Episode Transcript
[00:00:16] Speaker A: The Mysterious Old Radio Listening Society Podcast welcome to the Mysterious Old Radio Listening Society, a podcast dedicated to suspense, crime and horror stories from the golden age of radio. I'm Eric.
[00:00:36] Speaker B: I'm Tim.
[00:00:36] Speaker C: And I'm Joshua.
[00:00:37] Speaker B: We love mysterious old time radio stories, but do they stand the test of time? That's what we're here to find out today.
[00:00:43] Speaker A: I've chosen our episode. It's Candy Matson, UConn 28209 Candy's last.
[00:00:49] Speaker C: Case the San Francisco based detective program was created by husband and wife team Monty and Natalie Masters. Monty wrote the Tongue in Cheek scripts and Natalie starred as private eye Candy Matson. The scripts were packed with snappy dialogue, local references and a cast of lovably over the top characters including Candy's eccentric photographer pal Rembrandt Watson, played by Natalie's real life Uncle Jack Thomas.
[00:01:18] Speaker B: Candy Matson, UConn 28209 premiered June 30, 1949 on NBC West coast affiliate KNBC. Despite its popularity with local listeners, candymats never found a national sponsor. The episode you're about to hear, year Candy's Last Case, was the final production of the program's run.
[00:01:37] Speaker A: Or was it? Candy's actual last Case was broadcast, or at least recorded a year later in 1952, entitled the Fortune Teller, produced as an audition episode for a hoped second incarnation of the program. The only significant difference between the audition and the series before it was that Candy's phone number was changed from 28209 to 38309. Was this a local reference? An in joke? A whim on the part of Monty Masters? Well, the answer is lost to time. Regardless, the episode failed to receive a green light from the powers that be and Candy Matson left the airwaves for good. Sadly, of the 92 episodes produced, only 14 are known to be in circulation today.
[00:02:22] Speaker C: And now let's listen to Candy's Last Case From Candy Matson, UConn 28209 first broadcast April 29, 1951.
[00:02:33] Speaker B: It's late at night and a chill has set in. You're alone and the only light you see is coming from an antique radio. Listen to the sounds coming from the speaker. Listen to the music and listen to the voices.
[00:02:54] Speaker D: Hello, Yukon 28209?
Yes, this is Candy Madsen.
[00:03:20] Speaker E: I do declare, Candy. This is a madder dash than the one made by Paul Revere. Look out for that man.
[00:03:25] Speaker D: I see him. Rembrandt.
[00:03:27] Speaker E: I know it, you know it. But does he? What's the reason for this wild Scramble, girl.
[00:03:31] Speaker D: I started to explain. Ducky, look at that car up ahead. About a block.
[00:03:34] Speaker E: Yes, it's a police car.
[00:03:35] Speaker D: That's right. And do you know who's driving? Lieutenant Ray Mellard, that's who. A whom.
[00:03:39] Speaker E: So Ballard's driving. There's no reason to get yourself for such a snit. I imagine lads driven before.
[00:03:44] Speaker D: I'm not worried about the mechanical aspects of placing a car in motion and guiding it to a predetermined terminal. It's the reason behind it that bothers me.
[00:03:51] Speaker E: Said reason being what?
[00:03:52] Speaker D: I don't know what the reason is, and that's the rub. For days, Mallory's been avoiding me like the plague. I call him on the phone, all I get are muffled sentences. Nothing makes sense. Last night I waited in front of the hall of justice and followed him when he left.
[00:04:04] Speaker E: And where did he lead you, dear? Into a pool room, some such thing.
[00:04:08] Speaker D: No pool room. I wouldn't have minded. I shoot a pretty good stick of snooker, you know.
[00:04:12] Speaker E: That's beside the point, Candy. Come now, concentrate. Where did marriage lead you?
[00:04:16] Speaker D: To a small hotel on Ellis. He met a man in the lobby who was wearing dark glasses. They huddled in a corner and talked for a while. Then Mallard left. I didn't duck back fast enough and Mallard saw me. Oh, brother. What a bawling out I got. How strange with that. He got in his car and drove away like frantic.
[00:04:32] Speaker E: That certainly doesn't sound like Mallard.
[00:04:34] Speaker D: I called to apologize this morning. He wouldn't even talk to me, and now this. He never drives a squad car unless it's absolutely necessary.
[00:04:40] Speaker E: Now you've got me curious. Something must be up.
[00:04:43] Speaker D: You're darn tooting. And I want in on it.
[00:04:45] Speaker E: Yes. Who does Mallet think he is, keeping things from us like this?
[00:04:49] Speaker D: Oh, he's stopping. I better hold it up right here.
[00:04:55] Speaker E: He's getting out, Candy.
[00:04:57] Speaker D: So I see. Look, he's waving up at the middle flat. Do you see anyone in the window up there, Ducky?
[00:05:03] Speaker E: Yes, a man. I can't quite make out his features, though.
[00:05:08] Speaker D: Yes, yes, he's waving back.
[00:05:10] Speaker E: What's Mara doing now?
[00:05:12] Speaker D: Going up the stairs and in. How do you like that?
[00:05:16] Speaker E: Rather delicious, isn't it? Oh, I squirm with intrigue.
[00:05:21] Speaker D: Well, I squirm too. Come on, Rembrandt, squirm out of the car. This is one time I don't mind doing a shadow job. Strictly for free.
[00:05:39] Speaker F: From San Francisco, the National Broadcasting Company presents another yarn in the adventures of that attractive private eye, Candy Matson. Yukon 28209.
[00:05:58] Speaker D: I knew there was something wrong three days before. Whenever I walk into Mallard's office in the hall of justice where he lieutenants for the San Francisco Homicide and all I get out of the big eye is an ug. Something's foul in Dixie. You can play that in any key you like. And the Uggs kept up mentally and verbally. Add that situation with Mallard's mysterious friend in the dark glasses and you've got something. Especially when Lieutenant boy stops off at an old flat, waves to a gent, the gent waves back and Mallard goes inside.
Now we're all tidy and up to date.
We waited for about 20 minutes outside by my car. Two or three other people came and went. Finally, Mallard came out carrying a very small box in his hands. He put it inside his coat pocket. The bulge wouldn't show any more than usual. That's where he keeps his police gun. Then he got in his car and drove off. Rembrandt and I immediately went to work. Object a social call on our unknown friend in the second floor window.
[00:06:58] Speaker E: I must say, Candy, this is most mystifying.
[00:07:01] Speaker D: That it is, Ducky. In all the years I've known Mallard, I've never seen him act like this before.
[00:07:06] Speaker E: What are we up to now, Dove?
[00:07:07] Speaker D: We're going to take a look at the guy Mallard went to see, find out what he looks like. Sort of a racket he's in.
[00:07:12] Speaker E: Supposing Mallard hears about it? Won't you be even further into the doghouse?
