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About this Episode
Presents tales filled with suspense and intrigue, each episode unraveling mysteries that keep listeners engaged and guessing until the end.
Hosts & Guests
Transcript
Hello, you can't do a 209.
Yes, this is Candy Matson.
Well, hello there, Candy. How's the one woman, Scotland Yard?
Okay, Inspector. If business was any better, you fellos could all retire on your big fat pension. Is Mallard in his office?
Oh, sure. I just left him there. He's working on a deal, but it's all right.
A deal? Oh, I won't bother him then.
It's all right. When last observed, he was, uh, personally on the horns of a dilemma.
Ouch. In that case, I'd better go in, Inspector.
Right, oh, drop around any time. I heal sound for much nicer than flat feet.
Thank you, sir. Good morning, Lieutenant Mallard.
Candy, for Pete's sake, I wish he had knocked when you'd come in here.
Why?
Well, I might have been, uh...
What Mallard is?
A sleep.
Or something? Well, how that you're in until I put your answer to spell.
I heard you were busy.
You heard I was busy, so you barged right in?
I can always barge right out again, you know.
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.
Have you seen anything like that before?
Nope. Looks like a small medallion of some kind.
I know, I think so. Here's I can figure it's the symbol of an order or a cult.
You recognize the characters, honor?
I've seen they have an Egyptian flavor.
That was my thinking, too. However, I am not an Egyptologist.
You can always take it over to the University of California.
University of California.
What's wrong with that?
I'd be like cutting off my own nose.
I've got Stanford and six points in the big game.
After what UCLA did to them?
Oh, no, sir.
From now on, I will not 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.
I mean, about taking this over to the University.
Hey, wait a minute.
Why didn't I think of it before?
What?
Rembrandt. He has a brushing acquaintance with the Egyptian language and writing.
Rembrandt. Rembrandt, watch him.
Oh, your kid.
No, I'm not. He 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.
I'm sorry, Kenny. No, can do.
I've got to be in Judge Rolex Court in ten minutes.
Well, let me have it and I'll take it over to him.
If Rembrandt comes up with anything, I'll report right back.
Okay. Just don't lose it. That's all.
Why? Can't you get another one?
Well, not this particular one we can't.
We took it off the body of a woman they found floating last night in the Stole Lake.
Stole Lake and Golden Gate Park?
Mm-hmm.
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 Deere.
Look, which book is that?
The latest facts and figures on the rise and fall of crime throughout the Western hemisphere.
Plus, a comprehensive digest on criminal trends in the United States
as compiled by police departments of major cities throughout the country.
Oh, thanks. Did you get anything out of it?
The book? Heck no, I just barely managed to get through the title.
The National Broadcasting Company presents Candy Matson,
Yukon 28209.
I slip the medallion into my coin purse,
slip the coin purse into my handbag,
slip Mallard Deere's head on the seat,
and sit out of the hall of justice.
I climbed into my car and drove over to California Street,
opposite old St. Mary's Cathedral,
almost bordering little alley facing St. Mary's Square.
It is there that a very old friend of mine lives.
Rembrandt Watson, the eminent Pacific Coast photographer.
I'm so glad you came by, though.
Today of all days, I need the firm extension of your friendship
upon which to brace myself.
Rembrandt, what on earth are you talking about?
Never, as the weight of gloom,
rested so heavily on me shoulders,
never has the mantle of depression,
hung army head, as it does now.
I'll put the hand back in the ice box.
What gives here, Ducky?
You are gazing upon a man about to be birre of a home.
You mean you're being evicted?
Not yet.
But one must face eventualities.
Can't you be evicted?
Is that it?
Oh, no, be silly.
Candy, I have plenty of money.
Well, then in heaven's name, why the hamlet routine?
What do you mean you're going to be evicted?
Simply this girl,
a bunch of uncouth bullets are going to build an underground garage
in the Square next door.
You know, I asked what he saw funny.
When you probably won't have to move,
chances are they'll never touch this building.
Think, Candy, the dirt, the noise.
Well, I've never known either one to affect you before, Rembrandt.
It's not the self I'm thinking about.
It's Henry McGradyne.
All those theme shovels and riveting machines
that have to give Henry a nervous stomach.
And on a great day, and that's something.
Yes, isn't it?
And here's something that'll prove I'll be evicted.
Look, this morning's paper, right down here.
Preliminary to the construction of a garage
beneath St. Mary's Square
was approved yesterday by the Board of Supervisors Finance Committee.
