Candy Matson - The Movie Company

0:00Hello, you can't do it to all nine. Yes, this is candy, medicine. Being the perfectもいいよ He's helping me out. Oh, a wrong side. What can I say to the police? in the name of the San Francisco Police Department. Here were these people who were making the movie? Yeah, how about that? Me, a Lieutenant and homicide. And I'm assigned to writing a herd on these Hollywood characters. Oh, it's better than murder? I'll take murder any day. What are you doing around here? I did some shopping at speedies this morning, while I was pinching the avocados. They told me that there was a Hollywood gang over by quite tower shooting some scenes for a movie

1:01with a San Francisco background. But I might just as well have stayed in the studio and brought their own lawns, prop trees, fake bushes or works. If it ever snowed up here on Telegraph Hill, they'd have brought some of that along too. You've never worked in Hollywood, Nullard. Only God can make it free, but Hollywood resumed to improve on them. What are they doing now? Just getting ready to shoot a scene, I think. I've been rehearsing it all morning. What's it all about, you know? As far as I can figure it, it's a story about San Francisco right after the Gold Rush. Look at all the costumes. Very authentic. Looks like they'd been shipped around the horn. By the way, Nullard, you know, who's in the picture? Some Lustamator named Cherry Dana and the Colorado boy, Brock Arnold. Arnold. Did you say Brock Arnold? That's right. What? Forgive me, Nullard. I knew Brock Arnold, but he didn't have a place to house him. He possessed a carry of very warm toys for me. Ah-ha. So that's why you so casually drop by. An old flame, huh? Don't be ridiculous. I didn't even know the guy was here let alone still in picture.

2:02Hey, like the story? All right, quiet, please. Let's have quiet. Quiet. This is a take. Well, if that Mr. Dex, we're ready. Oh, good. Okay, Cherry. Well, all this one's got 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. Oh, remember it. Where is my old cow, the final idea? I mean, judging by what's been going on, is not in this particular scene. All right, stand by. Roll them. Scene 47, take ten. Wait a minute. Wait a minute. Cut, cut. Oh, where's that coming from? Out on the bay, Mr. Dick. Time's paying a present day steamer whistle in the 1850s. All this. Ames, yes. Let me know when the fool ship is tied up. We won't shoot the seam until it's dark. Yes, sir. Do you want it? I was hoping I'd see some action. I'll give you some action. Come on, walk around with me, canny. I'll show you all the sight.

3:03sight sight, what prince is now in there? Oh, all the lights they brought up here. I must have a thousand of them. Undoubtedly to wash out the wrinkles on the leading lady's face. And talk about props. It must have taken a whole freight train to get them up here. Well, I have to have them. For instance, right up there. Hmm? Where, Mellie? Up there, above. In that tree. Hanging by their neck. Oh, no! That's a tough jump like that cupcake. They're only dummy tying from those ropes. Three of them, they look so realistic. Oh. I must admit they really do. I understand they use them in a scene where they recreate a lynching in portsmot square. Recreated, you say? Maybe you're right. Take another look, honey, buy a good look at the one in the middle. What are you trying to do? Try me for a lot. At one in the middle is no dummy. You're no dummy either, boy. Am I in how many times do you look up there? I'm just a couple of times, but the last time I looked the one in the middle wasn't the next human being. With that, I tossed the whole thing in your lap, Mellord. I promote you back to homicide.

4:03Oh, why didn't these characters stay in Hollywood? She's a bit of a shame. She's a cluttering up. I love their telegraphed hill trees with gently swaying corpses. Come on, Mellord. Let's give the director a slight touch of apple plexi. The National Broadcasting Company presents Candy Matson, Yukon 2-8-209. Funny how sometimes when you're lazy and want to do nothing except live the good, pure life. Trouble comes up and delts you over the head with a vengeance. Or that's the way it happened to me. I just finished a deal. It took me three weeks to crack. I made some good money out of it. Banks didn't set 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 Mellord and there was this grim-looking body,

5:03swinging from the branch of a tree. We contacted the director and he had the body cut down. Okay, Mr. Dicks. Take a good look at him. You recognize the Jeff? I have recognized him, yes, but I don't know him. He was one of the extras we used at a scene yesterday. To become up from Hollywood with him? 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 hill. I'll fetch a little head, Mr. Dicks. Aside from being a material witness, she's a well-known private investigator. No, excuse me. I didn't know. That's all right. No need to apologize. Some of my best friends and movie directors. Who would keep the roster on your personnel? My assistant? Bill Ames. Here, huh? Well, I'm right here, Lieutenant. Oh, good. Can you give us any dope on this, sir? Oh, Golly, I'm afraid not. I've seen him, but I wouldn't know his name from Adam. How about the payrolls? When do you pay off the extra? Oh, that's a thought. We pay off at five o'clock tonight. Why don't we come back in, knowing? We can check off the names against the pay vouchers. There's one thing X is like to do when that gets paid.