[00:07:16] Speaker D: Indubitably faithful, old friend, but that's the chance I'll have to take.
Here we are. Little flat. This must be one of those babies built before the fire and the quake.
[00:07:26] Speaker E: Yes, all 1906 conveniences, including a door knocker.
[00:07:29] Speaker D: Give it a blast, Ducky.
[00:07:30] Speaker E: As you say, this sort of place gives me a galloping case of depression.
[00:07:36] Speaker D: Yeah, I know what you mean. All the ghosts of the past half century. Try it again, Rembrandt.
[00:07:40] Speaker E: Any harder and the building will slide off its foundations.
[00:07:48] Speaker D: What is this? You could have heard that last knock out of the Farallones.
[00:07:51] Speaker E: Maybe he didn't hear you.
[00:07:53] Speaker D: Anyone in the neighborhood would have heard that knock. I'm going to try the door.
Ah. Voila. Except that it only moves about 2 inches.
[00:08:02] Speaker E: Shove on it, dear.
[00:08:04] Speaker D: I thoughts exactly. It gives a little. Help me remember it very well.
Hey, look under the door.
That's blood.
[00:08:14] Speaker E: I wouldn't call it ketchup.
[00:08:16] Speaker D: Come on. Once again and harder.
[00:08:20] Speaker G: Oh, my word.
[00:08:23] Speaker D: That's the polite term. This guy's as dead as they come. And look.
[00:08:27] Speaker E: What, dear?
[00:08:28] Speaker D: This is that. Joe Mallard was talking to the hotel lobby. Even to the dark glasses.
[00:08:32] Speaker E: I wonder what Mallard will say about this.
[00:08:34] Speaker D: I was wondering the same thing. Come on, Rembrandt. I don't think I feel very well.
That was an understatement. I felt worse than that. But. But I had to follow through. Now our next step took us down to the hall of justice for a little visit with Mallard. He was in. Just beat his back by about 10 minutes. He was still wearing the same scowl he had on the last time I'd spoken to him.
You still mad at me, Mellard?
[00:09:02] Speaker G: No, I'm mad at myself.
[00:09:03] Speaker E: Did you stub your toe somewhere along the line, Minion, is that it?
[00:09:06] Speaker G: No, but I'm about to.
[00:09:07] Speaker D: What do you mean by that foot flat?
[00:09:09] Speaker G: You'll find out. And it's all your fault, too.
[00:09:11] Speaker D: You mean about last night? My following you?
[00:09:13] Speaker G: No, that was a dirty trick, but I forgive you. It isn't that.
[00:09:16] Speaker D: Then what is it? Yes.
[00:09:17] Speaker E: For goodness sake, stop sounding like a frumppenny thrill book.
[00:09:20] Speaker G: I'll say what I have to say in my own good time and nobody can force me to do otherwise.
[00:09:24] Speaker D: I've got news for you, Junior. The police can make you talk.
[00:09:27] Speaker G: The police? What kind of triple talk is this?
[00:09:30] Speaker D: We followed you out to that flat just now. We saw everything. What?
[00:09:34] Speaker G: All the underhanded.
So you know.
[00:09:38] Speaker D: Yes, but why did you do it, Mallard?
[00:09:41] Speaker G: Because I'm a fool. Just a plain fool. And I ought to have my head examined.
[00:09:45] Speaker E: Also, the poor fellow you left out there, he needs his head examined, too.
[00:09:48] Speaker D: He sure does. He's got a hole in it about the size a.45 slug would make.
[00:09:53] Speaker G: Wait a minute. What are you talking about?
[00:09:55] Speaker D: Don't you know?
[00:09:56] Speaker G: I thought I did. Now I don't think so. Now, come on, quick. What's this hole in the head routine?
[00:10:01] Speaker E: He's serious, Candy.
[00:10:03] Speaker D: I really think he is.
[00:10:04] Speaker G: Darn right I'm serious. Come on, spill.
[00:10:06] Speaker D: Okay, okay. I'll tell it to you like you don't know. We followed you out there. You wave up to the second story man, looks out the window and waves back. You go inside. We wait 20 minutes further away. You come out with a small object in your hands. You put said object in the inside coat pocket.
[00:10:19] Speaker G: Good report. Most efficient.
[00:10:21] Speaker D: You drive off. We go up to pay a visit. The host wasn't willing. He'd been shot to death.
[00:10:25] Speaker G: What? Oh, brother.
And you Thought I'd done it.
[00:10:30] Speaker D: Well, well, really, Millard, I don't see anything to laugh about.
[00:10:37] Speaker G: That's because you're not sitting where I am. Oh, s. Mr. Susie. Did you get your clues all fouled up? Let's get out of here. We got work to do.
[00:10:50] Speaker D: My mental reflexes climbed on a merry go round and whirl gaily for several moments. I was really confused. I didn't have time to do much about it because Mallard whisked us back to the flat. An hour later, the joint had been carefully gone over photographed and the body of the poor guy removed to the coroner's office for an autopsy report. It didn't take long to find out that I was right. It had been a.45 that did the dirty work. Rembrandt had to leave, so I went back with Mallard to his office.
[00:11:18] Speaker G: Still think I had something to do with this thing, Cupcake?
[00:11:20] Speaker D: Oh, in. In my heart of hearts, no. But. Of course not. But jeepers, look at the facts, Mallard. You come out, we go up the guy stiff as a starch shirt. What would you think?
[00:11:30] Speaker G: The same thing you thought.
[00:11:32] Speaker D: Time element is what gets me. Not more than three minutes had elapsed between the time you left and the time we got up there.
[00:11:38] Speaker G: I know I can account for that, I think, but I'm not going to. As a matter of fact, there are several things I could account for, but I'm not going to.
[00:11:47] Speaker D: Now who's doing the triple talk?
[00:11:49] Speaker G: I am. Deliberately. I'm going to tell you something, Candy. Listen carefully. You're a cute little old snoop. You've snooped your way into the middle of this thing and I'm going to toss it right into your lap and let you snoop your way out. And when you come up with the right answers, you're gonna get the shock of your life.
[00:12:04] Speaker D: I am he?
[00:12:05] Speaker G: I think so. At least it was quite a shock to me.
[00:12:07] Speaker D: You mean you've got the solution to this deal already?
[00:12:09] Speaker G: Part of it.
[00:12:10] Speaker D: You're a much smarter foot flat than I thought you were.
[00:12:12] Speaker G: I don't know who killed the guy, if that's what you mean.
[00:12:14] Speaker D: I take it back then and now you. You really got me all topsy turvy.
[00:12:19] Speaker G: No, this is working out even better than I thought it would. Okay, tootsie, you've got the ball. It's all yours. Take it from here.
[00:12:25] Speaker D: You mean you actually want me to help you on this deal? Sure.
