August 30, 2025 • 29 mins
Candy Matson, YUkon 2-8209 was created by husband and wife team Monty and Natalie Masters and ran from 1949 - 1951. Natalie Masters played the pretty, but tough and fearless private eye. Her love interest, Lt. Ray Mallard was played by Henry Leff. She was smart and was never be intimidated by any bad guys. Each episode she would take a job from her apartment and go to an actual location in San Francisco. Many radio experts have written and stated that Candy Matson was the finest of all the female P.I.'s.
Hope you enjoy the episode of Candy Matson, Yukon 2-8209! Find more classic radio series at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
Hope you enjoy the episode of Candy Matson, Yukon 2-8209! Find more classic radio series at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:08):
Hello, you can't to a two o nine. Yes, this
is Candy Medson.
Speaker 2 (00:32):
Well, hello there, Candy.
Speaker 3 (00:34):
How's the one woman in Scotland yard?
Speaker 4 (00:36):
Okay, Inspector.
Speaker 1 (00:37):
If business was any better, you fellows could all retire
on your big fat engines.
Speaker 4 (00:42):
Is Mallard of his office?
Speaker 3 (00:43):
Oh?
Speaker 5 (00:43):
Sure, I just left them there.
Speaker 6 (00:45):
He's working on a deal. But it's all right, a deal.
Speaker 4 (00:47):
Oh, I won't bother him.
Speaker 6 (00:48):
Then that's all right.
Speaker 5 (00:49):
When last observed he was perched neatly on the horns
of a dilemma.
Speaker 4 (00:54):
Well, in that case, i'd better go in, inspector right.
Speaker 2 (00:56):
Oh, drop around anytime, high heels.
Speaker 5 (00:58):
Sounds so much nice here than flat.
Speaker 4 (01:00):
Thank you, sir, Good morning, Lieutenant Mellard.
Speaker 3 (01:06):
Candy for Pete's sake, I wish you'd knock when you'd
come in here.
Speaker 4 (01:09):
Why well, I might have been what Mellard.
Speaker 3 (01:13):
Did asleep or something. Well, how that you're in and
pull up a chair and set a spell.
Speaker 4 (01:18):
I heard you were busy.
Speaker 3 (01:18):
You heard I was busy, So your barge ride in.
Speaker 4 (01:20):
I can always barge right out again, you know.
Speaker 3 (01:22):
No, no no stick around. I've done all I can
for now, what have you got a murder in homicide.
I'd be working on a purse snatching here. Take a look.
Never see anything like that before.
Speaker 4 (01:33):
Nope, looks like a small medallion of some kind.
Speaker 3 (01:36):
I don't think so here as I can figure, it's
the symbol of an order or a cult. You recognize
the characters.
Speaker 4 (01:42):
On it always seem to have an Egyptian flavor.
Speaker 3 (01:45):
That was my thinking too, However, I'm not an Egyptologist.
Speaker 4 (01:48):
You can always take it over to the University of California.
Speaker 3 (01:51):
University of California.
Speaker 4 (01:53):
What's wrong with that?
Speaker 3 (01:54):
It'd be like cutting off my own nose. I've got
Stanford and six points in the big game.
Speaker 4 (02:00):
After what you see? Lady to them? Oh no, From
now on, I will knock before I come in here,
and if I get an answer, I'm going to leave.
You've got a point there, I know I have.
Speaker 3 (02:09):
I mean about taking this over to the university.
Speaker 4 (02:11):
Hey, wait a minute, why didn't I think of it before?
What rim Brandt? He has a brushing acquaintance with the
Egyptian language and writing.
Speaker 6 (02:20):
Rembrandt, rem brand Watson. Oh you're a kid.
Speaker 1 (02:22):
No, I'm not. You spent quite a bit of time
in Egypt before the war. Come on, get in the
car and we'll drive over to his place. I've got
to see him anyway.
Speaker 3 (02:28):
I'm sorry, can't, I no, can do. I gotta be
in Judge Wallack's court in ten minutes.
Speaker 1 (02:32):
Oh, let me have it and I'll take it over
to him. If rim Brandt comes up with anything, I'll
report right back.
Speaker 3 (02:37):
Okay, just don't lose it, that's all.
Speaker 4 (02:39):
Why can't you get another one?
Speaker 3 (02:41):
Well, not this particular one, we can't. We took it
off the body of a woman they found floating last
night and stole.
Speaker 1 (02:46):
Lake Stoe Lake and Golden Gate Park. What a charming
place to take your last bath. Oh, I almost forgot
what I came here for to begin with. Here's the
book I borrowed from you, Mallard, dear book? Which book
is that latest facts and figures on the rise and
fall of crime throughout the Western Hemisphere, plus a comprehensive
digest on criminal trans in the United States, as compiled
by police departments of major cities throughout the country.
Speaker 6 (03:08):
Oh.
Speaker 3 (03:08):
Thanks, Did you get anything out of it the book?
Speaker 4 (03:11):
Heck no, I just barely managed to get through the title.
Speaker 7 (03:21):
The National Broadcasting Company presents Candy Madson yukon two eight
two old. I.
Speaker 1 (03:31):
I slipped the medallion into my coin purse, slip the
coin person in my handbag, slipped mallard of Heck on
the chief, and slipped out of the Hall of Justice.
I climbed it in my car and drove over to
California Street, opposite Old Saint Mary's Cathedral, almost bordering Little
Alley facing Saint Mary's Square. It is there that a
very old friend of mine lives, Rembrandt Watson, the eminent
Pacific Coast photographer.
Speaker 6 (03:53):
I'm so glad you came by dove to day of
old days. I need the firm stension of your friendship
upon which to race, meself.
Speaker 4 (04:01):
What on earth are you talking about?
Speaker 6 (04:03):
Never has the weight of gloom rested so heavily on
my shoulders. Never has the metal of depression hung army
had as it.
Speaker 4 (04:10):
Does all put the hand back in the ice box.
What gives here? Ducky?
Speaker 6 (04:13):
You are gazing upon a man about the burea of
a home.
Speaker 4 (04:17):
You mean you're being a victim?
Speaker 6 (04:19):
Not yet one must face eventualities.
Speaker 4 (04:22):
Can't you pay your red? Is that it?
Speaker 6 (04:23):
Oh? No, be silly candy. I have plenty of money.
Speaker 1 (04:25):
Then, In Heaven's name, why the hamlet routine. What do
you mean you're going to be a victor?
Speaker 6 (04:30):
Simply this girl, a bunch of uncouth bollets are going
to build an underground garage in the square next door,
I asked, But he's so funny.
Speaker 1 (04:39):
Well, you probably won't have to move. Chances are they'll
never touch this building.
Speaker 6 (04:43):
I think candy, the dirt, the noise, Well, I've.
Speaker 1 (04:46):
Never known either one to affect you before, Rembred.
Speaker 6 (04:49):
It's not meself, I'm thinking about. It's Henry, me Great Dane,
all those steam shovels and riveting machines that I have
to give Henry a nervous stomach.
Speaker 4 (04:57):
And on a great day. And that's something is And here's.
Speaker 6 (05:01):
Something that will prove I'll be evicted. Look this morning's
paper right down here.
Speaker 1 (05:08):
Preliminary to construction of the garage beneath Saint Mary's Square
was approved yesterday by the Board of Supervisor's Finance Committee.
The project, recommended by the San Francisco Parking Authority, involves
use of Saint Mary's Park subsurface area and seven adjacent
parcels of privately owned property in the area bounded by
Carney Cline, California and Saint Annstreet.
Speaker 6 (05:27):
There you see what I mean?
Speaker 1 (05:29):
Well, I'd hardly call this hovel of a parcel, but yes,
I do see what you mean.
Speaker 4 (05:34):
Well, what are you gonna do about it?
Speaker 6 (05:35):
And what can I do about it? Look for a
new place to live, that's all.
Speaker 1 (05:39):
Laddie boy. I'm glad you said that. I've been meaning
to have a word with you for quite some time.
I think you're doing a whale of a good business.
More and more you're catering to an extremely fashionable clientele.
Speaker 6 (05:48):
That's true.
Speaker 1 (05:49):
It's about time you live the park if photographs are
becoming known throughout the country.
