CANDY MATSON PRIVATE EYE – #1 EP – Old Time Radio Show (1940s-50s)

(0:02) Hello, Candy Matson. (0:04) I understand you’ve been hired to find out who knocked off Donna Dunham. (0:09) Abrupt and right to the point.

(0:11) That’s my business, old man who talks like a ghost. (0:14) Take care of your health, little lady. (0:17) Donna Dunham is dead.

(0:19) Let her stay like that. (0:20) You take care of your cues and I’ll show my piece, understood? (0:24) Not quite. (0:25) Listen to this.

(0:29) Oh, goody, goody. (0:30) Bullets now delivered by phone. (0:32) Thanks for the slug.

(0:33) I’ll have it identified later. (0:35) Maybe you’ll be identified later. (0:37) Remember what I said, Candy Matson.

(0:40) Forget about Donna Dunham. (0:59) My name is Candy Matson. (1:01) I like money.

(1:03) Lots of it. (1:05) That’s why I became a private eye. (1:07) And too, you meet such interesting people.

(1:10) Mostly dead. (1:12) But getting back to the cash angle, (1:15) that’s why I took on the Donna Dunham case. (1:17) I knew it was full of dynamite.

(1:20) But a girl has to eat now and then, (1:22) maintain a penthouse on Telegraph Hill, (1:24) and keep the moths out of a few mink coats. (1:27) Doesn’t she? (1:28) Sure. (1:29) And a shot fired into your room from across the street at 3 in the morning (1:33) is just one of those occupational hazards.

(1:37) So I took the job, and the 500, and went to work. (1:42) Like to hear how the whole thing started? (1:45) Yeah. (1:45) Believe it’s proceeded to Act 1. (1:58) I’d had a hard day at the office, sleeping all day.

(2:02) And I needed a bit of a tonic to pick me up. (2:06) So the natural thing to do was to ground loop into the Marigold Room (2:09) and see what could be done. (2:11) As I sank down onto one of the padded stools, (2:14) the dispenser approached.

(2:16) Make it a martini, my good man. (2:18) Very dry. (2:19) So dry it comes out like a blotter.

(2:22) Look, lady, nothing would give me more pleasure, (2:25) but I can’t serve you here unless you have an escort. (2:27) What? (2:28) Oh, I’m waiting for someone. (2:30) That’s what they all say.

(2:32) But he’ll be here very soon. (2:34) I know, I know. It never fails.

(2:36) Why, you low-minded crock. (2:37) For two cents, I’d knock your… (2:38) I see I arrived just in time. (2:40) Save your two cents, my dear.

(2:42) Huh? (2:43) You heard what the lady said. (2:44) A martini. (2:45) Make it two.

(2:46) Uh, yeah. (2:48) Sure. (2:49) I thought it was just another one of those… (2:51) Yeah, two martinis.

(2:55) Well, saved from a fate worse than death, (2:58) Miss Matson. (2:59) Who are you? (3:00) A natural question. (3:02) And I’d like a natural answer.

(3:04) Roberts is my name. Warren Roberts. (3:06) Oh.

(3:06) I own a few steamships hither and yon about the world. (3:10) Oh, yes, I know. (3:12) I took a trip on one of your scowls once.

(3:14) The food was a nightmare’s nightmare. (3:17) How do you think I came to be a millionaire? (3:20) Aha, I see your point. (3:22) How did you know my name and what do you want? (3:26) I have a business proposition to make to you, Miss Matson.

(3:30) You’re sure it’s business, Mr. Roberts? (3:34) Strictly business, Miss Matson. (3:36) Call me Candy. (3:38) You tell me the details and I’ll tell you what it’ll cost you.

(3:41) Fair enough. (3:42) But don’t think. (3:43) You can always make it back on your food.

(3:46) Well, I can hardly tell you here. (3:48) Suppose we drop over to my place. (3:50) But I want that martini.

