April 24, 2025 • 29 mins
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Speaker 1 (00:09):
Hello, you can't to eight two o nine. Yes, this
is Candy Madison.
Speaker 2 (00:22):
The National Broadcasting Company presents Candy Madsen.
Speaker 3 (00:25):
You come to eight two o nine. Hello, girl, as
is Remrat. I've been trying to get in touch with you.
For the last three days.
Speaker 1 (00:37):
I've been small down. I've been visiting an antemine in
Los Angeles, Jackie.
Speaker 3 (00:41):
I'll say it worse than death. However, I am glad
to know you're back. How are you feeling for long
Ham music?
Speaker 1 (00:47):
Does I can take it to leave it? Why?
Speaker 3 (00:49):
In this case I hope you can take it? Ever
you hear of a gentleman named Eric Spaulding the.
Speaker 1 (00:53):
Noted English Symphony. Of course I.
Speaker 3 (00:55):
Used to know him in London. He's here to conduct
a series of concerts.
Speaker 1 (00:59):
Bully for him. I know right can get him a
bat tall wholesale.
Speaker 3 (01:02):
He needs more than a that toll Candy Deer. He
needs help. That's why I'm calling you.
Speaker 1 (01:06):
What you want me to do? Look for the lost chord?
Speaker 3 (01:08):
You don't know how close to being right you are. Girl. Anyway,
he's going to drop by me place this evening.
Speaker 1 (01:13):
I wonder if you could come over to who was
going to hit the Pune edition early tonight. But if
you really want me to be there, I'll do it.
Speaker 3 (01:20):
Splendid. Candy come for dinner, won't you. I just want
a new Chafing Nation. I'm clipping up a tasty scraping
m past the Russell.
Speaker 1 (01:27):
Well, how interesting it is.
Speaker 3 (01:29):
It's spaghetti about Watson.
Speaker 2 (01:39):
Candy Madison, the girl all San Francisco, claims to know personally.
That's because she hits the front pages of the newspapers
more often than the three Bridges gates.
Speaker 3 (01:47):
You came in late.
Speaker 2 (01:48):
Candy makes a tidy little living by minding your own business,
business being one of private investigation. Take this deal with Rembrandt,
Watson and Eric's Spaulding. It sounded innocent enough to start with.
But a clue here, the corpse there could make a
very interesting story. One with Candy mats and can tell
you about herself.
Speaker 3 (02:05):
Right now.
Speaker 1 (02:10):
What did the man say, A clue here, a corpse there? Well,
he's almost right. The corpse came first, the clue later.
I also ran across the most ingenious device ever dreamed
up to cause a man to lose his jobs, and
I managed to get a little culture on me, whether
I wanted it or not, because in the course of
this little deal I got better acquainted with Mozart, Brahms, Beethoven,
(02:33):
even Catcheturian blessings. It all began by accepting Rembrand's invitation
that night for dinner. In the meeting with Eric Salding.
For the sake of the musician, I climbed into a
daan that made music as I walked. It was cut
trimly on the grace notes and called for a ruprieze
every other bar. Then I put on my coda and
(02:54):
went over to Rembrandt's place on California Street, opposite Old
Saint Mary's.
Speaker 3 (03:01):
Candy Girl. Welcome to me, not hill I, thank you, dear,
come in, Come in, breathtaking, positively breathtaking, Thank you the
gorgeous in that? What is it? Candy?
Speaker 1 (03:13):
If you just stop and consider the thousands of man
hours put in by little worms all over mulberry bushes,
you wouldn't ask that question, Oh, silk, where's the maestrosh Eric.
Speaker 3 (03:22):
Hasn't the rod yet, he'll be here shortly.
Speaker 1 (03:24):
What's his problem, doucky.
Speaker 3 (03:26):
I haven't the slightest idea, but he seems terribly upset.
His worry seems to concern itself with his concert tomorrow
night at the opera.
Speaker 1 (03:32):
Have these boys are the long hair and coattails to match?
They're always worrying. I don't know how most of them
managed to live so long.
Speaker 3 (03:38):
Oh, help yourself, support, dear. I had some more dere,
but Henry in Great Dame beat us to them.
Speaker 1 (03:44):
Henry, I haven't seen him in ages. How is he do?
Speaker 2 (03:47):
Oh?
Speaker 3 (03:47):
I'm so glad you asked, Candy. He's missed you terribly.
I'll let him in for justin morning.
Speaker 1 (03:53):
No, no, no, Ren Brenda, I didn't mean that you
missed you so dear. Oh Ren Brander's charging me. No,
Henry brand helped. He's got his paws all over my brow.
Speaker 3 (04:05):
Isn't that sweet? Such devotion, Candy adores you well?
Speaker 1 (04:09):
Tell him to do his adulation from the floor with
all four paws on it. Quick, grim Brander becoming Trijean
Chess for a beautiful picture.
Speaker 3 (04:18):
Oh yes, Henry downstairs, this instant there we are.
Speaker 1 (04:23):
No. I know how that mud shoal and Chesapeake bayet
when the big.
Speaker 3 (04:26):
Mole landed on it into the kitchen, Henry, back to
your sided beef. That's the lad.
Speaker 1 (04:34):
That must be Eric or another. Great Dames, Eric, dear boy,
do come in?
Speaker 3 (04:41):
Thank you? What a charming place. Rememberend so bohemian, that's
one word for it. Personally, I call it pluffhead Candy,
not is that, Eric Spaulding?
Speaker 1 (04:52):
Eric Candy mats really quite an honor, mister Spaulding. I've
heard many of your European recordings.
Speaker 3 (04:58):
A frank Yes, I had a bet agadoraister in London.
Nice chaps all played well together.
Speaker 1 (05:04):
I used to know the producer on the standard. All
that way, I became quite familiar with the playing in
the San Francisco Orchestra. How did the two compare, mister Spalding.
Speaker 3 (05:13):
That's like trying to compare the Atlantic Ocean with the Pacific,
both large bodies of water, but entirely different than characteristics. However,
I feel the San Francisco organization were great, among the
best of the world with the proper conducting, and.
Speaker 1 (05:28):
You feel you can give it the proper.
Speaker 3 (05:29):
Conducting most certainly.
Speaker 1 (05:32):
I see.
Speaker 3 (05:33):
Why don't you tell Candy about your innovation in music, Eric,
I'm sure she'd be greatly interested. Oh yes, I'm sure
it's nothing more or less than applied showman chef, Miss Mathison.
I've always had the firm belief that music should paint
the mental picture.
Speaker 1 (05:47):
I imagine the composers did.
Speaker 3 (05:49):
Too, so I've made it a point to always include
one number in my concerts where we play in fluorescent lighting.
Speaker 1 (05:57):
Oh yes, I recall reading an article in.
Speaker 3 (05:59):
Life that I've been severely criticized for it. I conduct
with an illuminated baton. To me, the musical message is
much better presented in that manner. The audience sits in
the dark, it has a chance to interpret what the
composer intended saying. Whom could be. I've been accused of
everything from cheap theatricals to degrading the concert stage, but
(06:20):
I'm sticking with it. I'm convinced the public appreciates what
I'm trying to do.
Speaker 1 (06:25):
When Rent tells me you're bothered about something, mister Spaulding.
Speaker 3 (06:28):
Yes I am. I'm an artiste, Miss Madson. I know
only one thing music. That's why I wish to speak
to someone in your line, investigating and that sort of thing.
