Candy Matson 500829 - [60] The Movie Company

Summary

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Podcast Summary: Candy Matson: "The Movie Company"

Podcast: Candy Matson
Host: Old Time Radio DVD/Nostalgia USA Prime
Episode: 500829 - [60] The Movie Company
Date of Original Air: May 11, 2020
Starring: Natalie Park as Candy Matson

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Episode Overview

This episode of Candy Matson immerses listeners in a mystery set against the glamorous yet shadowy backdrop of a Hollywood film crew descending on San Francisco’s Telegraph Hill. Private investigator Candy Matson stumbles onto a murder when a movie extra is discovered hanged during a historical re-enactment. As the body count rises, Candy investigates a tight circle of Hollywood stars, a tempestuous leading lady, and a secretive assistant director, unraveling a tale rife with jealousy, faded romance, and old Hollywood ambition.

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Key Discussion Points & Plot Developments

1. The Movie Shoot on Telegraph Hill

• [00:33–04:19] Candy Matson meets Lieutenant Mallard on location at Telegraph Hill, where a movie on San Francisco's gold rush era is being filmed.
  • Candy’s quip about Hollywood's artificial sets:
    "Only God can make a tree, but Hollywood presumes to improve on him." (A, 01:17)
• The mood quickly shifts from playful banter to horror as they discover that among the hanging lynching-scene mannequins, there is a real corpse.

2. Discovery of the Extra’s Corpse

• [04:36–06:38] Candy and Mallard investigate, identifying the dead man as an extra, with the director and crew unable to place him.
  • Candy’s sharp detective instincts suggest checking the payroll.
    "There's one thing extras like to do, and that's get paid. The name that doesn't show up is our friend the corpse." (A, 06:11)
• The paymaster confirms all extras were present; the dead man's identity remains a mystery.

3. Hollywood Intrigue and Interpersonal Tensions

• [07:01–11:05] Candy has a run-in with Reginald Dix (the director) and Cherry Dana (temperamental leading lady); sparks fly as suspicion, jealousy, and career envy bubble below the surface.
  • Cherry Dana confronts Reginald and Candy, accusing Candy of trying to steal Dix:
    "You lured my director up here, and I'm going to see that some little local wench doesn't put the squeeze play on him." (G, 10:33)

4. Payroll Sequence and a Shocking Revelation

• [11:54–13:39] At the hotel payroll, everyone is present—no missing names—deepening the mystery. Suddenly, news breaks: director Reginald Dix has been shot dead in his room.

5. The Murder Investigation Expands

• [14:14–18:10] Dix’s death triggers another investigation. Candy reunites with old flame Buff Arnold, who describes bad luck and accidents plaguing the production, reinforcing rumors of a jinx.
  • Buff Arnold: "I told him this picture had a jinx on it before we left the studio. Little things that happened right from the start." (E, 16:39)

6. Motives, Histories & Hidden Relationships

• [18:38–20:12] Candy interviews Ames, the assistant director, learning that Cherry Dana and Dix had a heated argument about Candy herself.
  • Ames describes Cherry Dana:
    "She has a terrible temper." (B, 19:53)
• Mallard reveals the corpse was Christopher Seema, a known bookie and blackmailer.

7. The Climax—Secrets Revealed on the Ledge

• [22:55–25:29] Candy deduces 'Seema' is 'Ames' spelled backwards and confronts Ames in Dix's suite. A rooftop standoff concludes with Ames wielding a gun, confessing his motives rooted in jealousy and lost love for Cherry Dana, before being apprehended.
  • Ames, distraught: "Perhaps you don't know what it is to love. Perhaps you don't know what it is to be scorned. I do. Painfully so. This is the end. But I'm not gonna go alone. You're going with me, Miss Matson." (B, 25:15)

8. Resolution & Candy’s Final Wrap-up

• [25:52–28:01] Candy explains Ames' (Seema’s) elaborate plot driven by obsession and blackmail, including orchestrating the disappearance of the original leading man, the accidents, and the murders.
  • Candy: “Seema is Ames spelled backwards. … He had married Cherry Dana under the name of Seema. When she began to be big in pictures, she divorced him. But he carried the eternal torch." (A, 26:10)
• The curtain falls with Mallard and Candy planning a movie date, reaffirming their playful, flirtatious rapport.

