THE $200,000 BOND CASE and THE GIBSON MURDER CASE RICHARD DIAMOND, P.I.

Summary

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1001 Radio Crime Solvers: “THE $200,000 BOND CASE and THE GIBSON MURDER CASE” (Richard Diamond, P.I.)

Episode Date: August 20, 2025
Host: Jon Hagadorn
Feature: Richard Diamond, Private Detective (starring Dick Powell)
Stories: "The $200,000 Bond Case" & "The Gibson Murder Case"

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Overview

This episode of 1001 Radio Crime Solvers features two hard-boiled detective cases from the classic radio show “Richard Diamond, Private Detective.” In these vintage mysteries, Diamond tangles with gangsters, double-crosses, and locked-room puzzles. The first story, "The $200,000 Bond Case," revolves around a missing fortune and a deadly web of deception. The second, "The Gibson Murder Case," sees Diamond unravel a locked-room murder tied to a mysterious woman and a pair of crafty killers.

Both stories blend sharp wit, fast dialogue, and suspenseful plots, showing why radio was the golden age of crime solving.

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The $200,000 Bond Case

Main Theme

Richard Diamond is drawn into a tumultuous hunt for a missing $200,000 in stolen payroll bonds, facing off against ruthless criminals and a double-crossing femme fatale.

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Key Plot Points & Discussion

Opening & Setup

• Diamond’s humor defines the tone—world-weary, sarcastic, razor-sharp.
• “I can go along for a whole month and get by on nothing but meals at the Automat and a dozen laughs a day. The funny ones usually pay just as well as the tough ones. But eventually, somebody starts something that’s about as funny as an open grave.” (Diamond, 00:35)

The Visitors in Diamond’s Office (05:00)

• Two heavies, Frank and Vern, confront Diamond, demanding he hand over "the bundle" (the $200,000).
• Diamond’s wisecracks escalate the tension, but violence erupts and he’s knocked unconscious.

Enter the Mysterious Woman (08:30)

• Diamond awakens to find a glamorous woman in his office. She offers him $1000 to safeguard a package from a subway locker, without explanation.
• “You get the item, and I’ll introduce myself in two days. And I do keep a drink in the house, Mr. Diamond.” (Woman, 10:49)

Subway Locker Trap (11:00)

• Retrieving the lightweight, locked bag, Diamond’s accosted by Vern at gunpoint.
• Violence is narrowly averted when police lieutenant Walt Levinson intervenes, killing Vern.

Headquarters & Plot Unraveling (13:00)

• Diamond identifies the other attacker as Frank Purcell, presumed dead from a notorious gang crash years earlier.
• The mysterious woman is revealed to be Mrs. Crump, wife of Billy Crump (another gang member).

Mrs. Crump’s Apartment (16:00)

• Diamond and Walt find Mrs. Crump murdered, evidence pointing to Purcell.

The Riddles of the Bonds (18:00)

• Diamond deduces the $200,000 is hidden somewhere familiar, based on cryptic numbers and a throwaway comment by Mrs. Crump: "Do you work nights, Mr. Diamond?”
• He discovers the cash rolled and stuffed inside a light bulb in his own office.

Final Confrontation (22:00)

• Diamond faces off with Purcell, now desperate.
• The tension peaks: “You say no or even maybe, and I’ll kill you where you sit.” (Purcell, 22:36)
• Walt bursts in, and Diamond cleverly shoots Purcell through his desk.

Denouement (25:00)

• The scheme is revealed: Mrs. Crump and Purcell tried to double-cross each other over the payoff.
• In a classic comedic wrap-up, Diamond recovers at Helen’s, bantering with her and the butler Francis.

Notable Quote:

• “You know something? You ain’t so funny.” (Purcell to Diamond, 25:00)

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Memorable Moments & Timestamps

• Diamond’s banter with his girlfriend Helen: “I found a Japanese beetle in the desk the other day. Been giving me judo lessons.” (04:31)
• The noir standoff in the subway: (11:00–13:00)
• Discovery of the cash hidden in a light bulb: (21:40)
• Final snappy back-and-forth with Helen and Francis: (25:58–28:00)

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The Gibson Murder Case

Main Theme

Diamond investigates a seemingly impossible murder: a wealthy man is found dead in a locked apartment. The puzzle deepens with romantic intrigue, blackmail, disguises, and a classic “body in a rug” trick.

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Key Plot Points & Discussion

Inciting Incident (32:20)

• A man named Gibson is killed during a lovers’ quarrel, his body needing discreet disposal.

Miss Esther Blodgett’s Call (36:58)

• A nervous schoolteacher, Esther, calls Diamond after finding a corpse in her prized “Hepplewhite” chair.

Investigating Gibson’s Life (44:41)

• Diamond learns from Gibson’s daughter that her father recently moved out, possibly for a mysterious woman.
• The trail leads Diamond to a hotel waitress named Virginia Pilgrim.

The Landlady & The Apartment (49:51)

• Virginia Pilgrim, it’s revealed, lived in the Village and had several male visitors, including Gibson and a “greasy” younger man.

The Locked Room Puzzle (51:18)

• The police and Diamond figure out Gibson’s body was moved, not killed, in the schoolteacher’s apartment.
• Key clues: brown lint on Gibson’s clothes is from a rug mat; rugs are missing from apartments being painted.

The Big Reveal (53:19)

• The Austins, a couple on the second floor, are identified as Virginia Pilgrim (alias) and her husband, the murderers.
• They used their old key to the schoolteacher’s apartment to stash the body there. Pilgrim cracks under pressure and confesses.
• “I didn’t kill him. Harvey did. I didn’t kill him!” (Virginia Pilgrim, 55:57)

Ending & Signature Tune (56:30)

• Diamond returns to Helen for food, flirtation, and a song, closing with a playful exchange about “Hepplewhite”—just a chair after all.

Notable Quotes

• “Well, move over, honey. Now, take it easy and give me one thing at a time. Who’s the dead guy?” (Diamond to Esther, 38:09)
• “You two babbling about? Danger, stop, look, and listen?” (Diamond, 43:40)

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Timestamps & Highlights

• Diamond wigs out on “Hepplewhite”—a running joke confusing the dead man for a chair: (37:53, 40:45, 58:09)
• Esther’s comical composure: “After the initial shock wore off, I found myself in complete control… I just lit a cigarette. It tasted so good, I offered one to the dead man.” (38:54)
• The deduction of the rug as the murder transport: (53:19)
• The arrest and confession of the real killers: (54:42–56:00)
• Diamond’s tune at the piano with Helen: (57:01–57:57)

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Overall Tone and Style

The stories blend hardboiled investigation, quick-paced humor, and clever plotting. Diamond’s character is defined by wisecracks, sardonic commentary, and relentless pursuit of justice, balanced by warmth in his off-the-clock moments.

Throughout, the dialogue remains playful, loaded with double entendres, banter, and radio-era flair.

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Key Memorable Quotes

From “$200,000 Bond Case”

• “As long as I get that ever-lovin’ loot in my little hot hand, Lucifer can walk in with a machine gun and I’ll arm wrestle him for the price of a hot dog.” (Diamond, 00:51)
• “Well, what I got hurts and you’re welcome to it.” (Diamond, 06:00)
• “What are you going to do about that big, bad policeman outside the door?” (Diamond, 22:51)

From “The Gibson Murder Case”

• “Hepplewhite? No, the dead man. What about Hepplewhite?” (Diamond, 37:57)
• “How did you ever get to be a schoolteacher? You don’t look the type.” (Diamond, 43:30)
• “You dumped him in Ms. Blodgett’s apartment because you knew she was out of town. And you used to live there, so you still had a key.” (Diamond, 55:42)

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For New Listeners

Even without prior experience with “Richard Diamond, Private Detective,” this double-feature episode puts you right in the bustling world of New York City crime-solving. Expect rapid-fire intrigue, a detective with a heart (and a mouth), irresistible dames, and villains who learn the hard way not to cross a seasoned P.I.