Speaker 1 (06:41):
That sort of thing leads to money, I.
Speaker 3 (06:43):
Know, and I'll be very glad to retain you if
you can help me find out what I want to know.
And that would be someone is trying to sabotage me,
Miss Matson. The San Francisco concerts are critical stepping stones
in my career. I've given two concerts. Each time. During
the selection where we black out the lights, the orchestra
(07:04):
un mass has hit one foul rotten cord.
Speaker 1 (07:08):
Didn't you get it straightened out in rehearsal?
Speaker 3 (07:10):
That's just it. It never happened in rehearsal. I've checked
the score afterward perfect. I've talked to the orchestra personnel.
They're more amazed than.
Speaker 1 (07:20):
I, to say the least, it must be extremely embarrassing
at a moment like that.
Speaker 3 (07:24):
Believe me, words haven't been invented to describe such a
feeling of mortification. The audience starts to titter, then laughs.
By then the whole thing has been shot to blazes.
My reputation is at stake, Miss Madison. I see what
you mean. I thought perhaps, with your trained slooping instincts,
you might be able to help me. Old friend Rembrandt
(07:45):
here recommend.
Speaker 1 (07:46):
You highly Thanks old friend here, You've got me interested.
Missus Fowling, When did you say your next performance.
Speaker 3 (07:52):
Is to morrow night at the Opera House?
Speaker 1 (07:54):
Tell you what. I don't know what your contact calls for,
but whatever it is, we'll split the fee and I'll go.
Speaker 3 (08:00):
To work for you. What why that's preposterous?
Speaker 1 (08:03):
Isn't the future of your career worth at? Mister Spaulding?
Speaker 3 (08:09):
Very well, I think it's outrageous, But what can one do?
Speaker 1 (08:12):
Okay? Now, when do you rehearse for tomorrow night's concert?
Speaker 3 (08:16):
Tomorrow morning at ten o'clock?
Speaker 1 (08:17):
Very well, I'll be there just one word, of course,
pay no attention to me whatsoever? Make like as if
I don't even exist.
Speaker 3 (08:24):
Oh great, No, I'm so glad. Everything's settled. Now we
can get to the spaghetti barsul. I mean, food is
practically chafing. It's a dash. Let's have at the regular stop,
shall we.
Speaker 1 (08:37):
The spaghetti war home was magnificent. Brim Bread has the
green thumb for taking the most ordinary food, adding a
bird's nester too, and a dash of some witches potion
and making it taste like ambrosia. There was only one drawback.
For days after you walked around like you had a
red hot barbecue pit in your stomach. I stopped off
of my way home, bought a chronicle, completed the journey
(08:58):
and piled into bed. When I read the paper, Miss
Kane caught the rouse, glanced at the radio column, and
then concentrated on the musical section. There it was Spalding
Concert for the following evening, the first movement from Brahms,
first the Fountains of Rome, the Rienza, so on and
so forth, and for his blackout selection Swan Lake. With that,
(09:20):
I dozed off, and before I could pick up the
remnants of a dream I'd had the night before, it
was morning and I was dressing in on my way
to the opera house. Some moment, young lady. No, no,
I'm here on official business for mister Spalding.
Speaker 3 (09:34):
Oh sure, go right on in.
Speaker 1 (09:36):
I passed through the stage door and onto the stage itself.
Just as I did, a little far away thought started
tickling the back regions of my brain, Falding Spalding. By
a strange quirk, there was a gal who plays first
fruit in the orchestra named Spalding. I worked my way
around to where the musicians were unpacking their instruments. There
she was the gal herself. Hello there, oh hello, how
(09:58):
are you fine? Thanks? You don't remember me, do you?
I'm Candy Madson.
Speaker 4 (10:03):
Oh? Yes, The young lady, detective you used to drop
backstage now and then for the standard broadcast.
Speaker 1 (10:08):
That's right, nice to see you again.
Speaker 3 (10:09):
Thank you.
Speaker 1 (10:10):
What's this I hear about the orchestra falling on its
face the last two contests.
Speaker 4 (10:14):
It's an amazing thing, Miss Madison. We're at a complete
loss of words for an explanation. I understand it's front
page news all over the country.
Speaker 1 (10:21):
And why not a thing of this? So it is news.
Eric's got to be tied. Of course, I can't blame you. Incidentally,
I just happened to think, isn't your name Spalding too?
I beg your pardon, I said, isn't your name s
Folding too?
Speaker 3 (10:35):
Why? Yes it is.
Speaker 4 (10:38):
We spell it differently, however, Oh so yes, Eric spells his.
Speaker 1 (10:43):
Name s P A U L D. I MG, I
have no U in my name. You both have a
decided British accent. Oh do you think so?
Speaker 4 (10:54):
I rather thought i'd lost mine?
Speaker 1 (10:56):
No, hardly tell me. Do hear the members of the
orchestra feel about these numbs plaid under fluorescent light where
it doesn't bother them.
Speaker 4 (11:02):
They think it's slightly silly, but they don't pay any
attention to it. Each conductor has his own little idiosyncrasies.
Speaker 1 (11:08):
I see well. I hope you have a fine rehearsal,
Missus Spaulding, Miss miss Spaulding. Oh yes, miss.
Speaker 4 (11:17):
You, you are going to be around for the concert
this evening, I believe so.
Speaker 1 (11:23):
I find it becomes more interesting all the time. Something
was phony with a gal but I couldn't put my
finger on it. I tossed it off and decided to
think about that angle later. In the meantime, I ducked
into a quiet corner of the wings and listened carefully
to the whole rehearsal. Then it came time for the
blackout number Swan Lake. It went beautifully without a hitch.
(11:52):
At the finish, Eric mopped his moist brow and spoke
to the orchestra.
Speaker 3 (11:56):
Ladies and gentlemen, thank you very much. You know what
has happened in these particular spots. The rehearsal this morning
has gone beautifully. I thank you. I hardly think I
need to remind you that tonight's concert will be critical,
to say the least, if we repeat what has happened
in the past two performances. I shudder to think what
will be said of me and you as an organization.
(12:20):
Will you all please pay a special attention to the
score this evening, for my sake as well as yours.
That is all, and again I thank you.
Speaker 1 (12:35):
With that, Sprawling dismissed the orchestra. I waited a reasonable
length of time, then dropped around with his dressing room.
The concert master was in with Eric, so I waited
and waited. Finally he was.
Speaker 3 (12:46):
Alone, or so I thought, Oh, miss Madison coming.
Speaker 1 (12:53):
I'm sorry, mister Sprawling. I thought you were by yourself A.
Speaker 3 (12:56):
Thousand pardons, Miss Matson. May I present Baldo Monday, my arranger.
Speaker 1 (13:01):
Mister Ramandy pleasure.
Speaker 3 (13:03):
Indeed that was something you wanted to talk about, Miss Madson. No, no, oh,
that's all right. I'm just pushing off. Do that while
you woggle and take care of that second bar after
letter K. It should be an a natural, No, Eric,
not an a natural. It should be a flat. Ah. Yes, yes,
that's right, a flat. I am so upset. I take care.
Speaker 2 (13:24):
Of it when you wag writer, I'll see you back
at the hotel. You're very happy to have met you,
Miss Madson.