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Notable Quotes & Memorable Moments

• Hollywood’s artificiality:
  Candy to Mallard: "Only God can make a tree, but Hollywood presumes to improve on him." [01:17]
• On the corpse discovery:
  Candy: "Take another look, honey. By a good look at the one in the middle." [03:51]
• Cherry Dana’s stormy entrance:
  Cherry Dana: "You lured my director up here, and I'm going to see that some little local wench doesn't put the squeeze play on him." [10:33]
• Buff Arnold on fatal bad luck:
  Buff: "I told him this picture had a jinx on it before we left the studio. Little things that happened right from the start." [16:39]
• Candy’s reveal of the solution:
  Candy: “Seema is Ames spelled backwards. … He had married Cherry Dana under the name of Seema. When she began to be big in pictures, she divorced him. But he carried the eternal torch." [26:10]
• Mallard’s exasperation:
  Mallard: "Why did these characters from Hollywood have to come up here to San Francisco and louse up our scenery as well as our police department?" [27:18]

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Timestamps By Segment

• 00:33–03:51 — Movie shoot banter and corpse discovery
• 04:36–06:38 — Investigation of the crime scene, identification challenges
• 07:01–11:05 — Candy invited for a script reading, Cherry Dana’s jealous outburst
• 11:54–13:39 — Payroll roll call, discovery that Dix has been murdered
• 14:14–18:10 — Interviews with Buff Arnold (the “jinxed” movie), Cherry Dana, and Ames
• 18:38–20:12 — Ames’ backstory, arguments over Candy, revelation about Seema
• 22:55–25:29 — Rooftop confrontation, Ames' confession and capture
• 25:52–28:01 — The mystery unraveled, motives revealed, Candy-Mallard resolution

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Tone & Style

True to Candy Matson’s reputation, the tone is smart, witty, and quick with snappy repartee—Candy alternates between clever observations and direct, hard-boiled detective work. The interplay between Candy and Mallard is flirtatious and laced with friendly rivalry, while Hollywood’s glitz is lampooned alongside its underlying darkness.

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Conclusion

In this sparkling, suspenseful installment, Candy Matson exposes murder and scheming beneath the silver screen’s surface. Candy’s sharp mind and fearless attitude unravel a tale of jealousy, revenge, and old Hollywood heartbreak, making “The Movie Company” and its glamorous chaos an engaging classic radio mystery.

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Transcript

[A]

Hello, Yukon 28209. Yes, this is Candy Matson.

[B]

Keep that baby on the tree. Fix those dolly track.

[A]

And look out for that cable.

[C]

It's hot.

[A]

Mallard, what in the name of the San Francisco Police Department are you doing up here on Telegraph Hill?

[D]

Working, Candy, in the name of the San Francisco Police Department.

[A]

Here? With these people who are making the movie?

[D]

Yeah. How about that? Me, a lieutenant in Homicide. And I'm assigned to riding herd on these Hollywood characters.

[A]

Oh, it's better than murder.

[D]

I'll take murder any day. What are you doing around here?

[A]

I did some shopping at Speedy's this morning. While I was pinching the avocados, they told me that there was a Hollywood gang over by Coit Tower shooting some scenes for a movie with a San Francisco background.

[D]

They might just as well have stayed in the studio. They brought their own lawns, propped trees, fake bushes, the works. If it ever snowed up here on Telegraph Hill, they'd have brought some of that along too.

[A]

You've never worked in Hollywood, Mallard. Only God can make a tree, but Hollywood presumes to improve on him. What are they doing now?

[D]

Just getting ready to shoot a scene. I think they've been rehearsing it all morning.

[A]

What's it all about, Dino?

[D]

As far as I can figure, it's a story about San Francisco right after the gold rush. Look at all the costumes.

[A]

Very authentic. Looks like they'd been shipped around the Horn. By the way, Mallard, do you know who's in the picture?

[D]

Some lush tomato named Cherry Dana and the colorad boy, Buff Arnold.

[A]

Arnold? Did you say Buff Arnold?

[D]

That's right. Why?

[A]

Oh, forgive me, Melody, dear. I. I knew Buff Arnold when he didn't have a place to house in. He professed to carry a very warm torch for me.