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Tune in next week for more classic radio sleuthing on 1001 Radio Crime Solvers—where every episode is a golden-age whodunit brought to life!

Transcript

[A]

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[B]

Progressive makes it easy to see if.

[A]

You could save when you bundle your.

[B]

Home and auto policies.

[A]

Try [e-mail] Progressive Casualty Insurance Company and affiliates. Potential savings will vary. Not available in all states. All right, quick break. Knock knock. Who's there? Amazon Music. Amazon Music who? Amazon Music where prime members can listen to top comedy podcasts. Amazon ad free. No awkward interruptions, just non stop laughs from your favorite shows. It's free, it's funny, and hey, it's better than my knock knock jokes. Download the Amazon Music app and let the good times roll. Or go to Amazon.com adfreecomedy that's Amazon.com adfreecomediDy to catch up on the latest episodes without the ads, here's another in NBC's great parade of new show Now Dick Powell as Richard diamond, private detective. Hello there. This is Diamond. You know, this business I'm in can get pretty silly sometimes. I can go along for a whole month and get by on nothing but meals at the automat and a dozen laughs a day. The funny ones usually pay just as well as the tough ones. But eventually somebody starts something that's about as funny as an open grave. So then I put on a long face and start carrying my.38. I don't worry about those times because I don't think about them. I just know they'll be around. And I know I won't have to bother about it unless I get my hundred a day in expenses. That's the equalizer. As long as I get that ever lovin loot in my little hot hand. Lucifer can walk in with a machine gun and I'll arm wrestle him for the price of a hot dog. Last week I stopped in the middle of a real yocker and realized that I'd been giggling. Overtime. That's right. The cycle had caught up with me and the label on my future had changed from fun time to trouble. And no guarantee as to the date of expiration. What started all this? Well, one morning on 53rd Street, a couple of guys were just pulling up in front of a garage. This the garage? Yeah. Go on, drive in. Here comes a guy. Yeah. This is big luck for us. The guy coming is the guy I want. I don't want he should see me yet. So you keep talking to him and I'll get out this side, tell him to look at the motor or something. There's something I can do for you Mister. Yeah? Take a look at the motor. It's been missing. Sounds all right. It don't drive like it sounds. So take a look at it. Okay? Sure. Race it once, Huh? I said race it once. He don't hear so well, huh? Hello, Billy boy. Where did you come from? How did you get here? One at a time, Billy. I came in the car, got out the other side. You're looking good, Billy, real good. What do you want? How did you find me? Can't you ask just one simple question? You get so all mixed up. Billy, look, leave me alone, please. Sure, Billy. I'll leave you alone. All alone, you love. Diamond detective agency. Our 30 day test revealed that not one single case of throat irritation was due to strangling.

[B]

Oh, Rick, you're awful.

[A]

Oh, how can you say that? I'm lovely. I'm engaged now. You steal wool?

[B]

Oh, you idiot.

[A]

Ah, you. Pete. Hello, honey.

[B]

Hi. Am I gonna see you tonight?

[A]

Sure. What do we do?

[B]

You get here about eight. I'll think of something.

[A]

Oh, let's stay in. I've got that awful broke feeling again.

[B]

Oh, is business bad, Rick?

[A]

Well, pretty bad. But it gives me a chance to get some exercise.

[B]

Exercise?

[A]

Yeah, I found a Japanese beetle in the desk the other day. Been giving me judo lessons.

[B]

I'll just pretend I didn't hear that.

[A]

Don't knock it. Vaudeville's on the way back. Leave it alone.

[B]

Let it live, Helen. I'll see you about eight.

[A]

Wait a minute, honey. I think I forgot to shut something off. People are running in clients. I'll find out. Oh, would one of you gentlemen mind dropping a few hundred dollar bills on the floor? Well, I'll call you right back. I don't think they're spendthrifts.

[B]

All right, Rick.

[A]

Bye. Bye, honey. Well, now, lads, what can I do for you? Your name's Diamond? Yeah. Would you mind closing the door? I've got a beetle that'll break my arm if he catches cold. Hey, this guy's screwy, boss. Shut the door like he says. You got a beetle, huh? Funny man. Yeah. I'll bet you 8 to 5 he can throw you. Well, if you have got a beetle, he must be running around in your head. But I ain't got time to find out. You know something? I. I don't think we're gonna get along. You may be right, funny man. It depends. On what? On whether or not you turn the bundle over to me. Look, rockerhead, if you're looking for your laundry, you got the wrong bin. I don't like the Way this guy talks now. But first we ask him nice. We want the bundle. Funny man, you just said that. I say it again for you then if you don't get it, I make you understand. Like how you couldn't point out Clyde Beardy in a lion cage. Here it is. Now try hard. I want the bundle. I know this will throw you, but what bundle? It's gonna be difficult. Shut up. Look, Shammas, some of my friends think I'm kinda good natured, but sometimes I fool him and get nasty. You should be ashamed of yourself. You want to know what bundle I tell you? Maybe you snap out of it. The bundle the dame gave you. The 2000-002000-00200,000 what? Girdles. That does it, Vern. See why they Shamus is lying. Now wait a minute, buster. You go on the muscle with me and I'll tear off your biceps and stuff them in your fat face. Vern here. Oh, nuts. Why is it that.38 always changes my mind? And I want it to be so virile. I'm gonna use this gun unless you tell us where you got the 200,000. Now this is getting silly. No, it ain't. It's getting bloody, see? Now what's going on? I told you, funny man, I want what you got. Well, what I got hurts and you're welcome to it. You sure ask for a dough. Come on. You save your head from getting squashed. And me and Vern save a lot of time where you got the dough. Look, I didn't know what you were talking about when you started and I'm just as stupid now. You that funny man, Vern? Hey, wait now. Oh, a gun barrel can cut you up pretty bad. You want to see how bad or do you want to tell us? You think I like the massage? I tell you, I don't know what you're talking about. I don't like to be kept waiting. You, I don't like it none, see? Now you spill your gut so my boy chops you up like hamburger. Open your yap and sing. Sing, you hear me? Okay, but you won't like it. I can begin to tell you. Close this lousy mouth. Close it good. I knew you wouldn't like it.

[B]

Oh, oh, oh.

[A]

Now, funny man, you got a wise crack. You gonna still make like a hero. Answer me, funny man, or I step in your face. Boss. Shut up. But boss. Yeah, yeah, yeah, what do you want? He don't hear you. He's out. Huh? Oh, what did you sat him so hard for? Stupid? Maybe you turned him off for good? Nah. He'll be around in a couple of minutes. Then I can work on his ribs. He'll tell us where he's got the dough. I don't know. I don't know. You don't know what? He's got the dough. You sure know that. Yeah, the dame says she'd give it to him. You think maybe she crossed you? You think she skipped? I think maybe we better find out. This shamus is pretty stubborn and pretty clean. I think we find out how. You watch. I'll search the joint, then we'll get out of here. What about the shamas? Ah, you'll make it all right. I want him around for a while. After we find the doe, you can put them back to sleep.

[B]

Mr. Diamond. Mr. Diamond. Mr. Diamond, wake up.

[A]

Sorry, honey, I'm not coming in.

[B]

Mr. Diamond, wake up. Mm.

[A]

Oh. Oh. Oh, what a nice sweater.

[B]

How do you feel?

[A]

Well, a quick comparison might be a gider snake in a log jam.

[B]

You don't look very comfortable. Why don't you sit up?

[A]

Afraid my eyes might fall out.

[B]

Better?

[A]

Yeah, yeah. Know any shaggy dog stories? I could use a laugh.

[B]

How did you get like this?

[A]

It wasn't easy. How long have I been here?

[B]

I just came in. I was going to call the police when you started mumbling.

[A]

Mumbling?

[B]

Yes, you said something like, oh, it's not so late, honey. Can I come in for a drink? You must have been dreaming.

[A]

I'm glad I woke up. She probably didn't have a drink in the house anyway. Pardon me, honey, but I gotta run some water for my bumps.