Speaker 1 (13:29):
Also, mister Mundy, well where yourself? I don't understand, neither
do I. Let's book get with it. Are you equated
personally with any members of the orchestra here?
Speaker 3 (13:42):
Oh, in a vague sort of way.
Speaker 1 (13:44):
How vague would your friendship with the first flutist?
Speaker 3 (13:49):
How did you know about her?
Speaker 1 (13:51):
I didn't, But now you've told me almost what about her?
Speaker 3 (13:56):
I was hoping this would be kept quiet. She was
my wife.
Speaker 1 (14:01):
I had a hunch it was something like that. Could
she have anything to do with your lack of grace notes?
Speaker 3 (14:06):
No? Not Nona, Nona, the former missus Spaulding.
Speaker 1 (14:10):
Well, we've got to start somewhere. She's as good a
target as any.
Speaker 3 (14:14):
Afraid you're on the wrong scent, Miss Maxim. Lona and
I had our differences. We split up. She came to
America and joined the orchestra here in San Francisco. She's
respected and admired. She wouldn't do anything to jeopardize her
musical career. I'm sure, but she might.
Speaker 1 (14:28):
You have you cut up any old capers since you've
been here, mister Spaulding.
Speaker 3 (14:32):
No, we haven't spoken. It's an unwritten rule we've both observed.
Speaker 1 (14:37):
Hm. She says, the same aroma Moterey has during the
sardine season. Well, I'll keep plugging away. Good luck on
the concert tonight you need it the hotel where Spaulding
and Company made its headquarters with just a hop, skip
and a jump from the Opera House. But I would
(14:58):
have looked silly at getting there that that way. So
I drove a simple question produced results. Waldo RAMONDI was
in room eighteen twelve before I could ponder whether that
was from the overture of the same number I was there.
Speaker 3 (15:12):
Come in, please, oh hello, come in?
Speaker 1 (15:16):
Won't you thank you? I hope I'm not disturbing you.
Speaker 3 (15:19):
Oh no, no, not at all.
Speaker 2 (15:21):
Seems we have a music lover and homaged However, don't
you think Eric might present this little visit?
Speaker 3 (15:28):
Why you little mad it?
Speaker 1 (15:29):
Ramondi, You're lucky. I only slapped your face. I'm here
on business only. Get out of it, not yet, small time.
I'm want to have a little.
Speaker 2 (15:36):
Talk with you. Who do you think you are walking
in here and making demands of me?
Speaker 1 (15:40):
The name is miss Madson. That doesn't mean anything to you,
I'm sure, but I happen to be a private investigator.
Speaker 3 (15:44):
Oh oh, I'm sorry.
Speaker 2 (15:48):
I didn't think that you will forgive me, won't you.
Speaker 1 (15:51):
I'll call a meeting of the board and let you know.
I've got a couple of questions to ask. Give me
the right answers, and we'll both.
Speaker 3 (15:57):
Save times gladly if I can. Long.
Speaker 1 (16:00):
Have you been with Spalding almost seventeen years? Did you
know that the first flutist tear was once his wife?
Speaker 2 (16:06):
Yes, we don't talk about it, neither do we talk
to her.
Speaker 1 (16:11):
What about this studied confusion has occurred during the last
two concerts?
Speaker 3 (16:14):
Most incredible. None of us can understand.
Speaker 1 (16:17):
It, Oh, none of us. Does it strike you that
a whole symphony orchestra just couldn't possibly go sour unless
the whole symphony orchestra had agreed.
Speaker 2 (16:24):
Or unless the score was wrong. But that couldn't be
it either. Both Eric and I have checked immediately afterward.
Speaker 3 (16:32):
And that leaves us nowhere exactly.
Speaker 2 (16:36):
I have only one further suggestion, and that would be
get better acquainted with known as Spalding.
Speaker 1 (16:43):
What do you mean by that?
Speaker 2 (16:45):
You're a private investigator, miss Medsen. Why not apply the.
Speaker 3 (16:49):
Tools of your trade?
Speaker 1 (16:56):
The whole thing was becoming as simple as hydrogen. Using
my cool sam Spade logic, I decided to do nothing
until after the concert that evening, so I went home
to my penthouse on Telegraph Hill, showered and slipped into
something movie writers would have described as comfortable. Then I
call Rembrand on the phone.
Speaker 3 (17:19):
Studios.
Speaker 1 (17:20):
This is candy mets and private eyeballs are delightful.
Speaker 3 (17:22):
We've both got to plug in.
Speaker 1 (17:24):
Yes, you dear, how would you like to attend the
Spawling concert tonight?
Speaker 3 (17:28):
No cane, I've heard music before, so have I.
Speaker 1 (17:32):
But this is more or less a command performance.
Speaker 3 (17:34):
I recognized the command in your voice very well.
Speaker 1 (17:40):
It's customary, isn't it.
Speaker 3 (17:42):
I mean, how would you like me in soup and fish?
Speaker 1 (17:45):
No, dockie, I've seen your soup and fish. It's covered
with soup and fish. No, just come as you are, Oh,
very well, as you say dress, I'll pick you up
about seven thirty.
Speaker 3 (17:56):
Every sitting is a diamond horseshoe.
Speaker 1 (17:58):
That's right backstage in the wings. I bustled about getting ready.
As long as I was going to be backstage, I
didn't have to get too fancy, So in practically nothing flat,
I was out in the car and once again, driving
over to Rembred's place. He was ready, He jumped in
and we took off for the opera house. The carriage
trade was arriving at the Carriage Trade entrance. So I
(18:20):
found a place to park out and back, and then
we went in. Talked to Wally, one of the stage hands,
and got two chairs on a lift. Just at that moment,
the concertmeister gave the cue for the orchestra to tune up.
That was Spawling's que to float out from stage right
(18:41):
and make his entrance. He carried more ham per palm
than you'd find in the Chicago stock Yard. He minced
to the podium, vowed, scraped, and then faced the orchestra.
It all started nicely enough, even though the orchestra was
playing as if it were sitting on eggs. First the bronze,
(19:01):
then fountains of rome. They took a bath from the
first fountain, and it felt so good. They went on
to another, then another, and they were through through all
the fountains. Now it was time for the production number.
The lights dimmed, the fluorescent lights on the music stands
came on. Scowling flipped the switch and his baton lit up.
The coupee of tenseness come over the audience and the
(19:24):
orchestra started hatching its eggs. Eric gave the dawn beat
and swan Lake was under way. Everyone seemed to feel
(19:45):
that the worst was over. You could almost hear the
snapping of spines as the audience relaxed and settled back
in their seats. And that's when it happened. It it happened again,
the most horrible sounding cord I'd ever heard. The audience
(20:07):
stood up this time. There were no lads. Just as
stunned amazement, the orchestra stopped playing and falling through his
thattar on the stage and walked off into the wings.
Slowly the orchestra followed. I was just as dumb struck
as the rest. Then I got my wits about me
and jumped around the rear. Come on, remember it where
I go anywhere. I want to talk to people, find
(20:27):
out what happened.
Speaker 3 (20:28):
You know they blew a king's size clinker.
Speaker 1 (20:31):
Oh that was well established, it'll be heard around the world.
But I want to find out how it happened. Talking
to Ramandi, I ruined.
Speaker 3 (20:40):
Wardle through worshed up. How can this sort of thing happen?
How can it possibly happen?