The project recommended by the 17th School Parking Authority
involves use of St. Mary's Park subsurface area
and seven adjacent parcels of privately owned property
in the area bounded by Carnie, Client, California, and St. Andrew.
You see what I mean?
Well, I hardly call this a couple of parcels,
but yes, I do see what you mean.
Well, what are you going to do about it?
And what can I do about it?
Look, when you place to live, that's all.
That, eh, boy, I'm glad you said
that I've been meaning to have a word with you for quite some time.
Think you're doing a quail of a good business.
More and more, you're catering to an extremely fashionable clientele.
That's true.
About time you live the part.
Your photographs are becoming known throughout the country.
You couldn't have stayed here much longer anyway.
But it has such atmosphere candy.
That it does, especially when the wind's from the east.
And tell you what, you helped me on Little Deal right now,
and I'll send the rest of the day looking at places with you.
Oh, candy, will you?
I was hoping you'd say that.
You're a lamb.
Oh, in the spring, I am.
Oh, I get it.
Spring lamb.
Yes.
Oh, love.
I feel there was so much better already.
Anna, boy.
But before you bond completely out of your skin,
I can take a look at this.
Wait a minute.
There.
Hmm.
Fascinating.
What is it?
An amuletive sometime?
I don't know.
That's why I came to see you.
What does it say on there?
It's an Arabic.
Hopefully fine print.
What did I do with the glasses?
On your forehead.
Oh.
El Maghi.
El Hada.
El Maastat Baal.
Hmm.
Well, I can't sing this translate.
Wait a moment.
Oh, of course.
Me of key.
What does it mean, maybe?
Well, I'm not exactly sure of my translation,
but I take it to read the past, the present, the future, our mind.
That sounds good enough to me.
Let me make a phone call here, and I'll be right with you.
Tell me, Doug.
Does that expression mean anything to you
have you ever heard it before?
No.
There are literally thousands of such things in Arabic
and for the first one was anything.
So I was wondering about...
Hmm.
Antwaters, dilucci speaking.
Oh, hello, dilucci.
This is candy, Matt.
And this is Lieutenant Miller there.
Lieutenant Miller, no, Miss Matt.
He left with Judge Wallach and the jury on that happy and super-market killing.
Not a late Mercedes.
Probably be there in the rest of the afternoon.
Oh, okay.
Would you write this down for me?
El Maghi.
El Hada.
El Maastat Baal.
Who milky?
Eh.
Miss Matt, and this is a phone conversation?
It's legit.
Well, in that case, get some height.
Thank you.
Now, have you got that?
I guess so.
Good.
Just sign my name to it and put it on Miller's desk.
Will you?
Sure.
You say so.
Thank you.
Goodbye.
Candy, are you crazy?
No, I don't understand that.
Crazy, hmm.
There's the other way around.
This is one night I know I'm going to get Mallard to call me.
Candy, you fool.
But you're a nice fool.
Just having you assure me that moving from here is the right thing to do.
It has removed all the troubled thoughts.
And for me, into a... a blife spirit.
A blife spirit.
Well, come on, blife spirit.
Let's go haunt for houses.
Knowing Rembrandt, as I do, he's a sort of a man who would open a doll factory
across the street from a boy's school.
But in this case, I was going to make sure he'd get the locale with a business and buy a certain.
But what was the locale to be?
Suddenly, I had it.
There was a barn type of building out on Octavia Street just off the Civic.
You should be a dense studio.
But somehow or other, I seem to recall a prevent sign on the place.
And that's where we went.
What is it, Candy?
The fact that the place might have been stable.
Oh, I imagine it was at one time.
I do know it was a dense studio for a while.
For rent, alright?
There's the sign.
I hope we can get in.
You like it, I'm sure.
It's this ideal for a photography studio.
It has plenty of room upstairs for living quarters
and a fine big backyard out in back for Henry.
Something about the deal.
If I could only see it.
Let's walk around on that little wooden bridge at the side.
Maybe there's a window we can peek through.
If not, we'll run down a little real estate off.
You say?
Yeah, outside need 16 up, but not too much.
No, it's a matter of fact that the place is any kind of shape at all
and the owner is building a top business.
I might be interested in buying the place.
What?
Why not?
Now that I'm in mood,
and I've saved the fair amount of money in the past year, too.
Well, here's your window.
Pretty dirty, wait a minute.
Can you see anything, Candy?
Oh, it's not little.
Not to give you an idea how much space you have in the studio itself.
Let me take a look.
Oh, it's wonderful, isn't it?
Perfect.
I could do all the portrait work up in front there
and put all the equipment back in there.
Oh.
