THE GIBSON MURDER CASE and THE BOGERS BILK CASE RICHARD DIAMOIND PRIVATE DETECTIVE

Summary

1001 Radio Crime Solvers – “The Gibson Murder Case” and “The Bogers Bilk Case”

Richard Diamond, Private Detective
Host: Jon Hagadorn
Date: May 20, 2026

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Episode Overview

This episode of 1001 Radio Crime Solvers features two classic radio mysteries starring Dick Powell as Richard Diamond, Private Detective. The stories—The Gibson Murder Case and The Bogers Bilk Case—transport listeners into the hard-boiled, wisecracking world of post-war New York, where murder and mayhem are met with quick wit and dogged investigation. In this episode, Diamond untangles a locked-room murder with a trail of blackmail and a counterfeit ring threatening the city. The tone combines noir grit with a comedic edge, true to the golden age of radio drama.

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Key Discussion Points & Plot Summary

I. The Gibson Murder Case (00:00–28:10)

A. Setting the Scene (03:00–04:00)

• Richard Diamond delivers a witty opening monologue full of complaints about the heat and high price of tomatoes, setting the comic-gritty tone.
• He’s soon embroiled in a case after a body turns up in a locked apartment.

B. Crime Among Crooks (04:00–07:30)

• Two criminals, Ginny and Harv, panic after a blackmail plot against aging Mr. Gibson goes wrong—Gibson is struck and seemingly killed during a confrontation.
• The couple debates what to do with the body, referencing the imminent arrival of painters and the difficulty in moving a corpse.

C. Diamond Gets the Case (08:00–10:50)

• Esther Blodgett, an anxious schoolteacher, calls Diamond about a dead man found in her apartment:

  “I just came home and found this corpse sitting on my Hepplewhite.” (09:26, Esther)

• The exchange brims with miscommunication and banter (“Hepplewhite” is a chair, not a person).

D. The Locked Room Puzzle (12:20–15:40)

• Diamond and Lieutenant Walt Levinson arrive; they find the corpse identified as Leland Gibson.
• Details include a locked room, no signs of forced entry, odd brown lint on Gibson’s clothing, and no apparent motive.

E. Investigative Trail (16:24–18:24)

• Diamond speaks to Gibson’s daughter, learning Gibson left home for a hotel three weeks prior after apparently becoming smitten with a waitress, Virginia Pilgrim.

F. Tying the Clues (21:30–28:10)

• Diamond traces the waitress to a new address; a landlady mentions a “greasy” young man visiting—likely Harv.
• Clues (rug mat lint, missing rugs on the second floor, locked doors) point to Gibson being murdered elsewhere, transported in a rug, and left in Ms. Blodgett’s apartment, which was vacant and accessible due to a leftover key.
• Diamond and Levinson confront the Austins, expose Virginia as the former waitress (Virginia Pilgrim), and solve the case:

  “How’d you know the dead man was Gibson? I didn’t tell you his name.” (27:10, Diamond)

• Ginny confesses (“I didn’t kill him! Harvey did!” 27:40).

G. Epilogue (28:13–30:08)

• Diamond returns to a playful date with Helen Asher, full of banter reminiscent of screwball romance.

  “Who’s Hepplewhite?” “Oh, just a chair, baby. A cute blond chair.” (30:08, Diamond)

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II. The Bogers Bilk Case (35:05–61:42)

A. Trouble for the Newsboy (35:21–37:12)

• Diamond discusses work with Newsboy Jeff, who’s inadvertently passed a counterfeit five-dollar bill.
• Diamond investigates, trading barbs with police Sergeant Otis and Lieutenant Levinson.

B. Pursuing the Counterfeiters (41:46–44:09)

• Jeff spots the suspect, Walker; Diamond pursues him through bars and across the city, eventually cornering him. Walker confesses to passing counterfeit bills but is killed before he can reveal the ringleader.

C. Counterfeit Operation Unraveled (46:30–50:59)

• The investigation points toward Dad Foster, a former counterfeiter gone “straight” as a bartender.
• Jeff plays a pivotal role, keeping watch and almost falling victim to the crooks.

D. Climax and Resolution (54:42–56:55)

• Diamond confronts Foster in a back room disguised as an ice cream parlor. Foster confesses under duress.
• Police intervene, the gang is arrested, and Jeff is safely rescued from a closet.

E. Wholesome Wind-down (57:11–61:42)

• Diamond, Helen, and Jeff share a steak dinner. Diamond croons a song—“You’re Breaking My Heart”—before closing on a comedic note:

  “Did you really sing in a gondola with hip boots on?” “Yeah, that’s right, Jeff.” (61:18–61:21)

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Notable Quotes & Memorable Moments

• Diamond on rising grocery prices:

  “A T-bone I can understand, but what’s with a tomato when it should be hanging from a charm bracelet instead of lying in a salad bowl?” (03:36)

• Wit in the face of murder:

  “Diamond Detective Agency, murders financed while you wait!” (07:31, Diamond)

• On locked-room mysteries:

  “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. Blodgett?” (13:19, Diamond)
  “Just confuse them with that Hepplewhite routine.” (12:43, Diamond)

• Classic repartee:

  “You’re terrible.” “Yeah, but I’m pretty.” (08:22)

• On solving trouble:

  “Want to know how he works? Well, the other day I was on the way to my office…” (35:01, Diamond)

• Jeff’s loyalty:

  “I want you to promise me, if you do spot him, not to do anything until you get in touch with me. Promise?” (38:26, Diamond)

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Timestamps for Key Segments

• Gibson Murder Case setup: 03:00–08:00
• The comic phone call with Esther Blodgett: 09:07–10:50
• Discovery of body and locked room puzzle: 12:28–13:53
• Gibson’s daughter and motive revealed: 16:24–18:24
• Climactic confrontation with the killers: 26:25–27:42
• Bogers Bilk Case introduction with Jeff: 35:21–37:14
• Counterfeit ring chase and shootout: 41:44–44:09
• Dad Foster’s confession: 54:42–56:30
• Diamond’s post-case dinner & song: 57:11–61:42

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Episode Takeaways

• Blend of Hardboiled & Humor: The episode showcases Richard Diamond’s blend of sardonic humor, sharp detection, and light romantic playfulness.
• Locked Room Logic: The Gibson case exemplifies the “locked room” mystery tradition, solved not by forensics but by clever observation and understanding the routine of urban living.
• Counterfeit Noir: The Bogers Bilk Case adds a dimension of urban crime—counterfeit money and small-fry grifters—peppered by community warmth and the triumph of goodness epitomized by Jeff’s loyalty.
• Golden Age Tone: The tone is breezy, character-driven, and distinctly period, punctuated by musical interludes and a focus on memorable dialogue.

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For New Listeners

This episode is an excellent introduction to the golden age detective radio form—equal parts crime, character humor, and social insight. The interplay between Richard Diamond and a cast of new-yorkers, crooks, and well-meaning friends keeps the pacing brisk and the entertainment high.

Listeners will get:

• “Hepplewhite” locked-room puzzles (classic detective fare)
• Crime ring capers with counterfeit money
• Wry, romantic banter and period charm
• Satisfying detective closure, but with laughter and singing along the way

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Transcript

[A]

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[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 will lead them here?

[B]

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

[A]

I noticed you got away with the mink.

[B]

What you want me to do, leave it behind?

[A]

No, no. We can hock it.

[B]

Hock it?

[A]

Yeah. You 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, see?

[B]

All right. You go get rid of it and I'll start throwing some things into his 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. They'll probably start in this room in a couple of hours.

[A]

Okay, okay. Duck that cord. I don't want them there later to spot it.

[B]

Yeah,

[A]

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

[B]

Who is it? Harb.

[A]

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. Look, you look, whatever your real name is, I don't like being blackmailed or threatened. But please, 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. That's 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.

[B]

Harv.

[A]

Yeah. Come in. How dare you. Take your hands off me. Look, you ain't calling nobody. You want to 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. No. 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. What? Why, you give me that chance, I'll be glad to give it to you across your shoulders. You mean hurt Pop.

[B]

Be careful.

[A]

Hit me with a can with it. No.

[B]

Young.

[A]

I'll shut you up for good.

[B]

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

[A]

All right. So what? No better. Next time, throw some water on him. Well? Do you hear me? Throw some water on him. What's wrong? Come on. Come on, Gibson. Come on.

[B]

Come on.

[A]

Holy cow. Yeah, yeah. Shut up. Gotta get him out of here.

[B]

Why'd you have to hit him with a 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 going to do it. It's broad daylight.

[A]

Yeah. Can't get him out of a building like this. We'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 got. Diamond Detective Agency. Murders finance while you wait.

[B]

Oh, you idiot.

[A]

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

[B]

Ah, this is Helen Asher, the girl that goes steady with a Diamond Detective Agency.

[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 going to do tonight.

[A]

You're going to give your butler the evening off. And the Diamond Detective Agency is going to 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 Yubangi.

[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. Rick, no. I'm mad.

[B]

Ricky, I love you.

[A]

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

[B]

I think you. 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.

[B]

Bye.

[A]

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. Hepplewhite.

[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 what happens? You called the police?

[B]

Well, I thought about that, but I'm a school teacher, mister, 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, Tilly. 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 overwhite. 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 1:12, 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 a 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 hebble white 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. Blodgett?

[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.

[B]

Anywhere, Mr. Diamond. I like you.

[A]

Well, thank you, Esther.

[B]

No, I want to hire you to catch the killer and 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 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]

Well, I don't mean that I expected dad to be

[A]

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

[B]

I'm 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.

[A]

But 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?

[B]

Yes.

[A]

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. A 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 Pilgrimage. 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.

[B]

Yes.

[A]

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.

[B]

No, no, in the wrong place.

[A]

Her name's Pilgrim.

[B]

Oh, she lives upstairs.

[A]

She does, huh? Is she in now?

[B]

No, went out this morning.

[A]

Hasn't come 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 snoop.

[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 had 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 3 days ago when she had 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. Well, I'll get it, Ms. Blodgett. Probably the lab.

[B]

Rick, do you know who did it?

[A]

Yeah, 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.

[B]

Mm.

[A]

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. Now, 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 upstairs.