Speaker 2 (20:45):
Oh, look at it, calm down, It's not as bad.
Speaker 3 (20:47):
As you're making it out. I'm not making anything at
time facing the facts. I'm through. Do you suppose I
can face the critics? The public? Off the three successive
performances like this, Oh there you are, miss Matson, help
you let it happen again?
Speaker 1 (21:02):
Cool off, buster. You can't avoid something happening when you
don't know what that something is. This is a something
that's never been written into the books. Oh wait a minute,
hasn't it all of a sudden, I've got me an idea.
Speaker 3 (21:19):
Great Heaven, find all the prophets. What's going on here tonight?
Speaker 1 (21:22):
You'll forgive my sudden departure. I intend finding out. We
made like the cavalry going up San Juan. The scream
had come from off stage, over in the dressing room.
That's where we hit it. By the time we got there,
a crowded gathered, and there in Room fourteen, with her
flute clutched firmly in her hands, lay known as scolding.
(21:47):
I'm gonna try and get through here, find out. Excuse me,
pardon me?
Speaker 3 (21:54):
How is she candy?
Speaker 1 (21:57):
She's a feeling, will rembrand. A matter of fact, she
isn't feeling at all? She did. This was the kind
of development I hadn't counted on at all, An orchestra
coming apart like wet tissue. Paper is one thing, but
murder is another. That's where my friend, Inspector Mallard comes
(22:20):
into the picture. I made a call the headquarters, but
he was out, so instead a couple of his boys
came over. I left the entire thing in their capable
hands and tried to clear up a little unfinished business
of my own. You still play the.
Speaker 3 (22:34):
Cello runbred strictly from me on amusement.
Speaker 1 (22:37):
Well, you know music. Take a look at this school
right about about here.
Speaker 3 (22:41):
Yes, this is just about where they get that foul chord.
Speaker 1 (22:45):
That's right, Notice anything wrong?
Speaker 3 (22:48):
If you see this ball looks all right? Mm? So
does this one? They didn't get past this point?
Speaker 1 (22:55):
Look carefully, why.
Speaker 3 (22:58):
Yes, littations alongside the notes if it's.
Speaker 1 (23:02):
Just slight, but there. Nevertheless, the pattern is beginning to
take shape and red, And if you'll look again, you'll
find these little irregularities throughout the whole score.
Speaker 3 (23:09):
Candy, you're right.
Speaker 1 (23:11):
Now's as good a time as any to find out
if I'm right or not. Wally, Wally that your cameras,
that's right, do me a favorite, Wally, when I shall
now what's on the fluorescent light. Will you okay? Now,
hand me that score of rebread. We'll place it on
the music stands like this. Good, Keep your eyes on
(23:34):
this bar right here. Don't look away for one innute now, Wally, okay,
watch now they're the lights. What do you see?
Speaker 3 (23:48):
Can be incredible? That chord changed right before me? That
the eyes? Why nobody could play that? It has discionlins
over discilans.
Speaker 1 (23:56):
That's what you heard tonight. Keep watching the regular lights again, Wally, Yes,
you see back to normal again. But you don't see
the bad chord.
Speaker 3 (24:11):
Do you no? This is amazing, most amazing.
Speaker 1 (24:15):
The copyists used a certain kind of ink that vanished
under the fluorescent lights, and at that time a whole
new score appeared with that awful cord buried in it. Diabolical,
isn't it? Yes? Isn't it too bad? You're so clever?
Speaker 2 (24:29):
Miss Madison?
Speaker 1 (24:30):
Hi, raymondy. I wasn't sure for a while, but when
missus Spaulding got it in the dressing room, I had
my money on you.
Speaker 3 (24:38):
It's a shame. Your knowledge won't do you any good.
Speaker 2 (24:40):
You're not going to be able to use it.
Speaker 3 (24:42):
You see, get in.
Speaker 2 (24:43):
My pocket A very competent thirty eight. Now move both
of you quietly over to Eric's dressing room.
Speaker 1 (24:52):
You better do as the man says, Rembrandt.
Speaker 3 (24:54):
Oh tell you why, miss Madson. I all o you,
Eric Balding, You all right, yes, yes, I'm all right.
Speaker 1 (25:04):
Just come on, Rebrett. He's looking around back stage. There
he goes he's trapped, and he knows that the cop
throw ru on the other side.
Speaker 3 (25:12):
Of the page. He's going back this way.
Speaker 1 (25:14):
The stage has been raised on the elevators. He's going
to run right into that opening. RAYMONDI but out. How
(25:38):
do you feel scolding a little week?
Speaker 3 (25:41):
Just hand me a spott of that brandy. I shall
be all right.
Speaker 1 (25:45):
Tell me why was RAMONDI gunning for you until tonight?
Speaker 3 (25:49):
I didn't know he was all.
Speaker 1 (25:51):
Of a sudden. That name Ramonde means something to me.
Here's your brandy.
Speaker 3 (25:55):
Thank Yes. Baldo was a very promising violinist. Great things
had been predicted for him until the summer of nineteen
thirty three. What happened We were driving through Sussex when
my car overturned.
Speaker 1 (26:09):
His left hand was badly smashed.
Speaker 3 (26:11):
Had to have the last three fingers. I'm getting it.
That was the end of his career. First, he was bitter,
wouldn't speak to me, said it was all my fault.
Little by little, I won him over then, because music
was his world. I gave him a physician of companion
and librarian. She's been with me ever since.
Speaker 1 (26:31):
Yes, plotting your downfall, and very cunning too. He waited
all these years to pull the switch on his clever device.
Why is that, miss Mathson, your wife's bowling reminder? Had
it figured out that you'd detach all the blame to
your ex wife?
Speaker 3 (26:45):
Poor Nonna gone? And Waldo too?
Speaker 1 (26:50):
Yes, and all because that accident left a bigger scar
in his mind than did on his hand. Well, i'll
see you spoiling. That was some concert tonight. It seemed
to have just about everything. It was too bad about
(27:14):
the ex missus folding. She let her heart over her head.
She went to Ramondi's dressing room to make an overture,
to perhaps make an effort to patch up her lost
romance with Eric. She walked in at a bad time.
Ramandi was applying the finishing touches to his phony score.
There was an assortment of ink all over the table.
At the time, it didn't mean anything to know, no,
(27:35):
but during the performance, she discovered the same thing I did.
After that bad chord. She rushed off stage, ready to
apply the crusher to Waldo's He saw what she was
up to and beat her to it. For the window
waited over the heads. Well, like I've said many times,
some of that music gets too deep for me. I
think I'll just stick to something not quite so complicated,
(27:56):
something simple, enjoyable, something and understand. Like thought.
Speaker 2 (28:02):
Perhaps listen again next week at the same time for
excitement and adventure.
Speaker 1 (28:18):
Just dial Sandy Meston you can't two way two o nine.
Speaker 2 (28:30):
Heard to night were Halberdick Is, Eric Spaulding, Harry Bechtel
Is Walder Ramondi, and Norma Tuart as Missus Spaulding. Jack
Thomas plays the part of Rembran Watson. The program stars
Natalie Masters as Candy and is written and produced by
Monti Masters. Sound effects are created by Bill Brownell and
Jay Rendon Halloise Rowan is heard at the organ. The
(28:52):
characters in Tonight's story are entirely fictitious. Any resemblance to
actual people is purely coincidental. Bill Walter speaking, the program
came to you from San Francisco,
Hello, you can't to eight two o nine. Yes, this
is Candy Madison.
