker 3 (12:28):
Who was a joker?
Speaker 1 (12:30):
A joker the one you can play wild?
Speaker 2 (12:31):
Are you sure they're all paid or positive? Double check
with their guild cards and signatures?
Speaker 3 (12:39):
Oh excuse me, please?
Speaker 2 (12:42):
Hello?
Speaker 4 (12:44):
Yes this is same?
Speaker 2 (12:46):
Oh oh oh yes, cherry? What he's what? Great? Jop?
Speaker 1 (13:02):
The matter rains?
Speaker 2 (13:03):
What is it? You white as a sheet dick?
Speaker 5 (13:06):
He just then found shot to death in his room from.
Speaker 2 (13:19):
From from pistol. The NA should have Broadcasting company is
presenting time me MATSim UConn two eight two o nine.
Speaker 1 (13:35):
Reginald Dick's well known Hollywood director, shot dead in his
hotel room. We were looking for development and we got them,
but not the kind we expected. Mallard led the way
up to the suite that Dick had been occupying on
the top floor. There was a mob around the door,
and my boy and Mallard soon dispersed them and instituted
some semblance of order. Dix was sprawled out on the
balcony overlooking the bay, and an ever widening pool of
(13:55):
blood showed that he'd been hit in the chest. Cherry
Dana was sinking the room, smoking a cigarette, aims in
the middle with his jaw flapping. And who should be
in the room too, but my old padal for my
days in Hollywood, Buff.
Speaker 4 (14:10):
Arnold, Candy, Candy Maxim.
Speaker 3 (14:16):
What a place for a reunion, isn't it?
Speaker 2 (14:19):
How are you ground?
Speaker 3 (14:20):
Ill? Terribly ill?
Speaker 4 (14:22):
If I have to step into the other room, I
hope you'll understand.
Speaker 2 (14:25):
Red was a great friend of mine.
Speaker 1 (14:27):
Surely I'm sure let's go in the bedroom.
Speaker 3 (14:29):
Uh sort of green.
Speaker 1 (14:31):
Besides, I got a few questions I'd like to ask you.
Speaker 4 (14:33):
Buff. It's a deal anything to get out of here.
Speaker 3 (14:35):
Let's go. Wait a minute, Candy, who is this guy?
Speaker 1 (14:38):
Buff Arnold Millard? The fellow I was speaking about.
Speaker 3 (14:40):
Where are you going in there?
Speaker 1 (14:42):
He doesn't kill too good. The closest he's ever been
the blood is the bottle of ketchup in color.
Speaker 2 (14:47):
Okay, I'll let him out of your sight. I have
a flock of questions and need a flock of answers.
As you say it, and don't get carried away yourself.
Speaker 1 (14:58):
This the bedrooms. M yeah, well the bus you seem
to be doing all right.
Speaker 4 (15:09):
Mm A lot different than when I knew in Hollywood.
Speaker 1 (15:11):
Candy, you look swell bus through darning.
Speaker 2 (15:14):
S Hm.
Speaker 1 (15:16):
What do you mean you'd bring back too many memories?
Speaker 4 (15:19):
You look mighty god yourself, Candy, you know longer a
plump little kid just s oarut of high school? Yeh,
down right, pretty down.
Speaker 1 (15:27):
In the good old days, i'd have jumped through.
Speaker 3 (15:29):
Hoops to here.
Speaker 4 (15:29):
You say that, gott I knew hoops, handy. I'll say
it again, no soap. Maybe we could revise some of
those memories, Candy.
Speaker 1 (15:36):
Not a chance, buf boy. Things it changed to Hollywood,
and everyone in it, including you, were a part of
a dim sad pat and instead of just came buff
at a rebuff.
Speaker 4 (15:45):
Not very cute. I haven't heard the gag closes yesterday.
Speaker 1 (15:49):
Uh tell me? Did you hear about the body that
was done until I got there this morning?
Speaker 4 (15:53):
I'm sure did now, Poor reg I told him this
picture of the jamesonner before we left the studio. Little
things that happened writing the start, like what well in
the first place, I wasn't even supposed to be in
the picture. They're going to give to some new kids
a build up a week before the first day of shooting.
Haven't disappeared. He hasn't been aircone since then. They shout
me into the breach. Then the assistant director tripped and
(16:15):
fell off.
Speaker 3 (16:15):
A catwalk, broke both ways. He had to be replaced.
Speaker 1 (16:18):
Anything else though, Yeah.