[B]

You don't look so bad, considering.

[A]

Oh, considering what? People get run over by trucks every day.

[B]

When you start feeling better, I'd like to talk business.

[A]

Oh, with business I straighten right up. What's on your mind? Oh, that sweater.

[B]

I want you to guard something for me.

[A]

Why? You're the type that goes bear hunting with a switch.

[B]

Is that supposed to be nasty?

[A]

Take a guess. I just get mauled up by two gorillas. And before they get nasty, they mention some dame and some money. And you know anything about it?

[B]

Why should I?

[A]

I wake up and there you are. I thought maybe you stop by to see if the boys get a gold star for the work.

[B]

I don't know anything about it. Now, do you mind if I sit down?

[A]

No, no, I'm sorry. I haven't got anything more comfortable. Termites just walked out with my couch. What do you want? Guided lover?

[B]

I can't tell you what it is, but it's in a locker at the 42nd street subway. I want you to pick it up and keep it with you until I call for it.

[A]

I get a hundred a day in expenses, and I don't know what I'm doing. The fee looks like a skyrocket.

[B]

Here's $500. When I pick up the item, you get 500 more and I'll be back in two days.

[A]

Well, I was gonna start looking for the guys who gave me this headache but $1,000 makes me impatient. You got the key to the locket?

[B]

Yeah, right here. By the way, do you work nights, Mr. Diamond?

[A]

Well, not in the office. Don't you think I don't know your name?

[B]

You get the item and I'll introduce myself in two days. And I do keep a drink in the house, Mr. Diamond.

[A]

She got up then and walked out of the room like he with half an apple. I put some iodine on my face and headed for the 42nd street subway. All the way down, I kept thinking about those two mugs who had worked me over. And for the life of me, I couldn't guess why. I didn't know it then, but if I could have guessed, it probably would be for the life of me. I reached the subway and went down. I found the locker, opened it, reached in and pulled out a small black leather bag with a lock on it. Out of curiosity, I tested the weight and finally decided I must be guarding a sack full of spiderwebs. I tucked it under my arm and turned to go. But sometimes things don't always work out the way you plan them. Okay, Shammas, let's have the bag. Oh, when am I ever gonna make Eagle Scout? I should have smelled something. Hello, Vern. I'm in a hurry. If your wires crack, you get dead. Give me the bag. Where's your friend? Not collecting heads? I guess I gotta kill you. Guess again. Here's the bag. Okay. I should make a hole in you just because you ain't honest. You had the dough all the time. You mean in that bag? Oh, now, don't tell me it ain't in it. Well, if it is, buster, it's all in one bill. Feel the weight. Hey, it is too light. Why, you lousy, no good gumshoe. This time I don't play around. Frank wants that dough and you're gonna show me where it is. Oh, I wish you'd get yourself a.22. Those big guns make dents in my back. I'm gonna count three and you're gonna tell me where the Doe is or I'll kill you all over the place. You couldn't make it a hundred, could you? It's so much fun when you're past 50. Be funny. You're only killing one guy. One. This never happened when I went on next to closing two. Oh, now wait a minute. Look. You look. It's your last chance. Drop it. Burn. You're boxed up. Hey, who's that? The marines? Why, you dirty Duck. Rick. Rick, are you all right? Oh, Walt, I know you're bashful about these things, but you're going to be kissed. Oh, now stop that. Otis, have your boys keep the crowd back. All right, all right, keep at you.

[B]

Come on.

[A]

What about the gunner? You shot him good, Lieutenant. Well, I'm glad you noticed your mallet head. Now what about him? He's dead. How did you find that out? 20 questions. Oh, yeah. Well, I guess we saved your life this time. Well, I hope I can do the same for you sometime, Sergeant. But science will hate me. Now don't you start blubbering again, Otis. I couldn't stand it. Go get the wagon like a good boy. Okay, Lieutenant. Now, what's this all about, Rick? Believe me, Walt, I don't know. How did you get here? We got a call from a dame about 10 minutes ago. Said you were coming down here and some guy was going to kill you. Well, well, well. Now, don't you well, well, well me. I want to know what this is all about. Let's go down to headquarters and I'll tell you just what I know. Wally, you coming? You. You mean you're going to cooperate? Certainly. Oh, Otis. What's the matter, Wall? I feel a little faint. Would you mind helping me up the stairs? I think I've been working too hard. Walt and I left the subway and headed for the 5th Precinct Police Station. On the way over I told him about the girl and about the two hoods who had worked me over in my office. When we reached the station, he shoved the Rogues gallery at me and I started going through the miles of photographs. Well, the guy we shot in the subway was one Vern Geranda, small time torpedo. But we can't find out anything else. Can't you find the other one in any of those pictures? Well, I've looked through them all. All I know is his name is Frank. Maybe he hasn't got a record. Yeah, Try this stack. Dates back to the year one. Well, you can bet on one thing, Walt. The girl who called you was. The girl who was in my office. She was the only one who knew I was going down to the locker in the subway. But how did she know this Vern Geranda was going after you? Well, she must have known he was going to tail me and that he was after something. Something that could have been in that black bag. It was a plant. Because she knew it was empty. I think she'd planned that when. When this Verne caught me with an empty bag, he'd get rough enough to shoot. And if you were there, you'd have to stop him. You mean she wanted him dead? That's my guess. Dead or in jail. But out of the way, I have 200,000 probably behind it. What? Did you find something? Yeah, this is the other guy who came into the office. Yeah, let's see. Hey, what do you think you're doing? What's the matter with you? This is the man. You're crazy. Now you listen to me. If you're trying to start one of those routines. Oh, now wait a minute. You asked me to pick out the hood that was in my office. And this is the boy. A little younger maybe, but you know darn well I wouldn't make a mistake on identification. This is screwy. This is ridiculous. Where's my bicarbonate? What is wrong with you? Rick, that's Frank Purcell and he's been dead for two years. What? Oh, wasn't he the guy who went over a 50 foot cliff with his whole gang? That's right. The car burned. The only guy they didn't find in the wreck was Billy Crump. He disappeared completely. Well, this one got out of it too, and stayed around long enough to pay me a visit this morning. And his first name was Frank. That's impossible. The boys chased them right after the holdup and shot out one of their tires. Watched the car go over and saw it turn. Didn't they knock over the payroll at the Martin shipyard? Sure. Got away with 200. $200,000, huh? Oh, yeah. What is it on that killing down at the garage? That. That guy was just identified as being one for armed robbery killing? Yeah, pretty bad. Somebody shot up a guy that worked in the place. Who was it? Her name was Crump. What? Yeah, Billy Crump. Stuck up some shipyard about two years back. Oh, shut up. I was only telling you. Okay, okay, what else on it? Has a wife, lives at 64th street, apartment 205. That's all. Well, don't just stand there, you applehead. Go get the car. Oh, oh, oh. Yellowton. Come on, Rick, I'm waiting. All right, all right. I apologize. Oh, you really don't have to, Walt. I was as confused as you were. Was. But you're not now. No, I don't think so, Walt. But let's get over to see Mrs. Crump. She can do a lot of straightening out, I hope. Mrs. Crump is in. Oh, I forgot to tell you, lieutenant. She calls herself Stuart. Mrs. Edna Stewart. What? Yeah, her husband used her alias instead of Crump. Oh, well, that's all right, Sergeant. Maybe when you start pounding a beat again, you'll think of those little things. 205, wasn't it, Wong? How about it, Sergeant? It was 205, wasn't it? Oh, Yellowtown.

[B]

205.