Speaker 4 (05:53):
You couldn't have stayed here much longer anyway. But it
has such atmosphere, Candy that it does, especially when the
way from the east. Tell you what you helped me on?
A little deal? Right now and I'll spend the rest
of the day looking at places with you.
Speaker 6 (06:06):
Candy, will you? I was hoping you'd say that you're the.
Speaker 4 (06:09):
Lamb in the spring. I am, Well, I.
Speaker 6 (06:12):
Get it, Spring Labla made love so much better. Already
had a boy.
Speaker 1 (06:17):
But before you bound completely out of your skin, doc,
you take a look at this.
Speaker 6 (06:22):
Wait a minute, there, fascinating what is it in amulative
some kind?
Speaker 4 (06:29):
I don't know. That's why I came to see you.
What does it say on.
Speaker 6 (06:32):
There, sinead a bic hopefully fine print? What did I
do with me?
Speaker 4 (06:36):
Glasses on your forehead? O?
Speaker 6 (06:39):
L MANI L Harder, El Masta Ball whom that's when
I can't seem to translate? Wait mon, oh, of course, Milky.
Speaker 4 (06:51):
What does it mean?
Speaker 6 (06:53):
Well, I'm not exactly sure of my translation, but I
take it to read the past, the present, the future. Mine.
Speaker 1 (07:00):
That sounds good enough to me. Let me make a
phone call here and I'll be right with you. Tell me, Dougie,
does that expression mean anything to you?
Speaker 4 (07:08):
Have you ever heard it before?
Speaker 7 (07:10):
No?
Speaker 6 (07:10):
There are literally thousands of such sayings and had a
big you could refer to almost anything.
Speaker 4 (07:15):
That's what I was wondering about headquarters speaking, Hello, Deluchi,
This is Candy Madson. Is Lieutenant Mellard there, Lieutenant.
Speaker 2 (07:24):
Mallard Thomas Madison.
Speaker 5 (07:25):
You left with Joia Wallach and the jury on that
Happy dand supermarket killing of Lake Merced probably be there
the rest.
Speaker 2 (07:31):
Of the afternoon.
Speaker 1 (07:32):
Okay, would you write this down for me? El Madgie
L Hodder, Elmstackball humilky Ms Madson.
Speaker 2 (07:43):
This is a phone conversation.
Speaker 4 (07:46):
Well that, thank you? Now? Have you got that? I
guess so good?
Speaker 1 (07:52):
Just sign my name to it and put it on
Mallard's desk, will you sure you say so? Thanks to Lucy?
Speaker 4 (07:58):
Goodbye?
Speaker 6 (07:59):
Thank Are you crazy? Now? I don't understand that crazy.
Speaker 4 (08:04):
Just the other way around. This is one night I
know I'm going to get Millard.
Speaker 6 (08:08):
To call me candy fool, but you're a nice fool.
Just having you assure me that moving from here is
the right thing to do has removed all be troubled
thoughts transform me into a a blithe spirit.
Speaker 1 (08:20):
A blind spirit. Well, come on, blithe spirit, let's go
haunt for houses. Knowing rembred as I do. He's the
sort of a man who would open a doll factory
across the street from a boys'.
Speaker 4 (08:33):
School, But in this case I was going to make
sure he'd get the locale to the business and vice versa.
But what was the locale to be? Suddenly I had it.
Speaker 1 (08:42):
There was a barn type of building out on Octavia Street,
just off Pacific, used to be a dance studio. But
somehow or other, I seem to recall a for rent
sign on the place, and that's where we went.
Speaker 6 (08:53):
What is it, Candy, looks like the place might have
been a stable.
Speaker 4 (08:57):
I imagine it was one time. I do know it
was a dance studio for a while.
Speaker 6 (09:00):
It's for rent, all right, there's the sign.
Speaker 4 (09:04):
I hope we can get in. You'll like it. I'm
sure it's just ideal for a photography studio, and it
has plenty of room upstairs for living quarters and a
fine big backyard out and back for Henry Song's ideal.
Speaker 6 (09:14):
If I could only see it.
Speaker 1 (09:16):
Let's walk around on that little wooden bridge at the side.
Made there's a window we can peek through. If not,
we'll run down a little real estate office. The outside
needs fixing it up, but.
Speaker 6 (09:24):
Not too much. No, it's a matter of fact. If
the place is any kind of shape at all, and
the owner is building to health business, I might be
interested in buying the place. What why not? Now that
I'm in the mood and I've saved a fair amount
of money to pass the art too.
Speaker 4 (09:37):
Oh, here's the window. It's pretty dirty.
Speaker 6 (09:39):
Wait a minute, can you see anything, candidate?
Speaker 1 (09:42):
No, little enough to give you an idea. How much
space you have in the studio itself.
Speaker 3 (09:46):
Here.
Speaker 4 (09:46):
You take a look.
Speaker 6 (09:48):
It's wonderful, just perfect. I could do all the portrait
work up in front there and put all the equipment
back in the hop.
Speaker 4 (09:55):
Ducky, what is it?
Speaker 6 (09:56):
I saw a man in there.
Speaker 4 (09:57):
Let's see. He's motioning to us. I don't understand. What
is there a door down that way?
Speaker 2 (10:04):
Remember?
Speaker 6 (10:06):
Yes, I see one.
Speaker 4 (10:07):
Oh that's what he wants.
Speaker 6 (10:08):
Come on you suppose he is, dear caretaker.
Speaker 4 (10:12):
Maybe we'll find out.
Speaker 5 (10:22):
Was there something you wanted?
Speaker 4 (10:24):
We're just looking around. We saw the sign out in front.
Are you the caretaker?
Speaker 6 (10:28):
No?
Speaker 5 (10:28):
No, I am the owner.
Speaker 6 (10:30):
Then you live here again?
Speaker 5 (10:32):
No, there was a fire here last night. I came
over to investigat that fire. Yes, there wasn't much damage done.
One of them never saw it, and the fire department
or I've almost immediately.
Speaker 6 (10:44):
Lucky for you. How much rent are you asking?
Speaker 5 (10:47):
I'm afraid you'll have to take that up with the
real estate people. I let them handle all my transactions.
Speaker 4 (10:54):
Would you be willing to sell?
Speaker 5 (10:56):
I might, but that's something you have to discuss with
them too. That sounds odd, does it not? But much
better off if I don't transact my own business.
Speaker 4 (11:06):
Sure, would you mind if we looked around. Mister Watson
here is rather interested.
Speaker 5 (11:11):
I'm averred that is out of the question. Your city
electricity have been turned off. You would have to use matches.
Speaker 4 (11:19):
Will be very careful, sir, I've got matches right here
in my person.
Speaker 6 (11:23):
No, not no, it is impossible.
Speaker 5 (11:25):
After what happened last night time my thread, things might
be misunderstood.
Speaker 6 (11:29):
I should be accused of.
Speaker 4 (11:31):
Accused, accused of what?
Speaker 5 (11:34):
Mister and what did you say your name was?
Speaker 4 (11:38):
I didn't and neither did you. We have a queen
custom here in the United States.
Speaker 5 (11:43):
I am not interested in custom. I'm only interested in
keeping my appointment.
Speaker 1 (11:48):
You keep your appointment, I assure you. Do you remember
High Low Rembrandt, who.
Speaker 6 (11:54):
Is a quaint little device used with a great deal
of success on the Gridire.
Speaker 4 (11:58):
Yes, would you like to take High now? Take low pleasure?
Speaker 6 (12:01):
Really now?
Speaker 4 (12:03):
No, get his arms if you can't remembrand I'm trying
to take. I think he needs a little persuasion on
the head like so.
Speaker 6 (12:17):
Oh, dear, I hope you didn't have him too hard.
Speaker 4 (12:21):
No, he just went sleepy by for a little while.
Speaker 6 (12:24):
That's the reason for this unwomanly outburst on your pod.
Speaker 1 (12:28):
You certainly may Slugger look up there on that beam
above us, putting her forehead.
Speaker 6 (12:35):
Now, what did you want me to see?
Speaker 4 (12:37):
Up there? A sign on that beam, just barely visible,
but you can make it out.