[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? No. 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 and discuss 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?

[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. You 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. 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]

Well, 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 in love.

[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 fall about you. You know, darling, why so in love with you? Am

[B]

some girl asking for you.

[A]

Oh, some girl. Wow.

[B]

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

[A]

Oh, she leave her name?

[B]

Huh? He. Yes. Who's she?

[A]

Come here, baby.

[B]

No, I want to know who she is.

[A]

I said Camille.

[B]

No, Ricky. Who's Apple white?

[A]

Oh, just a chair, baby. A cute blond 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 were 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. Ryan Reynolds here from Mint Mobile with a message for everyone Paying Big wireless way too much. Please, for the love of everything good in this world, stop with Mint. You can get premium wireless for just $15 a month. Of course, if you enjoy overpaying. No judgments. But that's weird. Okay, one judgment anyway, give it a [e-mail] Switch upfront payment of $45 for three month plan equivalent to $15 per month required intro rate first three months only, then full price plan options available, taxes and fees extra. See full [e-mail] this podcast is sponsored by IQ Bar. I've got good news and bad news. Here's the bad news. Most protein bars are packed with sugar and unpronounceable ingredients. The good news? There's a better option. I'm Will and I created IQ Bar Plant protein bars to empower doers like you with clean, delicious, low sugar brain and body fuel. IQ bars are packed with 12 grams of protein, brain nutrients like magnesium and Lion's Mane and Zero Weird Stuff. And right now you can get 20% off all IQ bar products plus free shipping, clean ingredients, amazing taste and you'll love how you feel. Refuel, smarter, hydrate harder caffeinate larger with IQ Bar. Try our delicious IQ Bar Sampler Pack with nine plant protein bars, eight hydration mixes and four mushroom coffee sticks. And now you can get 20% off all IQ Bar products, plus free shipping. When you go to iqbar.com today and enter promo code BAR20 to get this exclusive offer for our listeners. That's iqbar.com promo code BAR20 to get 20% off plus free shipping. Iqbar.com code BAR20 when people turn to healthcare for weight loss, they're looking for real support. That's why more people are choosing. Orderlymeds.com Orderly Meds connects you with real doctors and access to proven GLP1 medications like semaglutide and Tirzepatide. No guessing, just a more supportive experience. And all shipped directly to your door in discovery. Great packaging. Do your research, ask questions, then visit orderly meds.com podcast for an exclusive offer. That's orderlymeds.com podcast. Individual results may vary. Not medical advice eligibility required. See site for details. Here's Dick Powell as Richard diamond, private detective. Hello there. This is Diamond. I've got a little office near 53rd street on Broadway, 8th floor. My business trouble. What kind of trouble? I'll take your pick. If you come up with something unusual, a new kind of trouble, drop around and see me, because I'm known along the big street as a shamus, a gumshoe, or to the guy on Park Avenue as a private detective. If you happen to be stuck with your problem for $100 a day in expenses, I'll chase it around until I can catch up and break its back. I average about 20 fast rounds a week with old man trouble, and so far the decision's been on my side. But don't misunderstand me. It's my business to beat him, but I respect him. Trouble goes to work with every trick in the book, so I play it the same way. And believe me, when I put him away for the count, I don't clap my little hands in glee. I know he's just taking a rest and he'll be back again with some new stunts. Want to know how he works? Well, the other day I was on the way to my office. I stopped at The Corner Newsstand, 53rd and Broadway, to buy a paper and to say hello to an old friend.

[B]

Hi, Mr. Diamond.

[A]

Well, hello, Jeff. How's the newspaper business?

[B]

Swell. How's the detective racket?

[A]

Oh, swell.

[B]

Hey, you don't sound too happy, Jeff.

[A]

I couldn't be happier if my hair was on fire. Take my advice, son. When you grow up, be sure and get a job that pays off every week in that little white envelope. Don't ever become a private detective. It's like a penny getting lost in a gun machine.

[B]

I'm gonna stick to the newspaper business.

[A]

Good for you.

[B]

Say, I was just about to go across the street to Mary Lou's and get some ice cream. How about it? Can I buy you a cone?

[A]

Now, that is a beautiful idea. Let's go.

[B]

Aren't you coming to work a little late, Mr. Diamond?

[A]

Well, you see, Jeff, I was up kind of late. Research, you know.

[B]

Yeah, I know. I see him going into your office all the time. That blonde last week stopped traffic all the way to 42nd Street.

[A]

Yeah, she was lovely. Got tired of social standards and shot her husband right through his morning cup of coffee.

[B]

Was that the one in the headlines?

[A]

That's the one.

[B]

Oh, hello, Jeff. Hi, Mary Lou. Take a seat, Mr. Diamond. Well, what have you and your friend have? Well, I'm gonna have a double strawberry. How about it, Mr. Diamond?

[A]

Sounds good.

[B]

Two double strawberries. Oh, this is Mr. Diamond, Mary Lou. His office is in that building across the street. Well, how do you do?

[A]

How are you, Mary?

[B]

Well, all right, I guess. Business could get better and I wouldn't mind at all. Here are your cones. This is on me, Mr. Diamond.

[A]

Oh, no. Now put it away.