Speaker 2 (00:22):
The National Broadcasting Company presents Candy Madsen.
Speaker 3 (00:25):
You come to eight two o nine. Hello, girl, as
is Remrat. I've been trying to get in touch with you.
For the last three days.
Speaker 1 (00:37):
I've been small down. I've been visiting an antemine in
Los Angeles, Jackie.
Speaker 3 (00:41):
I'll say it worse than death. However, I am glad
to know you're back. How are you feeling for long
Ham music?
Speaker 1 (00:47):
Does I can take it to leave it? Why?
Speaker 3 (00:49):
In this case I hope you can take it? Ever
you hear of a gentleman named Eric Spaulding the.
Speaker 1 (00:53):
Noted English Symphony. Of course I.
Speaker 3 (00:55):
Used to know him in London. He's here to conduct
a series of concerts.
Speaker 1 (00:59):
Bully for him. I know right can get him a
bat tall wholesale.
Speaker 3 (01:02):
He needs more than a that toll Candy Deer. He
needs help. That's why I'm calling you.
Speaker 1 (01:06):
What you want me to do? Look for the lost chord?
Speaker 3 (01:08):
You don't know how close to being right you are. Girl. Anyway,
he's going to drop by me place this evening.
Speaker 1 (01:13):
I wonder if you could come over to who was
going to hit the Pune edition early tonight. But if
you really want me to be there, I'll do it.
Speaker 3 (01:20):
Splendid. Candy come for dinner, won't you. I just want
a new Chafing Nation. I'm clipping up a tasty scraping
m past the Russell.
Speaker 1 (01:27):
Well, how interesting it is.
Speaker 3 (01:29):
It's spaghetti about Watson.
Speaker 2 (01:39):
Candy Madison, the girl all San Francisco, claims to know personally.
That's because she hits the front pages of the newspapers
more often than the three Bridges gates.
Speaker 3 (01:47):
You came in late.
Speaker 2 (01:48):
Candy makes a tidy little living by minding your own business,
business being one of private investigation. Take this deal with Rembrandt,
Watson and Eric's Spaulding. It sounded innocent enough to start with.
But a clue here, the corpse there could make a
very interesting story. One with Candy mats and can tell
you about herself.
Speaker 3 (02:05):
Right now.
Speaker 1 (02:10):
What did the man say, A clue here, a corpse there? Well,
he's almost right. The corpse came first, the clue later.
I also ran across the most ingenious device ever dreamed
up to cause a man to lose his jobs, and
I managed to get a little culture on me, whether
I wanted it or not, because in the course of
this little deal I got better acquainted with Mozart, Brahms, Beethoven,
(02:33):
even Catcheturian blessings. It all began by accepting Rembrand's invitation
that night for dinner. In the meeting with Eric Salding.
For the sake of the musician, I climbed into a
daan that made music as I walked. It was cut
trimly on the grace notes and called for a ruprieze
every other bar. Then I put on my coda and
(02:54):
went over to Rembrandt's place on California Street, opposite Old
Saint Mary's.
Speaker 3 (03:01):
Candy Girl. Welcome to me, not hill I, thank you, dear,
come in, Come in, breathtaking, positively breathtaking, Thank you the
gorgeous in that? What is it? Candy?
Speaker 1 (03:13):
If you just stop and consider the thousands of man
hours put in by little worms all over mulberry bushes,
you wouldn't ask that question, Oh, silk, where's the maestrosh Eric.
Speaker 3 (03:22):
Hasn't the rod yet, he'll be here shortly.
Speaker 1 (03:24):
What's his problem, doucky.
Speaker 3 (03:26):
I haven't the slightest idea, but he seems terribly upset.
His worry seems to concern itself with his concert tomorrow
night at the opera.
Speaker 1 (03:32):
Have these boys are the long hair and coattails to match?
They're always worrying. I don't know how most of them
managed to live so long.
Speaker 3 (03:38):
Oh, help yourself, support, dear. I had some more dere,
but Henry in Great Dame beat us to them.
Speaker 1 (03:44):
Henry, I haven't seen him in ages. How is he do?
Speaker 2 (03:47):
Oh?
Speaker 3 (03:47):
I'm so glad you asked, Candy. He's missed you terribly.
I'll let him in for justin morning.
Speaker 1 (03:53):
No, no, no, Ren Brenda, I didn't mean that you
missed you so dear. Oh Ren Brander's charging me. No,
Henry brand helped. He's got his paws all over my brow.
Speaker 3 (04:05):
Isn't that sweet? Such devotion, Candy adores you well?
Speaker 1 (04:09):
Tell him to do his adulation from the floor with
all four paws on it. Quick, grim Brander becoming Trijean
Chess for a beautiful picture.
Speaker 3 (04:18):
Oh yes, Henry downstairs, this instant there we are.
Speaker 1 (04:23):
No. I know how that mud shoal and Chesapeake bayet
when the big.
Speaker 3 (04:26):
Mole landed on it into the kitchen, Henry, back to
your sided beef. That's the lad.
Speaker 1 (04:34):
That must be Eric or another. Great Dames, Eric, dear boy,
do come in?
Speaker 3 (04:41):
Thank you? What a charming place. Rememberend so bohemian, that's
one word for it. Personally, I call it pluffhead Candy,
not is that, Eric Spaulding?
Speaker 1 (04:52):
Eric Candy mats really quite an honor, mister Spaulding. I've
heard many of your European recordings.
Speaker 3 (04:58):
A frank Yes, I had a bet agadoraister in London.
Nice chaps all played well together.
Speaker 1 (05:04):
I used to know the producer on the standard. All
that way, I became quite familiar with the playing in
the San Francisco Orchestra. How did the two compare, mister Spalding.
Speaker 3 (05:13):
That's like trying to compare the Atlantic Ocean with the Pacific,
both large bodies of water, but entirely different than characteristics. However,
I feel the San Francisco organization were great, among the
best of the world with the proper conducting, and.
Speaker 1 (05:28):
You feel you can give it the proper.
Speaker 3 (05:29):
Conducting most certainly.
Speaker 1 (05:32):
I see.
Speaker 3 (05:33):
Why don't you tell Candy about your innovation in music, Eric,
I'm sure she'd be greatly interested. Oh yes, I'm sure
it's nothing more or less than applied showman chef, Miss Mathison.
I've always had the firm belief that music should paint
the mental picture.
Speaker 1 (05:47):
I imagine the composers did.
Speaker 3 (05:49):
Too, so I've made it a point to always include
one number in my concerts where we play in fluorescent lighting.
Speaker 1 (05:57):
Oh yes, I recall reading an article in.
Speaker 3 (05:59):
Life that I've been severely criticized for it. I conduct
with an illuminated baton. To me, the musical message is
much better presented in that manner. The audience sits in
the dark, it has a chance to interpret what the
composer intended saying. Whom could be. I've been accused of
everything from cheap theatricals to degrading the concert stage, but
(06:20):
I'm sticking with it. I'm convinced the public appreciates what
I'm trying to do.
Speaker 1 (06:25):
When Rent tells me you're bothered about something, mister Spaulding.
Speaker 3 (06:28):
Yes I am. I'm an artiste, Miss Madson. I know
only one thing music. That's why I wish to speak
to someone in your line, investigating and that sort of thing.