6:03The name that doesn't show up is our friend the court. Okay, well, let it go like that. What do you pay off? Room 873, Montpeg Hotel. Make sure everybody's there, unless they want a little trouble thrown at them. I'm sorry, Mr. Dex. You can go on with your shooting now. No, no more today. It's too unnerving. Ames, knock it off. Call it before 8 o'clock tomorrow morning. All right, chief. Break it up, everybody. 8 o'clock tomorrow morning in costume. And that means 8 o'clock, understand? That's a good morning. You mind waiting here for a moment, Catti? I want to put in a call. The coroner's office for a wagon. Sure, that's all right. Go ahead. Good. I want to bake you a minute. Mm-hmm. A Mr. Dick pardon me. Can you tell me we're both Arnold's thing? What do you want with both Arnold and young lady? I used to know him when he was playing dit-plights in Hollywood. Oh. Did you work in Hollywood? I did a little time down there, sitting around in agent's office. You know, you're the sharp little puppy. Hey, all of a sudden I've got an idea. Oh, bad.

7:03Oh, no, no. On the level, believe me. I have a small part coming up that I'll get you to it. The pituit with you. You're looking down, why is it supposed to work in her father's store selling supplies for the miners? Then you act at all? I used to shoot a fairly sharp Mr. Dahl. You live close by? Right over there. Windbloss. 10,000 a ton. Mm-hmm. All the better. As soon as your policeman friend removes that a thief there, I don't think we're over to your place and look at the script. You know something I've got an idea that's the idea. You have the idea about. Okay, I'll look at the script. But for your information Mr. Dick, I'm interested only in saying a part in your picture. Now it came back and I told him what a developer did. He shot me a little bit, had more question marks than it's in a government income tax form. I assured him I could handle the situation and he left with the body still quiet in its 49er prospector's office. Dick's issued some final orders to somebody arm and we sold over to my place.

8:07Charming, but positively charming. Thank you. What a gorgeous view. Call on the beauty of fear, Mr. Dick. Oh, now is that silly. I don't even know your name. Matt, candy, Matt, candy, Matt. Never have I heard a name, Matt, your personality is so complete. I'm Reginald Dick. Just call me Reg. And you say, yes. Would you like a drink? No, it's winter, so to animal. I think I can stay up when I get it. This is absolutely enchanting. I'm going to ask them, I all my pictures and San Francisco from now on. I don't think you'd go wrong. Of course it would be a little rough if you were making a picture with an Indian background and needed shots of the toys, Mahal and the Himalier. Ah, simple. I'd change it to the fairy building in the Twin Peaks. Very good. A.R. Ed. Thank you. I can use this after that messy discovery, after I'm at three. Oh, here's the crime. Ah, that's just charming, so...

9:08Now then, about this part you were thinking of, I don't even belong to the screen after you're killed anymore. Oh, near detail. I'll call the studio tonight and have the Marines your membership. It's embarrassing. You know, I think if some of your bright boys got together, you could win the war in Korea without half-sign. Ah, let's not be snide, my dear. Excuse me, I'm going to the door. Certainly. Whoever it is, though, I'm going to wait. Yes, ma'am. Hi. Hi. Now that we've established our highs, is there something I can do for you? I'm Cherry Dana. Is Mr. Dick's here? Oh, wait. Yes, sir. Would you wait here for me? No, I will not wait here. I want in. Now, just a minute. There you are, Ed. It's a bit short. Memory, haven't you? Cherry, what are you doing here? I'm having a conference. So I see. I hate to mention it, but this happens to be a private home in Dana, I guess. Please. Don't be boring. You lured my director up here, and I'm going to see this. Some little local wench doesn't put the squeeze play on him.