(3:52) My man will make us a batch over there. (3:54) The things I do to make a living. (3:57) Okay, let’s go.

(3:58) Well, hey, how about these drinks? (4:00) Here you are, my man, and save the martinis for some poor wayward soul (4:03) who hasn’t the wherewithal to make the purchase. (4:14) Oh, good evening, Mr. Roberts. (4:16) I didn’t know you were expecting company.

(4:19) Take Miss Matson’s things, Montgomery, and bring her some martinis. (4:22) They’re all made, sir. (4:23) Good.

(4:25) Let’s go into the drawing room, shall we? (4:26) Mm-hmm. (4:37) Modest little mousetrap, isn’t it? (4:40) And I’ll bet it’s had a good path beaten to its door, too. (4:44) Quite a sense of humor you have, Candy.

(4:46) Well, it helps now and then. (4:49) Here, sit down here. (4:51) That’s it.

(4:53) I, uh, I can’t quite see you. (4:56) It’s like being behind a retaining wall. (4:59) Oh, well, I’ll just listen.

(5:01) What’s the topic of conversation? (5:04) A young lady named Donna Dunham. (5:06) Aha, the female element. (5:09) What is your connection? (5:11) Well, it’s strictly that of a patron.

(5:13) Oh? (5:14) Miss Dunham was a hat-check girl over at the Scarlet Dawn. (5:17) I heard her sing one night. (5:19) I decided right then and there that I was going to sponsor her career.

(5:23) Was? (5:24) Yes. (5:26) Donna Dunham was murdered early this morning. (5:29) By you? (5:29) What? (5:31) Are you out of your head? (5:32) Yes, when I think of the fee I’m going to get from you.

(5:36) I beg your pardon, sir. (5:37) The martinis. (5:38) Oh, yes.

(5:39) Put them down there, Montgomery. (5:42) Very good, Montgomery. (5:43) I won’t need anything else tonight.

(5:45) Thank you, sir. (5:45) Good night, miss. (5:46) Good night.

(5:47) Don’t sleep too tight. (5:50) May I? (5:51) You certainly may. (5:53) I’ve been waiting far too long for one of these.

(5:57) There you are. (5:59) Well, as a sponsor, you didn’t pick a protege with great lasting qualities, did you? (6:05) No, I didn’t. (6:06) She was so young, so very lovely.

(6:10) Will you take the case, Miss Matson? (6:13) What do I have to go on? (6:16) Oh, very little. (6:18) My suspicions point to a musician who worked at the Scarlet Dawn. (6:22) He seemed to resent very strongly my stepping into the picture.

(6:25) Were they going together? (6:26) Off and on, until I started to back Donna’s career. (6:30) A very interesting triangle. (6:32) What do the police have to say? (6:35) The police, Miss Matson, have not yet been notified.

(6:39) What? (6:40) I went over there this morning and I discovered the body lying on the floor. (6:44) I became confused. (6:45) I locked the door and called the Scarlet Dawn.

(6:47) I told the manager that Miss Dunham was quite ill and wouldn’t be able to appear tonight. (6:51) Extremely ill, I’d say. (6:55) This is fine.

(6:56) And you realize you’re in trouble, don’t you? (6:59) Yes, I do. (7:00) And that if I take this case, I’m sticking my neck out too? (7:02) Exactly. (7:04) My fee is 500.

(7:06) That’s a fair price. (7:07) In advance. (7:08) Well, I’ll make out a check immediately.

(7:10) Oh, won’t you have another martini? (7:13) I don’t think so. (7:17) You know, you are very beautiful. (7:22) Thank you.

(7:23) But I already have a sponsor. (7:25) And your lips are very, very kissable. (7:28) The best you can buy from Max Factors.

(7:31) Are you sure you don’t want another martini? (7:33) Look, Roberts, let’s get this straight. (7:35) You’re in the middle of a jackpot. (7:37) Make that check out right now so I can join you.

