Diamond and Holmes

Summary

Case Closed! – Episode Summary: “Diamond and Holmes” (February 18, 2026)

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Episode Overview

This week’s Case Closed! presents two classic detective dramas:

1. Richard Diamond, Private Detective: “The Martin Heyer Case” (July 23, 1949)
2. Sherlock Holmes: “The Well-Staged Murder” (November 16, 1947)

Listeners are treated to tales of murder, deception, deduction, and classic banter from the golden age of radio crime stories. The episode showcases sharply contrasting detective styles—Diamond’s wisecracking street smarts followed by Holmes’ razor-sharp logical reasoning.

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1. Richard Diamond, Private Detective: “The Martin Heyer Case”

Main Theme

Diamond, the wisecracking detective, is hired to follow a client’s allegedly cheating husband—only to be swept into a deadly frame-up involving infidelity, a murdered lover, and a scheme to pin the crime on an innocent man.

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Key Points and Insights

• Diamond’s Opening Banter (01:07–03:00)
  • Sets a lighthearted, sardonic tone, regaling tales of private eye baseball with the cops.
  • Memorable quote:

    “My drooling colleagues … tried to bunt with the bat boy. Police beat us, close game, 37 to 4.” (01:07)

• The Murder Plot is Hatched (03:03–03:56)
  • Leon and June, both eager to get rid of their respective spouses, concoct a plan:
    • Frame June’s husband, Martin, for the murder of Leon’s wife using Martin’s own gun and a fake letter. • June is to hire a private detective as a witness.
  • Notable exchange:

    Leon: “This letter from her is gonna fix it so we both end up very unmarried.” (03:08)

• June Hires Diamond (04:15–05:50)
  • June approaches Diamond, feigning suspicion of her husband’s infidelity as cover for their plot.
  • Diamond’s trademark flirtation and witty repartee are on display:

    June: “I want to hire a private detective.” Diamond: “Good for you. Sit down... Stand up and sit down again.” (04:16–04:29)

• The Tailing Begins (07:57–10:58)
  • Diamond joins June to tail Martin across the city to an apartment building.
  • Humorous and flirtatious interplay continues:

    June: “Do I look like trouble?”
    Diamond: “When’s your husband coming out of that house?” (08:33)

• Discovery of the Body (11:00–12:47)
  • Diamond and June catch Martin at Sally Maxwell’s apartment—she is dead, gun by her side. Martin is confused, claims innocence but is caught literally holding the gun.
  • Martin: “You don’t think I’d kill her? I was in love with her.” (11:58)
• Police Arrive – Classic Cop Banter (12:47–14:52)
  • Lt. Walt Levinson and Otis storm in; rapid-fire exchanges ensue:

    Walt: “Why do you guys always have to break down doors? Why don’t you try turning the knob first, Otis?” (12:51)

  • Evidence points to Martin—he’s arrested despite Diamond’s skepticism.
• The Clue: The Letter’s Torn Top (14:54–17:25)
  • Diamond spots that the letter supposedly from Sally is missing its salutation—a sign of tampering. He pushes for verification.
• Diamond’s Deduction and The Setup (17:26–19:17)
  • The roundabout logic about the letter’s authorship—and who could have sent it—hints something is off.
  • Quote:

    Levinson: “Why do I always get into something like this?” (18:46)

• Diamond Tracks Down the Villain (19:18–24:40)
  • Diamond confronts Leon Fisk, connecting the forged letter, timing, and the setup.
  • Proves June and Leon are colluding, catching June in a lie about knowing Leon's club address.
  • Tense scene as Leon and June turn on each other and try to dispose of Diamond; Diamond outsmarts them in the scuffle.
• Shootout and Resolution (24:35–25:44)
  • June flees; Diamond is attacked but manages to take down Leon as he tries to escape.
• Classic Diamond Closing (25:44–28:44)
  • After medical attention, Diamond decompresses with Helen Asher, closing the case with signature humor, flirtation, and crooning "Sleepy Time Gal"—a whimsical, soothing wrap-up.
  • Funny neighborly banter:

    Neighbor Max: “Yeah, now what do you want?” Diamond: “How about a game of gin? I’m lonesome.” (28:44)

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Notable Quotes

• Diamond wisecracking about fees:

  “100 a day and expenses. I stopped eating at the Automat six years ago.” (04:39)

• On suspects and evidence:

  Diamond (to Walt): “What if you killed someone, and a guy caught you at it? … I caught Hyer in the act, and he didn’t pull the trigger. … He took too much time thinking about it.” (15:12–15:24)