Speaker 4 (16:21):
About that time, Cherry Dane I whipped herself in a
batch of temperament and walked off the lot. Held up
production a week. Then the luggage for San Francisco was
rerouted somewhere else. Never has caught up with this and
other body this morning and.
Speaker 3 (16:34):
Fixed just now.
Speaker 1 (16:35):
It me sounds like a dre By the way, how
do you and the great Cherry get along the MM.
Speaker 4 (16:42):
Fine, fine, I'm tryna see it tip on the set.
Speaker 3 (16:48):
Give me attempted though, what.
Speaker 4 (16:50):
Just let me hold you my ears once, this once
on the feel of someone who is truly genuine.
Speaker 1 (16:57):
Yes, it was just a little boy at your boot.
Speaker 2 (17:02):
Okay, Arnold, I'd like to, uh, well, pardon me. I
hate to break this up, eh, but I wanna talk to.
Speaker 3 (17:14):
You, mister Arnold.
Speaker 1 (17:22):
It was a fine time. Mallard picked to walk in,
and then I got to thinking maybe it was a
fine time he was due to have a little fire
set under him if they walked out. In the other room,
the boys in Blue had arrived and they were swarming
all over the place. Ames was no longer present, neither
was Cherry Dana. I wasn't going to give an out
at the satisfaction of an explanation, so I eased out
the door and went down to the lobby. I asked
where Ames was staying, went back up to his room
(17:44):
six seventy two. I knocked on the door of produced results.
Speaker 2 (17:48):
That's a moment, oh ms Maslin, Uh something you wanted?
Speaker 1 (17:55):
Yeah, Nia commune, why I.
Speaker 2 (17:58):
Yes, I just want to do this thing about Reggie
has knocked me for complete loop.
Speaker 1 (18:03):
It seems to be quite a shock to everybody. You've
been with Reginald Dix for a long time, haven't you?
Speaker 2 (18:09):
Oo awful?
Speaker 3 (18:10):
Mom?
Speaker 2 (18:10):
Yeah, it's a good number of years.
Speaker 1 (18:13):
How about loud Dina Cherry, Well.
Speaker 4 (18:16):
I've known her extremely well, even before she became a
top flight star.
Speaker 1 (18:20):
Can you give me any idea who might have had
it in predict? If you can, you better? Still, the
truth will come out sooner or later, Aams, It always
doesnt things?
Speaker 4 (18:26):
You should have only one little thing I can tell
I've already told it to.
Speaker 2 (18:31):
Your lieutenant friends.
Speaker 1 (18:32):
Oh what's that?
Speaker 2 (18:34):
As I got back from Telegraph Hill, I dropped by
Reggie's Sweet wanted to talk about tomorrow's shooting.
Speaker 3 (18:40):
If I drew near the door, I.
Speaker 2 (18:42):
Heard Loud arguing arguing.
Speaker 1 (18:44):
Who were the opponents Rag, Cherry Dana And what were
they arguing about? Ams?
Speaker 2 (18:52):
You?
Speaker 1 (18:54):
So that's it? Tell me? Is Cherry the kind of
woman who would turn killer on an impulse?
Speaker 3 (19:00):
Hard to say?
Speaker 2 (19:01):
If she has a terrible temper.
Speaker 1 (19:04):
Does buff Arnold sit into the picture?
Speaker 4 (19:05):
And anyway, I don't know.
Speaker 2 (19:08):
He's a sly one, that's Arnold.
Speaker 4 (19:10):
He placed his cards in strictly a commercial manner may
sit into the picture. He and Redgs were never too friendly.
Speaker 1 (19:19):
Oh thanks, James. Here, I'll leave now, and you'd better
lock your door. The way things are going, you might
wake up to find yourself dead. I went up to
cherry it down this week, but I drew a blank
there and no answer. So I went back to the
scene of the murderer Dickt's rooms on the top floor.
(19:39):
Now it was just leaving. He shot me a look
that would have knocked out a North Korean tank at
assaws and Yards and started to brush on by me.
But I would have none of it. Now just a moment,
boy Blue, come on back to that over twenty one level.
It's because Bruff had his arms around me. It's no
time we were playing a scene from Romeo and Juliet.
Speaker 2 (19:56):
I don't think I've seen that close a grip, even
in professional rusty.
Speaker 1 (20:00):
Oh got it out? Would you turn up in there
anything at all?
Speaker 3 (20:02):
No, not a thing. Can't even find the murder.