[B]

Oh, now, come on. I asked you over and that makes it my tree. Here's a five. Mary Lou, Mr. Diamond's money isn't any good today.

[A]

Tell her what I'll do. Jeff, give me a five a minute. Sure.

[B]

Here.

[A]

Now, if you can tell me whose picture's on this bill, you can buy the cones.

[B]

That a deal?

[A]

That's a deal.

[B]

Lincoln. Well, what's the matter? That's right, isn't it?

[A]

Oh, yeah. What's wrong? Where did you get this bill, Jeff?

[B]

Well, I just made change for it a few minutes. Hey, what's the matter with that bill? You two act like you'd never seen a five dollar bill before.

[A]

Well, this Finn's counterfeit.

[B]

What?

[A]

That's right. Good job, too.

[B]

You sure?

[A]

Yep, One of the best. And job? Best engraving jobs I've ever run across. Paper's not too good.

[B]

Oh, that's swell. That's real great. I get just out of a whole five bucks.

[A]

Who gave it to you?

[B]

I remember the guy all right. He came by just before you did. Made change for him, the heel.

[A]

Yeah. Five bucks is a lot of papers.

[B]

I'll say it is. Well, maybe you're wrong. You could be not Mr. Diamond. He's a private detective. Used to be a cop.

[A]

Look, Jeff, mind if I take this bill along with me?

[B]

Nah. What good's it gonna do me?

[A]

Well, it's not so bad. Here, I'll give you a good five for it. No, sir.

[B]

You only learn by mistakes. I made a big one, so I'm out five. I'll get along.

[A]

Look, it's worth the five. I'm just buying it from you.

[B]

Sure, Jeff, go ahead and take it. Thanks a lot, Mr. Diamond, but I just can't.

[A]

Okay, Jeff. Maybe I can find the guy who slipped this to you. Maybe we can get your five back.

[B]

What are you gonna do?

[A]

Take a run down to the Fifth Precinct. See how much of this stuff is floating around New York now. I want you to do something for me, Jeff.

[B]

Sure, anything.

[A]

I want you to keep an eye out for the guy who gave you this phone.

[B]

I'm way ahead of you.

[A]

Now, that's what I'm afraid of. I want you to promise me, if you do spot him, not to do anything until you get in touch with me. Promise?

[B]

Yeah. Okay.

[A]

I'll be at the station. Ask for Lieutenant Levinson's office.

[B]

Right.

[A]

Here's for the ice cream, Mary Lou. Good ice cream, too.

[B]

Oh, thank you. I make it here, right and back. Take a cord home some night.

[A]

I always do, but it generally has a cork in it. I left Mary Lou's ice cream parlor and headed for the 5th Precinct Police Station. I don't usually start something like that, but when a kid gets fleeced out of a whole day's pay, I get a little hot under the collar. I walked into the squadroom and spotted Sergeant Otis putting shine on his big shoe. Oh, it's you, Diamond. Now, what good is that gonna do, Yodis? You can lose a whole can of polish in the cracks. What do you mean, my shoes ain't cracked so bad? Well, maybe not, but I've seen bacon that looked better. If you want to see the lieutenant, go on in. Thank you, Sergeant. Until we meet again. Why don't you stop trying to be so funny, Sergeant? I'll do it if you'll do something for me. What? Cut off your head. That face could start a Harry Carey epidemic.

[B]

Hello, Walt.

[A]

Aha. Now, what the devil's the aha about? What do you mean? That bilious explosion you just popped up with. Sound like you just swallowed a whole pineapple. Why? What do you mean, why? Who's dead?

[B]

Huh?

[A]

The body you said you found the Body, I said. Uh, no. No, Walt, you're not built for it.

[B]

Who?

[A]

No, Walt. It's my routine. It won't work for you. Oh, I don't know what you're talking about. Why, sure you do. You wanted to know who's dead. Well, I'm not gonna tell you.

[B]

Huh?

[A]

Don't try to be cute with me. You know what it's all about. And I'm not gonna be the fall guy. You just hunt for the body. Wait a minute. I don't know anything about a body. You wanted to know who's dead, didn't you? Sure, but that was just a gag. Okay, have your fun, but I'm not gonna tell you. Tell me what? Who's dead. You mean somebody really is? What are you talking about? Well, I'm talking about what you just said. Now, who's dead? That's a stupid question. Why is it? Well, if you don't know who's dead, what the devil are you doing in charge of homicide? Go on over to the robbery details. Now, you wait a minute. You said. Yes, Walt. Oh, get out of here. I did not. I never said, oh, get out of here. When I came in, I said, hello, Walt, and you said, aha. Then I said, what do you mean, huh? You wanted to know where the body was. I did not. I said, who's dead? Why? Oh, no, no, no, no, please. I'm an old man. Oh, Walt. Get away from that window and take a look at this. Oh, please. Do I have to? It'll probably explode. Now, be a good boy and open your eyes. All right, but I just know I'll be sorry. Here. You don't owe me any money. Well, if I did, I'd make sure to pay you off in this stuff. Why? What's wrong with. Where'd you get this? Some guy slipped it to Jeff the newsboy. He got change for it. That certainly is a nice stunt. Well, maybe the guy didn't know he was passing counterfeit. I doubt it. You don't give a newsboy five bucks for a paper. Okay, tell me about it. Stuff has been flooding the city. We can't get a lead picked up, a couple of passes, but they won't crack. How did it work? Look, Rick, this isn't my department. The treasury boys are working on it right now. Why don't you go over and talk to them? Well, if you want to be snooty about it. Now, you wait a minute. Diamond. Yeah? Lieutenant Levinson, Homicide.