• Unraveling the frame-up:

  Diamond: “You made one mistake. I didn’t hear a shot when I got to your wife’s apartment. Your wife was killed before Martin went into that building.” (22:59)

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Segment Timestamps

• 01:07 – Diamond’s intro and setup
• 03:03 – The murder plot
• 04:15 – June hires Diamond
• 07:57 – Tailing Martin begins
• 11:00 – Discovery of Sally's body
• 12:47 – Walt and police arrive
• 14:54 – Diamond’s doubts about the letter
• 17:26 – Debate about letter’s authorship
• 19:18 – Diamond tracks Fisk
• 22:59 – Diamond reveals the catch in the setup
• 24:35 – Showdown with Leon and June
• 25:44 – Winding down with Helen

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2. Sherlock Holmes: “The Well-Staged Murder”

Main Theme

Holmes and Watson stumble onto a park shooting that looks indisputable—wrong man, wrong motive, and a perfect setup. But Holmes' skepticism exposes jealousy, double-crossing, and the fatal error that reveals the true criminal.

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Key Points and Insights

• Rainy Night in London; Holmes and Watson Roam the Park (32:54–33:39)
  • Both out for air to ease nerves; setting perfectly eerie and tense.
  • Holmes:

    “The thief or murderer could roam London on a night like this as the tiger does his jungle…” (34:37)

• Gunshots in the Dark (35:06–35:29)
  • Holmes and Watson hear two shots, rush to help.
  • Mrs. Sydney, a matron, calls for help—claims she’s witnessed a shooting.
• Victim is a Hospital Superintendent (36:48–37:13)
  • Dr. Jeffers, medical superintendent, shot in the neck.
  • Two nurses (Matron Sydney and Nellie) tend to him, revealing tangled relationships.
  • Watson’s focus is medical urgency; Holmes is instantly curious about details.
• Old Rivalries and Red Herrings (39:32–41:21)
  • Old George McGowan, a discharged, embittered patient, becomes immediate suspect.
  • McGowan’s cap and revolver found at the scene.
• Holmes Digs Deeper (43:07–44:00)
  • Holmes finds George's cap, revolver, and only one bullet discharged—mismatch between wounds and shots.
  • Points out:

    “Two shots were fired, however, I heard them myself.” (44:03)

• Ballistics Reveal the Truth (49:06–51:29)
  • Holmes demonstrates, via microscope analysis, that the bullet from Jeffers’ neck was not shot from George's revolver—establishing George’s innocence.
  • Brilliant explanation:

    “Every gun…leaves on that bullet a pattern of its own. As individual as a man’s fingerprints…” (50:52)

• Returning to the Scene for the Culprit (54:00–56:23)
  • Holmes, Watson, and Lestrade spy on Jeffers’ hospital room.
  • The real murderer—matron—tries to poison Jeffers out of jealousy (she loved him; he loved Nellie).
  • Holmes:

    “You’ve just given us the strongest motive that exists for murder. Jealousy.” (56:01)

  • Matron drinks the poison herself when discovered.
• Holmes Wraps Up the Logic (56:48–57:31)
  • Only one person (the matron) could have committed the crime.
  • “There was only one entrance to the circle, the one through which the matron ran practically into our arms…” (56:54)

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Notable Quotes

• Holmes on Crime and Darkness:

  “The stage is set for something somber, sinister, violent.” (34:52)

• Holmes’ science lesson to Lestrade:

  “This bullet could not possibly have been fired from George McGowan’s revolver. The bore patterns are entirely different.” (50:14)

• Unmasking the motive:

  Holmes: “You’ve just given us the strongest motive that exists for murder. Jealousy.” (56:01)

• Watson on Nursing Wounds and Closure:

  “Oh, there was nothing Holmes or I could do…prussic acid. She was dead inside of two minutes.” (56:23–56:48)

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Segment Timestamps

• 32:54 – Holmes and Watson take a night stroll
• 35:06 – Gunshots; discovery of victim
• 39:32 – Motives among staff/patients revealed
• 43:07 – Holmes finds cap and revolver
• 44:00 – Investigation of evidence
• 49:06 – Ballistics demonstration
• 54:00 – Stakeout at hospital
• 56:01 – Matron confesses and takes poison
• 56:48 – Holmes explains deductions

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Final Thoughts

Listeners are treated to two very different, equally compelling detective stories:

• In Diamond’s world, the humor is as sharp as the action, with a twist-laden frame job unraveled through street smarts and timing.
• In Holmes’, intricate logic and patient deduction shatter a perfect setup, with forensic insight and human motives—jealousy, hurt, and pride—at the heart of the crime.