[D]

Aha. So that's why you so casually dropped by. Oh, an old flame, huh?

[A]

Don't be ridiculous. I didn't even know the guy was here, let alone stealing pictures.

[D]

A likely story.

[B]

All right, quiet, please.

[A]

Let's have quiet.

[B]

Quiet. This is a tank.

[C]

All set, Mr. Dix. We're ready. Good. Okay, Cherry, we'll roll this one. Take a chance on it. Just remember to keep up against those trees. We don't want any shots of those modern buildings below the hill.

[E]

Oh.

[A]

Remember, Red, where is my old pal Buff Arnold?

[B]

Mallard by me.

[D]

Judging by what's been going on, he's not in this particular scene.

[C]

All right, stand by. Roll him.

[B]

Scene 47, take 10.

[C]

Wait a minute. Wait a minute. Cut. Cut. Oh, where's that coming from out on.

[B]

The bay, Mr. Dick, sir.

[A]

Fine thing.

[C]

A present day steamer whistle in an 1850 picture. Hold it, Ames.

[D]

Yes.

[C]

Let me know when the fool ship is tied up. We won't shoot the scene until it's docked.

[B]

Yes, sir.

[A]

Darn it. I was hoping I'd see some action.

[D]

Well, I'll give you some action. Come on, walk around with me, Candy. I'll show you all the sights.

[A]

Sights? Like what, for instance? Mallory.

[D]

Oh, all the lights they brought up here. I must have a thousand of them.

[A]

Undoubtedly to wash out the wrinkles on the leading lady's face.

[D]

And talk about props. It must have taken a whole freight train to get them up here.

[A]

Well, I have to have them.

[D]

For instance, look right up there.

[A]

Where, Melly?

[D]

Up up there, above, in that tree hanging by their necks. Oh, Mallard, don't jump like that. Cupcake. There are only dummies hanging from those ropes.

[A]

Three of them. They look so realistic.

[D]

I must admit. They really do. I understand they use them in a scene where they recreate a lynching in Portsmouth Square.

[A]

Recreate, did you say? Yeah, maybe you're right. Take another look, honey. By a good look at the one in the middle.

[D]

What are you trying to try me for, lard? That one in the middle is no dummy.

[A]

You're no dummy either. Boy. Mine. How many times have you looked up there?

[D]

Just a couple of times. But the last time I looked, the one in the middle wasn't an ex human being.

[A]

With that, I tossed the whole thing in your lap. Mallard. I promote you back to homicide.

[D]

Oh, why didn't these characters stay in Hollywood?

[A]

Tis a bit of a shame, isn't it? Cluttering up our lovely Telegraph Hill trees with gently swaying corpses. Come on, Mellard. Let's give the director a slight touch of apoplexy.

[F]

The national broadcasting company presents candy matson, yukon 28209.

[A]

It's funny how sometimes when you're lazy and want to do nothing except live the good, pure life, trouble comes up and belts you over the head with a vengeance. Well, that's the way happened to me. I just finished a deal that took me three weeks to crack. I made some good money out of it, banked it and sat back to relax. When I heard about the movie company on location on the other side of the hill, my curiosity got the better of me. As of that moment, my contemplated relaxation was at an end. Period. Paragraph. I literally walked right into trouble. Because there was Mallard. And cut down.

[D]

Okay, Mr. Dix, take a good look. At him. You recognize the Jack?

[C]

I recognize him, yes, but I don't know him. He was one of the extras we used at a scene yesterday.

[D]

Did he come up from Hollywood with you?

[C]

I'm pretty sure he didn't. I think he was hired here locally. Wait a minute. Who's this young lady? I don't want any outsiders in on this.

[D]

Don't fret your little head, Mr. Dix. Aside from being a material witness, she's a well known private investigator. No.

[C]

Excuse me, I didn't know.

[A]

That's all right. No need to apologize. Some of my best friends. Friends are movie directors.

[D]

Who would keep the roster on your personnel?

[C]

My assistant, Bill Ames around?

[B]

Well, I'm right here, Lieutenant.

[D]

Oh, good. Can you give us any dope on this fellow?