Speaker 6 (12:42):
And no, and Maggie and harder el masta foul.
Speaker 1 (12:47):
Whom I saw it when we first came in, when
the boy on the floor mentioned matches, it gave me
a perfectly natural chance to open my purse and flash
the medallion.
Speaker 4 (12:56):
He saw it, all right, He stopped like.
Speaker 1 (12:58):
He'd been sapped. Oh twice, Yes, once by the medallion,
once by me. I think we've got something, Rembred, come on,
let's get to a phone call Mallard quick and may
I say something ducky Well, I shouldn't say it, but
that was the prettiest high low I've ever seen.
Speaker 7 (13:21):
From San Francisco. The National Broadcasting Company is presenting Candy
Matson UCN two eight two or nine.
Speaker 1 (13:33):
I left my gun with Rembred, who by this time
was sitting on our little friends. I took off, found
a grocery store about three blocks down and placed it.
Called a Mallard. Fortunately he was in, and after I
told him what was happening, he was out again, this
time headed for the former dance studio. I ran back
to the place, and Sleeping Beauty was showing signs of
coming too, with Rembrand still riding a choppy sea on
(13:54):
the guy's twisting chest.
Speaker 6 (13:58):
I'm so glad you're back. Hell Misteed is beginning to
buck the bit, and I did so want to avoid
smacking him on the knogging again.
Speaker 1 (14:05):
Yeah, I don't blame you. After a while it begins
to hurt. Here, give me the gun, remember, thanks, Now
stand back. If the joker tries anything, there's going to
be badminton with.
Speaker 6 (14:15):
Bullets for birds. You get married.
Speaker 4 (14:17):
Yes, he'll be here in a moment or two.
Speaker 6 (14:18):
The Hall of Justice. That'll be forever.
Speaker 1 (14:20):
You do, will Mallard when he has a chance to
play with that siren. Oh yeah, Tessamen snapping out of it.
Speaker 5 (14:26):
Oh, I think miss you will regret exceedingly what you
have done.
Speaker 1 (14:32):
Maybe so maybe no now care to tell us about
this past, present and future our mind stuff.
Speaker 6 (14:38):
I'm not saying I were.
Speaker 4 (14:41):
Does it surprise you? I know the translation? You might
as well tell us. You'll have to in the long one.
Speaker 6 (14:47):
I have nothing to say, and I mean that I'll
bet you do.
Speaker 4 (14:52):
Wait a minute, see who it is.
Speaker 6 (14:54):
Remember it's Mallred in his petunia system.
Speaker 4 (14:57):
Good open the door for them.
Speaker 3 (15:02):
Ah, this this cozy. All you need is a fourth
foot bridge.
Speaker 6 (15:07):
And I kip it.
Speaker 4 (15:08):
He's all yours footplet.
Speaker 3 (15:10):
Okay, get them boys, let's go.
Speaker 4 (15:12):
Hey, wait a minute, you haven't seen the building.
Speaker 3 (15:13):
The building can wait. This cookie's hot and I want
to keep them that way. Like I said, boys, take
him away, give him that big hall of justice.
Speaker 4 (15:25):
One, two, three O'Leary.
Speaker 1 (15:26):
And we were at the jail house on Washington Street
four or five six o'liary, and our lad was whisked
away into the inner sanctums for a pleasant little game
called information Please, seven, eight nine O'Leary. And Mallard was
back in his office snorting fire at me. And when
he snorts fire, sister Susie, it's frightening.
Speaker 3 (15:44):
What are you trying to do? Have the whole city
administrations out on my neck?
Speaker 4 (15:48):
What Mallard?
Speaker 2 (15:49):
What do you mean?
Speaker 3 (15:49):
I'll tell you what I mean. We've arrested a man
who's completely in the clear. He can shoot the works
at us. Sue is for false arrest.
Speaker 4 (15:55):
Wait a minute, something's off the beam here.
Speaker 3 (15:57):
What's his name, Testament, I'll testaman. How do you know
he's in the clear, because we checked just now. He's
been a respectable citizen of San Francisco for over twenty years,
owns a lot of real estate around town, fine reputation,
excellent credit, the works, and you have to stir up
a Hornet's nice.
Speaker 4 (16:12):
I don't know what to say.
Speaker 3 (16:13):
I do go home and stay there. I have a
hunch the guy's going to press an assault and battery
charge against you and Rembrandt, and he's got a very
legal right to do it too.
Speaker 4 (16:22):
Yipes. I wonder how I'll look in stripes.
Speaker 1 (16:29):
Mallard was just playing out and outsore, judging the mess
on its face value. He was entitled to be sore,
but I'm not the gual to take things on face value.
That sign on the beam out at the old studio
definitely had a link with the inscription on the amunent
I was sure of, and I was sure that Tessaman
was a link too, So I fell back on the
private eyes first lesson how to shadow a suspect, the
(16:51):
use of doorways, trees, building shrubs, dances, and et cetera.
So hiding behind him et cetera. I waited outside the
Hall of Justice until I saw Tessamon leave the building.
All he did was snag a cab and disappear into
an apartment house on the top of Clay Street. I
checked the ground floor and found there were only three outlets,
the main entrance, the service entrance alongside, and the garage
around the corner. I parked across the street where I
(17:13):
could see all three and waited and waited. About two am,
I figured Tessamen had holed up for the night, so
I went home and got myself a nice little jolt.
My penthouse was a mess. It looked like a senior
grade monsoon had ripped through the place. It stacked up
that Testman couldn't have done it, so there must be
somebody else who wanted in on the act. As far
(17:34):
as I could tell, nothing was missing, so I straightened
up as best I could and hit the sack. The
alarm went off at five o'clock the next morning, and
I struggled into my clothes, drove over to Rembrandt's place,
rustled him into my car, and we took off.
Speaker 6 (17:48):
You're mad, and Candy positively mad. What's the idea of
waking me up in the middle of the night.
Speaker 1 (17:53):
It's not the middle of the night, Doug, It's morning.
Remember the early birds get the wounds.
Speaker 6 (17:57):
For the change. I'd like to see the early worm
get the What are we doing gallivanting about like this?
Speaker 4 (18:02):
Can we're putting the shadow on Tessamath?
Speaker 6 (18:04):
Is he the word?
Speaker 4 (18:05):
One of them? In spite of the fact that Mallard
whitewashed him?
Speaker 6 (18:09):
Here we are, How nice did blake Essex.
Speaker 4 (18:13):
We'll just park here. Hunch down in your seat, docky.
I hardly imagine our worm has departed. Yet A half
hour passed by.
Speaker 1 (18:25):
Just as the sun peeked over the East Bay Hills
and scattered its own bright rays on the water of
the Bay, a car backed out of the Blake Essex garage.
Speaker 4 (18:33):
It was testament, all right.
Speaker 1 (18:34):
He wheeled the car down Clay Street and we followed.
He turned left on Taylor and again when he reached Pacific.
I had a hunch where he was going. He crossed
Vans Avenue when we did. Likewise, that was when Rembread
spoke up.
Speaker 6 (18:50):
I hate to mention it, dear, but I think the
shadowers are being shadowed.
Speaker 4 (18:54):
How do you mean? I looked behind him several times
there seems to be a car following us. Just a coincident,
and I wouldn't worry about it. Look, our boy's turning
off onto Octavia, just as I thought he's returning to
the studio. What we do now, go as slowly as
we can, give.
Speaker 1 (19:11):
Him time to park the car, get inside the building,
and then go in after him.
Speaker 6 (19:14):
Are you sure you know what you're doing, Candy?
Speaker 4 (19:17):
Nope?
Speaker 6 (19:18):
Oh, well then it's all right.
Speaker 1 (19:20):
They'll go past Octavia, Laguna and down the Broadway and
come back from that direction. Bet you do it now
to double back along Broadway.
Speaker 6 (19:36):
I dislike being repetitious, girl, But the car is still
following us.
Speaker 4 (19:40):
Well, there's nothing like a showdown here we are at Octavia.
Let's find out. Look across the street at the studio
out in front there bags of cement, sand.
Speaker 6 (19:54):
And a pile of bricks that wasn't there when we
left yesterday. No, there's our friend, Candy, if.