(7:40) Then it’s up to me to spring the both of us. (7:43) In the meantime, get that glint out of your eye. (7:47) The one that’s wired for wolf calls.

(7:50) Understood? (7:52) Very well. (7:53) I’ll get started right away. (7:54) Where does the late Miss Dunham live? (7:56) Just on the edge of Chinatown, 27B Gresham Alley.

(8:00) It’s the only three-flat house on the block. (8:01) I’ll find it. (8:02) And you, you just stick right here and don’t poke your face out of the door.

(8:08) Now, the check, if you will. (8:43) Now listen, you, if you think you’re going to get… (8:46) Well, send me back to the last line in the chorus if it isn’t old Hawkshaw himself. (8:54) Yeah, that’s right.

(8:56) Hiya, Candy. (8:57) Mallard, how you ever got to be a police detective, I’ll never know. (9:01) I heard you trailing me for the last two blocks.

(9:03) Maybe I wanted you to hear me. (9:05) What are you doing over in Chinatown, Candy? (9:07) I like to mate a chow yuck. (9:09) Uh-huh.

(9:11) Something up? (9:12) Not with you around, baby. (9:13) Look, Candy, just a little word of caution. (9:16) We’re laying for you.

(9:17) Oh. (9:18) The chief isn’t very happy about you busting up that Newton case last month. (9:22) Somebody had to.

(9:24) The score was still tied in the 2017. (9:26) Stop gagging, Candy. (9:27) What are you doing around here? (9:29) You don’t like tomato chow yuck that much? (9:31) Well, maybe that oriental music sends me.

(9:35) By the way, where’s the Scarlet Dawn, Mallard? (9:37) Huh? (9:38) Right down there on the corner. (9:40) Come on. (9:41) I’ll buy you a double Mickey.

(9:42) Uh, no thanks. (9:43) I just had one. (9:44) And listen, Candy, take a tip.

(9:47) Don’t interfere with the work of the police. (9:49) Don’t worry about me, Mallard. (9:51) And you take a tip, too.

(9:53) Next time you trail somebody, get yourself a pair of tennis shoes. (10:08) Yes, miss? (10:09) Would you like a table? (10:11) No, thanks. (10:12) Uh, no.

(10:13) Something I can do? (10:15) Hmm? (10:16) Oh. (10:16) Oh, yes. (10:17) I’m a friend of Donna Dunham’s.

(10:20) She wanted me to come over and tell you that she’s feeling better. (10:23) She’ll be back at work tomorrow night. (10:25) Oh, that’s good.

(10:26) Business at the hat check stand, no good without her. (10:30) Yeah. (10:30) Yes, she’s a great girl.

(10:33) By the way, I don’t see her boyfriend tonight. (10:36) Boyfriend? (10:37) You know, the fellow who plays in the band. (10:39) Oh, Donny Andrini.

(10:41) No, he got night off. (10:43) Oh. (10:44) Too bad.

(10:45) She wanted me to tell him, too. (10:46) Yep, too bad. (10:48) Oh, maybe you’ll find him at the Lotus Hotel.

(10:50) He lived there. (10:51) Oh, sure. (10:53) The Lotus.

(10:54) Yes, I’ll check there. (10:55) Thank you very much. (11:09) Rembrandt Watson speaking.

(11:10) Yes, I know. (11:12) Now, look. (11:12) Photographs taken at reasonable prices.

(11:14) I know, Rembrandt. (11:15) Family groups and portraits especially. (11:18) Also… (11:18) Rembrandt, this is I, Candy Maxon.

(11:20) Fine colored pictures. (11:22) What? (11:23) Candy Maxon? (11:24) That’s right. (11:24) By all the furies of Zeus.

(11:27) Why did you have to call just now? (11:29) I was wooing the muse that only Bacchus can create. (11:32) Probing the infinitesimal heights a soul can reach from the tear of the great. (11:37) And you had to call and spoil it all.