[B]

Oh, golly, I. I'm afraid not. I've seen him, but I wouldn't know his name from Adam.

[A]

How about the payroll? When do you pay off the extras?

[D]

Ah, that's a thought.

[B]

We pay off at 5 o' clock tonight.

[A]

Why don't we come back then, Mellard? We can check off the names against the pay vouchers. There's one thing extras like to do, and that's get paid. The name that doesn't show up is our friend the corpse.

[D]

Okay, we'll let it go like that. What do you pay off?

[B]

Room 873, Montfere Hotel.

[D]

Make sure everybody's there. Unless they want a little trouble thrown at them. I'm sorry, Mr. Dix. You can go on with your shooting now.

[C]

No, no more today. It's too unnerving. Ames, knock it off. Call will be for 8 o' clock tomorrow morning sharp.

[B]

Right, Chief. Break it up everybody. 8 o' clock tomorrow morning in costumes. And that means 8 o'. Clock.

[A]

Understand?

[D]

You mind waiting here for Mama County? I want to put in a call to the coroner's office for a wagon.

[A]

Sure. That's all right. Go ahead.

[D]

Good. It'll only be a few minutes.

[A]

Mr. Dix. Pardon me.

[C]

Yes?

[A]

Can you tell me where Buff Arnold is staying?

[C]

What? What do you want with Buff Arnold, young lady?

[A]

I used to know him when he was playing bit parts in Hollywood.

[C]

Oh, did you work in Hollywood?

[A]

I did a little time down there sitting around in agents offices.

[C]

You know, you're a sharp little cookie. Say, all of a sudden I've got an idea.

[A]

I'll bet.

[C]

No, no, on the level. Believe me, I have a small part coming up that'd fit you to a T. Good looking gal, Wise. Supposed to work in her father's Store selling supplies to the miners. Can you act at all?

[A]

I used to shoot a fairly sharp mess of dialogue.

[C]

Do you live close by?

[A]

Right over there, one block. Penthouse on the top.

[C]

All the better as soon as your policeman friend removes the deceased there. Why don't we go over to your place and look at the script?

[A]

You know something? I've got an idea. That's the idea you had the idea about? Okay, I'll look at the script. But for your information, Mr. Dix, I'm interested only in playing a part in your pictures. Mallard came back and I told him what had developed with Dick. He shot me a look that had more question marks in it than a government income tax form. I assured him I could handle the situation and he left with the body still clad in its 49 or prospectors outfit. Dick's issued some final orders, took me by the arm and we strolled over to my place.

[C]

Charming, but positively charming.

[A]

Thank you.

[C]

What a gorgeous view. How long have you lived here, miss? Now, isn't that silly? I don't even know your name.

[A]

Madsen. Candy Madsen.

[C]

Candy Matson. Never have I heard a name match her personality so completely. I'm Reginald Dix. Just call me Reg.

[A]

You say regular. Would you like a drink?

[C]

Splendid. Soda? Highball.

[A]

I think I can scrape one together.

[C]

This is absolutely enchanting. I'm going to ask to make all my pictures in San Francisco from now on.

[A]

I don't think you'd go wrong. Of course, it'd be a little rough if you were making a picture with an Indian background and needed shots of the Taj Mahal and the Himalayas.

[C]

Simple. I change it to the Ferry Building in Twin Peaks.

[A]

Very good. A yard.

[C]

Thank you. I can use this after that messy discovery up there on that tree. Now, here's to crime.

[A]

That's a charming toast. Now then, about this part you were speaking of. I don't even belong to the Screen Actors Guild anymore.

[C]

Mere detail. I'll call the studio tonight and have them arrange your membership.

[A]

As simple as that. You know, I think if some of your bright boys got together, you could win the war in Korea without half trying.

[C]

Ah, let's not be snide, my dear.

[A]

Oh, excuse me a moment. Someone at the door.

[C]

Certainly. Whoever it is, though, send them away.

[A]

Yes, master. Hi. Hi. But now that we've established our highs, is there something I can do for you?

[G]

I'm cherry Dana. Is Mr. Dix here?

[A]

Oh, why, yes. A picture. Would you wait here, please?

[G]

I will not wait here.

[A]

I want in. Now, just a minute. There you are, Ed.