[00:12:29] Speaker G: Who knows? You might come up with something. I'll beat it. Will you? I gotta Find me a killer.
[00:12:38] Speaker D: I was so puzzled by then that I wanted to wrap the guy over his head. I fought off the impulse and left. If he gave me carte blanche on the killing, I was going to take advantage of it. If for no other reason than to prove I was right and Mellard wasn't the joker who did it. There's only one place to start. Back at the flat where the guy had been done in, the cops had gone, so I did some question work. The landlady lived in the flat below. No, she didn't know the man. A gal named Jennifer Shirley had leased the middle flat for the past five years. I swung a deal with the landlady, got the key to same. Not the landlady, the flat and moved in. I had a good night's sleep and waited all the next day. Nothing. The odd thing about the deal was the fact that the cops hadn't been back. They usually return for a double check. So the next night I hit the sack again. About midnight, my dreams of a vine covered cottage in the country with Mallard were rudely shattered by a sound. The sound of a key in the lock of the door.
Sorry, I frightened Jennifer. Take it easy. Everything will be okay.
[00:13:50] Speaker H: Who. Who are you?
[00:13:52] Speaker D: Oh, I'm coming to that. Excuse me. You are Jennifer Shirley, aren't you?
[00:13:57] Speaker H: That's right.
[00:13:58] Speaker D: Excuse my Nadia. If I'd have known you was coming, I'd have gone formal.
[00:14:02] Speaker H: Just what is all this? What are you doing in my flat?
[00:14:05] Speaker D: Where have you been, Jennifer?
[00:14:07] Speaker H: Seattle. Why?
[00:14:08] Speaker D: Didn't you read the papers up that away?
[00:14:10] Speaker H: I was too busy.
[00:14:12] Speaker D: Know a man named Everett Stone?
[00:14:14] Speaker H: Of course I do. He's a very good friend of mine. He was up from Los Angeles on business and I let him use my flat.
And now you're here. I don't understand this at all.
[00:14:24] Speaker D: Look over there at your front door. Everett Stone was shot to death right on that spot.
[00:14:30] Speaker H: Everett dead?
I can't believe it.
[00:14:35] Speaker D: I'm sorry. It's true. You can prove you were in Seattle? Jennifer?
[00:14:40] Speaker H: Yes.
Here.
My plane ticket receipt and the stubs on my luggage. I just got in at the airport less than an hour ago.
[00:14:50] Speaker D: Just for the record, where did you stay in Seattle?
[00:14:52] Speaker H: At the Olympic Hotel.
[00:14:53] Speaker D: We can prove that too. Can we?
[00:14:54] Speaker H: Of course.
Now wait just a moment. The shock of all this slowed me down for a second or two. Just who are you and what are you doing here?
[00:15:04] Speaker D: Simmer down, Jennifer. My name's Matson. Candy Matson. I'm a private investigator.
[00:15:09] Speaker H: Oh yes, I've heard Of you.
[00:15:11] Speaker D: I'm trying to find out who knocked off your friend Stone. You got any ideas?
[00:15:14] Speaker H: Several.
[00:15:15] Speaker D: So have I. One being this. Does everyone around here wear dark glasses? You've got a pair on, too. Same kind Everett Stone was wearing.
[00:15:23] Speaker H: Here. Have a cigarette.
[00:15:25] Speaker D: Thanks.
Got something you want to tell Jennifer?
[00:15:32] Speaker H: Yes, I do. The dark glasses are standard equipment for the type of work we're in.
[00:15:37] Speaker D: And what would that be?
[00:15:39] Speaker H: We're gem dealers. Precious stones. Whenever we have a valuable piece of property in our possession, we're required by Bond to wear these dark glasses.
[00:15:47] Speaker D: A disguise, so to speak.
[00:15:48] Speaker H: That's right. Whenever it arrived from Los Angeles, he had with him the Cape Hatteras diamond. You've heard of it?
[00:15:54] Speaker D: Who hasn't, with about a half a million?
[00:15:56] Speaker H: That's right. He was on his way to Seattle to show it to a prospective buyer.
The first night here, Everett appeared on a television show to display the diamond. As he left, he knew he was being followed. He called me and asked me if we could make a switch. Wanted to know if I'd take the diamond on up to Seattle and try.
[00:16:14] Speaker D: To make the sale and he'd stay here. Is that right?
[00:16:16] Speaker H: Right.
[00:16:18] Speaker D: It was a good switch, except that Everett got himself knocked off for his trouble. Have you got the diamond with you?
[00:16:25] Speaker H: Right here in my purse.
Look.
[00:16:30] Speaker D: What a little beauty. And not so little as that.
[00:16:34] Speaker H: No.
[00:16:35] Speaker D: Oh. Most gorgeous thing I've ever seen. And you just carry it around in your purse like that?
[00:16:41] Speaker H: Certainly. Who'd think to look in a woman's purse?
[00:16:44] Speaker D: You've got a point. Lipstick, mascara, streetcar tokens, loose change. But not a half a million dollar rock.
Did Everett say what the man looked like? Jennifer, the one who was following?
[00:16:55] Speaker H: Yes. He wrote a complete description for me.
[00:16:57] Speaker D: Have you got it?
[00:16:58] Speaker H: Also in my purse here.
[00:17:05] Speaker D: Yikes.
[00:17:06] Speaker H: Ms. Matson, you're white as a sheet. What's wrong?
[00:17:11] Speaker D: Plenty's wrong. This describes a certain Lt. Ray Mallard to a T.
[00:17:30] Speaker F: From San Francisco. You are listening to a National Broadcasting Company presentation. Candy Matson, Yukon 28209.
[00:17:46] Speaker D: I slipped out of my 90s, slipped into my street clothes, slipped Jennifer a wetfish handshake, slipped out the door, slipped into my car and slipped home to my penthouse in Telegraph Hill. And from there I kept right on slipping.
That description was Mallard's beyond all doubt.
What made it worse was the fact that Rembrandt and I had seen Mallard coming out of the flat with a small package that could have been a jewel box.
I didn't sleep much that night, and that's for sure. In the morning, I put myself together as best I could and once again made the dismal journey down to the hall of justice and into Mallard's office.
[00:18:20] Speaker G: How you doing, cupcake?
[00:18:21] Speaker D: Not too well. I have some rather unpleasant news.
[00:18:24] Speaker C: Such as?
[00:18:24] Speaker D: Like what, Mallard? Everett Stone was a gem broker.
[00:18:28] Speaker G: Good for you. You've got clue number one.
[00:18:30] Speaker D: You knew that.
[00:18:31] Speaker G: Don't be ridic candy. That came out of McGuffey's reader number two.
[00:18:35] Speaker D: He had the Cape Hatteras diamond with him when he arrived from Los Angeles.
[00:18:38] Speaker G: Atta girl. You're getting warm.