[A]

That was it. I remember. I might make a few more. Shut up, Walt. Hold it down. I'm sorry, Otis. Yeah, Lieutenant? Shut up. Here it is, Walter. I'll give it a knock. Go ahead. Looks like no score. Try the door. Why, Walt, without a warrant. Now don't you start that again. If Frank Purcell is still alive, we're going to grab that 200 grand. We got to work fast. Besides, I'm not trying the door. You are. Well, it's open, unstained and honest. I suppose you'd like me to trip you just so you can say you fell in by mistake. Oh, come on. Pick up your big feet, Otis. That would be hard even for Samson. Oh, yeah? Now you listen to me, wise guy. I'm getting sick and tired. Oh, holy cow. 10 the body, Rick, how about it? Quite. Mrs. Crump. Mrs. Crump. Mrs.— Stewart. The girl in my office this morning. No difference. I figured she might be the one in your office. When I heard Crump had a wife, she must have had the 200 grand and Purcell killed her for it. Well, you can bet the cash wasn't in the apartment because she was too smart to keep it here. No signs of a struggle. From the way she's lying, she was probably sitting at this desk writin pat on the desk. Willton. Keep your paws off of it. She was writing something. Hmm. Went through to the bottom sheet. Now, numbers, Otis. Start casing the place and have a conscience when you pass the icebox. Okay, Lieutenant. Too many numbers for a phone, Walt. Walt, what are we looking for? Purcell on the 200,000. Okay. Now, we don't know where Purcell is, but that $200,000 had to cool off until Crump could spend it. So now, where would be the safest place to keep that much cash? The numbers. Safety deposit box. You have just won yourself, Sergeant Otis. I should cut my throat first. Now, It's a cinch. Purcell has gone down to the safety deposit box. I found a couple of plane tickets, Lieutenant, and it looked like they'd started to pack. Yeah? Let me see them. Two for Mexico City. And good for the first that ties it. Would you mind whispering in my ear, or am I asking too much? Walt, when Mrs. Crump came to my office, she made it very clear she'd be back in two days. That's the first of the month. I don't know how long she'd been there before I woke up, but she was interested in my office and she was coming back in two days. Now, if she wanted to hide something, the best place would be somewhere that had already been searched. Otis, you think you could dig up a safety deposit box under the name of Crump or Stewart? Here's the number. I can try. Stout fellow. Now, Walt, if Frank Purcell did kill the girl and then headed for the deposit box, I don't think he found much. And the only other person that Mrs. Crump contacted and that he suspects is yours truly. And he'll tail you, or worse. I hope so. But I want 10 minutes alone in my office before he catches up. Now, what is. Get going and call me at my place. Right now. Walt, I'm gonna walk around for about half an hour and see if I can pick up a tail. Then I'll lead him to my office. I'll get there at exactly 2:30. You get there 10 minutes later, I think I'm gonna need help. I still wish I knew what you were up to. As soon as Otis finds that deposit box and tells me if Mrs. Crump is at the bank around 11 this morning, I'll tell you the whole thing. And if I'm lucky enough to stay alive, you'll have Frank Purcell to fill in the details. I left Walt and started walking. If Purcell was after me, he was too smart to let me spot him. So I just kept going until I'd used up the half hour and I was on my way up to my office. Purcell wouldn't follow right away, so that gave me the 10 minutes I wanted. I went in and looked around. Nothing had changed. Desk, chair behind and chair in front of small closet with sink, hat rack and bookcase. I went to work on the bookcase first. Nothing. So I took the desk apart. I kept going. Closet under the rugs. Still nothing. I took a breather and tried to reason it out. If I had suspected something in the beginning, where would be the last place I'd look? Something I never used. I Didn't have a vacuum cleaner, so that was out. Then I remembered something. Something the girl had said that morning. Do you work nights, Mr. Diamond? I looked up at the big light bulb hanging from the ceiling. A little lost weekend, but it was worth a try. I walked over and snapped on the light switch. Ah, score for Diamond. With the light on, the bowl became transparent and lying at the bottom I could see the outline of a large bundle. I forgot to smile because the footsteps coming up at the hall sounded like company. I turned off the light, went over to my desk and sat down with a very comfortable.38 between my legs. Well, good afternoon, rocker boy. Did you forget your bucket of blood? I forgot something. Sure, funny man. I forgot to leave you dead. Don't look so unhappy. You tried. I've been getting a big run around all day, so I brought me something to slow things down. You want to see it or do I keep it in my pocket? If it's a mouse, I'll scream. In this pocket, I got six ways to kill a louse. If you ain't seen a louse, just grab a mirror. Oh, my George. My George. That was a good move. What's the matter? Was the deposit box empty? Oh, you know about that, do you? I figured you was working with a dame. Well, you got a silent partner now. You're right. Last time I saw her, she was speechless. I'm gonna do the same for you, funny man. But I make a deal. You say no or even maybe, and I'll kill you where you sit. You say okay, and I'll let you keep going until you choke on one of your jokes. You tell me if I'm right and I'll give you a quick answer. You've been after Billy Crump ever since the shipyards robbery. Because he got away with the money. You finally found his wife and she got scared. She bought two tickets to Mexico. How am I doing? Great. You tell a good story. When Mrs. Crump saw all that lovely cabbage, she got greedy. She got ahold of you and made a deal. Yeah, she was a pretty smart chicken. I knock off her husband Billy, and she splits the dough with me. And if I guess right, at 11 o' clock this morning, while you were killing Billy Crump, she was grabbing the 200,000. So that's how it goes. But after we rubbed out Billy, she called and said the doe was planted with you. She wanted the doe herself. She used me to lead you to the subway. Right. Where were you? Upstairs. I figured something was up. Well, Nice little plot. You kill her husband. The cops kill you and your torpedo, and bless her little heart, she winds up with a pot of gold. Now she winds up the dough wasn't in the box, so she planted it somewhere. We saw her coming in here after we worked you over. Now, I think she stashed the bundle here while you was out cold. So do I get it or do you die? What are you gonna do about that big bad policeman outside the door? I'm gonna laugh at him because he ain't there. Walt, stop snooping. Come on in. Hey. Well, what do you know? You wasn't kidding. This might mean a promotion. Purcell. Want to turn around and be a good boy, or do you want it the hard way? I stay the way I am. You're in a tough spot, Mr. Copper. If this funny man's a friend of yours, he's going to get it the minute you try your luck. Rick. Yeah, Walt, he's got a point. I might be lucky and get him just right, but it's a long shot. And if I miss, he'll pull the trigger on you. You're pretty smart for a copper, Walt. Yeah. The way it looks, we could be here all night. Unless somebody gets shot. That's the way it looks. What do you think, Purcell? Like I said, the cop guns me, I gun you. Silly. Ain't it be a lot sillier if I had a gun? Funny man, that would be a riot. Well, start laughing, Powell. You sure ruined that desk. Ah, I couldn't help it. Had the gun between my knees. I. I move, he shoots. Had to try it right through the desk. What are you sweating for?

[B]

Me?

[A]

I could use you for a shower. How's Purcell? Unhappy. How about it, Purcell? I ain't giving odds. Hey, funny man. You know something? You ain't so funny. Get the phone, Walt. Yeah, Lieutenant. Oh, no. Yeah? I found the box. The crump name was in the bank at 11 o' clock this morning. I found him. Pretty quick, huh? Hooray for you. Wait a minute, Rick. You were right about the. Hey, where did he go? Who? Lieutenant King Kong. Now you get your big fat head over here, Lieutenant. What is it? Okay if I turn on the siren? Oh, here's the iodine and bandages, Ms. Helen.

[B]

Oh, thank you, Francis. Stop squirming, Rick.

[A]

Oh, honey, I know what's coming. When I leave here, I'm gonna look like an advertisement for a snappy funeral.

[B]

You baby. It's just a little iodine and bandages.

[A]

Oh, get her. You use enough iodine to stain an elephant and so much Bandage. You could roll up a herd of mummies.

[B]

All right then, get infected.

[A]

I am infected.

[B]

Rick, stop that.

[A]

Come here. I've had a tough day. I've been beat up, shot at and been insulted by Sergeant Otis. I. I need some relaxation and I want to play.

[B]

Should I leave, miss? You stay right where you are. I think there's a wolf loose.

[A]

Francis. Yes, Mr. Diamond? Have you studied your lessons on how to be a private detective?