[G]

You have a short memory, haven't you?

[C]

Cherry, what are you doing here? I'm having a conference.

[G]

So I see.

[A]

I hate to mention it, but this happens to be a private home, Ms. Dana. I'll have to ask you to leave. Don't be boring.

[G]

You lured my director up here, and I'm going to see that some little local wench doesn't put the squeeze play on him.

[A]

Why, you pampered brat. Get out of here right now, or I'll show you how a local wench can back up words with action.

[C]

Oh, now hold on here, both of you. Jerry, I resent this intrusion just as much as Ms. Matson does. I'm sure.

[A]

I'll bet.

[G]

What about me? You said you were going to drive me back to the hotel.

[C]

Very well. It slipped my mind. I'm sorry, Candy. I dislike scenes of this sort. We'll discuss our business later.

[A]

Good. I find now that I'm extremely interested. Good afternoon, Ms. Dana. I'll see you later. I was so mad, I was boiling. If I'd been a thermometer, quicksilver would have been streaming out of my ears. I did the most natural thing, took a shower, and little by little, I simmered down. Actors and actresses are like anybody else. Most of them are darn nice people just trying to make a living. But one ham like Cherry Dana can ruin the picture. Just as I was getting dressed, the Ferry Building siren blew its top, indicating 4:30. I had to step on it if I was going to be at the Mountain Fair at five in time for the payroll sequence with the extras. So I stepped on it and found myself in a minor mob scene outside room 873 at the Mont Fair Hotel. Mallard spotted me, grabbed me by the arm and took me inside the room.

[D]

I really didn't expect to see you, Candy.

[A]

Why not?

[D]

I thought perhaps you were discussing contract terms with Dick's by now big Hollywood star and all that.

[A]

Oh, Mellard, cut it out.

[B]

All right, ladies and gentlemen, as I call out your names, step up fast and sign the voucher. Anderson, Robert Apperson, Lou Bennett, Burt. Beverly.

[A]

I studied the faces as they stepped by the cashier's table set up in the room. They were all types. Anyone could have been a villain, a dancehall girl, a hero and angel, or just plain extra. The roll call droned on in the background. The whole thing took about 10 minutes. And suddenly we were alone. Ames, the assistant director, the girl who had done the actual paying, Mallard and myself.

[B]

Well, that's it.

[A]

Who's missing?

[B]

Ames, you're in for a bit of a shock.

[D]

How do you mean?

[B]

Nobody's missing. Everybody listed on our payroll checked in and was paid off.

[A]

What?

[B]

That's right.

[A]

Did you recognize every person who'd been paid off?

[B]

I'm pretty sure I did.

[D]

This is a fine kettle of nothing. We have an extra who's working in the picture and yet he isn't. So he ends up hanging by his neck from a tree on Telegraph Hill. Who was the joker?

[A]

The Joker? The one you can play wild. Are you sure they're all paid?

[B]

Positive. Double checked with their Guild cards and signatures.

[A]

Well, isn't this cute?

[B]

Oh, excuse me, please. Hello? Yes, this is Ames.

[D]

Oh, oh.

[C]

Oh.

[B]

Yes, Cherry.

[F]

What?

[B]

He's what? Great Scott.

[A]

What's the matter, Ames? What is it? You're white as a sheet.

[B]

Dick's. He's just been found shot to death in his room.

[F]

From San Francisco, the National Broadcasting Company is presenting Candy Matson, Yukon 28209.

[A]

Reginald Dix, well known Hollywood director, shot dead in his hotel room. We were looking for developments. We got them, but not the kind we expected. Mallard led the way up to the suite that Dix had been occupying on the top floor. There was a mob around the door and my boy Mallard soon dispersed them and instituted some semblance of order. Dix was sprawled out on the balcony overlooking the bay. And an ever widening pool of blood showed that he'd been hit in the chest. Cherry Dana was pacing the room, smoking a cigarette. Ames stood in the middle with his jaw flapping. And who should be in the room too, but my old pal from my days in Hollywood, Buff Arnold.

[E]

Candy. Candy Matson. What a place for a reunion.

[A]

Yes, isn't it? How are you, Buff?

[B]

Ill.