Speaker 1 (06:41):
That sort of thing leads to money, I.
Speaker 3 (06:43):
Know, and I'll be very glad to retain you if
you can help me find out what I want to know.
And that would be someone is trying to sabotage me,
Miss Matson. The San Francisco concerts are critical stepping stones
in my career. I've given two concerts. Each time. During
the selection where we black out the lights, the orchestra
(07:04):
un mass has hit one foul rotten cord.
Speaker 1 (07:08):
Didn't you get it straightened out in rehearsal?
Speaker 3 (07:10):
That's just it. It never happened in rehearsal. I've checked
the score afterward perfect. I've talked to the orchestra personnel.
They're more amazed than.
Speaker 1 (07:20):
I, to say the least, it must be extremely embarrassing
at a moment like that.
Speaker 3 (07:24):
Believe me, words haven't been invented to describe such a
feeling of mortification. The audience starts to titter, then laughs.
By then the whole thing has been shot to blazes.
My reputation is at stake, Miss Madison. I see what
you mean. I thought perhaps, with your trained slooping instincts,
you might be able to help me. Old friend Rembrandt
(07:45):
here recommend.
Speaker 1 (07:46):
You highly Thanks old friend here, You've got me interested.
Missus Fowling, When did you say your next performance.
Speaker 3 (07:52):
Is to morrow night at the Opera House?
Speaker 1 (07:54):
Tell you what. I don't know what your contact calls for,
but whatever it is, we'll split the fee and I'll go.
Speaker 3 (08:00):
To work for you. What why that's preposterous?
Speaker 1 (08:03):
Isn't the future of your career worth at? Mister Spaulding?
Speaker 3 (08:09):
Very well, I think it's outrageous, But what can one do?
Speaker 1 (08:12):
Okay? Now, when do you rehearse for tomorrow night's concert?
Speaker 3 (08:16):
Tomorrow morning at ten o'clock?
Speaker 1 (08:17):
Very well, I'll be there just one word, of course,
pay no attention to me whatsoever? Make like as if
I don't even exist.
Speaker 3 (08:24):
Oh great, No, I'm so glad. Everything's settled. Now we
can get to the spaghetti barsul. I mean, food is
practically chafing. It's a dash. Let's have at the regular stop,
shall we.
Speaker 1 (08:37):
The spaghetti war home was magnificent. Brim Bread has the
green thumb for taking the most ordinary food, adding a
bird's nester too, and a dash of some witches potion
and making it taste like ambrosia. There was only one drawback.
For days after you walked around like you had a
red hot barbecue pit in your stomach. I stopped off
of my way home, bought a chronicle, completed the journey
(08:58):
and piled into bed. When I read the paper, Miss
Kane caught the rouse, glanced at the radio column, and
then concentrated on the musical section. There it was Spalding
Concert for the following evening, the first movement from Brahms,
first the Fountains of Rome, the Rienza, so on and
so forth, and for his blackout selection Swan Lake. With that,
(09:20):
I dozed off, and before I could pick up the
remnants of a dream I'd had the night before, it
was morning and I was dressing in on my way
to the opera house. Some moment, young lady. No, no,
I'm here on official business for mister Spalding.
Speaker 3 (09:34):
Oh sure, go right on in.
Speaker 1 (09:36):
I passed through the stage door and onto the stage itself.
Just as I did, a little far away thought started
tickling the back regions of my brain, Falding Spalding. By
a strange quirk, there was a gal who plays first
fruit in the orchestra named Spalding. I worked my way
around to where the musicians were unpacking their instruments. There
she was the gal herself. Hello there, oh hello, how
(09:58):
are you fine? Thanks? You don't remember me, do you?
I'm Candy Madson.
Speaker 4 (10:03):
Oh? Yes, The young lady, detective you used to drop
backstage now and then for the standard broadcast.
Speaker 1 (10:08):
That's right, nice to see you again.
Speaker 3 (10:09):
Thank you.
Speaker 1 (10:10):
What's this I hear about the orchestra falling on its
face the last two contests.
Speaker 4 (10:14):
It's an amazing thing, Miss Madison. We're at a complete
loss of words for an explanation. I understand it's front
page news all over the country.
Speaker 1 (10:21):
And why not a thing of this? So it is news.
Eric's got to be tied. Of course, I can't blame you. Incidentally,
I just happened to think, isn't your name Spalding too?
I beg your pardon, I said, isn't your name s
Folding too?
Speaker 3 (10:35):
Why? Yes it is.
Speaker 4 (10:38):
We spell it differently, however, Oh so yes, Eric spells his.
Speaker 1 (10:43):
Name s P A U L D. I MG, I
have no U in my name. You both have a
decided British accent. Oh do you think so?
Speaker 4 (10:54):
I rather thought i'd lost mine?
Speaker 1 (10:56):
No, hardly tell me. Do hear the members of the
orchestra feel about these numbs plaid under fluorescent light where
it doesn't bother them.
Speaker 4 (11:02):
They think it's slightly silly, but they don't pay any
attention to it. Each conductor has his own little idiosyncrasies.
Speaker 1 (11:08):
I see well. I hope you have a fine rehearsal,
Missus Spaulding, Miss miss Spaulding. Oh yes, miss.
Speaker 4 (11:17):
You, you are going to be around for the concert
this evening, I believe so.
Speaker 1 (11:23):
I find it becomes more interesting all the time. Something
was phony with a gal but I couldn't put my
finger on it. I tossed it off and decided to
think about that angle later. In the meantime, I ducked
into a quiet corner of the wings and listened carefully
to the whole rehearsal. Then it came time for the
blackout number Swan Lake. It went beautifully without a hitch.
(11:52):
At the finish, Eric mopped his moist brow and spoke
to the orchestra.
Speaker 3 (11:56):
Ladies and gentlemen, thank you very much. You know what
has happened in these particular spots. The rehearsal this morning
has gone beautifully. I thank you. I hardly think I
need to remind you that tonight's concert will be critical,
to say the least, if we repeat what has happened
in the past two performances. I shudder to think what
will be said of me and you as an organization.
(12:20):
Will you all please pay a special attention to the
score this evening, for my sake as well as yours.
That is all, and again I thank you.
Speaker 1 (12:35):
With that, Sprawling dismissed the orchestra. I waited a reasonable
length of time, then dropped around with his dressing room.
The concert master was in with Eric, so I waited
and waited. Finally he was.
Speaker 3 (12:46):
Alone, or so I thought, Oh, miss Madison coming.
Speaker 1 (12:53):
I'm sorry, mister Sprawling. I thought you were by yourself A.
Speaker 3 (12:56):
Thousand pardons, Miss Matson. May I present Baldo Monday, my arranger.
Speaker 1 (13:01):
Mister Ramandy pleasure.
Speaker 3 (13:03):
Indeed that was something you wanted to talk about, Miss Madson. No, no, oh,
that's all right. I'm just pushing off. Do that while
you woggle and take care of that second bar after
letter K. It should be an a natural, No, Eric,
not an a natural. It should be a flat. Ah. Yes, yes,
that's right, a flat. I am so upset. I take care.
Speaker 2 (13:24):
Of it when you wag writer, I'll see you back
at the hotel. You're very happy to have met you,
Miss Madson.