Speaker 4 (20:02):
He is, I'm going to find out about this right now.
Speaker 2 (20:05):
Please, miss Matson, remain seated in your car.
Speaker 6 (20:10):
Here's a gun, Candy.
Speaker 4 (20:12):
That's a naive observation room brand looks more to me
like a cannon.
Speaker 2 (20:15):
I assure you I won't hesitate using it.
Speaker 6 (20:19):
Now.
Speaker 8 (20:19):
If you and mister Watson will get out in an
orderly manner and walk across the street into the studio,
there will be no trouble.
Speaker 4 (20:25):
Looks like we have no choice. Come on, ducky, this
should be great sport.
Speaker 1 (20:34):
When you have a gun Natsie poking into your nose,
it's easy to be convinced. We walked across the street
and into the studio, even with a brilliant morning sunshine outside,
the place was dark and grim, and Tessaman Lad was
waiting to meet us, wearing the very latest and smirks.
Speaker 2 (20:52):
Just as your plan, Master. It was so easy.
Speaker 8 (20:55):
They fell into our trap beautifully, and now they shall
feel no pain to work, test man, there can be
no further delay. Yes, Master Shelby, he calls me, master,
And that is as it should be. Now, Miss Matson,
now that you've so conveniently returned to our shrine the amulet, please.
Speaker 4 (21:15):
I haven't got it. I left it at home in
another purse.
Speaker 2 (21:19):
It wasn't in your place last night, So you're.
Speaker 4 (21:22):
The character who wrecked my apartment.
Speaker 2 (21:24):
That is right. And now if you would be so
kind as to empty your purse on the table there.
Speaker 6 (21:29):
You better do it, Candy.
Speaker 4 (21:32):
Yes, it seems to be no alternative.
Speaker 6 (21:39):
Ah.
Speaker 2 (21:40):
Now the coin purse please, ah. Yes, the ambulet, thank you.
Speaker 4 (21:49):
This is street car tooken too.
Speaker 8 (21:50):
You can have that if you are the past, the present,
the future, our mind mine, Miss Madson, an old saying
of one of the ancient pharaohs. I adapted it for myself.
Rather brilliant, wouldn't you say?
Speaker 4 (22:04):
I'd say you need a new scriptwriter.
Speaker 8 (22:06):
Now I shall tell you about your future. This building,
being on a hill, was built on solid rock foundations.
My faithful servant, tests Man is an expert stonemason. You
see the chamber like a fair hewn into the rock.
Tests Man is going to build a brick wall across it.
You are going to be sealed inside, also like the
(22:28):
ancient pharaohs, only it will take more than a Howard
Carter or a Lord Carnavan to discover you.
Speaker 1 (22:40):
The guy was a madman, and a madman usually keeps
his word. Tess Man went to work. Little by little,
the ceiling wall of bricks took shape. Once I pressed
my hand against the bricks. You must have been using
a fast hardening mortar mix of some kind. The wall
was as firm as the ages. Zooma smiled. Finally there
(23:03):
was an opening, just large enough to crawl through. That's
when Zooma spoke up.
Speaker 8 (23:13):
Enough tests man, I will complete the work as you
will master. My mission here is finished. You three are
the only ones who know about me, and so I
shall destroy all evidence and move on on your fields.
Speaker 2 (23:28):
Hes Man, in your.
Speaker 6 (23:30):
Go what muster?
Speaker 2 (23:34):
No, No, I have served you festally, I said, getting no,
I won't die.
Speaker 3 (23:41):
I won't not even for you.
Speaker 6 (23:43):
What that fall?
Speaker 8 (23:53):
The future belongs to me. You too, get him, shove
him into the tomb. Now, I trust you won't be
quite so idiotic. Suffocation isn't too unbearable. I think I
shall call this the tomb of the wayward three. Yes,
(24:16):
that will be good?
Speaker 6 (24:18):
Is he in?
Speaker 4 (24:20):
Yes?
Speaker 2 (24:21):
Very well, you may follow.
Speaker 4 (24:24):
Go ahead, remored. I'm sorry I got you in this.
Speaker 6 (24:28):
That's all right.
Speaker 8 (24:30):
And now for the final act, the complete obliteration.
Speaker 6 (24:37):
Ah.
Speaker 8 (24:38):
Yes, people all over the world have lost their way.
They struggle in dartness. It is up to me to
bring them the truth. For after all, a hardy, a
harder almstak balhom, He'll give all mine?
Speaker 4 (24:56):
What about that woman you dumped into Stoe Lake, Jama a.
Speaker 8 (25:00):
Very generous lady. She contributed over fifteen thousand dollars to
the cause. But then the poor thing began to doubt me,
said something about going to the authority mouse stunned fortune.
It was then that even eyes Zoma made a mistake.
I forgot about the amulet I had given her. She
(25:21):
are still wearing it about her neck. I will not
make that error again. Now, like the final toast to life,
the last brick, Sleep well, foolish ones, forever get your
hair straight up.
Speaker 4 (25:37):
In the air.
Speaker 8 (25:38):
Mac you desecrate alice that Get your hands up, Yes,
I will like it.
Speaker 7 (25:50):
Kenny, where are you over here?
Speaker 1 (25:52):
Allen?
Speaker 4 (25:53):
Behind this triple?
Speaker 3 (25:57):
A fine thing, That's all I've got to say, running
around messing things up. Boy, he's really got you tucked away,
hasn't he?
Speaker 4 (26:04):
Come on out of here. We can hardly breathe. We
you're pal Testman, who was past breathing?
Speaker 3 (26:13):
Boy? You can sure do it? Catch a caddy. I
think I ought to leave you in there. You almost
messed this whole thing up.
Speaker 8 (26:19):
I did.
Speaker 3 (26:21):
How Why did you think we released Tessman?
Speaker 4 (26:24):
Tesman?
Speaker 3 (26:25):
Yeah, I know, Ali Tesman I'll call him Tessaman because
it was the first lead we got on this joker, Zoma.
We've been after him for months. Why playing on the
superstitious people with a yen for the occult? We had
nothing to go on until we fished that woman out
of Stowe Lake with the amulet around her neck. And
you have to go and stick your pretty nose into
the picture.
Speaker 4 (26:44):
What about Tiffman?
Speaker 3 (26:46):
Up until he met Zoma, he was okay, doing quite
well in real estate. Then along came the master. Tessaman
turned over the studio for Zoma to uses a tempo.
But after he dumped the tomato into Stow Lake, Zoma
realized he'd have to uh liquid his affairs and get
the bejabers to other parts of the country with you
and Rembrandt making like cops and robbers. He knew he
(27:06):
had three people to get out of the way. He
almost got away with it.
Speaker 4 (27:09):
How did you get here when you did?
Speaker 3 (27:11):
Sheer luck, Cupcake? I was only returning to make a
routine check up on this joint. Sister, Are you lucky?
Speaker 4 (27:18):
You can say that again?
Speaker 8 (27:19):
All right?
Speaker 3 (27:20):
Sister? Are you on second thought? Maybe you aren't.
Speaker 4 (27:24):
What do you mean, noother dear.
Speaker 3 (27:25):
If there's one thing I can't stand, it's an interfering woman.
I think I'll just leave you in there. No none
goodenowrene a good an?
Speaker 6 (27:47):
Okay?
Speaker 3 (27:48):
On one condition?
Speaker 2 (27:49):
Sure?
Speaker 4 (27:49):
Sure, what is it?
Speaker 3 (27:51):
Promise you'll go to a roy Acuff movie with me tonight,
roy Acuff movie.
Speaker 4 (27:57):
What do you think, Rembrandt, It's worse than death, That's
what I thought too. So long, Mallard, on your way out,
just stealing that last brick, William.
Speaker 7 (28:29):
Listen again next week at this same time for excitement
and adventure.
Speaker 4 (28:33):
Just dial Candy Madson you come two E two o nine.