10:09Why you pamper brat? Get out of here right now, I'll show you how a local wench can back a board with action. Oh, now hold on. Here, both of you. Cherry, I resent this inclusion. Just as much as Miss Madison does, I'm sure. Or Beth, what about me? You said you were going to guide me back to the hotel. Very well, let's get my mind. I'm sorry, candy. I just like scenes of this sort. We'll discuss our business later. Good. I find now that I'm extremely interested. Good afternoon, Miss Dana. I'll see you later. I was so mad I was boiling. I'd been a thermometer. Quick silver would have been streaming out of my ears. I did the most natural thing into the 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. This is I was getting dressed a very billing siren, blue at top, indicating 430. I had to sit on it if I was going to be the Montserrat 5 and 10 for the hero season for the extra.

11:12So I stepped on it and saw myself in a minor mob scene outside room 873 at the Montserrat Hotel. Melored, spotted me, grabbed me by the arm and took me inside the room. I really didn't expect to see you, candy. Why not? I thought perhaps you were discussing contract terms with Dick's find out. Big Hollywood star and all that. Oh, married cut it out. Alright, ladies and gentlemen. As I call out your name, step up fast and sign the voucher. Anderson, Robert, Apperson, Lou, Bennett, Bert, Beverly. I said he defacers as they set by the cashier's table set up in the room. They were all tight. Anyone could have been a villain of dancehall girl or hero when I was just playing extra. The role called drawn down the background, the whole thing took about 10 minutes. And suddenly we were alone. Ains, he's assistant director, the girl who had done the actual pain, nowored in myself. Well, that's it. Who's missing in? You're in for a bit of a shock. Not a name. Nobody's missing. Everybody listed on our payroll, checked in, it was paid off.

12:13What? That's right. Did you recognize every person who had been paid off? I'm pretty sure I did. Well, this is a fine title 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? The Joker, the one who didn't say, while, are you sure that all paid? Well, positives. Double check with their guild cards and signatures. Well, isn't this too? Oh, excuse me, please. Hello? Yes, this is Aime. Oh, oh, oh, yes, Cherry. What? He's what? Great. God! The matter is, what is it? What is it she? Dixon. He just found shot to death in his room. From San Francisco to the National Broadcasting Company is presenting Candy Matsum, UConn 2-8209.

13:27The Regional Dix, well-known Hollywood director, shot dead in his hotel room. We were looking for development? 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. It was a mob around the door and my boy Mallard soon disperse him 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 Dan was sinking the room and smoking a cigarette in the middle with his jaw flapping. And who should be in the room, too, but my old paddle for my days in Hollywood? The Earth Army. Candy, Candy Matsum. What a place for a reunion. Isn't it? How are you, Gah? Ew, terribly ew. If I have to step into the other room, I hope you'll understand. Reds is a great friend of mine.

14:27Sure. I'm sure that's going to be a bit of a sort of green. Besides, I have a few questions I'd like to ask you, sir. It's a deal. Anything to eat out of here? Let's go. Wait a minute, Candy. Who is this guy? Buff Arnold, Mallard. The cello I was seeking him out. Where were you going? In there, he doesn't heal too good. The clothes that he's ever been to blood is a bottle of ketchup and color. Okay. Don't let him out of your sight. I have a flock of questions and need a flock of answers. I do say no. And don't get carried away yourself. Is this the better? Yeah. Well, Buff, you seem to be doing all right. Well, it's different when I'm here in Hollywood, Candy. You look slow, Buff. You're dying, so. What do you mean? You'd bring that to many memories. You look mighty good yourself, Candy. You no longer have plump little kids just out of high school. Yeah. Downright pretty, down. In the good old days, I'd have jumped through hoop today, you say that.

15:29Got any hoop candy on set again? No, so. Maybe we could revive some of those memories, Candy. Not a chance, Buff, but I think the Chinese Hollywood and everyone in it, including you were a part of a dint of sad past. Instead of just playing Buff, that's a rea-buff. Very cute. I haven't heard the gag call suggested it. Mm-hmm. Tell me, did you hear about the body that was found until I got to this one? I'm sure it did. Now, poor Reg. I told him this picture that James wanted before we left the studio. Middle things have happened right in the start. Like what? Well, in the first place I wasn't even supposed to be in the picture. They're going to give this something new, because it's a build-up. A week before the first day of shooting, he hasn't disappeared. He hasn't been hurt since. When he shoved me into the breach. Then the assistant director tripped and fell over. Catwalk broke both ways. He had to be replaced. Anything else, Buff? Yeah. About that time, Jerry Dana whipped herself in a batch of temp from it and walked off the light. He held up production a week. Then the luggage for San Francisco was re-rooted somewhere else.