[E]

Terribly ill. If I have to step into the other room, I hope you understand. Reds was a great friend of mine.

[A]

Sure, sure. Let's go in the bedroom. You look sort of green. Besides, I have a few questions I'd like to ask you. Buff.

[E]

It's a deal. Anything to get out of here. Let's go.

[D]

Wait a minute, Candy. Who is this guy?

[A]

Buff? Arnold Mallard. The fellow I was speaking about.

[D]

Where were you going in there?

[A]

He doesn't feel too good. The closest he's ever been to blood is a bottle of ketchup and color.

[D]

Okay, now let him out of your sight. I have a flock of questions and need a flock of answers.

[A]

As you say, Nell dear.

[D]

And don't get carried away yourself.

[A]

This the bedroom?

[B]

Yeah.

[A]

Well, Buff, you seem to be doing all right.

[E]

A lot different than when I knew you in Hollywood, Candy.

[A]

You look swell. Buff. Too darn swell.

[B]

What do you mean?

[A]

You bring back too many memories.

[E]

You look mighty good yourself, Candy. You're no longer a plump little kid just out of high school. You're downright pretty, gal.

[A]

In the good old days, I'd have jumped through hoops to hear you say that.

[E]

Got any hoops handy? I'll say it again.

[A]

No soap.

[E]

Maybe we could revive some of those memories, Candy.

[A]

Not a chance, Buff. Boy, things have changed. Hollywood and everyone in it, including you, were a part of a dim, sad past. And instead of just plain buff, that's a rebuff.

[E]

Very cute. I haven't heard the gag poll since yesterday.

[A]

Tell me, did you hear about the body that was found on Telegraph Hill this morning?

[E]

I sure did now.

[D]

Poor Reg.

[E]

I told him this picture had a jinx on it before we left the studio. Little things that happened right from the start.

[A]

Like what?

[E]

Well, in the first place, I wasn't even supposed to be in the picture. They were going to give to some new kid as a build up a week before the first day of shooting. He haven't disappeared. He hasn't been heard from since. Then they shoved me into the breach. Then the assistant director tripped and fell off a catwalk. Broke both legs. He had to be replaced.

[A]

Anything else, Buck?

[E]

Yeah. About that time Jerry Dana whipped herself in a batch of temperament and walked off the lot. Held up production a week. Then the luggage for San Francisco was rerouted somewhere else. Never has caught up with us now. The body this morning and Dick's just now.

[A]

Certainly sounds like a jinx. By the way, how do you and the great Cherry get along, Buck?

[B]

Fine, fine.

[E]

I try not to see her except on a set. Come here, Candy. Just let me hold you in my arms once. Just once I want the feel of someone who's truly genuine.

[A]

You're still just a little boy, aren't you, Buff?

[D]

Okay, Arnold, I'd like to. Well, pardon me. I hate to break this up, but I want to talk to you, Mr. Arnold.

[A]

That was a fine time Mallard picked to walk in. And then I got to thinking maybe it was a fine time he was due to have a little fire set under him. As I walked out into the other room, the boys in blue had arrived and they were swarming all over the place. Amos was no longer present. Neither was Cherry Dana. I wasn't going to give Mallard the satisfaction of an explanation, so I eased out the door and went down the lobby. I asked where Ames was staying, went back up to his room, 672. A knock on the door produced results.

[B]

Just a moment. Oh, Miss Matson. Something you wanted?

[A]

Yes. May I come in?

[B]

Why, I. Yes, I was just lying down. This thing about Reg has knocked me for complete loop.

[A]

It seems to be quite a shock to everybody. You've been with Reginald Dix for a long time, haven't you, Eames?

[B]

Off and on, yes. A good number of years.

[A]

How about La Dena Cherry?

[B]

Well, I've known her extremely well, even before she became a top flight star.

[A]

Can you give me any idea who might have had it in for Dix? If you can, you better spill. The truth will come out sooner or later, Ames, as it always does and things of this sort.

[B]

I've only one little thing. I can tell I've already told it to your lieutenant friend.

[A]

Oh? And what's that?

[B]

As I got back from Telegraph Hill, I dropped by Reg's suite. Wanted to talk about tomorrow's shooting. As I drew near his door, I heard loud arguing.

[A]

Arguing? Who were the opponents?