(11:40) Look, Rembrandt. (11:41) Uncross your eyes and listen to me. (11:43) I shall listen, my lily, but undoubtedly I won’t like it.

(11:46) What skullduggery are you up to now? (11:49) I’m knee deep in something that smells as high as the Oakland mudflats. (11:53) A towering comparison. (11:55) What is it? (11:56) I can’t tell you now, but I want you to do me a favor.

(11:58) Get your finest camera and go over to 27B Gresham Alley. (12:02) Get inside and take all the pictures you can at the place. (12:04) Won’t I be intruded? (12:06) No.

(12:07) There’s a very attractive young lady there. (12:09) Oh, delightful. (12:10) She’s dead.

(12:11) How dull. (12:12) I dislike intensely one-sided conversations. (12:16) All right.

(12:17) What do I do then? (12:18) Go back to your place and get me some prints as fast as you can. (12:21) I go, but not willingly. (12:24) Only for you would I forsake the mood I have achieved through prodigious application.

(12:30) Bully for you, laddie buck. (12:32) I’ll see you at your place in about an hour. (12:41) Pardon me.

(12:42) Are you the night clerk? (12:44) I ain’t sittin’ bull. (12:45) Yes, we have no rooms. (12:48) I’m not here for a room.

(12:50) Oh? (12:52) Well, maybe there’s something I can do for you. (12:55) Yes. (12:57) Could you tell me if Mr. Danny Andrini is in? (13:00) No, he isn’t.

(13:01) Matter of fact, I haven’t seen him all day. (13:04) Yes, I know. (13:05) There’s a reason.

(13:06) We had to take him to the hospital this morning. (13:08) What? (13:09) Yes. (13:11) He’s under observation for appendicitis.

(13:13) Oh, I’m sorry to hear that. (13:15) So, I was wondering if you’d let me have his key. (13:18) Huh? (13:18) He wants me to bring him his portable radio.

(13:21) Oh, does he have one? (13:23) Why, cert. (13:24) Did you ever know a musician who didn’t own a portable radio? (13:27) Oh, I know. (13:28) Come to think of it, I… (13:29) Yeah, yeah.

(13:30) Here’s the key. (13:31) It’s room 418. (13:33) Thank you.

(13:34) You’re very kind. (13:36) Not at all. (13:38) Not at all.

(13:46) All right, Candy, now please start making like a private eye. (14:04) Letters. (14:07) Yes, over here.

(14:10) Promises. (14:12) A whole pile of them. (14:14) Well, let’s try this one.

(14:21) Dear Danny, I don’t know how to start this, (14:24) but your accusations last night need some sort of answering. (14:28) I’m not in love with Warren Roberts, and never will be. (14:32) He’s just proven to be a very kind and gracious friend.

(14:36) You must realize that I have placed my singing career above everything else, (14:40) and I’ve… (14:40) Thank you. (14:44) Well, leave as confusedly as you can. (14:54) Oh.

(14:56) Hello, you. (14:58) Hello. (14:59) I was wondering if I could be of any assistance.

(15:02) Oh, no. (15:03) It seems Mr. Andini would rather sit. (15:06) I mean, he doesn’t seem to have a portable radio.

(15:09) Oh. (15:10) I’ll, uh… (15:11) I’ll just be on my way. (15:13) Oh, now, what’s the rush? (15:14) You don’t have to leave right away.

(15:16) Wouldn’t you like a drink or something? (15:19) No, not right now. (15:21) I am pressed for time. (15:24) I’ll tell you what, though.

(15:26) I’ll be back later. (15:28) I’ll be back. (15:30) Sure.

(15:31) Fine. (15:32) When? (15:33) Let’s make it next whippin’ time, huh? (15:36) Goodbye. (15:43) Oh.

(15:48) On my soul, I’d like to have a popcorn concession here tonight. (15:52) Come in, come in. (15:54) Rembrandt, you’re a double-crosser.