[00:18:40] Speaker D: He switched the rock to a gal named Jennifer Shirley. She took the diamond on up to Seattle because Everett thought he was being tailed.
[00:18:46] Speaker G: Hey, you're getting better and better. What's next?
[00:18:49] Speaker D: You mean none of this is news to you?
[00:18:52] Speaker G: Uh, old hat so far.
[00:18:54] Speaker D: Well, maybe this won't be old hat. Everett wrote a description of the guy he thought was following him. He gave it to Jennifer. It's you. Right on the nose, Mallard. Boy.
[00:19:03] Speaker G: What?
[00:19:03] Speaker D: It's you.
Including the little mole you have behind your right ear.
You don't look so good, Mallard, dear. Don't you think you ought to tell me what it's all about?
[00:19:15] Speaker G: Maybe I better. I can't for the life of me figure out. Wait a minute.
Sure.
Of course.
You had me worried there for a minute, cupcake.
[00:19:28] Speaker D: Doggone, what is this? Mallard, I'm getting mad.
[00:19:32] Speaker G: You'll find out.
[00:19:33] Speaker D: Oh, I'll find out. But when will I find out?
[00:19:36] Speaker G: Saved by the bell. Excuse me a minute. Detective of Matt.
[00:19:40] Speaker D: Oh, sure.
[00:19:41] Speaker G: Lieutenant Mallard, Homicide.
[00:19:43] Speaker I: Lieutenant, this is Sergeant O'Flaherty down on radio. We just got a report from prow car 36.
[00:19:47] Speaker G: Yeah?
[00:19:48] Speaker I: There's been a dame killed out in that same flat. Name of Jennifer Shirley.
[00:19:59] Speaker D: It was then I knew that Mallard was really in the clear. The phone dropped out of his hands and he looked as if he'd been slugged with a belaying pin. Mallard had work to do, so I left. Only this time I didn't go back to the flat. I have Tenderloin connections. So putting two and two together, I started making the rounds down around Turk Street. Turk, Ellis, Eddie, the whole section where the easy street boys hang out. I came up with nothing. Nothing until I stumbled into a little bar near Eddy street on Leavenworth. I came face to face with an old acquaintance of mine, name of Montgomery the Mole.
[00:20:40] Speaker J: Ralph. For crying in my beer and making it salty.
[00:20:44] Speaker D: Look. What?
[00:20:44] Speaker J: The height I just washed in hiya Candy.
[00:20:48] Speaker D: Hiya, Montgomery.
[00:20:49] Speaker J: I ain't seen you since the night you caught up with me, former pal Willie Clum.
[00:20:53] Speaker D: Oh, I'm sorry I had to do that, Montgomery.
[00:20:56] Speaker J: Oh, I ain't hanging. It'd be too good for that, Crumpum. A little second story work ain't too far out of line. I can even swallow a well executed stick up. But when it comes to kidnapping and murder, uh, Asana's characters draw the line.
[00:21:12] Speaker D: That's why I'm here, Montgomery. Yeah, There have been two killings in the last four days.
[00:21:17] Speaker J: Mm, the grapevine must be slippin. I don't hear nothin about no rubouts.
[00:21:22] Speaker D: They've been kept quiet for a reason. Just what the reason is, I don't know. Have you heard about any out of town ice men dropping in the last few days?
[00:21:32] Speaker A: Nuh.
[00:21:32] Speaker D: Nuh.
[00:21:33] Speaker J: Not a one.
[00:21:34] Speaker D: Now, look, here's a 20, Montgomery. That's all I've got. I'll send you 20 more first thing in the morning.
Your memory improving?
[00:21:43] Speaker J: Ooh, ooh, just like I never lost it.
[00:21:47] Speaker D: Well, is there a jewel boy in town?
[00:21:51] Speaker J: Look right ahead of you up at the bar. Yeah, that's him. He ain't a hot ice juggler. My name ain't Montgomery. Got in just about four days ago. Calls his self Finch.
[00:22:04] Speaker D: Oh, Montgomery, I loves you.
I'm moving over there. Do me a favor. Tip the bartender off. Tell him to keep my drinks well watered.
It didn't take long. A guy from out of town gets lonesome. I was sitting at the bar no more than three minutes, and we were old friends. He kept the drinks coming, and by closing time, he really had a snootful. He offered to drive me home and, oh, naturally I accepted. We got out on the sidewalk and suddenly he darted back into the tavern. When he returned, he was carrying something in a paper bag. We found his car and climbed in.
Don't you think you ought to let me drive, mister?
Quite a few.
[00:22:51] Speaker I: I can handle this little old car.
Hey, I'm sort of stranger here. You'll have to tell me which way to go.
[00:22:59] Speaker D: Oh, sure.
You go straight up Leavenworth here and. And then you turn right on Bush. I'll direct you after that.
[00:23:06] Speaker I: Okay, do.
[00:23:11] Speaker D: Oh, you seem real pretty.
When did you say you got into town, Mr. Finch?
[00:23:17] Speaker I: About four days ago. Let's see. Yeah, that's right.
[00:23:22] Speaker D: What sort of business are you in?
[00:23:24] Speaker I: Business?
I'm in old business. Retired. Sort of.
Got lots of money. Get lots more too. Hey, look out for that bag.
[00:23:35] Speaker A: Oh.
[00:23:36] Speaker D: Oh, I'm Sorry. How clumsy of me. Yeah.
Why, it's a purse.
Why, Mr. Finch.
[00:23:47] Speaker I: Put it back. I. It's a present for my sister in Riverside.
[00:23:52] Speaker D: Oh, how thoughtful. Oh, turn left on Kearney street, will you?
[00:23:56] Speaker I: Sure.
[00:23:57] Speaker D: Then when you get to Washington, turn right one block to Montgomery Street. It's right on the corner.
Would you care to come up for a nightcap, Mr. Feed?
[00:24:06] Speaker I: Hey, now, that sounds like a very good idea. Sure.
Nightcap.
[00:24:16] Speaker D: The corner of Washington and Montgomery is just half a block from Mallard's office in the hall of Justice. With any luck, I could do a bloodless turnover to Lieutenant. Boy. I reached down by my side, got my.32 out of my purse and held it under my coat. We arrived at our destination and Finch helped me get out of the car. There was only one pale light to illuminate the street, which was just what I wanted.
[00:24:39] Speaker I: Ah, there you are.
[00:24:41] Speaker D: You go ahead a little way, Mr. Finch. There seems to be something wrong with one of my heels.
[00:24:45] Speaker I: Oh, sure.
[00:24:52] Speaker D: Don't turn around, Mr. Finch. Not if you value your life. This is a gun I've got stuck in your back. And believe me, I know how to use it.
[00:24:59] Speaker I: Same what goes on here. I'm almost broke, if that's what you're.
[00:25:02] Speaker D: This isn't a stick up. See that door up the street in that big building? Just keep walking right on into that door.