Both stories exemplify their eras and their sleuths—clever plots, vivid characters, and memorable, snappy dialogue.

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Transcript

[A]

Foreign.

[B]

This is Case Closed Crime stories from the Golden Age of Radio. Welcome back to Case Closed Mystery and Crime from the Golden Age of Radio. Every Wednesday@ Relicradio.com Two episodes, just about an hour every week. Our first story this time comes from Richard diamond, private Detective. We'll hear the Martin Heyer case from July 23, 1949. After that, it's Sherlock Holmes and the case of the well staged murder. This story aired November 16, 1947.

[A]

Here's Dick Powell as Richard diamond, private detective. Hello there. This is Diamond. About the most strenuous effort I might give out during a working year is maybe chasing some thug up the escalator at Bloomingdale's department store. But last week I really outdid myself. The all stars of the police force challenged the private detectives to a baseball game for the benefit of the vice squad. And I wound up stiffer than a pair of starched overalls because the private detectives are quick to take advantage of the slightest opportunity. By the eighth inning, we realized the need for some immediate strategy. The score at that point was six to four, the cops leading. So I got a hold of a little blonde I knew and had her walk across the inn in a sweater. The idea was to disturb the opposing team and take their minds off the game. It would work. But it seemed that since I had last seen my little blonde friend, she'd become quite a favorite with the police force. So they just waved hello and went about their business. My drooling colleagues, however, had not come in contact with said hunk of fluff. And before the game was over, three of them had picked up the bat boy and tried to bunt with him. You may have read where the police force finally beat us close game, 37 to 4. But I want to say right here and now, they never could have done it without that sweater. Oh, yeah, I got mixed up on a little honest murder the next day. It all started in the back booth of a middle class nightclub. A couple of people were busy trying to think up the fastest way to make a homicide billiard. So that's the three cushion variety killing to frame up to the electric chair.

[C]

Leon, are you sure this will work?

[A]

You want to get rid of that old man of yours, don't you?

[C]

You know I do.

[A]

Well, I got a wife that I want to dump, too. This letter from her is going to fix it so we both end up very unmarried.

[C]

Are you sure they'll blame it on Martin?

[A]

Sure I'm sure. When they find him with this letter and his own Gun and the dead body of my dear little wife. They'll slap him in the chair so fast he won't know what happened.

[C]

Who's going to find him with the body?

[A]

That's your job, baby. I'll get the letter to your husband and you swipe his gun and get it to me. And you go get yourself a private detective and tell the Shammas that you suspect your husband of running around with another girl. You and the Shammas tail your husband. I'll have a time so you catch him with the goods right after the killing.

[C]

Well, all right. I hope it works.

[A]

It will if you want it to, baby.

[C]

I want it to because I want you.

[A]

Yeah? Yeah. And all that nice money your husband's gonna leave.

[C]

Leon.

[A]

Come in, June. Yeah, Come in.

[C]

Mr. Diamond?

[A]

That's right.

[C]

I want to hire a private detective.

[A]

Well, good for you. Sit down.

[C]

Thank you. What is your fee? What's the matter?

[A]

Oh, stand up and sit down again.

[C]

They're 52 gauge, Mr. Diamond.

[D]

Like them?

[A]

Oh, you'd look good if they were sweatsock.

[C]

I don't think they'd go with a high heel.

[A]

You got a point. Now, what were you saying?

[C]

I wanted to know what Your fee.

[A]

Is.100 a day in expenses.

[C]

Isn't that a little high?

[A]

I stopped eating at the Automat six years ago.

[C]

All right, I'll give you a routine.

[A]

Oh, wait a minute. Now, wait a minute. What's the job?

[C]

I think my husband is running around with another woman.

[A]

What do you want me to do, hustle him off to the nut house?

[C]

Aren't you nice? I want you to go with me as a witness.

[A]

You know, any other time I might get shy, but I'm really interested in seeing a girl who could beat your time. When do I start?

[C]

Meet me in front of my house at 10 minutes to 8. My husband leaves around 8.

[A]

What's the address?

[C]

521 East 58th Street. My name is Hyah's. Mr. Diamond. June hires.

[A]

Hi, June. I'll see you at 10 to 8. Now, excuse me, but about that retainer.

[C]

Oh, yes, that here's a hundred dollars. Is that enough?

[A]

It'll keep me interested. What's your husband's name?

[C]

Martin. I'll see you this evening, Mr. Diamond.

[A]

Oh, one more question.

[C]

Yes?