16:29Never had it caught up with him. Now the body this morning, and... Fixed just now. It makes sense, I think. By the way, how do you and the great cherry get along, Buff? Fine. I... Try not to see yourself on the set. Give me a chance. Oh, wow. Just let me hold you behind you once. Just one. I want to feel of someone who's truly genuine. Okay. You're just a little boy, I suppose. Okay, Arnold, I'd like to... Well... Pardon me. I hate to break this up. But I want to talk to you, Mr. Arnold. Okay. There 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.

17:30As I walked out into the other room, the boys and blue arrived, and they were swarming all over the place. Amos was no longer present, neither was Jerry Dana. I wasn't going to give Mallard the satisfaction of an explanation, so I eased out the door and went down to the lobby. I asked where Amos was saying went back up in his room, 672. A knock on the door produced results. Just a moment. Oh, Mr. Martin, something you want? Yes, may I come in? Why, yes? I was just lying down and thinking about red just knocked me for a complete loop. It seems to be quite a shock to everybody. You've been with Reginald Dick for a long time, haven't you? Well, off a long, yes. A good number of years. How about LaDena? Cherry? Well, I've known her extremely well. Even before she became a top-life star. Can you give me any idea who might have had an evening for Dick? If you can, you better fill the truth of come out sooner or later, Amos. It always does and things are so. I've only one little thing I can tell. I've already told it to your lieutenant friend.

18:31Oh, and what's that? As I got back from telegraph field, I dropped by Regis Sweet, one to talk about tomorrow's shooting. If I drew near her door, I heard LaDena arguing. Arguing? Who were the opponents? Reg, and Cherry Dena. Mm-hmm. And what were the arguments about him? You? Well, that's it. Tell me, is Cherry the kind of woman who would turn killer on an impulse? It's hard to say. She has a terrible temper. Mm-hmm. Is Buff Arnold fit into the picture in any way? I don't know. He's a fly one that's Arnold. He plays his cards in strictly of commercial manner. He makes it into the picture. He and Reg were never too friendly. Oh, thanks, Amy. He all leaves now. And you'd better lock your door. The way things are going, you might wake up to find yourself dead. Ow! I went up to Cherry Dena's suite, but I drew a blank fare in a wancer.

19:36So I went back to the scene as a murderer, and picked his rooms on the top floor. Now it 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 us. Now just a moment, boy, blue, come on back to that over 21 level. It's because Buff had his arms around me. And we were playing a scene from Romeo and Juliet. I don't think I've seen that close a grip, even in professional wrestling. Oh, got it out. Would you turn up in there? Anything at all? No, not a thing. Can't even find a murder weapon. You got any ideas? Well, I tell you. We've already taken Miss Dana into custody. I had a hunch it was leading to that, Rick. Incidentally, do you ever hear of a Christopher Seema? He's been a bookie around town here for several years. Christopher Seema? No, he can't say a word. He was a boy who was hanging from the tree. According to our files, he dabble in everything from gambling to blackmail. Seema. Seema, that name rings bells from home, Ellie? There's one other thing. This isn't personally to understand. Yeah.

20:36But stay away from Buff Arnold. We've got our eye on him, too. Those things were suddenly clicking way back in my mind, off his egg, but the old processes from years before were coming to life ever so slowly. Now that he had worked to do plenty of it, I'm 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. It's his suite. Cups with trillitis. The body's been removed. But I had a hunch that was the key to the situation. During the manager of the Montpere, it was no trouble at all to get a key to read the suite, and that's where I headed up to the top floor. I let myself into the darkened room, closed the door behind me, with a light to the cityway below, peeking through the balcony window. I found a place in that facility and sat on the way and sink. The balcony window being opened the door of the city traffic underneath him, gently chewing, cups my face in.