[B]

Oh, yes, sir. I'm up to chapter eight, but.

[A]

Have you read chapter eight yet? Well, no, sir. Oh, that's too bad. I was going to give you some first hand advice on that chapter tonight.

[B]

Oh.

[A]

Oh, I'll go read it right away, sir. May I, Miss Ellen?

[B]

Go ahead, Francis. I can't win. Oh, this will be jolly.

[A]

No. Come here, you.

[B]

Rick, stop it.

[A]

Get away from that piano.

[B]

No. You are my sunshine, my only sunshine. You make me happy. Well, you know what they say about music soothing a savage beast. You don't like it, you sing something.

[A]

Oh, what for? You don't even look a little wild.

[B]

Sing something. I'll get as wild as you want.

[A]

Oh, now there's a statement.

[B]

Go on.

[A]

All right. Little girl, you're the one girl for me. Little girl, you're as sweet as can be. Just a glance at you meant love from the start and oh, what a thrill came into my heart. Little girl, with your cute little ways I am yours for the rest of my days. And this grace great big world will be divine Little girl, when you're mine, oh, mine. Okay, honey, now, now get wild.

[B]

All right. Come here.

[A]

A little wilder girl. There you go. And Mr. D, I'd like to ask your opinion.

[B]

It isn't chapter eight that Homicide.

[A]

Oh.

[B]

Well, look at that.

[A]

And I'm not blushing.

[B]

Oh, I must be getting used to it.

[A]

You have just heard Richard diamond, private detective, starring Dick Paul. Helen was played by Virginia Gregg, Lieutenant Levinson by Ed Begley. Also in our cast were Wills Herbert, Gene Bates, Robert Carroll and Ted De Courcia. Music was under the direction of Frank Wirth. Richard diamond is written by Blake Edwards and directed by Richard Sanville. Now here is Dick Powell. Say, ladies and gentlemen, if you've been enjoying our show, and I sure hope you have, be sure to listen on Monday evenings beginning October 3rd instead of Saturday. Did you get that? Beginning October 3rd, we will be heard on Mondays instead of Saturdays. And check your local paper for the exact time. Dick Powell soon will be seen in the screen version of the best selling novel, Mrs. Mike. The Judy Canova show returns to most of these NBC stations next Saturday. In this time period, Richard Diamond, Private Detective, moves to Monday evenings beginning October 3rd. Next week, tune in at the same time for the Judy Canova show and hear Richard Diamond, Private Detective. Monday nights beginning October 3rd, you're tuned for the stars on NBC. The Ethel Merman show, previously scheduled for this time, will be heard at a new time and date to be announced shortly. Here transcribed is Dick Powell as Richard Diamond, Private Detective hello there. This is Diamond. Hey, I got a beef. I went shopping for my girl Helen Asher the other day. You know, stuff for dinner. This town's gotten hotter than the blast furnace in Death Valley, so you gotta pick out things that make for a cool meal, like salads, cold cuts, beer, real picnic style. Well, I figured I could whip up a fancy tossed salad or something until I got around to the tomato counter. Have you glommed onto the price of tomatoes lately? Now what's with that? So the cost of living is inflated. So a T bone makes like it just arrived direct from the Sultan's Classiest cow. Okay, a T bone I can understand. But what's with a tomato when it costs so much it should be hanging from a charm bracelet instead of lying in a salad bowl? Who needs it? So I bowed from the waist and figured you could still do a lot of things with a plain head of lettuce. Oh, I got another beef, too. Why can't people start their killings in December when it's cool now? About a week ago, I got mixed up in the case. And before it was over, I took so many salt tablets. I am now the best seasoned private detective in New York. It started last Tuesday morning about 11 o' clock in an apartment on the Upper east side. Jenny.

[B]

Yeah, genius?

[A]

No cracks.

[B]

No cracks. We're both waiting for old Gibson to turn us into the cops and you say no cracks? This whole rotten mess is your fault.

[A]

How did I know the old goat wouldn't fall for it?

[B]

Well, he didn't. So we better start packing.

[A]

What for?

[B]

Because I don't want to play hostess to a lot of little men in blue. I'm allergic to handcuffs.

[A]

Relax, will you? You won't find us.

[B]

They can trace me from the other apartment.

[A]

How? Gibson? Don't know your real name. Do you leave anything in the other place or we'll leave them here.

[B]

No. Cleaned out everything except the clothes. I didn't have time to move them.

[A]

Notice she got away with the mink.

[B]

What do you want me to do, leave it behind? No, no, we can hock it Hock it?

[A]

Yeah. Want to blow, Tom takes cash. Cash I ain't got.

[B]

You're telling me.

[A]

Look, baby, if Gibson does go to the police, I'll have to hock the court so we can blow this joint.

[B]

All right. You go get rid of it, and I'll start throwing some things into a suitcase.

[A]

Who's that?

[B]

How would I know? Maybe it's a landlady.

[A]

Oh, I forgot the paint in this floor today.

[B]

Yeah, I saw. The paint isn't 206. I'll probably start in this room in a couple of hours.

[A]

Okay. Okay. Duck that code. I don't want the landlady to spot it.

[B]

Yeah.

[A]

Yeah. What? Gibson. So you really are married, huh?

[B]

Who is it?

[A]

Hogg. Hello, Virginia.

[B]

Mr. Gibson.

[A]

Yes. I waited around in front of the other apartment and followed you here. I wanted to be sure to send the police to the right place. Look, Mr. Gibson. You look, whatever your real name is. I don't like being blackmailed or threatened. But please tell Virginia my mind's made up. In a way, I'm sorry for you, but you didn't think about me. I'm past 60 and I'm tired of being made a fool. Look, why don't you give her a break, Mr. Gibson? I'm not asking for me. I'm very noble of you. You should have thought about that a few hours ago when you accused me of making love to your wife. You're not really married. There is no need of displaying your indignation. There'll be plenty of time for that when the police arrive. Harv. Yeah. Come in. How dare you. Take your hands off me. Look, you ain't calling nobody. You wanna listen to me? You take your hands off me.

[B]

What are you gonna do, Harv?

[A]

I'm gonna change this old goat's mind about calling the cops. You can't threaten me.

[B]

No?

[A]

You struck me. How'd you guess?

[B]

Hob, take it easy. He's an old man.

[A]

Your concern is misplaced, my dear. I can take care of myself. Why, you. Give me that chain. I'll be glad to give it to you across your shoulders. Give me that.

[B]

Hob, be careful.

[A]

Hit me with a can. With you? No. Young. I'll set you up for good.

[B]

Harpy. Poppy. You idiot. Huh? You big, stupid idiot. Look what you've done.

[A]

All right. So what? Know better. Next time, throw some water on him. Why? Do you hear me? Throw some water on him. What's wrong? Come on. Come on, Gimpsy. Come on.

[B]

Come on.

[A]

Holy cow.

[B]

Lucy.

[A]

Yeah, yeah. Shut Up. Gotta get him out of here.

[B]

Why'd you ham that cane? Now you're in trouble.

[A]

I'm in trouble? We're in trouble, baby. We. We. Stop that crying all over the place. Help me get him out of here.

[B]

Oh, we're gonna do it. It's broad daylight.

[A]

Yeah. Can't get him out of the building like this. I'll have to wait till the night.

[B]

We can't leave him in here.

[A]

Why not?

[B]

The painters.

[A]

What do you mean? What?

[B]

They'll be here in a little while.

[A]

Oh, yeah? Yeah.

[B]

Oh, yeah. Now what, genius?

[A]

Shut up. Shut up, will ya? I gotta think. Diamond Detective Agency. Murders financed while you wait.

[B]

Oh, you idiot.

[A]

Oh, is this Toodles Asher, the belle of Park Avenue?

[B]

Ah, this is Helen Asher, the girl that goes steady with a Diamond. To detective agents.

[A]

Sounds like a fine organization. Are they reliable?

[B]

Very seldom. Oh, I'll tell you better as soon as I find out what I'm gonna do tonight.