[B]

Reg and Cherry Dana.

[A]

And what were they arguing about? Ames?

[B]

You.

[A]

So that's it. Tell me, is Cherry the kind of woman who would turn killer on an impulse?

[B]

It's hard to say. She has a terrible temper.

[A]

Does Buff Arnold fit into the picture in any way?

[E]

I don't know.

[B]

He's a sly one, that Arnold. He plays his cards in strictly a commercial manner. May fit into the picture. He and Reg were never too friendly.

[A]

I see. Oh, thanks, Amy. I'll leave now. And you'd better lock your door. The way things are going, you might wake up to find yourself dead. I went up to Cherry Dana suite, but I drew a blank there. No answer. So I went back to the scene of the murder. Dix's rooms on the top floor. Mallard was just leaving. He shot me a look that would have knocked out a North Korean tank at a thousand yards and started to brush on by me. But I would have none of it. Now, just a moment. Boy Blue. Come on back to that over 21 level. Just because Buff had his arms around me is no sign. We were playing a scene from Romeo and Juliet.

[D]

I don't think I've seen that close a grip, even in professional wrestling.

[A]

Oh, cut it out. What'd you turn up in there? Anything at all?

[D]

No, not a thing. Can't even find the murder weapon.

[A]

Got any ideas?

[D]

Lots of them. We've already taken Ms. Dana into custody.

[A]

I had a hunch it was leading in that direction.

[D]

Incidentally, did you ever hear of a Christopher Seema? He's been a bookie around town here for several years.

[A]

Christopher Seymour? No, can't say I have. Why?

[D]

He was the boy who was hanging from the tree. According to our files, he dabbled in everything from gambling to blackmail.

[A]

Seema. Seema. That. That name rings bells somehow. Mellar.

[D]

One other thing. This isn't personal, you understand. Yeah, but stay away from Buff Arnold. We've got our eye on him too.

[A]

Little things were suddenly clicking way back in my mind. Awfully vague. But the old processes from years before were coming to life ever so slowly. Mallard had work to do, plenty of it, down at the hall of Justice. Work in which I was included. Out I went outside on California street, watched him get into a squad car with two of his men, and I waved him a goodbye. That was when I had another idea. Dix's sweet. Cops were through with it. The body had been removed. But I had a hunch that was the key to the situation. Knowing the manager of the Monfrey, it was no trouble at all to get a key to register. And that's where I headed. Up to the top floor. I let myself into the darkened room, closed the door behind me. With the lights of the city way below seeping through the balcony window, I found a place in back of the settee and sat down to wait and think. The balcony window being open, the roar of the city traffic underneath came gently through my thinking. That's when it hit me, Seema. Several years before I had served my term in Hollywood. There was an actress named Vivian Seema. The same face as that of Cherry Dana. Now the clouds were beginning to lift. And at the same time, the door opened in the suite and the silhouetted figure of a man entered the room.

[C]

Blast the luck.

[A]

Okay, Buff. Relax.

[C]

What?

[A]

This is Candy. Come on over here by the settee. Hurry. I'm expecting company.

[E]

What are you doing here, Tammy?

[A]

You've got the wrong page of the script. That's my line. What are you doing here, Buck?

[E]

Honestly, you've got to believe me. I left my lighter here this afternoon. I was afraid the police would find it. Naturally, I can't afford any bad publicity. It ruined my career.

[A]

I believe you, Buck. You always were fond of that career, weren't you? Don't answer. Just keep quiet.

[E]

What's up?

[A]

A guy named Seymour. If I'm right, Who's this? Reginald Dix didn't like him. Wait a minute. I think I hear someone coming along the hall. The door slowly opened Then closed again. The dim light from the hall showed the form of another man. Then the dark figure moved slowly but surely across the room. Stopped for a second or two as though listening for something. Then moved again to the balcony. Out onto the balcony. And whoever it was grabbed the ledge above, hoisted his feet up onto the iron grillwork and hung over the city. That's when I acted. Okay, Ames, stay right where you are in that position.

[C]

What?

[B]

You think I'm a fool?

[F]

And he's out on that ledge? He's ducked around the outside on that ledge.

[A]

I'm a fool. Quick, Buff, go down the hall and get out on the fire escape. Cut him off.