Speaker 1 (13:29):
Also, mister Mundy, well where yourself? I don't understand, neither
do I. Let's book get with it. Are you equated
personally with any members of the orchestra here?
Speaker 3 (13:42):
Oh, in a vague sort of way.
Speaker 1 (13:44):
How vague would your friendship with the first flutist?
Speaker 3 (13:49):
How did you know about her?
Speaker 1 (13:51):
I didn't, But now you've told me almost what about her?
Speaker 3 (13:56):
I was hoping this would be kept quiet. She was
my wife.
Speaker 1 (14:01):
I had a hunch it was something like that. Could
she have anything to do with your lack of grace notes?
Speaker 3 (14:06):
No? Not Nona, Nona, the former missus Spaulding.
Speaker 1 (14:10):
Well, we've got to start somewhere. She's as good a
target as any.
Speaker 3 (14:14):
Afraid you're on the wrong scent, Miss Maxim. Lona and
I had our differences. We split up. She came to
America and joined the orchestra here in San Francisco. She's
respected and admired. She wouldn't do anything to jeopardize her
musical career. I'm sure, but she might.
Speaker 1 (14:28):
You have you cut up any old capers since you've
been here, mister Spaulding.
Speaker 3 (14:32):
No, we haven't spoken. It's an unwritten rule we've both observed.
Speaker 1 (14:37):
Hm. She says, the same aroma Moterey has during the
sardine season. Well, I'll keep plugging away. Good luck on
the concert tonight you need it the hotel where Spaulding
and Company made its headquarters with just a hop, skip
and a jump from the Opera House. But I would
(14:58):
have looked silly at getting there that that way. So
I drove a simple question produced results. Waldo RAMONDI was
in room eighteen twelve before I could ponder whether that
was from the overture of the same number I was there.
Speaker 3 (15:12):
Come in, please, oh hello, come in?
Speaker 1 (15:16):
Won't you thank you? I hope I'm not disturbing you.
Speaker 3 (15:19):
Oh no, no, not at all.
Speaker 2 (15:21):
Seems we have a music lover and homaged However, don't
you think Eric might present this little visit?
Speaker 3 (15:28):
Why you little mad it?
Speaker 1 (15:29):
Ramondi, You're lucky. I only slapped your face. I'm here
on business only. Get out of it, not yet, small time.
I'm want to have a little.
Speaker 2 (15:36):
Talk with you. Who do you think you are walking
in here and making demands of me?
Speaker 1 (15:40):
The name is miss Madson. That doesn't mean anything to you,
I'm sure, but I happen to be a private investigator.
Speaker 3 (15:44):
Oh oh, I'm sorry.
Speaker 2 (15:48):
I didn't think that you will forgive me, won't you.
Speaker 1 (15:51):
I'll call a meeting of the board and let you know.
I've got a couple of questions to ask. Give me
the right answers, and we'll both.
Speaker 3 (15:57):
Save times gladly if I can. Long.
Speaker 1 (16:00):
Have you been with Spalding almost seventeen years? Did you
know that the first flutist tear was once his wife?
Speaker 2 (16:06):
Yes, we don't talk about it, neither do we talk
to her.
Speaker 1 (16:11):
What about this studied confusion has occurred during the last
two concerts?
Speaker 3 (16:14):
Most incredible. None of us can understand.
Speaker 1 (16:17):
It, Oh, none of us. Does it strike you that
a whole symphony orchestra just couldn't possibly go sour unless
the whole symphony orchestra had agreed.
Speaker 2 (16:24):
Or unless the score was wrong. But that couldn't be
it either. Both Eric and I have checked immediately afterward.
Speaker 3 (16:32):
And that leaves us nowhere exactly.
Speaker 2 (16:36):
I have only one further suggestion, and that would be
get better acquainted with known as Spalding.
Speaker 1 (16:43):
What do you mean by that?
Speaker 2 (16:45):
You're a private investigator, miss Medsen. Why not apply the.
Speaker 3 (16:49):
Tools of your trade?
Speaker 1 (16:56):
The whole thing was becoming as simple as hydrogen. Using
my cool sam Spade logic, I decided to do nothing
until after the concert that evening, so I went home
to my penthouse on Telegraph Hill, showered and slipped into
something movie writers would have described as comfortable. Then I
call Rembrand on the phone.
Speaker 3 (17:19):
Studios.
Speaker 1 (17:20):
This is candy mets and private eyeballs are delightful.
Speaker 3 (17:22):
We've both got to plug in.
Speaker 1 (17:24):
Yes, you dear, how would you like to attend the
Spawling concert tonight?
Speaker 3 (17:28):
No cane, I've heard music before, so have I.
Speaker 1 (17:32):
But this is more or less a command performance.
Speaker 3 (17:34):
I recognized the command in your voice very well.
Speaker 1 (17:40):
It's customary, isn't it.
Speaker 3 (17:42):
I mean, how would you like me in soup and fish?
Speaker 1 (17:45):
No, dockie, I've seen your soup and fish. It's covered
with soup and fish. No, just come as you are, Oh,
very well, as you say dress, I'll pick you up
about seven thirty.
Speaker 3 (17:56):
Every sitting is a diamond horseshoe.
Speaker 1 (17:58):
That's right backstage in the wings. I bustled about getting ready.
As long as I was going to be backstage, I
didn't have to get too fancy, So in practically nothing flat,
I was out in the car and once again, driving
over to Rembred's place. He was ready, He jumped in
and we took off for the opera house. The carriage
trade was arriving at the Carriage Trade entrance. So I
(18:20):
found a place to park out and back, and then
we went in. Talked to Wally, one of the stage hands,
and got two chairs on a lift. Just at that moment,
the concertmeister gave the cue for the orchestra to tune up.
That was Spawling's que to float out from stage right
(18:41):
and make his entrance. He carried more ham per palm
than you'd find in the Chicago stock Yard. He minced
to the podium, vowed, scraped, and then faced the orchestra.
It all started nicely enough, even though the orchestra was
playing as if it were sitting on eggs. First the bronze,
(19:01):
then fountains of rome. They took a bath from the
first fountain, and it felt so good. They went on
to another, then another, and they were through through all
the fountains. Now it was time for the production number.
The lights dimmed, the fluorescent lights on the music stands
came on. Scowling flipped the switch and his baton lit up.
The coupee of tenseness come over the audience and the
(19:24):
orchestra started hatching its eggs. Eric gave the dawn beat
and swan Lake was under way. Everyone seemed to feel
(19:45):
that the worst was over. You could almost hear the
snapping of spines as the audience relaxed and settled back
in their seats. And that's when it happened. It it happened again,
the most horrible sounding cord I'd ever heard. The audience
(20:07):
stood up this time. There were no lads. Just as
stunned amazement, the orchestra stopped playing and falling through his
thattar on the stage and walked off into the wings.
Slowly the orchestra followed. I was just as dumb struck
as the rest. Then I got my wits about me
and jumped around the rear. Come on, remember it where
I go anywhere. I want to talk to people, find
(20:27):
out what happened.
Speaker 3 (20:28):
You know they blew a king's size clinker.
Speaker 1 (20:31):
Oh that was well established, it'll be heard around the world.
But I want to find out how it happened. Talking
to Ramandi, I ruined.
Speaker 3 (20:40):
Wardle through worshed up. How can this sort of thing happen?
How can it possibly happen?
Speaker 2 (20:45):
Oh, look at it, calm down, It's not as bad.