(15:57) I, a double-crosser? (15:59) Yes. (15:59) My dear, you’re mistaken. (16:00) Oh? (16:01) The only time I double-crossed was out in the country.

(16:04) I passed over a bridge, then I had to double-cross back. (16:07) Oh, no. (16:08) I found I’d left my knapsack with some rare vintage in it on the other side.

(16:13) What are you doing here? (16:14) You haven’t had time to get the pictures I wanted. (16:16) That’s just the point. (16:17) To elucidate, I arrived at 27B Gresham Alley (16:21) and found it to be a most loathsome location.

(16:25) That’s beside the point. (16:26) What happened? (16:27) I couldn’t get in. (16:29) Oh, Rembrandt, I… (16:31) I’ve done you a grave injustice.

(16:33) Of course you couldn’t get in. (16:35) Warren Roberts has the keys. (16:37) Who’s this Minion Roberts? (16:38) I’ll tell you later.

(16:39) We’ve got to work fast. (16:40) Mallard pissed something in the wrong key (16:42) and the police will be in on the deal before long. (16:44) Mallard the gumshoe? (16:46) That’s right.

(16:47) I’ve just got to get pictures of the layout so I can study them. (16:50) In my own fumbling fashion, candy my love, (16:53) I have given birth to an idea. (16:55) Even from you, Rembrandt, I’ll take it.

(16:57) I’m grabbing at straws. (17:00) Straws. (17:00) Very effective with tall, cool columns.

(17:03) Never mind now. (17:04) What’s your idea? (17:05) Let us hire ourselves to a locksmith. (17:08) Present ourselves as man and wife (17:10) and a peasant will make us a key.

(17:13) Voila! (17:14) Entree to the maddery’s apartment. (17:16) No, Rembrandt, that’ll never work. (17:19) Oh, wait a minute.

(17:21) Three flats to the house. (17:23) I used to live in just that kind of a house (17:25) out on Fulton Street when I was a kid. (17:27) A nauseating thought.

(17:29) Rembrandt, those flats are identical. (17:32) If we can get into the flat above, (17:35) we can get what we want. (17:36) I think I’ve heard your reasoning, Candy.

(17:39) In other words, the living room is just the same. (17:42) That’s right. (17:43) The dining room, likewise.

(17:44) Yes. (17:45) And the same goes for the bedroom, the kitchen, (17:48) and even the, uh… (17:49) That’s right, even in there. (17:50) What are we waiting for? (17:53) Let’s go slumming in Gresham Alley.

(18:03) Go ahead, Rembrandt, ring the bell. (18:05) Always I must do the labor. (18:07) Oh, poor… (18:08) Well, I hope we don’t disturb the dead (18:11) in the middle flat.

(18:13) You won’t. (18:14) From what I hear, (18:15) she was done in sort of permanently. (18:18) Oh, dear, there’s no one at home.

(18:21) Come on, Candy. (18:22) Let’s return and see what Bacchus has to offer. (18:25) Oh, wait.

(18:25) I thought I heard something. (18:30) Oh, you see? (18:31) I’ve got all your flashbulbs. (18:32) As they say in the old country, (18:34) when an osma marbles, open the door.

(18:38) Beauty before age, my dear. (18:40) Thank you, Rembrandt. (18:44) It’s kind of dark in here.

(18:46) The peculiar aroma (18:49) definitely smacks of the far east. (18:52) Mmm. (18:54) Something you folks wanted? (18:55) Talk up, Candy.

(18:56) It’s your cue. (18:57) Why, yes. (18:58) Yes, may we come up? (19:00) What do you want? (19:01) Well, we’re with a magazine, (19:03) The House Lovely.

(19:05) We want to take a few photographs of your place. (19:08) At this hour? (19:09) Working press is never shackled (19:10) by the hands on a clock, sir. (19:13) Sounds phony to me, (19:15) but come on up.