[A]

You're gonna give your butler the evening off. And the Diamond Detective Agency is gonna march through your front door single file and show you a shortcut to spin the bottle.

[B]

What time does all this begin?

[A]

How long will it take you to pucker?

[B]

About two seconds.

[A]

I won't get there until eight. Don't hold it or you'll end up looking like a. Yo, Bangi.

[B]

You're terrible.

[A]

Yeah, but I'm pretty.

[B]

So's a baboon.

[A]

Oh. What? You said.

[B]

You won't be late, will you, Rick? I don't know.

[A]

After that last crack, I think I'd better start going steady with King Kong.

[B]

Rick.

[A]

No. I'm mad.

[B]

Ricky. I love you.

[A]

Only because I can hang by my tail and my fangs have that toothpaste smile.

[B]

I think you're the most wonderful man in the world. Well, I think you're the handsomest, the strongest, the smartest.

[A]

Well, all right. Now tell me something I don't already know.

[B]

Rick.

[A]

Bye, baby. See you at 8. A I'm adorable. B I'm so beautiful. C I. Now look, honey, I can't make it till 8 o'. Clock. I got a fan dancer who's a client. She wants to go out and trap an ostrich this afternoon.

[B]

Is this the Diamond Detective Agency?

[A]

Huh? Oh, yeah.

[B]

Is this Mr. Diamond?

[A]

Yeah. What's the matter? You sound like you're standing on a body.

[B]

Oh, Mr. Diamond, please, you've got to help me. I. I just don't know what to do.

[A]

Now, take it easy. Who is this? What's wrong?

[B]

I thought it moved.

[A]

What moved?

[B]

The man sitting in my chair.

[A]

Well, that happens now and then. Why shouldn't he?

[B]

Oh, well, because he's dead.

[A]

What?

[B]

Yes. I came home this afternoon from girls camp, and when I unlocked my door and went in, I found this corpse sitting on my heel, white.

[A]

On your what?

[B]

Hepplewhite. I don't know how he could have gotten there.

[A]

Hepplewhite?

[B]

No, the dead man.

[A]

What about Hepplewhite?

[B]

Who?

[A]

The guy this corpse was sitting on.

[B]

Oh, no, no, no, no. That's a chair. Hepplewhite's an old antique chair. Oh, now I'm so confused.

[A]

Well, move over, honey. Now, take it easy and give me one thing at a time. Who's the dead guy?

[B]

Well, I don't know. I never saw him before in my life.

[A]

Okay. Now, why haven't you called the police?

[B]

Well, I thought about that, but I'm a schoolteacher, Mr. Diamond, and I was afraid of the scandal. I read a lot of detective stories, and the first thing that came to my mind was calling a. A private eye.

[A]

Private eye?

[B]

You had the biggest ad in the phone book. So naturally.

[A]

Naturally. Well, give me your name and address and I'll be right over.

[B]

Oh, Esther Blodgett. 419 East 79th street, apartment 108.

[A]

Okay, Esther. Now, don't let anyone in and don't touch anything.

[B]

Oh, I know that, silly. After the initial shock wore off, I found myself in complete control.

[A]

What's the matter?

[B]

I'm so nervous, I just lit a cigarette. It tasted so good, I offered one to the dead man.

[A]

Well, if he takes it, remember how you did it. I'll be right over. Hmm. Hepple White. Oh, is Walt gonna have fun with this? Homicide, Sergeant Otis. Hello, Otis. Let me talk to the lieutenant. Diamond? No, this is Black Beauty. I just did a mile in 112. And I want to report that I'd been doped. Very funny. I thought so. I didn't win the race, but I was the happiest horse on the track. Now, put the lieutenant on the phone. Lieutenant Levinson. Diamond. Walt. I don't want any. You take your killings to another precinct. Oh, now, don't be a sore head. Giving you business is just my way of showing my friendship. Can't we just be buddies at a distance? I'm getting tired of chasing corpses. Well, grit your teeth and get over to 419 East 79th Street, Apartment 108. Homicide? Yeah. A dame named Esther Blodgett reported that she lives there. Who's dead? Well, I don't know. Oh. Oh, yeah, Yeah. A guy named Hepplewhite. Hepplewhite? You ask Esther about it. She'll put you straight. Are you coming over? Yeah. Bye. As I went out of my office, I thought about Esther Blodgett and wondered how mad she would be with the police turned up. I had to call them whether she wanted to scandal or not, because homicide comes first in my book. I'm an ex cop and I still follow the rules. It's not a conscience. I just like staying in business. So when someone turns up with a killing, I always let Lieutenant Walt Levinson know about it. I grabbed a cab and 20 minutes later, I was standing in Esther's apartment along with Walt, the dead man, and Hebblewhite. Oh, you're a swell fellow, you are. What's the matter, Walt? I've been going through that Applewhite routine for the last 10 minutes. I just found out it was a chair. That one right over there. The one that stiffs in.

[B]

Mr. Diamond, why did you call the police?

[A]

I thought you'd ask that. Because that man's been murdered, Ms. Blodgett. That's what good citizens do when they find a dead man in the apartment.

[B]

But the scandal. I'm a schoolteacher. What will my students, mommies and daddies think, honey?

[A]

Just confuse them with that Hebblewhite routine. What did you find out, Walt? Not much. The coroner will be here in a few minutes. Looks like someone gave him a pretty good beating. What's that all over his clothes?

[B]

Isn't that blood, Mr. Diamond?

[A]

Yeah, he's been bleeding all right. I mean that brown stuff, Walt. Looks like lint or something. I noticed that too. I don't know what it is. We'll have the lab analyze it. Tell me, Esther, you said when you came in, you unlocked the door.

[B]

Yes, that's right.

[A]

Are you sure it was locked?

[B]

Why, yes, it has a catch lock. Besides, you have to turn the key and then use the other hand to turn the knob.

[A]

Did you touch anything, open any windows?

[B]

I touched nothing.

[A]

Well, there's a good one, Walt. Yeah? A corpse sitting in a room with the door and all the windows locked. Do you always lock the windows when you go out, Ms. Lodgett?

[B]

Well, I've been away for several weeks at a girls camp.

[A]

Aren't you a little old for that sort of thing?

[B]

Oh, I've been counseling one of the teachers who goes along to take care of the young girls.

[A]

What do you think, Rick? Well, he wasn't killed in this apartment? No. No signs of a struggle. There's only blood around the chair and on the body. He must have been carried in. There would be blood trails on the floor. Not if he was carried in something. You say you never saw this man before, Esther?

[B]

Never in my life.

[A]

Any identification in his wallet? Yeah. Name's Gibson. Leland Gibson. No money taken either, so that eliminates the robbery angle. Any address? Yeah, he's got an old driver's license. 12 East 64th Street. Pretty classy district. Judging by his clothes. He was well fixed, tailored. Good store. As soon as the coroner arrives, I'm going to check this apartment building. Maybe somebody heard something or saw something. Well, let me check the 64th street address for you. This is a police job. Why do you want to check it? Oh, because poor Ms. Blasey looks so unhappy.

[B]

I am, Mr. Diamond. I am very unhappy.

[A]

She was so. She's unhappy. If you want to check the place on your own, go ahead. But I'm sending some men over anyway.

[B]

Mr. Diamond, I like you.

[A]

Well, thank you, Esther.

[B]

I want to hire you to catch the killer and. And find. Free me from this awful policeman.

[A]

Awful policeman. Do you know how I got this way, Ms. Blodgett?

[B]

Oh, I'm sure it wasn't easy.

[A]

Good for you, Esther. I got this way because of this. This private detective. Just call me blue eyed. Ever since he stopped working with me and left the force, I've gotten mixed up in more screwy cases than an alcoholic in a whiskey truck. There isn't one week that he doesn't turn up with one or two killings.

[B]

My, he gets excited, doesn't he, Mr. Diamond?