Ducky, what is this?
I saw a man in there.
Let's see.
He's motioning to us.
I don't understand, but...
Is there a door down that way, remember?
We'd like to look.
Yeah, if I see one.
Oh, that's what he wants.
Come on.
You suppose he is, dear?
Caretaker, maybe.
We'll find out.
Was there something you wanted?
We're just looking around.
We saw the sign out in front.
Are you the caretaker?
No, no.
I am the owner.
Oh, then you lived here?
Again, no.
There was a fire here last night.
I came over to investigate.
A fire?
Yes.
There wasn't much damage done on the neighbor's side
and the fire department, or I have almost immediate.
Lucky for you.
How much rent are you asking?
I'm afraid you'll have to take that up with the real estate people.
I let them handle all my transactions.
Would you be willing to sell?
I might, but that's something you have to discuss with them too.
That sounds odd, doesn't it, but...
Much better off if I don't transact my own business.
Would you mind if we look around?
Mr. Watson here is rather interesting.
I'm afraid that is out of the question.
You'll see the electricity have been turned off.
You would have to use matches.
We'll be very careful, sir.
I've got matches right here in my fridge.
No, no.
It is impossible.
After what happened last night, my fridge, things might be misunderstood.
I should be accused of...
Accused.
Accused of what, Mr. Watson?
And what did you say your name was?
I didn't. I needed it as you.
We have a Queen custom here in the United States.
I am not interested in custom.
I'm only interested in keeping my appointment.
You'll keep your appointment, I assure you.
Do you remember high-low Rembrandt?
Who is?
A Queen's digital device used with a great deal of success on the bridge hire.
Would you like to take high and I'll take low?
Really?
Now?
Now?
Get his arms if you can, Rembrandt.
I'm trying to make it like a deal.
I think he needs a little persuasion on the head like...
Go!
Oh, dear.
I hope you didn't have him too hard.
No, he just went creepy by for a little while.
I have the reason for this unwomely outburst on your part, though.
You certainly made it.
Look, up there on that beam above us.
Where are my glasses?
Back up in your forehead.
Now, what did you want me to see?
Up there.
A sign on that beam.
Just barely visible, but you can make it up.
I didn't know.
El Maggi, El Hada, El Mastapal, Poom, Milkie.
Sure.
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.
He saw it, all right?
He stopped like he'd been trapped.
He was.
Twice, yes.
Once by the medallion, once by me.
I think we've got something, Rembrandt.
Come on, let's get you a phone call, Mallard Quick.
And may I say something, Duckie?
It's just an idea.
Well, I shouldn't say it.
But that was the prettiest high low I've ever seen.
From San Francisco, the National Broadcasting Company
is presenting Candy Matson.
You come to H.U.O. Night.
I left my gun with Rembrandt, who by this time was sitting on our little friend.
I took off, found a grocery store, about three blocks down and claimed to call 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 to.
With Rembrandt still riding a choppy sea on the guy's twisting chest.
I'm so glad you're back, girl.
My speed is beginning to block the bit.
And I did so much to avoid backing him on the noggin again.
Yeah, I don't blame you, after a while it begins to hurt.
Here, give me the gun, Rembrandt.
Thanks.
Now, stand back.
It's a joker tries anything.
There's going to be badminton with bullets for birds.
You get married.
Yes, you'll be here in a moment or two.
Just that'll be forever.
You don't know Mallard when he has a chance to play with that siren.
Oh, yes, I'm snapping out of it.
Oh, I think, Miss, you will regret exceedingly what you have done.
Maybe so, maybe no.
Now, uh, care to tell us about this past, present, and future, our mind stuff.
I'm not saying I were.
This is the surprise you I know, the translation.
You might as well tell us you'll have to in a long way.
I have nothing to say.
And I mean that.
I'll bet you do.
Wait a minute.
See what it is, Rembrandt.
It's Mallard and he's the two in the system.
Good.
Open the door for them.
Ah!
This is cozy.
All you need is a fourth for bridge.
And I kill it.
He's all yours, footback.
Okay, get him, boys.
Let's go.
Hey, wait a minute.
We're building.
The building can wait.
This cookie's hot, and I want to keep him that way.
Like I said, boys, take him away.
Give him that big, whole of justice.
One, two, three, O'Leary, and we were at the jailhouse on Washington Street.
Four, five, six, O'Leary, and our lad was squished 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,
supporting fire at me.
And when he snorts fire, sister CZ, it's frightening.
What are you trying to do?
Have the whole city administration down on my neck?
But Mallard, what do you mean?