[B]

Is Mr. Diamond there?

[A]

Wait a minute, Rick. It's for You.

[B]

Yeah.

[A]

Wait just a minute here, Diamond. And if you're mixed up in something, what? Be quiet.

[B]

Hello, Mr. Diamond?

[A]

Yeah, Jeff.

[B]

Yeah, I just spotted the guy who slipped me the phony bill. He went into the barn next to the ice cream parlor.

[A]

You stay where you are. I'll be right over.

[B]

I'll be at the stand.

[A]

Rick? Yeah. Please, Walt. Yeah.

[B]

Bye. Hey, Far. Face the lady. What is your paper, Jeff? Oh, Mr. Diamond. He hasn't come out yet. He's still in the bar.

[A]

Come on.

[B]

Where are we going?

[A]

Leave your papers for a second. I want you to point him out.

[B]

Okay. He's a big guy. You better be careful.

[A]

Big guys always make me careful.

[B]

You want me to go in with you?

[A]

Just stick your head in the door and point him out. And then go on back to your papers. If I start bleeding, I'll scream. See him? No.

[B]

Yeah, there he is, over in that booth.

[A]

Well, well, well, you know him? Yeah.

[B]

Yeah.

[A]

Go on back to your stand.

[B]

Oh, golly, Mr. Diamond, can't I.

[A]

No, Jeff. Go on back.

[B]

Okay.

[A]

Hello, Walker. Oh, what do you want, Shamus? Well, I'll have a talk. Mind if I sit down? Does it make any difference? Not much. Then sit. You passed a phony five spot this morning.

[B]

I? I did?

[A]

Well, shame on me. How many more you got on you? I don't know what you're talking about. You want me to turn you upside down? Shake it out of you, Diamond. Yeah, Bo. Walker.

[B]

Yeah, boy. You Michael? Oh, I stuck my arm.

[A]

You want it back?

[B]

Yeah.

[A]

Yeah. Now, let's see your pocket. Okay. Okay. Get on your feet. I want to see what you're doing. All right. Okay. Dump him. Hey, hey, what's going on here? Just relax, bartender. I'm taking care of some business. Hell, ain't gonna be any rough stuff in my joint. So you better relax, Sonny. Yeah. Make this guy take his big paws off of me. He's trying to shake me down. Oh, yeah? You want me to call the cops, Sonny? Maybe that's not a bad idea. How about it, Walker? You want him to call the law? I don't care who he calls. Just get out of my way. Diamond, you're not going anywhere.

[B]

No.

[A]

I told you to lay off Sonny,

[B]

and I meant it.

[A]

Now let him go.

[B]

You hear me?

[A]

Look out. He's making a break.

[B]

Just let him be.

[A]

Get out of my way. Pop. You're too old to lose another set of teeth.

[B]

I ain't turning you loose until that

[A]

guy makes the street. Sorry, Pop. You better take a chair.

[B]

Mr. Diamond. What happened.

[A]

You see which way you went?

[B]

Yeah. There it goes, around that corner.

[A]