He started walking and I hung back a few paces. I didn't want to lose this baby. He was too good. Because that purse he had in the paper bag was the one owned by Jennifer Shirley I'd never be able to get free. That purse contained the Cape Hatteras diamond. I marched him into Mallard's office and Mallard was in. I gave him the full scoop, and in less than half an hour we had one sad Finch behind locked bars with the promise of a full written confession of two killings and one diamond theft. I had never seen anything fall into place so easily. A few minutes after we returned to Mallard's office from putting Finch into his unguilded cage, there was a knock on Mallard's door.
[00:25:56] Speaker E: Coming, is I gumshoe? What on earth did you call me for at this hour of the night or morning?
[00:26:03] Speaker G: Yeah, come on in, Rembrandt. This ought to be fun.
[00:26:07] Speaker E: Dove. You do?
[00:26:09] Speaker D: Yeah.
[00:26:10] Speaker E: Why aren't you home getting your beauty rest?
[00:26:12] Speaker D: Oh, we just wound up a couple of killings, dear. Those of Everett Stones and Jennifer Shirley's.
[00:26:16] Speaker E: Well, bully for you.
[00:26:18] Speaker G: And I had nothing to do with it. Candy did it all. I left her strictly alone. And she came through like a trooper. There's only one little thing she's overlooked. When she comes up with that, she'll have solved her best and last case.
[00:26:32] Speaker D: Last? Kate, what are you talking about? Mallard. Captain Mallard, this is Riley on the top deck. Captain Mal. What is this?
[00:26:42] Speaker G: Yeah, Riley.
[00:26:43] Speaker D: We got this Finch Joker all booked and fingerprinted.
[00:26:47] Speaker I: He's in the Lysol dip now.
[00:26:48] Speaker D: Then we'll tuck him into Betty by for the night.
[00:26:51] Speaker G: Good.
[00:26:51] Speaker D: We're changing shifts now. Anything else you want from me?
[00:26:54] Speaker G: No, Riley, you can knock off.
[00:26:56] Speaker D: Fine, Captain.
[00:26:57] Speaker I: Oh, and all the boys up here send down congratulations.
[00:27:00] Speaker G: Oh, thanks, Riley. See you tomorrow.
[00:27:04] Speaker D: You. You a captain, Mallard?
[00:27:08] Speaker G: Well, I'll try.
[00:27:09] Speaker E: Well, by Jove, I think that's splendid. Congratulations, Minion.
[00:27:13] Speaker G: Thanks, Rembrandt.
[00:27:14] Speaker D: Oh, I'm getting dizzy again. He's a captain. And what's this stuff about my best and last case give out here, Mallard.
[00:27:23] Speaker G: Boy, doggone it, you're missing the most important clue in this whole case. Now, let's review it.
[00:27:30] Speaker E: Go ahead, girl. I'm bursting me buttons.
[00:27:32] Speaker D: Okay. I. I first get suspicious when you turn grumpy on me, Mellard.
[00:27:36] Speaker G: That's when I was wrestling with myself over. Over a decision.
[00:27:39] Speaker D: That's right. Then you meet the Stone guy in a small hotel in Ellis Street.
[00:27:42] Speaker G: We had business. That's where he wanted to meet me.
[00:27:44] Speaker D: Then you go out to those flats. You wave, he waves. You go in. When you come out, you're carrying something. We go up, Stone is dead. Later, I meet Jennifer Shirley. She shows me the Cape Hatteras diamond. But she also shows me something else. A description written by Stone. A description fitting you exactly.
[00:28:02] Speaker G: Here, look. What was in Jennifer's purse along with the diamond.
[00:28:05] Speaker D: What?
[00:28:06] Speaker G: Another description. One that fits, Finch. Everett Stone accidentally gave Jennifer the wrong slip of paper. The one that described me.
[00:28:15] Speaker D: Oh, for Pete's sake. That sure had me worried.
[00:28:18] Speaker G: Mellor, dear, isn't there something else that worries you, cupcake?
[00:28:22] Speaker D: Yes, there is, darn it. But I can't put my finger.
Wait a minute. That's it. The package. The one you carried down the stairs from that flat.
[00:28:31] Speaker G: At last. At last you finally did it, Caddy. Here it is, right here. Open it. See for yourself.
[00:28:39] Speaker D: Okay.
Well? It's beautiful. What a lovely ring.
Did you steal this from Everett Stone?
[00:28:54] Speaker G: Sure did. The price he gave me made it a first class deal.
Why, once you try it on.
[00:29:02] Speaker D: Oh, I'd love to.
[00:29:06] Speaker G: Oh, I don't think you're putting it on the right finger. Candy.
[00:29:15] Speaker D: Which finger do you mean, Millard?
[00:29:18] Speaker G: Third finger, left hand.
[00:29:21] Speaker D: Oh, you.
You don't mean that, Mallard. Tell me.
[00:29:29] Speaker G: I want you to be my wife, Candide.
[00:29:43] Speaker D: Oh, say it again, will you, Melter dear?
This is only another one of those fool dreams of mine.
[00:29:49] Speaker G: I'm sure it's not a dream, cupcake. I mean, it's more than I've ever meant anything in my life.
Will you marry me, Candy?
[00:29:59] Speaker E: You big idiot. You don't need the answer to that.
[00:30:03] Speaker G: I wasn't asking you.
[00:30:05] Speaker D: Oh, yes, I'll marry you, Captain dear.
Forever and ever.
[00:30:13] Speaker G: Do you see now what I meant about this being your best and last case?
[00:30:18] Speaker D: Oh, yes. But you're wrong.
I have another and a bigger kitties coming up.
[00:30:26] Speaker G: What's that, little monkey?
[00:30:28] Speaker D: Just trying to be an awfully good wife to you.
[00:30:33] Speaker E: My word. I was wondering.
[00:30:38] Speaker D: What, Rembrandt?
[00:30:39] Speaker E: When you're married, how shall I address you?
[00:30:43] Speaker D: Oh, that's easy. Just Mrs. Captain Mallard.
I won't even have to change my initials.
[00:31:08] Speaker F: For excitement and adventure and romance.
[00:31:11] Speaker D: Just dial Candy Matt. I mean, Mallard.
Mrs. Captain Ray Yukon. 282.
That won't be my phone number. I.
Gee, I'm so confused. I don't know what I'm.
[00:31:39] Speaker A: Heard.
[00:31:39] Speaker F: On the program were Jerry Walter as Montgomery the Mole, John Grover as Finch, and Helen Kleeb as Jennifer Shirley. Jack Thomas is Rembrandt Watson, and Henry, left, is Captain Ray Mallard. The program stars Natalie Masters as Candy and is written and directed by Monty Masters. Sound effects are created by Bill Brownell and Eloise Rowan is heard at the organ. Our engineer was Phil Ryder. The characters in the story were entirely fictitious. Any resemblance to actual people or names is purely coincidental. The program came to you from San Francisco, and this is Bud Heidi speaking.