I'll tell you what I mean.
We've arrested a man who's completely in the clear.
He can shoot the works out as soon as before the rest.
Wait a minute, something's off the beam here.
What's his name?
Testman, Al Testman.
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 20 years,
owns a lot of real estate around town,
a fine reputation, excellent credit, the works.
And you have to stir up a hornet's nest.
I don't know what to say.
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 real legal right to do it, too.
Yipes.
I wonder how I look in stripes.
Mallard was just playing out an outdoor,
judging the mess on his face value.
He was entitled to be sore.
But I'm not the guy that takes things on face value.
That time on the beam out of the old studio definitely had a link
with the inscription on the end of it.
I was sure of that.
And I was sure that Testman was a length, too.
So I fell back on the private eye's first lesson.
How to shadow a suspect, the use of doorways, trees,
buildings, shrubs, fences, and et cetera.
So hiding behind an et cetera, I waited outside the hall of justice
until I saw Testman leave the building.
All he did was snag a cab and disappear into an apartment house
on the top of the 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 could see all three and waited.
And waited.
Thought two AMI figured Testman had hold up for the night,
so I went home and got myself a nice little joke.
My penthouse was a mess.
It looked like a senior grade monstoon had ripped through the place.
It stacked up the Testman couldn't have done it,
so there must be somebody else who wanted in on the act.
As far 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.
Your man can be positively mad,
but it's the idea of waking me up in the middle of the night.
It's not the middle of the night.
Duck is mourning.
Remember the early birds get the worm.
For the change, I'd like to see the early worm get the bird.
What are we doing, galloping about like this?
Can we put him the shadow on Testman?
Is he the world?
One of them.
It's part of the fact that Mallard Whitewashed him.
Here we are.
How much?
A blank Essex.
We'll just park here.
Hunt's down in your seat, Duckie.
I hardly imagine our worm has departed yet.
A half hour passed by,
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 blank Essex garage.
It was Testman all right.
He wheeled the car down Clay Street, and we followed.
He turned left on Taylor, and again, when he reached Pacific.
I had a hunt where he was going.
He crossed Van S Avenue, and we did likewise.
That was when Rembrandt spoke up.
I hate to mention it dear, but I think the shadowers are being shadowed.
How do you mean?
I look behind several times.
There seems to be a car following us.
Just a coincidence, I wouldn't worry about it.
Look, our boy is turning off on to Octavia.
Just as I thought he's returning to the studio.
What we do now?
Go as slowly as we can.
Give him time to park the car,
get inside the building, and then go in after him.
Don't you?
Sure you know what you're doing, Candy.
Nope.
Oh, well, I'm going to thought right.
We'll go past Octavia Laguna and down the Broadway
and come back in that direction.
That should do it.
Now the double back along Broadway.
I dislike being repetitious girl,
but the car's still following us.
Well, there's nothing like a showdown.
Here we are at Octavia.
Let's find out.
Look, across the street at the studio, up in front there.
Vags are cement, sand, and a pile of bricks.
That wasn't there when we left yesterday.
No.
There's our friend, Candy, if he is.
I'm going to find out about this right now.
Please, Miss Madsen.
Remain seated in your car.
Is it gone, Candy?
That's a naive observation, Rembrandt.
Looks more like a cannon.
I assure you I won't hesitate using it.
Now if you and Mr. Watson will get out in an orderly manner
and walk across the street into the studio,
there will be no trouble.
Looks like we have no choice.
Come on, Ducky.
This should be great sport.
When you have a gun that size 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 pace was dark and grim.
And Tessman Ladd was waiting to meet us,
wearing the very latest and smirks.
Just as you planned, Master.
It was so easy.
They fell into our trap beautifully.
And now they shall feel no pain.
To work, Tessman, there can be no further delay.
Yes, Master.
It shall be done.
He calls me Master.
And that is as it should be.
Now, Miss Madsen.
Now that you've so conveniently returned to our shrine,
the amulet please.
I haven't got it.
I left it at home in another purse.
It wasn't in your place last night.
So you're the character who wrecked my apartment?
That is right.
And now, if you would be so kind as to empty your purse
on the table there.
You better do it, can't you?
Yes.
There seems to be no alternative.
Ah, now the coin purse, please.
Ah, yes, the amulet.
Thank you.
There's a street car talking to you and have that if you want.
The past, the present, the future, are mine.
Mine, Miss Madsen.
An old saying of one of the ancient pharaohs.
I adopted it for myself.
Rather brilliant, wouldn't you say?
I'd say you made a new scriptwriter.