21:37That's when I hit me. Hema. Several years before I'd served my chairman Hollywood, there was an extra-sane Vivian, Hema. The same face is out of cherry dainard. Now the cars were beginning to lift, and at the same time the door opened with the suite, and they slow-witted to hear of a man in the room. That's the luck. Okay, buff. Relax. What's happening? Come on over here by the setty. Hurry, make fishing cup. What are you doing here, family? You've got the wrong case. That's Chris, that's my life. What are you doing here, girl? 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 debt, but listen. I'm ruined, my career. I do. You've got to be well-witted, my career. Don't ask me. You're fine. What's up? A guy named Sino, I'm right. This door, is originally a big city, like it.

22:37Really? I can hear someone coming on the hall. The door is slowly opening and closed. The dim light in the hall, so the form of another man, when the doctor, you lose slowly the children. The door is slowly opening and closed. The dim light in the hall, so the form of another man, when the doctor, you lose slowly the children across the room. Stop for a second, or do you? Is there a listening for something? Then moved again into the balcony, out onto the balcony, whoever was grabbed the ledge above, horses to see up on the iron globe, and hung over the city. That's when I acted. Okay, Ames. Stay right where you are. In that position. Why? You think I'm a fool? Handy's not on that ledge. He's stuck around the outside on that ledge. Who? Chris Buss. Put down the hall and get out of the fire state. Cut him off. Okay, where are you going to do it? Yes, room. You better come back, Ames. Your cutoff is both in.

23:38Oh, no, I'm not. That's not what I'm going to do. That's a shame gun you killed Dick's with, isn't it? Very clever hiding it up on this ledge out here. The wonder of melons 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. No, no, no, no, no. I'm coming after you. I'm down here, Ames. Good. Now we've got him. Yes. Yes, you have. 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 going to go alone. You're going with me, Miss Matson, like this. No, not the recoil. I'm not your weapon. Oh!

24:39So it was just a matter of jealousy. Is that right, County? That's right, now I do. The same thing you developed when you were walking on buffinals, you name. OK, OK. So I was burned up. Tell me more. Was the name of SEMA that did it? Do you know what that is? All right, I'll play quizzes with you. What's the name of SEMA? SEMA is Ames. So backwards. Oh. If you that was Ames' real name, at one time he had married Cheri Dena under the name of SEMA. When he began to be big and picturesque, he divorced him. But he carried the eternal tort. So he was a more than a person? Of course not. Because she collected men, regional gifts, not because she loved him, but because she was fading in picturesque. And because Dix was the only one that was keeper in front of the public. Logical. But what about the SEMA hung up on the tree on telegraph now? Uh-huh. There we have the plot. The SEMA up on the tree was Ames' brother, a near-do-well. The night that Ames arrives in town here, he looked up his brother, got a bit tight, and told him what he'd done. Cause the original leading man to disappear, showed the original assistant director off a platform, breaking his legs, and general did everything he could to sabotage the picture.

25:39Then he pulled the strings to get himself names, assistant director, so he could be near Cheri. Love and Johnson. Now let it all get to that in time. Cheri had vaguely promised that he'd re-marry Ames. When he saw his own brother was going to blackmail Ames, and crazy, that when he'd strangle him up with the dummies and the trees, from there, with his assist, knock off original Dix and have a clear track for Ames' brother. Now let's 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? How would I heck with your police department? That's the last time I'm going to climb around the ledge, hundred feet in the air. Not the strange. Buff Arnold was out on that ledge too, wasn't he? Oh, Mallard, sometimes you make me... That reminds me, I have a date tomorrow. Sure, with Buff Arnold. No, no, that's tomorrow morning. I'm driving and down to the railroad station. Day for tomorrow night. With you, Mallard Deer. We're going to see a Roy A.C.F movie. Oh, Channie. Roy A.C..

26:39Monarch of all the Cowboys. I'll see you with you. If that isn't love, I don't know what is. Listen again next week at this same time. Or excitement and adventure just dial. Candymetson, you've gone too late to 09. Her tonight for Hal Berdick as Reginald Dick. John Grover as Ames, the assistant director. Mary Milford as Cherry Dana. Kurt Martell as Buff Arnold. And included in the cast was Ken Langley. Henry Leff 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.

27:39The characters in tonight's play were entirely fictitious. And irresemblance to actual people is purely coincidental. The night's engineer was Clarence Stevens. The program came to you from San Francisco. Dudley-Manlove speaking. This is Andy C. the National Broadcasting Company. This is Andy C. the National Broadcasting Company.