This is NBC, the National Broadcasting Company.
[00:32:33] Speaker A: That was Candy's last case. From Candy Matson, UConn 28209 here on the Mysterious old Radio Listening Society podcast once again. I'm Eric.
[00:32:43] Speaker B: I'm Tim.
[00:32:44] Speaker C: And I'm Joshua.
[00:32:45] Speaker A: That was my pick this week. I wanted to bring a Candy Matson.
My goal is that eventually we listen to all 14 of them here on the podcast. And I thought, ah, it's been long enough. Let's do one. And I listened to a bunch of them and they're all, here's the deal. I love them all a lot and I have my reasons for bringing this one. And that is, first of all, of the historical significance. This is the final episode. I know they did the audition one later, but truly was the last one at that point. And I'm going to point out all the things that I'm sure will be brought up that aren't great about this episode and starting with that same problem that we run into so many times with shows that we do on this podcast.
Don't give it away in the title, Candy's Last Case. Don't. Because I knew it was her last case. I was able to figure out with eight minutes left, that was going to kill her. Yeah, he was going to kill her. Right.
[00:33:56] Speaker C: With a wedding ring.
[00:33:59] Speaker A: No, that marriage proposal was coming, and they're Jules people, and he's obviously up there to buy a ring. If it wasn't called Candy's Last Kid, it was go, what the hell, Mallard, or something like that.
I would have been much more sucked in and not knowing that was coming. So that's one thing that I had an issue with.
[00:34:19] Speaker C: So here's a question. Do you think it is incredibly detrimental to the episode to figure it out before Candy? Because I think you're supposed to figure it out before Candy. I thought you figured it out too soon.
[00:34:30] Speaker A: I was really enjoying myself with the what's Mallard doing? What's going on? And why is it being so weird? And what's the big reveal? I was like, you know, and he kept saying, oh, you got to figure this out. And, ah, this is going to be. And then when I figure out it's. It's a Hallmark movie, you know, stupid happy resolution. Yeah.
So, yeah, I think I was disappointed to figure it out. I would rather have wrong castle.
[00:35:00] Speaker G: Go back.
[00:35:01] Speaker B: Go find a different Castle.
[00:35:02] Speaker A: Right.
And then the other thing I want to say, first of all, there's that misogyny of you're getting married so you don't get to be a detective anymore.
So now. Now that's done. And I'm like, okay. Right. That's how that works. So I didn't like that. And also, yeah, it's a goofy feel. Good. Like I said, it's got that Hallmark movie kind of feel to the end of it and all that. So all those things aren't my favorite parts of this. Here's what I'm taken by with this show.
I can't get over how well written, how well paced, how well acted, how well produced. Pace again. I'm going to say it again, how this moves.
[00:35:45] Speaker C: It's really ironic that you're going to slow the conversation down by repeating the word pace over and over again, because.
[00:35:52] Speaker A: I'm no good at it. Just, you know, it's so.
[00:35:56] Speaker B: It keeps up the pace. It.
[00:36:02] Speaker A: I'm just taken by everybody involved in the show. They are expert storytellers.
[00:36:09] Speaker C: So basically what you're saying is an episode of Candy Matson that you don't think is that good, you still go up and down.
[00:36:16] Speaker A: Yes.
[00:36:16] Speaker C: It's well done.
[00:36:18] Speaker A: Yes.
I didn't find it that great, but yet I was mesmerized. And I think that's testimony to how well this thing was done for me. I think this is just an incredibly well done show.
[00:36:30] Speaker B: I think this is an incredible episode of radio because I don't know of any other series. I mean, most of the serialized stories, I don't know the whole arc. But to really have, like, this is our finale. This is the end of our story in a collective narrative way.
[00:36:45] Speaker C: It's ahead of its time in that way.
[00:36:47] Speaker B: It feels. And even as compared to a lot of later series, like TV series, they're like, this is the final episode of this show, and it's wrapping things up. I think it does a much better job, but it shares some of the same challenges of this episode. To be the finale has to break a lot of the rules of Candy Matson episode.
[00:37:05] Speaker A: Yeah.
[00:37:06] Speaker B: Like, she's behind all the time. She's not ahead of everyone else. She's lost in catching up. And, you know, Mallard is ahead of her on this and all these things that are like, that's not a Kandi Matson episode. And then it gets to the end. And her performance, I think, is transformative as being so happy, so genuinely happy. I was verklemped.
[00:37:25] Speaker A: You know, that idea that it wasn't a chicken in the back of the bus that she was smothering. It would turn out to be a baby.
[00:37:33] Speaker C: Hilarious.
[00:37:34] Speaker A: And then waking up next to Suzanne Flechette.
[00:37:37] Speaker C: Yes. Yes.
[00:37:38] Speaker A: All my endings.
[00:37:40] Speaker C: This is a weird fan fiction finale mashup.
[00:37:44] Speaker A: So all my endings.
[00:37:46] Speaker C: I could Bob Newhart's like, why is this dead baby?
[00:37:50] Speaker B: And they all went to a church and realized they were dead.
[00:37:57] Speaker A: So did you get that? Oh, that's really beautiful. At the end.
[00:38:02] Speaker B: So happy for. And not because I thought, like, you know, what would make Candy Manson a better human being?
[00:38:07] Speaker C: Right.
[00:38:08] Speaker B: Getting hitched.
[00:38:08] Speaker A: Right.
[00:38:09] Speaker B: It was just the genuine emotion of the performance that it really, really was what she really, really wanted.
[00:38:13] Speaker A: I think her final line, where she stumbles over.
[00:38:17] Speaker B: I don't actually want this.
[00:38:18] Speaker A: Right. I thought you. The. The actor played that really well. Like, it sounded seriously. But also she probably was sad knowing that she was doing her final episode, but it came across very sincere.
[00:38:33] Speaker C: Yeah. I think I'm with Tim on that ending. That I think the through line of the. At least the 14 episodes of Candy Manson we are able to hear is that she wants to catch Mallard.
[00:38:47] Speaker A: Yeah.
[00:38:48] Speaker C: It actually is a culmination of a through line and the actor sells it.
[00:38:53] Speaker A: Yep.
[00:38:53] Speaker C: Yeah. From a contemporary point of view, one of the reasons from our vantage point in 2025, that we like Kandi Matson is because she was an outlier of a tough female private eye. And so we don't.
[00:39:07] Speaker A: That didn't need a man to be whole.
[00:39:09] Speaker C: We don't want that to stop.
[00:39:12] Speaker A: Right.
[00:39:12] Speaker C: But I also think it's perfectly legitimate for someone to decide to stay home.
[00:39:19] Speaker A: Well, he says it, doesn't he? Mal, you've done your lesson.