Speaker 7 (28:46):
The part of Testsman was played by John Grober. Zoma
was Loutobyn Henry Laugh is heard as Lieutenant Ray Millard,
and Jack Thomas is rehn Brandt Watson. The program stars
Natalie Masters and has written and direct by Martimasters. Bill
Brownell creates the sound effects, and Eloise Rowan is heard
of the organ. Our engineer was Frank Barron. Any resemblance
(29:09):
to actual people is purely coincidental. The characters in the
story were entirely fictitious. The program came to you from
San Francisco. Dudley Man Loves speaking. This is NBC, the
(29:35):
national broadcasting company
Hello, you can't to a two o nine. Yes, this
is Candy Medson.
Speaker 2 (00:32):
Well, hello there, Candy.
Speaker 3 (00:34):
How's the one woman in Scotland yard?
Speaker 4 (00:36):
Okay, Inspector.
Speaker 1 (00:37):
If business was any better, you fellows could all retire
on your big fat engines.
Speaker 4 (00:42):
Is Mallard of his office?
Speaker 3 (00:43):
Oh?
Speaker 5 (00:43):
Sure, I just left them there.
Speaker 6 (00:45):
He's working on a deal. But it's all right, a deal.
Speaker 4 (00:47):
Oh, I won't bother him.
Speaker 6 (00:48):
Then that's all right.
Speaker 5 (00:49):
When last observed he was perched neatly on the horns
of a dilemma.
Speaker 4 (00:54):
Well, in that case, i'd better go in, inspector right.
Speaker 2 (00:56):
Oh, drop around anytime, high heels.
Speaker 5 (00:58):
Sounds so much nice here than flat.
Speaker 4 (01:00):
Thank you, sir, Good morning, Lieutenant Mellard.
Speaker 3 (01:06):
Candy for Pete's sake, I wish you'd knock when you'd
come in here.
Speaker 4 (01:09):
Why well, I might have been what Mellard.
Speaker 3 (01:13):
Did asleep or something. Well, how that you're in and
pull up a chair and set a spell.
Speaker 4 (01:18):
I heard you were busy.
Speaker 3 (01:18):
You heard I was busy, So your barge ride in.
Speaker 4 (01:20):
I can always barge right out again, you know.
Speaker 3 (01:22):
No, no no stick around. I've done all I can
for now, what have you got a murder in homicide.
I'd be working on a purse snatching here. Take a look.
Never see anything like that before.
Speaker 4 (01:33):
Nope, looks like a small medallion of some kind.
Speaker 3 (01:36):
I don't think so here as I can figure, it's
the symbol of an order or a cult. You recognize
the characters.
Speaker 4 (01:42):
On it always seem to have an Egyptian flavor.
Speaker 3 (01:45):
That was my thinking too, However, I'm not an Egyptologist.
Speaker 4 (01:48):
You can always take it over to the University of California.
Speaker 3 (01:51):
University of California.
Speaker 4 (01:53):
What's wrong with that?
Speaker 3 (01:54):
It'd be like cutting off my own nose. I've got
Stanford and six points in the big game.
Speaker 4 (02:00):
After what you see? Lady to them? Oh no, From
now on, I will knock before I come in here,
and if I get an answer, I'm going to leave.
You've got a point there, I know I have.
Speaker 3 (02:09):
I mean about taking this over to the university.
Speaker 4 (02:11):
Hey, wait a minute, why didn't I think of it before?
What rim Brandt? He has a brushing acquaintance with the
Egyptian language and writing.
Speaker 6 (02:20):
Rembrandt, rem brand Watson. Oh you're a kid.
Speaker 1 (02:22):
No, I'm not. You spent quite a bit of time
in Egypt before the war. Come on, get in the
car and we'll drive over to his place. I've got
to see him anyway.
Speaker 3 (02:28):
I'm sorry, can't, I no, can do. I gotta be
in Judge Wallack's court in ten minutes.
Speaker 1 (02:32):
Oh, let me have it and I'll take it over
to him. If rim Brandt comes up with anything, I'll
report right back.
Speaker 3 (02:37):
Okay, just don't lose it, that's all.
Speaker 4 (02:39):
Why can't you get another one?
Speaker 3 (02:41):
Well, not this particular one, we can't. We took it
off the body of a woman they found floating last
night and stole.
Speaker 1 (02:46):
Lake Stoe Lake and Golden Gate Park. What a charming
place to take your last bath. Oh, I almost forgot
what I came here for to begin with. Here's the
book I borrowed from you, Mallard, dear book? Which book
is that latest facts and figures on the rise and
fall of crime throughout the Western Hemisphere, plus a comprehensive
digest on criminal trans in the United States, as compiled
by police departments of major cities throughout the country.
Speaker 6 (03:08):
Oh.
Speaker 3 (03:08):
Thanks, Did you get anything out of it the book?
Speaker 4 (03:11):
Heck no, I just barely managed to get through the title.
Speaker 7 (03:21):
The National Broadcasting Company presents Candy Madson yukon two eight
two old. I.
Speaker 1 (03:31):
I slipped the medallion into my coin purse, slip the
coin person in my handbag, slipped mallard of Heck on
the chief, and slipped out of the Hall of Justice.
I climbed it in my car and drove over to
California Street, opposite Old Saint Mary's Cathedral, almost bordering Little
Alley facing Saint Mary's Square. It is there that a
very old friend of mine lives, Rembrandt Watson, the eminent
Pacific Coast photographer.
Speaker 6 (03:53):
I'm so glad you came by dove to day of
old days. I need the firm stension of your friendship
upon which to race, meself.
Speaker 4 (04:01):
What on earth are you talking about?
Speaker 6 (04:03):
Never has the weight of gloom rested so heavily on
my shoulders. Never has the metal of depression hung army
had as it.
Speaker 4 (04:10):
Does all put the hand back in the ice box.
What gives here? Ducky?
Speaker 6 (04:13):
You are gazing upon a man about the burea of
a home.
Speaker 4 (04:17):
You mean you're being a victim?
Speaker 6 (04:19):
Not yet one must face eventualities.
Speaker 4 (04:22):
Can't you pay your red? Is that it?
Speaker 6 (04:23):
Oh? No, be silly candy. I have plenty of money.
Speaker 1 (04:25):
Then, In Heaven's name, why the hamlet routine. What do
you mean you're going to be a victor?
Speaker 6 (04:30):
Simply this girl, a bunch of uncouth bollets are going
to build an underground garage in the square next door,
I asked, But he's so funny.
Speaker 1 (04:39):
Well, you probably won't have to move. Chances are they'll
never touch this building.
Speaker 6 (04:43):
I think candy, the dirt, the noise, Well, I've.
Speaker 1 (04:46):
Never known either one to affect you before, Rembred.
Speaker 6 (04:49):
It's not meself, I'm thinking about. It's Henry, me Great Dane,
all those steam shovels and riveting machines that I have
to give Henry a nervous stomach.
Speaker 4 (04:57):
And on a great day. And that's something is And here's.
Speaker 6 (05:01):
Something that will prove I'll be evicted. Look this morning's
paper right down here.
Speaker 1 (05:08):
Preliminary to construction of the garage beneath Saint Mary's Square
was approved yesterday by the Board of Supervisor's Finance Committee.
The project, recommended by the San Francisco Parking Authority, involves
use of Saint Mary's Park subsurface area and seven adjacent
parcels of privately owned property in the area bounded by
Carney Cline, California and Saint Annstreet.
Speaker 6 (05:27):
There you see what I mean?
Speaker 1 (05:29):
Well, I'd hardly call this hovel of a parcel, but yes,
I do see what you mean.
Speaker 4 (05:34):
Well, what are you gonna do about it?
Speaker 6 (05:35):
And what can I do about it? Look for a
new place to live, that's all.
Speaker 1 (05:39):
Laddie boy. I'm glad you said that. I've been meaning
to have a word with you for quite some time.
I think you're doing a whale of a good business.
More and more you're catering to an extremely fashionable clientele.
Speaker 6 (05:48):
That's true.
Speaker 1 (05:49):
It's about time you live the park if photographs are
becoming known throughout the country.
Speaker 4 (05:53):
You couldn't have stayed here much longer anyway. But it
has such atmosphere, Candy that it does, especially when the
way from the east. Tell you what you helped me on?
A little deal? Right now and I'll spend the rest
of the day looking at places with you.
Speaker 6 (06:06):
Candy, will you? I was hoping you'd say that you're the.