Stay at the ice cream parlor, Jeff, so I can get you if I need you. I took off like a seagull in the hurricane. I turned the corner and spotted my man jumping into our cab, so I did the same. He led me across town to a little dive on 13th street and got out of his cab. My boy parked up the block and we watched while Walker looked around for a tail. When he was satisfied he'd given me the shake, he went in. I paid off my cabby and followed. It was another bar and Walker wasn't anywhere in the room. I sat down, ordered a beer and walked. Waited. After about 10 minutes, I saw a couple of guys wander out of a door in the back. A couple of minutes later, a couple of more wandered out, so I wandered in. It was small time gambling setup. The kind you can throw in the back of your car if the cops come. I started getting that lousy feeling again. You don't just walk into a place like that unless someone wants you to. And if they do, it's usually because they got it fixed. So you stay around. Maybe permanently. What are you telling me for, Diamond? Why? Make you uncomfortable? Yeah, that's cozy. Setup. Good way to get rid of bad money. Pay the winner off with counterfeit. I think we'd better go back to my office. Oh, I don't know. I might have a little fun here. I'll bet if one of those guys at the table knew he was going to be paid off in counterfeit, he'd just about tear this place apart. You too, Diamond. Don't be stupid. Oh, something new's been added. Yeah, to make so much noise when it goes off. Let's go back to my office, huh? For some reason, I just can't think of a good argument not to. This way. Have a seat. My ankles get lumpy when I sit down. Bad circulation. And stand on your head. It doesn't work. I keep talking to Toes all day. How'd you get onto this setup? Oh, luck. You passed a bad bill to a newspaper boy. He spotted you for me. You know what happens to you? No. Matter of fact, I was thinking, what's going to happen to you? What do you mean? Treasury Boys, Homicide, 5th Precinct. And tomorrow we're taking a full page ad in the time you should do a big business. You're lying. Okay, I think I'll sit down while you wrestle with it. You mean the team? I know about this place and me. The only way they'll get to know you any better is when they give you a room number at Sing Sing. Oh, you mind if I put my feet up? Oh, go ahead. He kept asking questions, not waiting for answers. He was good and worried, and as long as I could keep him that way, the longer I was going to keep on breathing. I don't believe one rotten thing you said, Diamond. Okay. He kept trying to convince himself that I was lying. He wanted to shoot me in the worst way. Way. He moved around behind his desk and sat down, bless his little heart. I had both feet on the front of his desk, so I shoved out as hard as I could. I pinned him against the wall with the desk and jumped up to get better leverage. I shoved so hard the front of the desk nearly cut him in two. He was stuck and he couldn't use his arms. I can't breathe. You want to tell me about it? I don't know. Things okay? It will look pretty silly from the waist down. Come on, Walker. If I mash you anymore, they'll be able to use you for wallpaper. Okay. Okay. Now, leave the gun in your pocket. When I pull the desk back, put your hands on top of it. You try a stunt and you end up in halves. Okay, what do you want to know? Who's the big wheel behind the counterfeit ring? You give me a chance. If I tell you, no deals. Can't blame me for trying. All right, you tried. Now you want back in the vice? No, no, no, no. I'll tell you. Walker. Walker. He died with his head rolled back and his eyes staring up like he wanted to starve for trying. Whoever shot him had been out in the alley and had nailed him through the window. I looked out, but the killer had disappeared. So I put in a call to Homicide, and finally Walt and his boys arrived. Diamond, don't you ever get tired of corpses? Well, of course not. I just do my bit and try to make you happy. You want me to call the wagon and get the corner down here, Lieutenant? No, Otis. I thought we might all sit around and wait for the dead man to say something. Oh, I was only asking, Lieutenant. Well, start using that mallet head of yours, your mallet head, and make a report. Okay. Now, Diamond, I want to know how you got mixed up in this thing. Well, the dead man was the one who slipped the paperboy the.45. I tailed him, and he was just about to tell me who was behind the ring when he got a hole in his head. No, he was gonna tell you. Was he? Just like that. What did you do set his clothes on fire. No, we were playing Truth and Consequences and he fibbed, so I. Now, you stop that. This guy was the only link we had on the counterfeit ring, and you have to fix it so he dies. Rick, there's enough phony money floating around New York right now to start another Black Friday. This is the best setup we've run into since dad Foster operated in 1937. Dad Foster? Yeah, dad Foster. You remember hearing about him? Yeah. Is he still doing time? No, he served his sentence and he's gone straight ever since. How do you know? Where is he? He runs a Little Saloon on 53rd Street. 53rd? Thanks, Bob. Oh, now you wait a minute. Who the devil are you calling a quiz program? I want to win an electric chair.

[B]

Oh, Mary Lou's Ice Cream Parlor.

[A]

Is Jeff the newsboy there?

[B]

Why, yes. It's for you, Jeff. Thanks.

[A]

Hello, Jeff, this is Mr. Diamond. I want you to do me a favor.

[B]

Sure. Anything for you.

[A]

Okay. Now, you know the saloon next to the ice cream parlor?

[B]

Yeah.

[A]

You know the bartender?

[B]

Yeah. Old guy buys a paper from me every night.

[A]

All right. Now, stay in the parlor and keep an eye on the front of the saloon. If the bartender comes out, find out where he goes. But for Pete's sake, be careful.

[B]

Sure, Mr. Diamond. I'll do what you say. Is something up?

[A]

Well, could be. If anything happens before I get there, call Lieutenant Levinson. I'll tell you all about it when I see you.

[B]

You're getting to be a pretty important fellow, Jeff. Phone calls now. Oh, that was Mr. Diamond. He wants me to stay here and keep an eye on the front of the saloon. Okay? Oh, sure, of course. Why does he want you to do that? Oh, it's something big, I think. Something to do with the bartender that works there. The bartender? Yeah. I'll just sit up in front here and keep an eye out. Look, Jeff, watch this door for me, will you? I've got to go in back and pack some ice cream to be sent out. Sure. Mary Lou. Mary Lou. Guess I better get it myself. Mary Lou's Ice Cream Parlor.

[A]

Can I talk with Mary Lou?

[B]

She went and back. I'll get her for you. Just a minute. Thank you. I tell you, it's getting too risky. That Diamond's a private detective.

[A]

Yeah. He came in the bar and started to rough up Walker.

[B]

Well, that stupid Walker should have been more careful about passing out that money. What if diamond catches him and makes him talk?

[A]

He caught up, but he didn't make Walker talk.

[B]

What do you mean?

[A]

I took care of Walker. I got a good shot at him from the alley.

[B]

Well, maybe it's better like that. But look, if we don't. Hello? Mary Lou isn't here. Get off the line.

[A]

What? What?

[B]

Yeah, get off. Operator, get me the 5th Precinct Police Station. It's a matter of life and death. I'll connect you. Oh, golly. Please hurry. I'm ringing

[A]

precinct.