Speaker 1 (20:05):
Weapons, got any ideas a lot?
Speaker 2 (20:07):
Tell them we've already taken mus Dana into custody.
Speaker 1 (20:10):
I had a hunch that was leading in that direction.
Speaker 3 (20:12):
Uh.
Speaker 2 (20:12):
Incidentally, did you ever hear of a Christopher Seema.
Speaker 3 (20:16):
He's been a booky around town here for several years.
Speaker 1 (20:19):
Christopher Seema. No, we can't say there was.
Speaker 3 (20:22):
He was a boy who was hanging from the tree.
Speaker 2 (20:24):
According to our finals, he dabbled and everything from gambling to.
Speaker 1 (20:26):
Blackmail, Tema Tuma that that name rings bills somehow, Ellie
h one other thing.
Speaker 2 (20:33):
This isn't personally you understand. Yeah, but stay away from
buff Arnold. We've got our eye on him too.
Speaker 1 (20:46):
Those things were suddenly clicking way back in my mind.
Also be vague, but the old processes from years before
were coming to life every so slowly. Mallard had work
to do, plenty of it down at the Hall of Justice,
work in which I was included. Out I went out there,
I got on California Street, watched him get into a
squad car with two of his men, and I waved
him a goodbye. That was when I had another idea.
Picked this sweet coped was through with it. The body
(21:09):
had been removed, m but I had a hunch that
was the key to the situation. Knowing the manager of
the monster, it was no trouble at all to get
a key to read the sweet and that's where I
headed up to the top floor. I let myself into
the darkened room, closed the door behind me, with the
light of the city way below sweeping through the balcony window.
I found a place in back of the settee and
sat down to wait and sinked. The balcony window being opened,
(21:33):
the door of the city traffic underneath came gently through
and tooked my thinking. That's when it hit me, Huma.
Several years before I had served my term in Hollywood,
there was an actress, same vision tema, the same face
as that of Cherry Dana. Now the crowds were beginning
to lift, and at the same time, the door opened
the suite and the flow wetted figure of a man
entered the room. Okay, buff, relax, what candy going over
(22:03):
you by the Dicky? Hurry and make Peck and company.
Speaker 2 (22:09):
What are you doing your candy?
Speaker 1 (22:11):
You've got the wrong gage at the script.
Speaker 6 (22:13):
That's my line.
Speaker 1 (22:14):
What are you doing here?
Speaker 3 (22:15):
Bok Honestly, you've got to believe me.
Speaker 4 (22:17):
I I left my lighter here this afternoon. I was
afraid the police would find it. Naturally, I can't afford
any bad publicity I ruin my career.
Speaker 1 (22:25):
I believe you, bro, You're always worth hunt. That creator
was don't ask, don't right?
Speaker 2 (22:30):
What's up?
Speaker 1 (22:31):
A guy in steamer up and right? He's regular indicts
didn't like him.
Speaker 6 (22:45):
Wait a minute, I can hear someone going on in
the hall. The door slowly opened, the encouraged the dim
lights in the horse you the form of another man.
Then the dark figure moved slowly but truly across the room.
Stop for a second or two and there listening for something.
(23:08):
Then moved again into the balcony. Out onto the balcony,
and whoever was grabbed the ledge above horst.
Speaker 1 (23:13):
To his feet, up under the iron glow work and
hung over the city. That's when I acted. Okay, Aims,
stay right where you are in that position.
Speaker 2 (23:20):
What you think?
Speaker 3 (23:21):
I'm a fool hand?
Speaker 2 (23:22):
He's not on that list. He's stuck around the outside
on that ledge.
Speaker 1 (23:25):
Quick buff put down the hall and get out of
the fire. Steats cut him off.
Speaker 2 (23:27):
Okay, where are you gonna do?
Speaker 1 (23:28):
Go on that leg after him? You better come back, Aims,
you're cut off, and both ins.
Speaker 2 (23:38):
Oh no, I'm not not of this gun. I'm cut
That's a shame.
Speaker 1 (23:41):
Gun you killed dix Wood.
Speaker 2 (23:42):
Isn't it very clever?
Speaker 1 (23:44):
Of hiding it up on his ledg yard. Here the
wonder Mallards and his voice didn't find it. Look out
there on the city, Aims one miss check and you
go off into space.
Speaker 2 (23:52):
Think it over.
Speaker 1 (23:53):
You better come back. I'm coming after you.