Speaker 4 (06:09):
Lamb in the spring. I am, Well, I.
Speaker 6 (06:12):
Get it, Spring Labla made love so much better. Already
had a boy.
Speaker 1 (06:17):
But before you bound completely out of your skin, doc,
you take a look at this.
Speaker 6 (06:22):
Wait a minute, there, fascinating what is it in amulative
some kind?
Speaker 4 (06:29):
I don't know. That's why I came to see you.
What does it say on.
Speaker 6 (06:32):
There, sinead a bic hopefully fine print? What did I
do with me?
Speaker 4 (06:36):
Glasses on your forehead? O?
Speaker 6 (06:39):
L MANI L Harder, El Masta Ball whom that's when
I can't seem to translate? Wait mon, oh, of course, Milky.
Speaker 4 (06:51):
What does it mean?
Speaker 6 (06:53):
Well, I'm not exactly sure of my translation, but I
take it to read the past, the present, the future. Mine.
Speaker 1 (07:00):
That sounds good enough to me. Let me make a
phone call here and I'll be right with you. Tell me, Dougie,
does that expression mean anything to you?
Speaker 4 (07:08):
Have you ever heard it before?
Speaker 7 (07:10):
No?
Speaker 6 (07:10):
There are literally thousands of such sayings and had a
big you could refer to almost anything.
Speaker 4 (07:15):
That's what I was wondering about headquarters speaking, Hello, Deluchi,
This is Candy Madson. Is Lieutenant Mellard there, Lieutenant.
Speaker 2 (07:24):
Mallard Thomas Madison.
Speaker 5 (07:25):
You left with Joia Wallach and the jury on that
Happy dand supermarket killing of Lake Merced probably be there
the rest.
Speaker 2 (07:31):
Of the afternoon.
Speaker 1 (07:32):
Okay, would you write this down for me? El Madgie
L Hodder, Elmstackball humilky Ms Madson.
Speaker 2 (07:43):
This is a phone conversation.
Speaker 4 (07:46):
Well that, thank you? Now? Have you got that? I
guess so good?
Speaker 1 (07:52):
Just sign my name to it and put it on
Mallard's desk, will you sure you say so? Thanks to Lucy?
Speaker 4 (07:58):
Goodbye?
Speaker 6 (07:59):
Thank Are you crazy? Now? I don't understand that crazy.
Speaker 4 (08:04):
Just the other way around. This is one night I
know I'm going to get Millard.
Speaker 6 (08:08):
To call me candy fool, but you're a nice fool.
Just having you assure me that moving from here is
the right thing to do has removed all be troubled
thoughts transform me into a a blithe spirit.
Speaker 1 (08:20):
A blind spirit. Well, come on, blithe spirit, let's go
haunt for houses. Knowing rembred as I do. He's the
sort of a man who would open a doll factory
across the street from a boys'.
Speaker 4 (08:33):
School, But in this case I was going to make
sure he'd get the locale to the business and vice versa.
But what was the locale to be? Suddenly I had it.
Speaker 1 (08:42):
There was a barn type of building out on Octavia Street,
just off Pacific, used to be a dance studio. But
somehow or other, I seem to recall a for rent
sign on the place, and that's where we went.
Speaker 6 (08:53):
What is it, Candy, looks like the place might have
been a stable.
Speaker 4 (08:57):
I imagine it was one time. I do know it
was a dance studio for a while.
Speaker 6 (09:00):
It's for rent, all right, there's the sign.
Speaker 4 (09:04):
I hope we can get in. You'll like it. I'm
sure it's just ideal for a photography studio, and it
has plenty of room upstairs for living quarters and a
fine big backyard out and back for Henry Song's ideal.
Speaker 6 (09:14):
If I could only see it.
Speaker 1 (09:16):
Let's walk around on that little wooden bridge at the side.
Made there's a window we can peek through. If not,
we'll run down a little real estate office. The outside
needs fixing it up, but.
Speaker 6 (09:24):
Not too much. No, it's a matter of fact. If
the place is any kind of shape at all, and
the owner is building to health business, I might be
interested in buying the place. What why not? Now that
I'm in the mood and I've saved a fair amount
of money to pass the art too.
Speaker 4 (09:37):
Oh, here's the window. It's pretty dirty.
Speaker 6 (09:39):
Wait a minute, can you see anything, candidate?
Speaker 1 (09:42):
No, little enough to give you an idea. How much
space you have in the studio itself.
Speaker 3 (09:46):
Here.
Speaker 4 (09:46):
You take a look.
Speaker 6 (09:48):
It's wonderful, just perfect. I could do all the portrait
work up in front there and put all the equipment
back in the hop.
Speaker 4 (09:55):
Ducky, what is it?
Speaker 6 (09:56):
I saw a man in there.
Speaker 4 (09:57):
Let's see. He's motioning to us. I don't understand. What
is there a door down that way?
Speaker 2 (10:04):
Remember?
Speaker 6 (10:06):
Yes, I see one.
Speaker 4 (10:07):
Oh that's what he wants.
Speaker 6 (10:08):
Come on you suppose he is, dear caretaker.
Speaker 4 (10:12):
Maybe we'll find out.
Speaker 5 (10:22):
Was there something you wanted?
Speaker 4 (10:24):
We're just looking around. We saw the sign out in front.
Are you the caretaker?
Speaker 6 (10:28):
No?
Speaker 5 (10:28):
No, I am the owner.
Speaker 6 (10:30):
Then you live here again?
Speaker 5 (10:32):
No, there was a fire here last night. I came
over to investigat that fire. Yes, there wasn't much damage done.
One of them never saw it, and the fire department
or I've almost immediately.
Speaker 6 (10:44):
Lucky for you. How much rent are you asking?
Speaker 5 (10:47):
I'm afraid you'll have to take that up with the
real estate people. I let them handle all my transactions.
Speaker 4 (10:54):
Would you be willing to sell?
Speaker 5 (10:56):
I might, but that's something you have to discuss with
them too. That sounds odd, does it not? But much
better off if I don't transact my own business.
Speaker 4 (11:06):
Sure, would you mind if we looked around. Mister Watson
here is rather interested.
Speaker 5 (11:11):
I'm averred that is out of the question. Your city
electricity have been turned off. You would have to use matches.
Speaker 4 (11:19):
Will be very careful, sir, I've got matches right here
in my person.
Speaker 6 (11:23):
No, not no, it is impossible.
Speaker 5 (11:25):
After what happened last night time my thread, things might
be misunderstood.
Speaker 6 (11:29):
I should be accused of.
Speaker 4 (11:31):
Accused, accused of what?
Speaker 5 (11:34):
Mister and what did you say your name was?
Speaker 4 (11:38):
I didn't and neither did you. We have a queen
custom here in the United States.
Speaker 5 (11:43):
I am not interested in custom. I'm only interested in
keeping my appointment.
Speaker 1 (11:48):
You keep your appointment, I assure you. Do you remember
High Low Rembrandt, who.
Speaker 6 (11:54):
Is a quaint little device used with a great deal
of success on the Gridire.
Speaker 4 (11:58):
Yes, would you like to take High now? Take low pleasure?
Speaker 6 (12:01):
Really now?
Speaker 4 (12:03):
No, get his arms if you can't remembrand I'm trying
to take. I think he needs a little persuasion on
the head like so.
Speaker 6 (12:17):
Oh, dear, I hope you didn't have him too hard.
Speaker 4 (12:21):
No, he just went sleepy by for a little while.
Speaker 6 (12:24):
That's the reason for this unwomanly outburst on your pod.
Speaker 1 (12:28):
You certainly may Slugger look up there on that beam
above us, putting her forehead.
Speaker 6 (12:35):
Now, what did you want me to see?
Speaker 4 (12:37):
Up there? A sign on that beam, just barely visible,
but you can make it out.
Speaker 6 (12:42):
And no, and Maggie and harder el masta foul.
Speaker 1 (12:47):
Whom I saw it when we first came in, when
the boy on the floor mentioned matches, it gave me
a perfectly natural chance to open my purse and flash
the medallion.
Speaker 4 (12:56):
He saw it, all right, He stopped like.