[B]

Is Mr. Richard diamond around there? He said to call Lieutenant Levinson.

[A]

Oh, diamond isn't here. Neither is the lieutenant.

[B]

You know where I can reach them?

[A]

Yeah, but that's about it all. Who's this?

[B]

I'm a friend of Mr. Diamond's. I'm in an ice cream parlor.

[A]

Ice cream parlor? Look, son.

[B]

No, no. I just heard someone say that they'd killed a man named Walker. And I think I know who's behind the counterfeit ring.

[A]

What's the address?

[B]

It's.

[A]

Hello?

[B]

Hello, kid. What's wrong? Hello, Good.

[A]

Lucky. We came out this way.

[B]

I wonder how he hurt us.

[A]

Walked back and opened the door. What are we gonna do with him?

[B]

We're gonna tie him up and gag him. There's a closet in the back and we can put him in there until it's safe to take him out.

[A]

But he's making too much trouble the way he is.

[B]

Okay, I can get him back there. You better go on over to the bar in case someone shows up.

[A]

All right. Later tonight, I'll take the kid down to the river and teach him how hard it is to swim when he's dead. Now, you listen here, young fella. If you're back here for trouble. Dad, I'm back for a lot of trouble. And I think you're going to help me out. You'd better leave, Sonny, or I'll call the law. Why don't you? What do you want? I want to know how long you've been back in the counterfeit racket. Now, look, Sonny, I've been going straight for a long time. You know something, Dad? I don't think so. Let's get down to the station and talk about it. You got a warrant, Shammas? I got a nasty disposition. You want me to show you? No. You want a gun, dad? Why? What difference does it make? I'm gonna look at it. A guy named Walker got dead from a gun. Now, let's. Let's see it. Sonny. What is it? I can't show it to you. Why not? Because I got it under the bar, pointed right at your belly. If I drag it out, it might scare the customers. Oh, it's like that, huh? It sure is. You see that door there in the back? I know. That's a good boy. You just keep walking along your side of the bar and don't try anything. I just had my floor scrubbed. It'd be a shame to spill you all over. Okay, open the door. Go on now, up the alley. You shoot Walker? I might. Now where you got your printing presses? Gertie's full of questions, aren't you, sonny? Okay, Stumpy. Behind the ice cream parlor, huh? Well, well, well. Mary, make mine hot fudge with a nuts.

[B]

Mary, for just a minute. Say, what's the idea? I thought you.

[A]

Oh, good afternoon. I'm selling a new brand of Indian nuts. Great for banana splits.

[B]

What's the Shammas doing here?

[A]

He's too smart. I gotta cut off his education.

[B]

Are you crazy? This guy's got friends. That kid was calling the 5th Precinct, remember?

[A]

Kid?

[B]

Yeah, you're your little news hound.

[A]

What did you do with him? He's all right. We got him locked up. Dad, I think I'll make you eat that.38. I don't think so. No difference if I kill you right here.

[B]

Hold it, dad. We can't have a gun going off back here. Even if we could hide the Shams, they'd find the presses.

[A]

Oh, so that's it. Those ice cream machines the COVID up. Ain't he smart? What do you do, ship the stuff out in ice cream cartons?

[B]

What's with you? You want a tour of inspection?

[A]

Come on now, take it easy. He won't be smart for long.

[B]

Well, how are you going to do it?

[A]

We're gonna take a walk, aren't we Shammas? Oh, I have the most horrible instep. I'll never make it without skates or something. You'll make it. Come on, the car's around. Frank. Hi. Hey, what's happening to the street?

[B]

A dad?

[A]

Yeah. There, there. It's only some drunk come out of the bar the wrong way. Funny, I didn't see him in here. Well, this is very confusing. If this is 53rd street, somebody's stolen some buildings.

[B]

Oh, hey, hello.

[A]

Take it easy, Shammas. I'm putting the gun in my pocket, but it's still right in line with your belt.

[B]

I'm going back inside.

[A]

No, no, no. Play it straight, just like we were talking. Wow, you're pretty unsociable to say the least. What's the matter? Can't you even say hello? I'm Ro. Sure, sure. You're in an alley. The entrance is right out There. Oh, yeah. Would you mind showing me? I seem to be a little confused. Now, look, it's right up there. Just keep going. Hey, where'd you go? Oh, no. Oh, there you are. Lieutenant. Lieutenant.

[B]

Hit the top.

[A]

Look out, Walt. Get to go, Walt. Come on, dad. Give me that.

[B]

Let me go. You got him, Rick?

[A]

He won't play. No, he will. Just take it easy, lady. Hey, what's going on? Otis.

[B]

Yeah?

[A]

Go out and start walking around the block, huh? You hear me? Go on. Okay, but I don't get it. What do you want me to walk around the block for? I want you to get used to it because that's what you're going to be doing for the rest of your time on the force in Flatbush.

[B]

Flatbush?

[A]

Yes.

[B]

Gee, Mr. Diamond, thanks for the dinner invitation, but where are we going?

[A]

Well, I'm going to introduce you to Miguel. She's a redhead, Jeff, so no cracks about my office research.