Speaker 4 (23:58):
I'm gonna be able to run again.
Speaker 1 (24:00):
Good now he's got him, Yes, yes you have.
Speaker 2 (24:04):
Obviously this is the end. Perhaps you don't know what
it is to love. Perhaps you don't know what it
is to be scorned. I do painfully. So this is
the end. But I'm not gonna go alone. You're going
with me, miss Mapson like this.
Speaker 1 (24:18):
No, no, the recoil not you.
Speaker 2 (24:19):
Right?
Speaker 3 (24:39):
So it was just a matter of jealousy, Is that right, Kenny?
Speaker 1 (24:42):
That's right now. It is the same thing you developed
when you're walking on buffnolds knee.
Speaker 3 (24:46):
Okay, okay, So I was burned up. Tell me more.
Speaker 1 (24:50):
Was the name of Sema that did it?
Speaker 2 (24:51):
Now? Do you know what that is?
Speaker 3 (24:53):
All right?
Speaker 2 (24:53):
I'll play quizzies with you. What's the name Seema?
Speaker 1 (24:57):
Seema is aims, so deftly see that was Ames's real name.
At one time he had married Cherry Dana under the
name of Stema. When she began to be big in pictures.
She divorced him, but he carried the eternal torch. Solly
she wasn't working, of course, not because she collected and
then Reginald Dix, not because she loved him, but because
she was fading in pictures, and because Dix was the
(25:17):
only one who was keep her in front of the public.
Speaker 3 (25:19):
Logical. But what about the sema hung up on the
tree on telegraph him?
Speaker 2 (25:22):
U huh.
Speaker 1 (25:23):
There we have the plot. The sema up in the
tree was Ames's brother, a ne'er do well. The night
that Aames arrived in town here he looked up his brother,
got a bit tired and told him what he'd done.
Caused the original leading man to disappear, shoved the original
assistant director off a platform, breaking his legs. In general,
did everything he could to sabotage the pictures. Then he
pulled the strings to get himself named his assistant director
so he could be near Cherry.
Speaker 3 (25:44):
Loving jealousy.
Speaker 1 (25:45):
Now learn I'll get to that in time. Cherry had
vaguely promised that she'd remarry Ames. When he saw his
own brother was going to blackmail him, and he went crazy,
as when he strung him up with the dummies and
the trees from there which had the steps knock off
original Dix and have a clear trees.
Speaker 3 (26:01):
I'll go back to what I said to begin with.
Speaker 2 (26:03):
When did these characters from Hollywood have to come up
here to San Francisco and louse up our scenery as
well as our police department?
Speaker 6 (26:09):
Oh?
Speaker 1 (26:09):
To heck with your police department. That's the last time
I'm going to climb around a ledge hundreds of feet
in the ear.
Speaker 3 (26:15):
Not so strange.
Speaker 2 (26:16):
Buff Arnold was out on that ledge too, wasn't he?
Speaker 1 (26:19):
Oh, Mallard, sometimes you make me. That reminds me. I
have a date tomorrow night.
Speaker 3 (26:25):
Sure, buff Arnold, no, no.
Speaker 1 (26:28):
Back tomorrow morning. I'm driving him down to the railroad station.
Date for tomorrow night with you, Mellard, Dear, We're going
to see a roy Acough movie.
Speaker 2 (26:36):
Oh, Jerry roy Aircuff, Monarch of all the Cowboys.
Speaker 1 (26:42):
Yeah, Monit of all the Cowboys. I'll see him with you.
And if that isn't love, I don't know what is.
Speaker 2 (27:01):
Listen again next week at this same time or Excitement
and adventure.
Speaker 1 (27:05):
Just dial Sandy Medson U con to ray two O nine.
Speaker 2 (27:15):
Heard tonight were hald Verdick as Reginald Dix, John Grover
as Ames, the assistant director, Mary Milford as Cherry, Dana
Kirk Martel as Buff Arnold, and included in the cast
was Ken Langley. Henry Left plays the part of Lieutenant
Ray Mallards. The program stars Natalie Masters as Candy and
is written and directed by Maudie Masters. Sound effects are
(27:37):
created by Bill Brownell and Eloise Rowan is heard at
the organ. The characters in tonight's play were entirely fictitious,
and the resemblance to actual people is purely coincidental. The
Knight's engineer was Clarence Stephens. The program came to you
from Sam Francisco. Dudley Man loved speaking. This is NBC's
(28:01):
the National Broadcasting Company
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