Speaker 1 (12:58):
He'd been sapped. Oh twice, Yes, once by the medallion,
once by me. I think we've got something, Rembred, come on,
let's get to a phone call Mallard quick and may
I say something ducky Well, I shouldn't say it, but
that was the prettiest high low I've ever seen.
Speaker 7 (13:21):
From San Francisco. The National Broadcasting Company is presenting Candy
Matson UCN two eight two or nine.
Speaker 1 (13:33):
I left my gun with Rembred, who by this time
was sitting on our little friends. I took off, found
a grocery store about three blocks down and placed it.
Called a Mallard. Fortunately he was in, and after I
told him what was happening, he was out again, this
time headed for the former dance studio. I ran back
to the place, and Sleeping Beauty was showing signs of
coming too, with Rembrand still riding a choppy sea on
(13:54):
the guy's twisting chest.
Speaker 6 (13:58):
I'm so glad you're back. Hell Misteed is beginning to
buck the bit, and I did so want to avoid
smacking him on the knogging again.
Speaker 1 (14:05):
Yeah, I don't blame you. After a while it begins
to hurt. Here, give me the gun, remember, thanks, Now
stand back. If the joker tries anything, there's going to
be badminton with.
Speaker 6 (14:15):
Bullets for birds. You get married.
Speaker 4 (14:17):
Yes, he'll be here in a moment or two.
Speaker 6 (14:18):
The Hall of Justice. That'll be forever.
Speaker 1 (14:20):
You do, will Mallard when he has a chance to
play with that siren. Oh yeah, Tessamen snapping out of it.
Speaker 5 (14:26):
Oh, I think miss you will regret exceedingly what you
have done.
Speaker 1 (14:32):
Maybe so maybe no now care to tell us about
this past, present and future our mind stuff.
Speaker 6 (14:38):
I'm not saying I were.
Speaker 4 (14:41):
Does it surprise you? I know the translation? You might
as well tell us. You'll have to in the long one.
Speaker 6 (14:47):
I have nothing to say, and I mean that I'll
bet you do.
Speaker 4 (14:52):
Wait a minute, see who it is.
Speaker 6 (14:54):
Remember it's Mallred in his petunia system.
Speaker 4 (14:57):
Good open the door for them.
Speaker 3 (15:02):
Ah, this this cozy. All you need is a fourth
foot bridge.
Speaker 6 (15:07):
And I kip it.
Speaker 4 (15:08):
He's all yours footplet.
Speaker 3 (15:10):
Okay, get them boys, let's go.
Speaker 4 (15:12):
Hey, wait a minute, you haven't seen the building.
Speaker 3 (15:13):
The building can wait. This cookie's hot and I want
to keep them that way. Like I said, boys, take
him away, give him that big hall of justice.
Speaker 4 (15:25):
One, two, three O'Leary.
Speaker 1 (15:26):
And we were at the jail house on Washington Street
four or five six o'liary, and our lad was whisked
away into the inner sanctums for a pleasant little game
called information Please, seven, eight nine O'Leary. And Mallard was
back in his office snorting fire at me. And when
he snorts fire, sister Susie, it's frightening.
Speaker 3 (15:44):
What are you trying to do? Have the whole city
administrations out on my neck?
Speaker 4 (15:48):
What Mallard?
Speaker 2 (15:49):
What do you mean?
Speaker 3 (15:49):
I'll tell you what I mean. We've arrested a man
who's completely in the clear. He can shoot the works
at us. Sue is for false arrest.
Speaker 4 (15:55):
Wait a minute, something's off the beam here.
Speaker 3 (15:57):
What's his name, Testament, I'll testaman. How do you know
he's in the clear, because we checked just now. He's
been a respectable citizen of San Francisco for over twenty years,
owns a lot of real estate around town, fine reputation,
excellent credit, the works, and you have to stir up
a Hornet's nice.
Speaker 4 (16:12):
I don't know what to say.
Speaker 3 (16:13):
I do go home and stay there. I have a
hunch the guy's going to press an assault and battery
charge against you and Rembrandt, and he's got a very
legal right to do it too.
Speaker 4 (16:22):
Yipes. I wonder how I'll look in stripes.
Speaker 1 (16:29):
Mallard was just playing out and outsore, judging the mess
on its face value. He was entitled to be sore,
but I'm not the gual to take things on face value.
That sign on the beam out at the old studio
definitely had a link with the inscription on the amunent
I was sure of, and I was sure that Tessaman
was a link too, So I fell back on the
private eyes first lesson how to shadow a suspect, the
(16:51):
use of doorways, trees, building shrubs, dances, and et cetera.
So hiding behind him et cetera. I waited outside the
Hall of Justice until I saw Tessamon leave the building.
All he did was snag a cab and disappear into
an apartment house on the top of Clay Street. I
checked the ground floor and found there were only three outlets,
the main entrance, the service entrance alongside, and the garage
around the corner. I parked across the street where I
(17:13):
could see all three and waited and waited. About two am,
I figured Tessamen had holed up for the night, so
I went home and got myself a nice little jolt.
My penthouse was a mess. It looked like a senior
grade monsoon had ripped through the place. It stacked up
that Testman couldn't have done it, so there must be
somebody else who wanted in on the act. As far
(17:34):
as I could tell, nothing was missing, so I straightened
up as best I could and hit the sack. The
alarm went off at five o'clock the next morning, and
I struggled into my clothes, drove over to Rembrandt's place,
rustled him into my car, and we took off.
Speaker 6 (17:48):
You're mad, and Candy positively mad. What's the idea of
waking me up in the middle of the night.
Speaker 1 (17:53):
It's not the middle of the night, Doug, It's morning.
Remember the early birds get the wounds.
Speaker 6 (17:57):
For the change. I'd like to see the early worm
get the What are we doing gallivanting about like this?
Speaker 4 (18:02):
Can we're putting the shadow on Tessamath?
Speaker 6 (18:04):
Is he the word?
Speaker 4 (18:05):
One of them? In spite of the fact that Mallard
whitewashed him?
Speaker 6 (18:09):
Here we are, How nice did blake Essex.
Speaker 4 (18:13):
We'll just park here. Hunch down in your seat, docky.
I hardly imagine our worm has departed. Yet A half
hour passed by.
Speaker 1 (18:25):
Just as the sun peeked over the East Bay Hills
and scattered its own bright rays on the water of
the Bay, a car backed out of the Blake Essex garage.
Speaker 4 (18:33):
It was testament, all right.
Speaker 1 (18:34):
He wheeled the car down Clay Street and we followed.
He turned left on Taylor and again when he reached Pacific.
I had a hunch where he was going. He crossed
Vans Avenue when we did. Likewise, that was when Rembread
spoke up.
Speaker 6 (18:50):
I hate to mention it, dear, but I think the
shadowers are being shadowed.
Speaker 4 (18:54):
How do you mean? I looked behind him several times
there seems to be a car following us. Just a coincident,
and I wouldn't worry about it. Look, our boy's turning
off onto Octavia, just as I thought he's returning to
the studio. What we do now, go as slowly as
we can, give.
Speaker 1 (19:11):
Him time to park the car, get inside the building,
and then go in after him.
Speaker 6 (19:14):
Are you sure you know what you're doing, Candy?
Speaker 4 (19:17):
Nope?
Speaker 6 (19:18):
Oh, well then it's all right.
Speaker 1 (19:20):
They'll go past Octavia, Laguna and down the Broadway and
come back from that direction. Bet you do it now
to double back along Broadway.
Speaker 6 (19:36):
I dislike being repetitious, girl, But the car is still
following us.
Speaker 4 (19:40):
Well, there's nothing like a showdown here we are at Octavia.
Let's find out. Look across the street at the studio
out in front there bags of cement, sand.
Speaker 6 (19:54):
And a pile of bricks that wasn't there when we
left yesterday. No, there's our friend, Candy, if.
Speaker 4 (20:02):
He is, I'm going to find out about this right now.
Speaker 2 (20:05):
Please, miss Matson, remain seated in your car.
Speaker 6 (20:10):
Here's a gun, Candy.
Speaker 4 (20:12):
That's a naive observation room brand looks more to me
like a cannon.