(19:20) What do you want to take pictures (19:22) of this beat-up joint for? (19:23) Well, you see, it’s comparison. (19:26) The old and the new. (19:28) We’ve already taken pictures (19:29) of a flat similar to this, (19:30) only it’s been remodeled.

(19:33) This, well, this is perfect for the contract. (19:36) Mmm. (19:36) I guess it’s all right.

(19:39) Go ahead. (19:40) Start with the hall, Rembrandt. (19:42) Roger, my pretty.

(19:43) Let’s see. (19:44) This should be just about right. (19:47) Mm-hmm.

(19:48) Now the bedroom. (19:50) That should be off the hall here. (19:52) Oh, yes.

(19:53) Shoot from the door, Rembrandt. (19:55) Did he get the entire room? (19:56) Not quite, but most of it. (19:58) That’ll do.

(19:59) Just a moment. (20:00) Ah. (20:02) There we are.

(20:04) You cats work fast. (20:07) What was that? (20:08) I said you work fast. (20:10) Yes.

(20:11) Now, in the bathroom, (20:13) do you have a tub or a shower? (20:14) Why, uh, (20:15) why don’t you see for yourself? (20:19) No. (20:20) On second thought, (20:22) I think that’s about all we need. (20:25) Sandy, you said that we could… (20:26) Come along, Rembrandt.

(20:27) And, uh, (20:28) thank you very much. (20:29) Well, that’s okay. (20:30) And don’t slam the door.

(20:33) The lady downstairs is sound asleep. (20:46) Rembrandt, (20:47) I think I’ve got this thing looked. (20:49) Are you referring to this case (20:51) or my desire to return to the arms of Bacchus? (20:55) That I could never look at.

(20:57) I’m talking about the case. (20:59) But I need help, Rembrandt. (21:01) I’m here.

(21:02) No. (21:04) That’s not enough. (21:05) I need the big, strong arm of the law.

(21:08) Oh, no. (21:09) Candy, you traitor. (21:11) I hate to admit it, (21:12) but I need somebody like Mallard.

(21:15) Am I being paid? (21:16) Hmm? (21:17) Oh, no. (21:18) It’s the wicked genius. (21:20) Yikes, it’s a gum shoe.

(21:22) Yep. (21:23) In person. (21:25) Mallard, how did you get here? (21:26) I took your advice (21:28) and bought some tennis shoes.

(21:30) All right, spill. (21:32) What goes on? (21:33) I’ve been following you around (21:33) until I’m punchy. (21:34) Start talking, Candy.

(21:35) Okay, so you heard me. (21:37) I do need your help, Mallard. (21:39) Badly.

(21:40) There was a young girl murdered yesterday (21:42) at 27 B. Gresham Alley. (21:44) Is that the place you just came from? (21:45) That’s right. (21:46) Why don’t we ever hear of these things? (21:48) Oh, I get exclusive rights.

(21:51) Anyway, I think I have a whole deal figured out. (21:53) You can have full credit, Mallard, (21:55) but you’ve got to take my advice. (21:58) It hurts, but go ahead.

(22:00) Now go back to 27 C. Gresham Alley. (22:03) That’s the top flat. (22:05) You’ll find a character there (22:06) named Danny Andrini.

(22:08) Take him. (22:09) Then get out to 5711 Pacific Street (22:11) as fast as you can. (22:12) Well, all right, I’ll do it.

(22:15) But, Candy, so help me. (22:17) If this is a foul up on you, (22:20) the new look with stripes (22:22) is going to be very fashionable. (22:24) She knows what she’s doing, Mallard.

(22:27) When you get back to Gresham Alley, (22:28) just tell Mr. Andrini (22:30) that you’re from House Lovely. (22:32) He’ll adore you. (22:42) This is it, Rembrandt.

(22:44) I just hope my man, Montgomery, (22:46) hasn’t retired yet. (22:49) What are we doing out here on Pacific, Candy? (22:52) This is out of our league. (22:54) All of a sudden, (22:54) I’ve become socially conscious.