[00:39:22] Speaker C: What I mean is we, from our historical perspective, are, I think, applying the idea that she had no choice. When really, when I back up and listen to all the episodes, it's that.
[00:39:33] Speaker A: It was her choice.
[00:39:34] Speaker C: It's her choice. She's been chasing him. Chasing him. And she wins in the end. And I don't want to judge someone's choice. I just want them to have the choice. And what I object to is if she didn't have the choice one way or the other. And yes, you can also fill in that they were married, she enjoyed being home for six months, and then she started solving mysteries again or joined the police department.
[00:39:56] Speaker A: Right. I will tell you in the back of a bus right now, if my choice, if one of the options on the table is stay at home, I'm taking that. We're recording the podcast in my house. Maybe not even that.
[00:40:11] Speaker C: But in all fairness, if you have a family with children and things going on, that's not retirement to stay home and do all that work. Nope.
[00:40:21] Speaker B: And also the love we in this small group, but I think collectively fans of Kati Matson, it's partly her independence and initiative and fierceness. Ferocity is probably the word I'm looking for. But it's also that she's just charming.
[00:40:38] Speaker G: Yeah.
[00:40:39] Speaker B: Like you. Just like her. And because of that, like any of those first part change, because it's something she wants. The fact that we like her so much. Make me happy for her. Make me happy for her.
[00:40:50] Speaker C: Yeah. And part of what I love about Kandi Matson is she is a detective.
She has her own business, she's successful, she's smart, she's funny, but absolutely not at the expense of being a woman of the 1950s. Like, they're not being portrayed as antithetical to one another.
You can be smart and successful and still totally be a woman of that day. And so I think to a certain degree, the ending plays into that. And on a practical level, I think they probably just wanted to really tell the listeners that, no, we're not coming back.
[00:41:26] Speaker A: Right.
Ironically, they tried to socially like, thank.
[00:41:32] Speaker B: You for being my friend for all these years. I'm getting married now, so you won't see me again.
[00:41:36] Speaker A: Here's a weird thing to say. I hope I phrase right. The woman that plays Kati Matson, her voice is just silk. I love her voice, you know? Yes. How she delivers it, how the lines are. She's charming, all of those things. But it's also the actual, like, the quality of her voice I can't get over. Does that make sense?
[00:42:00] Speaker B: My eyes are up here, slightly above my voice.
[00:42:06] Speaker A: Hello. Down there.
[00:42:10] Speaker C: Yeah. I wanted back up for one moment to the whole through line of Mallard laughing and being weird and kind of hysterical about being caught in this situation. I found it really intriguing the first time I heard it, and I've heard it now several times. So that is the unfortunate thing when there's an episode like this that I've heard several times, then we have to discuss it on the podcast. I can't remember your first reactions, like, where I figured it out the first time I heard it, but I tend to think it was about the same point. You figured it out. And I wasn't disappointed by that, because what it does is it builds your joy for Candy. She's distressed. Is he a killer? Well, that's a whole nother thing to talk about in this episode. It feels like she legitimately thinks he might have killed a guy.
[00:42:59] Speaker A: Yeah.
[00:43:01] Speaker C: I think what was intended is that she's worried he might get framed for it, or. No, she just thinks he killed a guy.
[00:43:09] Speaker A: I think she thinks he killed a guy.
[00:43:11] Speaker B: I think there's also half people she knows are murderers.
[00:43:14] Speaker A: So when you listen to it a second time, the other half of alcoholics. Right.
That doesn't pop the first time you listen to it. The second time is when she says, yeah, and he had a.45 slug in his head. And he starts, what are you talking about? Well, the guy that you saw and left, he's dead.
And he starts to think, and then he starts to laugh.
[00:43:37] Speaker B: Yes.
[00:43:38] Speaker A: And you go the first time you're like, yeah. Oh, Candy, you got this all wrong. That's fine. No, that's a weird reaction. You should be going, wait a minute. That Guy's dead. Okay. He's been shot. But instead he goes, oh, Candy. Which does not help alleviate the idea that he killed her. So that might be on purpose.
[00:43:59] Speaker C: Yeah, I mean, he killed him.
[00:44:01] Speaker A: Sorry.
[00:44:02] Speaker C: Like many candy mats in scripts because it walks that line between the legitimate mystery and pastiche and winking self knowing jokes. You can't think about it too hard.
[00:44:14] Speaker A: No.
[00:44:14] Speaker C: Because really, you think about this too hard and it's like Mallard, just to preserve a surprise wedding proposal, got this other innocent woman murdered.
[00:44:22] Speaker A: Right.
[00:44:23] Speaker C: If he had just given her the ring. Right. Then.
[00:44:26] Speaker A: Yeah, that's a good point.
[00:44:28] Speaker C: And then helped her solve the case before this woman was murdered.
[00:44:33] Speaker A: Yeah. Hey, I didn't think of that.
[00:44:36] Speaker C: But that means the script is successful. It keeps you bouncing along the just mystery side of the story and the fun. And you don't think about how these people thoughtlessly let this woman be murdered.
[00:44:50] Speaker D: Who knows?
[00:44:51] Speaker B: Candy's always perceived life is cheap.
[00:44:54] Speaker A: Right.
[00:44:55] Speaker C: There are some great lines in here. I. It might be one of my favorite Rembrandt lines is I squirm with injury.
[00:45:05] Speaker G: Yes.
[00:45:06] Speaker C: It sounds like a dime novel, doesn't it?
[00:45:09] Speaker A: Right.
Is it always the same actor playing Rembrandt Watson?
[00:45:13] Speaker C: Yeah, I think so.
[00:45:14] Speaker A: Because the Voice in the 14 that we have, the actor, I think he's making different slight differences in how he played it. Early on he was drunk.
[00:45:26] Speaker C: Yes.
[00:45:27] Speaker B: I think it might be both that he is aging and.
[00:45:29] Speaker A: Right.
[00:45:30] Speaker B: Yeah. In my own little personal head canon like. And he's sobered up during the course of this production.
[00:45:37] Speaker A: Sure.
[00:45:38] Speaker C: I thought it was a nice historical and geographical nod to talk about the San Francisco earthquake when they realized how old the house is and that it survived the earthquake and that it looked like just barely, it was about to fall over and has all the 1906 conveniences, including a door knocker.
[00:45:59] Speaker A: Well, I shouldn't say only, but it's only 50 years earlier that the earthquake happened.
[00:46:04] Speaker C: Excuse my nightie. If I had known you were coming, I would have gone formal. It just has all the just fun banter. None of them are just like laugh out loud. Some of them are, but I squirm with intrigue. I left.
[00:46:15] Speaker A: There are other candymats and episodes that have much better laugh out loud one liners than this one, but it doesn't fail to amuse.
[00:46:25] Speaker C: I'm a sucker for the knowing forced dialogue.