Speaker 2 (20:15):
I assure you I won't hesitate using it.
Speaker 6 (20:19):
Now.
Speaker 8 (20:19):
If you and mister Watson will get out in an
orderly manner and walk across the street into the studio,
there will be no trouble.
Speaker 4 (20:25):
Looks like we have no choice. Come on, ducky, this
should be great sport.
Speaker 1 (20:34):
When you have a gun Natsie poking into your nose,
it's easy to be convinced. We walked across the street
and into the studio, even with a brilliant morning sunshine outside,
the place was dark and grim, and Tessaman Lad was
waiting to meet us, wearing the very latest and smirks.
Speaker 2 (20:52):
Just as your plan, Master. It was so easy.
Speaker 8 (20:55):
They fell into our trap beautifully, and now they shall
feel no pain to work, test man, there can be
no further delay. Yes, Master Shelby, he calls me, master,
And that is as it should be. Now, Miss Matson,
now that you've so conveniently returned to our shrine the amulet, please.
Speaker 4 (21:15):
I haven't got it. I left it at home in
another purse.
Speaker 2 (21:19):
It wasn't in your place last night, So you're.
Speaker 4 (21:22):
The character who wrecked my apartment.
Speaker 2 (21:24):
That is right. And now if you would be so
kind as to empty your purse on the table there.
Speaker 6 (21:29):
You better do it, Candy.
Speaker 4 (21:32):
Yes, it seems to be no alternative.
Speaker 6 (21:39):
Ah.
Speaker 2 (21:40):
Now the coin purse please, ah. Yes, the ambulet, thank you.
Speaker 4 (21:49):
This is street car tooken too.
Speaker 8 (21:50):
You can have that if you are the past, the present,
the future, our mind mine, Miss Madson, an old saying
of one of the ancient pharaohs. I adapted it for myself.
Rather brilliant, wouldn't you say?
Speaker 4 (22:04):
I'd say you need a new scriptwriter.
Speaker 8 (22:06):
Now I shall tell you about your future. This building,
being on a hill, was built on solid rock foundations.
My faithful servant, tests Man is an expert stonemason. You
see the chamber like a fair hewn into the rock.
Tests Man is going to build a brick wall across it.
You are going to be sealed inside, also like the
(22:28):
ancient pharaohs, only it will take more than a Howard
Carter or a Lord Carnavan to discover you.
Speaker 1 (22:40):
The guy was a madman, and a madman usually keeps
his word. Tess Man went to work. Little by little,
the ceiling wall of bricks took shape. Once I pressed
my hand against the bricks. You must have been using
a fast hardening mortar mix of some kind. The wall
was as firm as the ages. Zooma smiled. Finally there
(23:03):
was an opening, just large enough to crawl through. That's
when Zooma spoke up.
Speaker 8 (23:13):
Enough tests man, I will complete the work as you
will master. My mission here is finished. You three are
the only ones who know about me, and so I
shall destroy all evidence and move on on your fields.
Speaker 2 (23:28):
Hes Man, in your.
Speaker 6 (23:30):
Go what muster?
Speaker 2 (23:34):
No, No, I have served you festally, I said, getting no,
I won't die.
Speaker 3 (23:41):
I won't not even for you.
Speaker 6 (23:43):
What that fall?
Speaker 8 (23:53):
The future belongs to me. You too, get him, shove
him into the tomb. Now, I trust you won't be
quite so idiotic. Suffocation isn't too unbearable. I think I
shall call this the tomb of the wayward three. Yes,
(24:16):
that will be good?
Speaker 6 (24:18):
Is he in?
Speaker 4 (24:20):
Yes?
Speaker 2 (24:21):
Very well, you may follow.
Speaker 4 (24:24):
Go ahead, remored. I'm sorry I got you in this.
Speaker 6 (24:28):
That's all right.
Speaker 8 (24:30):
And now for the final act, the complete obliteration.
Speaker 6 (24:37):
Ah.
Speaker 8 (24:38):
Yes, people all over the world have lost their way.
They struggle in dartness. It is up to me to
bring them the truth. For after all, a hardy, a
harder almstak balhom, He'll give all mine?
Speaker 4 (24:56):
What about that woman you dumped into Stoe Lake, Jama a.
Speaker 8 (25:00):
Very generous lady. She contributed over fifteen thousand dollars to
the cause. But then the poor thing began to doubt me,
said something about going to the authority mouse stunned fortune.
It was then that even eyes Zoma made a mistake.
I forgot about the amulet I had given her. She
(25:21):
are still wearing it about her neck. I will not
make that error again. Now, like the final toast to life,
the last brick, Sleep well, foolish ones, forever get your
hair straight up.
Speaker 4 (25:37):
In the air.
Speaker 8 (25:38):
Mac you desecrate alice that Get your hands up, Yes,
I will like it.
Speaker 7 (25:50):
Kenny, where are you over here?
Speaker 1 (25:52):
Allen?
Speaker 4 (25:53):
Behind this triple?
Speaker 3 (25:57):
A fine thing, That's all I've got to say, running
around messing things up. Boy, he's really got you tucked away,
hasn't he?
Speaker 4 (26:04):
Come on out of here. We can hardly breathe. We
you're pal Testman, who was past breathing?
Speaker 3 (26:13):
Boy? You can sure do it? Catch a caddy. I
think I ought to leave you in there. You almost
messed this whole thing up.
Speaker 8 (26:19):
I did.
Speaker 3 (26:21):
How Why did you think we released Tessman?
Speaker 4 (26:24):
Tesman?
Speaker 3 (26:25):
Yeah, I know, Ali Tesman I'll call him Tessaman because
it was the first lead we got on this joker, Zoma.
We've been after him for months. Why playing on the
superstitious people with a yen for the occult? We had
nothing to go on until we fished that woman out
of Stowe Lake with the amulet around her neck. And
you have to go and stick your pretty nose into
the picture.
Speaker 4 (26:44):
What about Tiffman?
Speaker 3 (26:46):
Up until he met Zoma, he was okay, doing quite
well in real estate. Then along came the master. Tessaman
turned over the studio for Zoma to uses a tempo.
But after he dumped the tomato into Stow Lake, Zoma
realized he'd have to uh liquid his affairs and get
the bejabers to other parts of the country with you
and Rembrandt making like cops and robbers. He knew he
(27:06):
had three people to get out of the way. He
almost got away with it.
Speaker 4 (27:09):
How did you get here when you did?
Speaker 3 (27:11):
Sheer luck, Cupcake? I was only returning to make a
routine check up on this joint. Sister, Are you lucky?
Speaker 4 (27:18):
You can say that again?
Speaker 8 (27:19):
All right?
Speaker 3 (27:20):
Sister? Are you on second thought? Maybe you aren't.
Speaker 4 (27:24):
What do you mean, noother dear.
Speaker 3 (27:25):
If there's one thing I can't stand, it's an interfering woman.
I think I'll just leave you in there. No none
goodenowrene a good an?
Speaker 6 (27:47):
Okay?
Speaker 3 (27:48):
On one condition?
Speaker 2 (27:49):
Sure?
Speaker 4 (27:49):
Sure, what is it?
Speaker 3 (27:51):
Promise you'll go to a roy Acuff movie with me tonight,
roy Acuff movie.
Speaker 4 (27:57):
What do you think, Rembrandt, It's worse than death, That's
what I thought too. So long, Mallard, on your way out,
just stealing that last brick, William.
Speaker 7 (28:29):
Listen again next week at this same time for excitement
and adventure.
Speaker 4 (28:33):
Just dial Candy Madson you come two E two o nine.
Speaker 7 (28:46):
The part of Testsman was played by John Grober. Zoma
was Loutobyn Henry Laugh is heard as Lieutenant Ray Millard,
and Jack Thomas is rehn Brandt Watson. The program stars
Natalie Masters and has written and direct by Martimasters. Bill
Brownell creates the sound effects, and Eloise Rowan is heard
of the organ. Our engineer was Frank Barron. Any resemblance
(29:09):
to actual people is purely coincidental. The characters in the
story were entirely fictitious. The program came to you from
San Francisco. Dudley Man Loves speaking. This is NBC, the
(29:35):
national broadcasting company
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