(22:57) Come on, Montgomery, answer the door. (23:00) Oh, right on cue. (23:02) I beg your pardon.

(23:03) Did you ring? (23:04) No, Montgomery. (23:05) We crossed the moat (23:07) and used a battering ram. (23:08) I’m sorry, young lady.

(23:09) Mr. Roberts doesn’t wish to be disturbed. (23:11) Look, Montgomery, remember me? (23:13) I was here earlier this evening. (23:15) Mr. Roberts and I had a martini together.

(23:17) Martinis? (23:19) Well, it was worth a safari out here after all. (23:22) Oh, I’m sorry, miss. (23:24) I didn’t recognize you at first.

(23:26) Yes, do come in, won’t you? (23:28) The light dimmed. (23:29) If you just wait in the drawing room, miss, (23:32) I’ll inform Mr. Roberts of your presence. (23:34) Thank you very much, Montgomery.

(23:35) I used to know a chap like that in the British Army. (23:38) By continual groveling and studied objectiveness, (23:42) he worked his way up to the rank of a private. (23:46) Thanks, Ramsey.

(23:47) That’s the first laugh I’ve had tonight. (23:49) What’s the pitch, Candy? (23:51) I don’t get it. (23:52) You will in a minute.

(23:54) You’re the patter of little feet. (23:56) Miss Mattson, what’s the idea? (23:58) I thought you were going to check with me by phone. (24:00) Mr. Roberts, this thing is bigger than either of us.

(24:03) I just couldn’t wait. (24:05) Is there a martini in the house? (24:08) I’ll have Montgomery serve in just a moment. (24:10) I don’t think there’ll be time, Mr. Roberts.

(24:13) Where is she? (24:15) Upstairs. (24:17) You really loved her, didn’t you? (24:20) Madly. (24:21) That just about describes it, madly.

(24:25) And while you were, shall we say, sponsoring her career, (24:30) you thought she was playing around with Danny Andrini as well. (24:32) Yes, she was. (24:33) You’re wrong, Roberts.

(24:34) I have a letter from Donna Dunham to Danny Andrini. (24:37) In effect, she told him to blow, skedaddle, vamoose. (24:40) What? (24:41) That’s right.

(24:43) So it seems we have a slight piece of mistaken murder on our hands, doesn’t it? (24:49) Yes, on one hand. (24:51) On the other, I have two in mind that will be deliberate. (24:54) You asked for it, Miss Mattson.

(24:56) Too bad you had to bring your friend along. (24:57) I wouldn’t if I were you, Roberts. (24:59) The fighter has a pistol.

(25:00) I thought you said he served martinis. (25:02) This isn’t exactly a social moment. (25:04) I know how you privatize work, you lone wolves.

(25:07) You confide in no one. (25:08) So with a pull of the finger, I erase all evidence. (25:12) Just like this.

(25:18) He’s dead. (25:20) Oh, I’m really grateful to you, but where on earth did you come from? (25:24) Like I say, Candy, you just can’t beat these tennis shoes. (25:30) Well, that clears everything up except for one thing.

(25:35) Where do we go now for the martinis? (25:48) And that’s how it happened. (25:50) My phone rings, and I’m into the darnedest message you ever heard of. (25:55) Sure, Roberts catered.

(25:57) He was jealous. (25:59) And I knew I was on the right track when Rembrandt said the apartment above Donna Dunham’s (26:04) smelled like the Far East. (26:06) It was tobacco odor, the same Turkish aroma I had smelled in Roberts’ home out on Pacific Street.

(26:14) Danny Andrews? (26:15) Well, he was waiting for Roberts to return. (26:19) He was going to kill him. (26:21) He knew that Roberts had rendered the fight above Dunham for, uh, sponsoring purposes.

(26:28) Donna was a nice kid. (26:30) She was just caught in the middle. (26:33) Flat.

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