[B]

Oh, sure, but don't you think you should have called her first? How do you know she's got enough dinner?

[A]

Jeff, this girl's got more stakes in her deep freezer than a bullfight arena sees in a year. Here we are.

[B]

Yes.

[A]

Oh, good evening, Mr. Diamond. Good evening, Francis. This is Jeff, Francis. He's going to have dinner with us.

[B]

Hi. Oh, hi.

[A]

Come right in.

[B]

Ms. Asher's in the study, Mr. Diamond.

[A]

Thank you, Francis. Mr. Diamond. Yes?

[B]

You know the various items that you've

[A]

left with me for safekeeping. Look, Francis, I promise I'll get them out of hockey as soon as I get a paying client. Oh, no, no, it's not that, sir. I didn't really want to hold them a security in the first place, but

[B]

as long as you insisted in such a fine collection.

[A]

I'd like to show them to. Well, to my girl, sir. Why, sure. Frances. I didn't know you had a girl.

[B]

Oh, yes.

[A]

She's the upstairs maid in the apartment below us. I'm afraid I told her a wee fib to get acquainted, as it were.

[B]

She thinks I'm an undercover agent and

[A]

I'm afraid I'm going to have to prove it. Well, my gun and the badge should do the trick. And if it doesn't work, just get under a cover.

[B]

Oh, my God.

[A]

That was the real. Yes. Good evening, sir. Come on, Jeff. We're not appreciated.

[B]

Rick. Oh, hello. Hello, Helen.

[A]

This is Jeff, the boy who's helping me send dad Foster and company back to Jeff. This is Helen Asher.

[B]

Yes, sir. Well, thank you, Jeff.

[A]

They had him locked up in the closet for A couple of hours. And he looked kind of hungry when he got him out. How about it, honey? You think you can grind up another cow?

[B]

Oh, well, there's plenty for Jeff and me, but you've got to make up for three things.

[A]

Three things?

[B]

Yes. First of all, you haven't called me in two days. Second, you're half hour late for dinner. And third. Well, I'll tell you later. I'll leave the room if you want me to. No, no, Jeff, you stay right here. You're going to literally see a man sing for his supper.

[A]

Helen.

[B]

All right. Come on, Jeff. We'll go dig into those nice, fat, juicy steaks.

[A]

Oh, boy, steaks. Wait a minute, wait a minute. My taste buds just started whipping each other. My vibrato may sound like a machine gun, but I'll do it.

[B]

I thought you were kidding. Is he really gonna sing, Ms. Asher?

[A]

No, I'm not going to sing, Ms. Asher. I'm gonna do a little song I used to sing. With hip boots and a gondola. You're breaking my heart. Cause you're leaving. You've fallen for somebody new. It isn't too easy believing you'd leave. After all we've been through. It's breaking my heart to remember the dreams we depended upon. You're leaving a slow dying ember. I'll miss you, my love. When you're gone. I wish you joy though teardrops burn. But if someday you should want to return. Please hurry back and we'll make a new start. Till then, you're breaking my heart.

[B]

Mr. Diamond, did you really sing a gondola with hip boots on?

[A]

Yeah, that's right, Jeff.

[B]

Well, I know you don't need the hip boots anymore. Will you loan them to me?

[A]

What for?

[B]

I want to wait out of here. Well, get him for that. You get Pa two desserts.

[A]

You have just heard Richard diamond, private detective, starring Dick Powell. Helen was played by Virginia Gregg, Lieutenant Levinson by Ed Begley. Also in our cast were Wilms Herbert, Tommy Bernard, Sammy Hill, Lou Krugman and Polly Bear. Music was under the direction of Frank Worth. Richard diamond is written by Blake Edwards and directed by Richard Sandville. Dick Powell soon will be seen in the screen version of the best selling novel, Mrs. Mike. Now this is Eddie King 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 you some of the week's best radio entertainment when you tune for the stars on NBC. Stay tuned to NBC every Saturday evening. For a great lineup of programs including Hollywood Star Theater, Ralph Edwards, Truth or 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. Stay tuned now for Victor Mature and Hollywood Star Theater on NBC. That wraps it up for Tonight's show at 1001 Radio Grime Solvers. We really enjoy good reviews, so when you have a chance, say something nice about a selection of shows or maybe suggest some to us. Thanks for joining us. See you next time. Sam. Hey campers, it's Jan from Toyota.

[B]

This summer we're headed to Camp Toyota and the fun starts now. We're kicking things off by kicking up mud. Jump in campers. We're going off roading in a 4Runner. Next we're heading to the hot springs in Arav 4. And finally, park your tundras and Tacomas around the campfire because we're roasting marshmallows.

[A]

Dealer inventory may vary so you're participating Toyota Dealer for details, event hands to you first Toyota. Let's go places. 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 WeatherTech is made right here in America and it's perfect for an American made summer. Because we cannonball into summer, hike all over it, slide down it, camp in it. It's one ice cream covered, sandy, soaking wet mess of a season. Which is why WeatherTech floor liners and seat protectors are a must. We are road tripping, beach going, lake jumping Americans and that's just how we summer WeatherTech made in America. For an American made summer visit weathertech.com today.