Things like, oh, for crying in my beer and making it salty.
[00:46:35] Speaker A: Yes.
[00:46:37] Speaker C: Yeah. I was surprised how much I enjoyed this having heard it before.
[00:46:42] Speaker A: So you've heard it before? Because you've just sat down and listened to all the Kanni Matsons.
[00:46:45] Speaker C: I think I have, yeah. Including the next one. Have you heard the fortune Teller audition?
[00:46:51] Speaker A: Oh, I have not.
[00:46:53] Speaker C: I'm not going to say much, but there is one thing in there that is going to send you through the roof, I predict, so you should bring it to the podcast sometimes.
[00:47:02] Speaker A: I also downloaded the script of the Egyptian amulet.
[00:47:06] Speaker C: That's a lost one, right?
[00:47:07] Speaker A: Yeah, the Egyptian amulet. Kenny Matson. I found the script online.
[00:47:12] Speaker C: And you'd just been acting it out alone in the shower.
[00:47:17] Speaker A: Hello down there.
But I want to send this to you guys. We should do this one on stage.
[00:47:23] Speaker G: All right.
[00:47:24] Speaker A: Yeah.
[00:47:24] Speaker C: I like how our podcast is turning into a production meeting.
Hey, listeners, we're going to need about five minutes, so you can just go.
[00:47:34] Speaker B: Deli meats aren't as good as the ones we usually get. We should probably swap these out with something else.
[00:47:39] Speaker C: You know, we didn't.
[00:47:40] Speaker A: We should start getting deli meats.
Why do we never have craft services when we record? Why don't we?
[00:47:47] Speaker B: No one brings food because the recording is just all.
[00:47:50] Speaker C: Yes, I have tried it several times, and the editing is really difficult.
[00:47:56] Speaker B: Still, to be fair, though, I mean that. That there's a little preview of my vote of what I think of this episode.
[00:48:01] Speaker E: Nom, nom, nom, nom, nom.
[00:48:04] Speaker C: But before we vote, I just want to say that this is probably to sign off for Candy, one of her most hardcore takedowns of a killer. Right. She IDs him from across the bar, sets herself up as a honey trap, tells the waiter to water down her drinks, and gets this guy drunk and pulls a gun on him and just takes him at gunpoint to the cop station. It was.
[00:48:32] Speaker A: Yep.
[00:48:33] Speaker C: So I think that, to me, also balances out the.
[00:48:37] Speaker A: The sappy ending.
[00:48:38] Speaker C: The sappy ending, right? Because you feel like, yeah, she would have shot him if he tried.
[00:48:44] Speaker A: I just stopped listening to you after you said honey trap because.
[00:48:48] Speaker C: Because you're hungry.
[00:48:49] Speaker A: Always.
Well, what if we had deli meats and honey?
No, but you're absolutely right.
[00:48:56] Speaker B: It's Deli Meats podcast.
[00:48:58] Speaker A: It's a great episode with a twist ending in the sense of it leans a little sappy, but that's okay. And that's going to be my vote. It's really so unfortunate only 14 of them exist.
It's really sad. It's a really good show.
[00:49:18] Speaker B: I'm going to call this a classic. I think it's just incredible. Candy Matson is such a good series. It's not just like, this is good. It's joyful to listen to it. It's a pleasure.
And that's it. It's joyful as I, you know, the older I get and the more media I intake, I. The more I appreciate it's hard to stick a landing. And I think this does. I mean, it's. It's not the perfect ending, but it's a really good ending. Yeah, a lot. A lot. A lot of very talented artists, writers, creators fail to do it. And I think this did. And, you know, there's flaws in it, but the thing that makes Candy Matson such a good series is in this episode in abundance. I thought.
[00:50:00] Speaker C: Yeah. I have to agree. I think if I were being completely impartial and I was thinking of most listeners who aren't me, that there's a vote that says this doesn't stand the test of time. Because I think a lot of people have a hard time getting past, from this current point of view, that she would quit being a detective.
[00:50:19] Speaker A: Right.
[00:50:20] Speaker C: For all the reasons we already laid out. I think that's bringing a lot of baggage to this episode. And I have to second Tim's observation. And I think it's very appropriate for Candy Matson, which was so ahead of its time. This ending, this series finale as a concept is ahead of its time. And yes, I don't think it has my favorite Kandy Matson jokes, but I give it a pass there because it has so much heavy lifting to do ending this series. And I give it extra points for having the just weird mystery of why is Mallard acting so right?
[00:51:02] Speaker B: And his elaborate plot to get this woman killed.
I'm not taking the fall for this.
[00:51:09] Speaker G: See, Candy.
[00:51:10] Speaker A: See.
[00:51:12] Speaker C: And Candy Madsen apprehending a double murderer at gunpoint is great. So, yeah, I'm gonna say classic, but I think I would say all Candy Matsons are classics in their own special way.
[00:51:23] Speaker A: I am relieved when I threw this up on our communications and said, this is the one I'm bringing. I wasn't sure if you guys are gonna go, ah, we love Candy Matson, but that was terrible. I thought that might be ruined the series for Eric.
[00:51:38] Speaker C: Thank you. I'm relieved because Candy Madsen is so consistent.
[00:51:41] Speaker A: Yes.
[00:51:42] Speaker C: That if you like it, you can't really find one of the episodes terrible because it has a pretty consistent level. Like, it dips a little bit and goes up a little bit, but pretty much, yeah. Hits the target. At least all 14 episodes.
[00:51:55] Speaker A: I've heard Tim tell him stuff.
[00:51:58] Speaker B: Please go visit ghoulishdelights.com so home with his podcast. You can find other episodes there including. You can like I want to hear these other episodes of Candy Mats. And you guys are talking about. You can do it. You can do it on our website. You can also find a link to our store. If you want to buy some swag. Get a T shirt or a tote. I love totes. Get some swag and you'll find a link to our Patreon page.
[00:52:19] Speaker C: Yes. Go to patreon.com themorals and support this podcast. That's right, ladies. You cannot retire from being a private detective. You need to have an income so you can support us.
[00:52:32] Speaker A: Yeah.
[00:52:33] Speaker C: And if you want to do that, go to patreon.com themorals thank you.
[00:52:37] Speaker A: Mysterious Old Radio Listening Society Theater company performs live on stage, classic old time radio shows and also a lot of our own original work. You can find out when we're performing and what we're performing on any given month by going to ghoulishdelights.com and you can get tickets there and come and see us. We'd love to see. And if you don't, we do record the audio of them and that is a Patreon perk. Another reason to become a Patreon. Listen to our our our live audio plays. What's coming up next.
[00:53:08] Speaker C: Next we will be live at the Bryant Lake bowl with special guest Shannon Custer. And one of our patrons. Ryan will be joining us for a live listening and discussion to and of a shipment of mute bait from Escape. Until then, look out why squirm with intrigue.