Speaker 3 (20:47):
As you're making it out. I'm not making anything at
time facing the facts. I'm through. Do you suppose I
can face the critics? The public? Off the three successive
performances like this, Oh there you are, miss Matson, help
you let it happen again?
Speaker 1 (21:02):
Cool off, buster. You can't avoid something happening when you
don't know what that something is. This is a something
that's never been written into the books. Oh wait a minute,
hasn't it all of a sudden, I've got me an idea.
Speaker 3 (21:19):
Great Heaven, find all the prophets. What's going on here tonight?
Speaker 1 (21:22):
You'll forgive my sudden departure. I intend finding out. We
made like the cavalry going up San Juan. The scream
had come from off stage, over in the dressing room.
That's where we hit it. By the time we got there,
a crowded gathered, and there in Room fourteen, with her
flute clutched firmly in her hands, lay known as scolding.
(21:47):
I'm gonna try and get through here, find out. Excuse me,
pardon me?
Speaker 3 (21:54):
How is she candy?
Speaker 1 (21:57):
She's a feeling, will rembrand. A matter of fact, she
isn't feeling at all? She did. This was the kind
of development I hadn't counted on at all, An orchestra
coming apart like wet tissue. Paper is one thing, but
murder is another. That's where my friend, Inspector Mallard comes
(22:20):
into the picture. I made a call the headquarters, but
he was out, so instead a couple of his boys
came over. I left the entire thing in their capable
hands and tried to clear up a little unfinished business
of my own. You still play the.
Speaker 3 (22:34):
Cello runbred strictly from me on amusement.
Speaker 1 (22:37):
Well, you know music. Take a look at this school
right about about here.
Speaker 3 (22:41):
Yes, this is just about where they get that foul chord.
Speaker 1 (22:45):
That's right, Notice anything wrong?
Speaker 3 (22:48):
If you see this ball looks all right? Mm? So
does this one? They didn't get past this point?
Speaker 1 (22:55):
Look carefully, why.
Speaker 3 (22:58):
Yes, littations alongside the notes if it's.
Speaker 1 (23:02):
Just slight, but there. Nevertheless, the pattern is beginning to
take shape and red, And if you'll look again, you'll
find these little irregularities throughout the whole score.
Speaker 3 (23:09):
Candy, you're right.
Speaker 1 (23:11):
Now's as good a time as any to find out
if I'm right or not. Wally, Wally that your cameras,
that's right, do me a favorite, Wally, when I shall
now what's on the fluorescent light. Will you okay? Now,
hand me that score of rebread. We'll place it on
the music stands like this. Good, Keep your eyes on
(23:34):
this bar right here. Don't look away for one innute now, Wally, okay,
watch now they're the lights. What do you see?
Speaker 3 (23:48):
Can be incredible? That chord changed right before me? That
the eyes? Why nobody could play that? It has discionlins
over discilans.
Speaker 1 (23:56):
That's what you heard tonight. Keep watching the regular lights again, Wally, Yes,
you see back to normal again. But you don't see
the bad chord.
Speaker 3 (24:11):
Do you no? This is amazing, most amazing.
Speaker 1 (24:15):
The copyists used a certain kind of ink that vanished
under the fluorescent lights, and at that time a whole
new score appeared with that awful cord buried in it. Diabolical,
isn't it? Yes? Isn't it too bad? You're so clever?
Speaker 2 (24:29):
Miss Madison?
Speaker 1 (24:30):
Hi, raymondy. I wasn't sure for a while, but when
missus Spaulding got it in the dressing room, I had
my money on you.
Speaker 3 (24:38):
It's a shame. Your knowledge won't do you any good.
Speaker 2 (24:40):
You're not going to be able to use it.
Speaker 3 (24:42):
You see, get in.
Speaker 2 (24:43):
My pocket A very competent thirty eight. Now move both
of you quietly over to Eric's dressing room.
Speaker 1 (24:52):
You better do as the man says, Rembrandt.
Speaker 3 (24:54):
Oh tell you why, miss Madson. I all o you,
Eric Balding, You all right, yes, yes, I'm all right.
Speaker 1 (25:04):
Just come on, Rebrett. He's looking around back stage. There
he goes he's trapped, and he knows that the cop
throw ru on the other side.
Speaker 3 (25:12):
Of the page. He's going back this way.
Speaker 1 (25:14):
The stage has been raised on the elevators. He's going
to run right into that opening. RAYMONDI but out. How
(25:38):
do you feel scolding a little week?
Speaker 3 (25:41):
Just hand me a spott of that brandy. I shall
be all right.
Speaker 1 (25:45):
Tell me why was RAMONDI gunning for you until tonight?
Speaker 3 (25:49):
I didn't know he was all.
Speaker 1 (25:51):
Of a sudden. That name Ramonde means something to me.
Here's your brandy.
Speaker 3 (25:55):
Thank Yes. Baldo was a very promising violinist. Great things
had been predicted for him until the summer of nineteen
thirty three. What happened We were driving through Sussex when
my car overturned.
Speaker 1 (26:09):
His left hand was badly smashed.
Speaker 3 (26:11):
Had to have the last three fingers. I'm getting it.
That was the end of his career. First, he was bitter,
wouldn't speak to me, said it was all my fault.
Little by little, I won him over then, because music
was his world. I gave him a physician of companion
and librarian. She's been with me ever since.
Speaker 1 (26:31):
Yes, plotting your downfall, and very cunning too. He waited
all these years to pull the switch on his clever device.
Why is that, miss Mathson, your wife's bowling reminder? Had
it figured out that you'd detach all the blame to
your ex wife?
Speaker 3 (26:45):
Poor Nonna gone? And Waldo too?
Speaker 1 (26:50):
Yes, and all because that accident left a bigger scar
in his mind than did on his hand. Well, i'll
see you spoiling. That was some concert tonight. It seemed
to have just about everything. It was too bad about
(27:14):
the ex missus folding. She let her heart over her head.
She went to Ramondi's dressing room to make an overture,
to perhaps make an effort to patch up her lost
romance with Eric. She walked in at a bad time.
Ramandi was applying the finishing touches to his phony score.
There was an assortment of ink all over the table.
At the time, it didn't mean anything to know, no,
(27:35):
but during the performance, she discovered the same thing I did.
After that bad chord. She rushed off stage, ready to
apply the crusher to Waldo's He saw what she was
up to and beat her to it. For the window
waited over the heads. Well, like I've said many times,
some of that music gets too deep for me. I
think I'll just stick to something not quite so complicated,
(27:56):
something simple, enjoyable, something and understand. Like thought.
Speaker 2 (28:02):
Perhaps listen again next week at the same time for
excitement and adventure.
Speaker 1 (28:18):
Just dial Sandy Meston you can't two way two o nine.
Speaker 2 (28:30):
Heard to night were Halberdick Is, Eric Spaulding, Harry Bechtel
Is Walder Ramondi, and Norma Tuart as Missus Spaulding. Jack
Thomas plays the part of Rembran Watson. The program stars
Natalie Masters as Candy and is written and produced by
Monti Masters. Sound effects are created by Bill Brownell and
Jay Rendon Halloise Rowan is heard at the organ. The
(28:52):
characters in Tonight's story are entirely fictitious. Any resemblance to
actual people is purely coincidental. Bill Walter speaking, the program
came to you from San Francisco,
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