[A]

And in his spare time, he intimidates my sergeant. Just call me Rick, dear. I've taken enough bicarbonate in the last year to stop Vesuvius erupting. And if he doesn't give me a little peace and quiet, I'm going to end up solving a killing of my own.

[B]

Rick. My, that's a nice name.

[A]

How did you ever get to be a schoolteacher? You don't look the type. Are you listening to me?

[B]

What makes me so different?

[A]

I've seen signs on highways that say it better than I can. What are you two babbling about?

[B]

You mean the ones that say danger, stop, look and listen?

[A]

Well, that fits. But I was thinking about curves and soft shoulders. Oh, no. Now you listen to me, Diamond. This is serious business. A man's been killed in Soft shoulder. I mean, Ms. Blodgett's apartment. If you want to take her on as a client. Go ahead. But any questions from here on in will have to be gotten down at police headquarters.

[B]

You are taking me in, Captain?

[A]

Lieutenant. Yes? You'll have to come down for questioning. Rick, you go along with the big bad policeman, dear. I'll have you out in no time.

[B]

Well, all right, if you say so. But this has never happened to me before.

[A]

That's unfair. Stop blubbering. Yes, what is it? Oh, you get out of here. Otis. Where the devil is Otis? I left Walt jumping up and down in front of Esther and the corpse and headed for 12 East 64th Street. It was an old brownstone in one of the wealthier districts. And when I rang the doorbell, I got another surprise.

[B]

Yes?

[A]

Yes. Don't tell me you're a schoolteacher.

[B]

I beg your pardon?

[A]

Forget it. It's the landmarks that threw me.

[B]

What do you want?

[A]

Do you know a Mr. Leland Gibson?

[B]

Yes, he's my father. Now, just who are you?

[A]

Name's Diamond. I'm afraid I've got some bad news for you, Ms. Gibson.

[B]

It's Father. Something's happened to Father.

[A]

May I come in?

[B]

Oh, I'm terribly sorry. Yes, please. What is it? What's happened to dad?

[A]

Well, he's dead.

[B]

Oh, no, no.

[A]

Look, I know this is tough, but you've got to help me. The police will be here any minute.

[B]

The police?

[A]

Yes. Your father was murdered.

[B]

Oh, I knew something like this would happen.

[A]

You did? Well, tell me about it.

[B]

I don't mean that I expected dad to be.

[A]

Okay. Now, just take your time. Cry it out.

[B]

Sorry. Have you a handkerchief?

[A]

Sure. Here.

[B]

Thank you.

[A]

Now, think you can talk about it.

[B]

Dad left the house about three weeks ago and moved into a hotel.

[A]

Did you have a fight or something?

[B]

Oh, no, no, Everything was fine. But.

[A]

No, no, hang on.

[B]

Things couldn't have been better. And he was in wonderful spirits when he left.

[A]

No arguments, no hard feelings? He didn't leave mad?

[B]

Oh, no, no, Nothing like that.

[A]

Then have you got any idea why he suddenly packed and moved into a hotel?

[B]

Well, I'm not sure, but I think it was a woman.

[A]

A woman?

[B]

Yes, he. He told me one day that he met someone he liked very much. The day after that, he moved to the hotel. But I never saw her. And he never said anything more about her.

[A]

Weren't you a little worried?

[B]

Naturally, Father isn't a young man, and he.

[A]

I mean, wasn't. Just one more question. What hotel did he move to?

[B]

Was the Adams on Madison Avenue. He used to go there three nights a week for dinner and A game of bridge before he decided to move in.

[A]

Well, thank you. Are you all alone? Yes. Got any friends you can call?

[B]

A few, I guess.

[A]

Well, call them. It's better not to be alone and ball your head off. It'll do you some good.

[B]

I'll send you your handkerchief, Mr. Diamond.

[A]

A Richard Diamond. It's in the book. For some reason. I've got a talent for leaving people emotionally disturbed. Walt hops around like a rabbit in a cabbage patch. And Otis always tears his hair out with a handful. Ms. Gibson was less active about it. She just tried to smile and shed enough grief to fill a tub. I grabbed another cab and headed for the Adams Hotel. Yes, sir. Do you wish to register? No, but I want to find out about someone who did three weeks ago. Oh, yeah? Oh, Mr. Leland Gibson. Why, yes. He's staying at the hotel from now on. That's past tense. Ah, I don't understand. He hasn't notified us that he's leaving. Well, that might be a little difficult. If you'll run down to the morgue, I think you'll find out you're stuck with an empty room. The morgue? Yeah. Mr. Gibson has taken over one of the slabs rent free. Oh, my goodness. What happened? He's kind of dead. When did you last see him? Early this morning. He left the hotel around 10. Know where he was going? Why, no. Do you remember him having any visitors in the last three weeks? A girl, I mean? No. Are you looking for a girl? Yeah. Mr. Gibson's daughter seems to think he was running around with a woman since he moved into the hotel. Oh, you say that like you knew what I was talking about. It was common gossip around the hotel. What was? Well, Mr. Gibson has been coming to the hotel for many years. He used to eat dinner here three nights a week and then play bridge with some of the hotel regulars. Now, about a month ago, we took on a new waitress. It was very obvious that Mr. Gibson was quite taken by her. So much so that he moved into the hotel and ate at her table every night. Oh, what was her name? Virginia Pilgrim. Quite good looking. About five three, dark, brunette. Very well, I like to see her. That's impossible. She left the hotel about a week after Mr. Gibson arrived. Oh, so I'll. Wasn't Mr. Gibson unhappy? Oh, no. He was rather happy. In fact, I believe he wanted her to move so he could see her more often. Now, what makes you say that? Some of the things she said in the kitchen to the other girls. Do you know where she might have moved? No. But you might check with the flower shop. Mr. Gibson used to send flowers every day. Well, thank you. Well, I wasn't sure just where I was going, but a Virginia Pilgrim was my best lead, and maybe she could tie the Gibson murder up with a silk ribbon. I talked to the flower clerk and he gave me the address that the flowers had been sent to every day. It was a nice apartment in the Village, and the landlady stuck her nose out like she was trying to smell me instead of see who was calling. Yes. I hope that door doesn't slam shut sometime. You'll have a bloody nose for weeks.

[B]

What do you want?

[A]

Roll out an eye with that nose and I'll show you my badge.

[B]

Aren't you cops ever polite to anyone?

[A]

Well, there's a face that goes with it. I'm looking for a girl about five foot three, dark brunes, no name, the wrong place. Her name's Pilgrim.

[B]

Oh, she lives upstairs.

[A]

She does, huh? Is she in now?

[B]

No, went out this morning, hasn't come.

[A]

Back, and she probably won't. She have many visitors?

[B]

Only a couple men.

[A]

That figures. Ever see an elderly man, gray hair, about 60?

[B]

Sure, every day.

[A]

Know his name?

[B]

No.

[A]

You said she had a couple of visitors. Who else?

[B]

Another man, younger, kind of greasy, Only came around a few times. Old man was there this morning, had an argument.

[A]

Could you hear what they said?

[B]

I don't. Nope.

[A]

Anyone else? No. Who paid her rent?

[B]

She did. Cash.

[A]

Mind if I take a look at her apartment? Got a search warrant? No.

[B]

Then you can't.

[A]

Okay. Thanks. You've been charming. I left the old bat and headed back to the schoolteacher's apartment. If I was right, I'd seen setups like this before. But there was still the problem of finding out how Gibson was killed and how he got into a locked room. When I pulled up, I saw the wagon, complete with corpse and coroner, pulling away for the morgue. And when I went in and knocked on the door, I was certain that they'd forgotten one of the bodies. Oh, it's you, Shammas. Why, Otis, they're leaving without you. Who is? The hearse. Shouldn't you be lying down or something? Now, you stop that, Rick, and get in here. Hello, Walt. What's new?

[B]

Well, Rick.

[A]

Well, Esther. Has Otis been using his rubber hose on you?

[B]

Oh, no, no. But I was getting lonesome. I'm glad you got back so soon.