Now I shall tell you about your future.
This building, being on a hill, was built on solid rock foundations.
My faithful servant, Tess Mann, is an expert stone Mason.
You see that chamber like a fair hune into the rock.
Tess Mann is going to build a brick wall across it.
You are going to be sealed inside.
Also like the ancient pharaohs.
Only it will take more than a Howard Cutter, a lot kind of an to discover.
You will see that chamber like a fair hune into the rock.
The guy was a madman.
And the madman usually keeps his word.
Tess Mann went to work.
It was by little the ceiling wall of bricks took shape.
Once I pressed my hand against the bricks.
It must have been using a fast-hardening mortar mix of some kind.
The wall was as firm as the ages.
Zoma smiled.
The wall was as firm as the ages.
Zoma smiled.
Finally, there was an opening just large enough to crawl through.
That's when Zoma spoke up.
Enough, Tess Mann. I will complete the work as you will, Master.
My mission here has finished.
You three are the only ones who know about me.
And so I shall destroy all evidence and move on to newer fields.
Tess Mann, in you go.
What?
Master.
No.
No.
I have served you personally.
I said get in.
No.
I want that.
I want.
Not even for you.
That fool.
The future belongs to me.
You two, get him.
What?
Show 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.
That will be good.
Is he in?
Yes.
Very well.
You may follow.
Go ahead.
I'm sorry.
I got you in the first.
That's all right.
Now for the final act.
The complete obliteration.
Ah, yes.
People all over the world have lost their way.
They struggle in darkness.
It is up to me to bring them the truth.
But after all, in honey, in honey,
there is a monster who is milking.
All mine.
What about that woman who jumped into the soul?
A very generous lady.
She contributed over $15,000 to the cause.
But then the poor thing began to doubt me.
Said something about going to the authority.
Most done fortunate.
It was then that even I, Zoma, made a mistake.
I forgot about the amulet I had given her.
She was still wearing it about her neck.
I will not make that error again.
And now, like the final toast to life,
the last brick.
Sleep well, foolish one.
Forever.
Get your hair straight up in the air, Mack.
You, you desecrate house.
I said, get your hands up.
Yes, I will, like this.
Teddy, where are you?
Over here, Nellard.
Behind the brick wall.
A fine thing, that's all I've got to say.
Running around and messing things up.
Boy, he's really got you tucked away, hasn't he?
Come on, Nellard. Get us out of here.
We can hardly breathe.
We.
Run, Brad, and I.
Oh, no.
Your pal, testimony, who was past breathing.
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.
I did.
How?
Why did you think we released Tessmon?
Tessmon.
Yeah, I know.
Ollie Tessmon.
I'll call him Tessmon.
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 still lake
with the amulet around her neck.
And you have to go and stick your pretty nose into the picture.
What about Tessmon?
Up until he met Zoma, he was okay.
Doing quite well in real estate.
And the long came the master.
Tessmon turned over to the studio for Zoma to use as a temple.
But after he dumped the tomato into still lake,
Zoma realized he'd have to liquidate his affairs
and get the bejavors to other parts of the country.
With you and Rembrandt making like cops and robbers,
he knew he had three people to get out of the way.
I almost got away with it.
But how did you get here when you did?
Sheer luck cupcake.
I was only returning to make a routine checkup on this joint.
Sister, are you lucky?
We can save out again.
All right, sister, are you on second thought?
Maybe you aren't.
What do you mean, now, Adir?
If there's one thing I can't stand, it's an interfering woman.
I think I'll just leave you in there.
Malor, no!
Irene, good night.
Irene, good night.
Malor, you can't do this.
Get it out of here!
OK, on one condition.
Sure, sure.
What is it?
Promise you'll go to a Roy Acuff movie with me tonight.
Roy Acuff movie.
What do you think, Rembrandt?
A fate worse than death.
That's what I thought too.
So long, Malor.
On your way out, just stealing that last brick will you?
No!
Listen again next week at this same time.
For excitement and adventure, just dial.
Candymethan, you can't do a 209.
The part of Testman was played by John Grover.
Zoma was Lou Tobin.
Henry Laf is heard as Lieutenant Ray Mallard
and Jack Thomas is Rembrandt Watson.
The program stars Natalie Masters
and is written and directed by Marty Masters.
Bill Brownell creates the sound effects
and Eloise Rowan is heard at the organ.
Our engineer was Frank Barron.
Any resemblance to actual people is purely coincidental.
The characters in the story were entirely fictitious.
The program came to you from San Francisco.
Dudleyman loves speaking.