[D]

Okay.

[B]

What are you gonna do?

[A]

Go out in that ledge after him. You better come back, Ames. You're cut off at both ends.

[B]

Oh, no, I'm not. Not with this gun I've got.

[A]

It's the same gun you killed Dix with, isn't it? Very clever, hiding it up on this ledge out here. No wonder Mallard and his boys didn't find it. Look out there on the city, Ames. One misstep and you go off into space. Think it over. You better come back.

[B]

Not on your life.

[A]

I'm coming after you. I'm down at the other end, Candy. Good. Now we've got him.

[D]

Yes. Yes, you have.

[B]

Obviously, this is the end. Perhaps you don't know what it is to love. Perhaps you don't know what it is to be scorned. I do. Painfully so. This is the end. But I'm not gonna go alone. You're going with me, Miss Matson.

[C]

Like this.

[A]

No. No. The recoil. It'll knock you right out.

[D]

So it was just a matter of jealousy. Is that right, Candy?

[A]

That's right, Mallard dear. The same thing you developed when you walked in on Buff, Arnold and me.

[D]

Okay, okay, so I was burned up. Tell me more.

[A]

It was the name Seema that did it, Mallard. Do you know what that is?

[D]

All right, I'll play quizzes with you. What's the name? Seema.

[A]

Seema is Ames spelled backwards. You see, that was Ames real name at one time. He had married Cherry Dana under the name of Seema. When she began to be big in pictures, she divorced him. But he carried the eternal torch.

[D]

Silly. She wasn't worth it.

[A]

Of course not because she collected men. Reginald Dix, not because she loved him, but because she was fading in pictures. And because Dix was the only one who could keep her in front of the public.

[D]

Logical. But what about the Seema hung up in the tree On Telegraph Hill.

[B]

Aha.

[A]

There we have the plot. The Seema up in the tree was Ames brother. A ne' er do. Well, the night that Ames arrived in town here, he looked up his brother, got a bit tight and told him what he'd done. Caused the original leading man to disappear. Shove the original assistant director off a platform, breaking his legs in general. Did everything he could to sabotage the picture. Then he pulled the strings to get himself named his assistant director so he could be near Cherry.

[D]

Love and jealousy.

[A]

Now that, I'll get to that in time. Cherry had vaguely promised that she'd remarry Ames. When he saw his own brother was going to blackmail him, he went crazy. That's when he strung him up with the dummies in the trees. From there, it was just a step to knock off Reginald Dix and have a clear track for himself.

[D]

I'll go back to what I said to begin with. Why did these characters from Hollywood have to come up here to San Francisco and louse up our scenery as well as our police department?

[A]

Oh, to heck with your police department. That's the last time I'm gonna climb around a ledge. Hundreds of feet in the air.

[D]

Not so strange. Buff Arnold was out on that ledge too, wasn't he?

[A]

Oh, Mallard, sometimes you make me. That reminds me. I have a date tomorrow night.

[D]

Sure. With Buff Arnold.

[A]

No, no. That's tomorrow morning. I'm driving him down to the railroad station. Date for tomorrow night with you, Mellard, dear. We're going to see a Roy Acuff movie.

[D]

Oh, Candy. Roy Acuff, Monarch of all the cowboys.

[A]

Yeah, monarch of all the cowboys. I'll see him with you. And if that isn't love, I don't know.

[F]

Listen again next week at this same time.

[A]

For excitement and adventure, just dial Candy, Medicine, Yukon 28209.

[F]

Heard tonight were Hal Burdick as Reginald Dix, John Grover as Ames, the assistant director, Mary Milford as Cherry Dana, Kurt Martel as Buff Arnold. And included in the cast was Ken Langley. Henry, left, plays the part of Lieutenant Ray Mallard. The program stars Natalie Masters as Candy and is written and directed by Marty Masters. Sound effects are created by Bill Brownell. And Eloise Rowan is heard at the organ. The characters in tonight's play were entirely fictitious. Any resemblance to actual people is purely coincidental. Tonight's engineer was Clarence Stevens. The program came to you from San Francisco. Dudley Manlove speaking. This is NBC, the National Broadcasting Company.

[A]

SA.