[A]

You are? As soon as you two stop rolling your eyes, maybe you can tell me what you found out. Mr. Diamond. Now, Walt, send Otis down to the station. For a search warrant. Then tell him to get over to 9 West 12th street and see what he can find in the Miss Virginia Pilgrim's apartment. Who's Virginia Pilgrim? The only person who was mixed up with a murdered man. There was another man who used to see her, but I can't find out who he was. All right, Otis, go get the warrant. Yeah, Lieutenant. Thanks, Diamond. A pleasure, Sergeant. What did you find out, Walt? There were 11 people in the building at the time of the killing. None of them ever saw the guy before. Here's a list of the names. Three people on this floor, Five on the second and three more on the third. Have you talked to the landlady? Certainly. She doesn't know any more about it than the rest. What about that funny brown lint on the dead man's clothes? We're checking on that right now. The lab said they'd call me. Did the landlady say she had a key to this apartment? Sure, sure. But she hasn't used it but once since Ms. Blodgett was away at girls camp. When did she use it? Three days ago, when she had to let the painters in. And she says that the windows and door were definitely locked because after she aired the paint smell out, she locked them herself. Painter, huh?

[B]

Yes, and I've been looking. You know, I think they did a terrible job. Why the kitchen alone? Yes, Rick.

[A]

Later, dear.

[B]

Yes, Rick.

[A]

Walt, did they paint the whole building? They finished the second floor today. I'll get it, Ms. Blodgett. Probably the lab.

[B]

Rick, do you know who did it?

[A]

I got a hunch. Aw, I see.

[B]

You're wonderful.

[A]

Yeah. Okay. Thanks. Lab. Walt? Yeah? That lint you spotted on the dead man's clothes is from the mat that they put under rugs. Mm. Walt, you were on all the floors. Did one of the apartments have a rug missing? They're all missing from the second floor. The tenants took them down to the basement when the painters moved in. Any off this floor or the third? No, just the second. Well, your killers are on the second floor, Walt. How do you figure? Let's look at what we've got. Dead body in a locked room. Blood on body and floor around body, but nowhere else in the room. Carried in in a rug. Bullseye.

[B]

Oh, this is so exciting, Esther. Sorry.

[A]

Yeah, but how does a dame called Pilgrim figure into it? There's no Pilgrim listed in this building. Well, there shouldn't be. If I'm right, the dead man met Virginia Pilgrim while she was working as a waitress in his hotel. She gave him A pitch and he fell. He put her up in an apartment so he could see her more often. So what? I think she was working with another man. A man who was seen around her apartment by the landlady. And how did the body get over here? The guy the dame was working with probably lives here. What about the motive? Well, my guess is that Gibson was being blackmailed and he followed the girl here. He was probably going to yell cops, so they killed him. Okay. Now, what about the locked room? Explain that. Let the landlady of this building explain it. Walt, go ask her one question. Who had this apartment before Ms. Blodgett?

[B]

Esther.

[A]

Oh, I'm sorry, Esther.

[B]

Well, I can tell you that Mr. And Mrs. Austin, they moved to a smaller apartment and let me have this one. It's more rent and they couldn't afford it. I expect this is a better apartment, though. It has very. Yes, dear.

[A]

What apartment did they take?

[B]

Oh, it's on the next floor. Apartment 209.

[A]

According to this list of people who were on the second floor at the time of the killing, the Austins are the only couple. What did Mrs. Austin look like, Walt? Oh, about five foot three, dark brunette. Very, very. Well, say no more. Come on, Walt.

[B]

May I come?

[A]

No, Esther, you stay here. I'll be back later in discussion the better features of your nice little apartment. Yeah? I want to talk to you again, Mr. Austin. Why? Told you everything I know. Where's your wife? In the back. We're coming in. Okay. You don't have to shove.

[B]

Who is it, huh?

[A]

Them cops again? Well, hello, Virginia.

[B]

Do I know you?

[A]

Where's your rug, Mr. Austin? What? It's down the basement, Ms. Pilgrim. How long have you been married to this man?

[B]

About three. Hey, how'd you know me?

[A]

Shut up. Know your name? You might as well tell the lieutenant everything. Why did you lie about knowing Mr. Gibson?

[B]

I didn't. I never saw him before in my life.

[A]

I didn't tell you the dead man's name was Gibson. How'd you know that? Don't answer that. Oh, shut up. You and your husband killed Mr. Gibson and carted him downstairs in a rug. Why'd we do that? Because the painters were on their way to paint your apartment. You had to get him out without being seen. You dumped him in Ms. Blodgett's apartment because you knew she was out of town. And you used to live there. So you still had a key. Shut up. We've got enough to hold both of you arm. The rug will have blood stains on it. Get out of my way. Get out. Walt. Why? Walt, you're so rough.

[B]

I didn't kill him. Harvey did. I didn't kill him.

[A]

Okay, okay. You can tell me all about it down at the station. Hey, where are you going? It's 6:30. I got a date. What about Ms. Blodgett? She's going to get lonesome again. Ah, she was born that way. I've got to see a girl who's going to hold a pretty interesting class of her own. Bye.

[B]

Hi.

[A]

Hi. Well, don't you look comfortable. Where's Francis?

[B]

I gave him the night off like you suggested.

[A]

You're cute.

[B]

I've got a cool dinner in the library.

[A]

School day. School day.

[B]

You sound happy.

[A]

I was just thinking about a school teacher I knew once. That looks mighty toothy.

[B]

Sing for your supper.

[A]

What?

[B]

Got a new tune on the piano.

[A]

Oh, honey, I'm hungry.

[B]

You sing first and then you can eat.

[A]

Oh, all right. What is it?

[B]

Right here. So, enough.

[A]

Oh, okay. Strange, dear, but true, dear When I'm close to you, dear the stars fill the sky so in love with you am I oh, keep going.

[B]

I'll get it.

[A]

Even without you, my arms pull about you, you know, doubting why so in love with you am I.

[B]

Some girl asking for you.

[A]

Oh, some girl. Well, well.

[B]

I told her there was no one here but the piano tuner. Oh.

[A]

She leave her name?

[B]

Uh huh. Hepple.

[A]

White. Hepplewhite?

[B]

Yes. Who's she?

[A]

Come here, baby.

[B]

No, I want to know who she is.

[A]

I said come here.

[B]

No. Ricky.

[A]

Mm.

[B]

Who's Apple White?

[A]

Oh, just a chair, baby. A cute blonde chair. You have just heard Richard Diamond, Private Detective, starring Dick Powell. Transcribed. Helen was played by Virginia Gregg, Lieutenant Levinson by Ed Begley. Also in our cast, where Williams, Herbert, Georgia Ellis, Tony Barrett, Joan Banks and Norman Field. Music was under the direction of Frank Worth. Richard diamond is written by Blake Edwards. Now this is Eddie King reminding you that Dick Powell soon will be seen in the screen version of the bestseller novel Mrs. Mike and inviting you to be with us again at the same time next week when we will again bring you Dick Powell as Richard diamond, private Detective. Saturday night brings some of the week's best radio entertainment when you tune for the stars on NBC. Stay tuned every Saturday for a great lineup of programs including Hollywood Star Theater, Ralph Edwards, Truth of Consequences, your hit parade, A Day in the Life of Dennis Day, the Judy Canova show, and Grand Ole Opry. All the best on NBC. Marketing is hard, but I'll tell you a little secret. It doesn't have to be. Let me point something out. You're listening to a podcast right now, and it's great. You love the host. You seek it out and download it. You listen to it while driving, working out, cooking, even going to the bathroom. Podcasts are a pretty close companion. And this is a podcast ad. Did I get your attention? You can reach great listeners like yourself with podcast advertising from Libsyn Ads. Choose from hundreds of top podcasts offering host endorsements, or run a pre produced ad like this one across thousands of shows. To reach your target audience in their favorite podcasts with Libsyn Ads, go to libsynads. Com. That's L, I B S Y N Ads. Com. Today.