[A]

Why haven't you and your husband been getting along?

[C]

A lot of reasons. By the way, Mr. Diamond, how old are you?

[A]

No. Oh, well, I'm frisky, but I passed the foolish mark when I was three and a half.

[C]

Did you? Goodbye, Mr. Diamond.

[A]

I wonder If I did Diamond Detective Agency. With men who know the corpses best, it's diamond two to one. Oh. Oh, Helen. Hello, baby.

[C]

What are you doing?

[A]

What gauge nylons do you wear, dear?

[C]

52. Why?

[A]

No, nothing.

[D]

Oh, Rick, are you going to buy me a present?

[A]

Oh, you never can tell. I was just looking at a pair a few minutes ago.

[E]

Rick.

[A]

Yeah?

[C]

Where were you looking at them?

[A]

Now what kind of a question is that?

[C]

A very good question. Have you got a girl up in that office?

[F]

Hello.

[C]

Don't you Helen me. Have you?

[A]

Well, I give you my word I haven't.

[D]

All right.

[C]

Was there a girl in your office? Was there?

[A]

Well, a client. I got a hundred dollar retainer.

[C]

I don't care if she gave you the George Washington Bridge. You were obviously looking at her leg.

[A]

Well, I couldn't help it. She sat on that way. Now look, honey, she's just another client.

[C]

With 52 gauge nylons. You do count the threads.

[A]

Oh, can you do that?

[C]

Oh, you wolf.

[A]

Yeah, but you're the only one who gets the benefit of my talents.

[C]

You can put the soft soap away.

[A]

I got some business at 8. I'll be over later.

[C]

Well, gonna stay mad until you get here. And you're going to tell me all about those nylons.

[A]

I'll be sure and do some research. Bye. Well, there you are. You sit around and wait for a meal ticket to come in and just because it happens to be fitted with curves, your best girl digs up the green eyed monster. I don't know why gals get sore at a guy just because they catch him panting a little. After all, it's hot in New York. I spent the rest of the afternoon trying to hit a big horse fly with a rubber band and some paper clips. And by six o' clock we shook hands and called it the draw. I closed the office and went home. I got into some clean clothes and grabbed a bite to eat at the Corner Drugstore. At 10 minutes to 8 I was sitting in June Hire's car parked across the street from her front door.

[C]

Mr. Diamond, how did you ever get to be a private detective?

[A]

Mrs. Hym, how did you ever get to be a housewife?

[C]

You think things up in a hurry, don't you?

[A]

Only when I got competition.

[C]

You like competition?

[A]

Up to a point. After that I get tired of the struggle.

[C]

I feel like I was back in college, sitting in a parked car with a good looking man.

[A]

Your education must have been pretty tame. I haven't moved once.

[C]

Well, I really started to study after I graduated.

[A]

Oh, I bet you Got straight A's.

[C]

Must you top everything?

[A]

I play around with a lot of trouble, Mrs. Hyen. I've got to stay one step ahead of it.

[C]

Do I look like trouble?

[A]

When's your husband coming out of that house?

[C]

Any minute now. You didn't answer my question.

[A]

I'll tell you soon. To see your husband?

[C]

Well, how will that tell you?

[A]

If he's wearing a beanie with a propeller on it, I'll know. You've been giving him a lot of trouble.

[C]

So I've been giving him trouble. That mean I'll do the same for somebody else?

[A]

What's the difference? A husband or a private detective? They both got their names from a guy named Adam.

[C]

Oh, look, A cab pulled up to the front door.

[A]

Yeah, I see it.

[C]

And here comes Martin.

[A]

He's getting into the cab. Well, what do you know?

[C]

What's the matter?

[A]

No beanie. We both sat and watched while Martin Hire got into the cab and it pulled away. Mrs. H put a car in gear and we started the tail. Keeping it a safe distance. He led us across town to a middle class apartment house. And we stopped the car and waited up the street.

[C]

He's getting out and going into that building.

[A]

Come on. What for?

[C]

Shouldn't we let him get up there first and then Look.

[A]

Look, baby, do you know who this gal is?

[C]

No, no, of course not.

[A]

Then come on. I want to see what Dory goes in.

[C]

But won't he see us?

[A]

Honey, I don't tell you how to put your lipstick on. Now don't tell me how to make it like a bloodhound.

[C]

The lobby is empty.

[A]

Now watch the elevator. Oh, it's stopping on the fourth floor.

[C]

Hadn't we better go up?

[A]

Look, look, lover, the fourth floor probably comes equipped with a lot of doors. Now, if you want to just knock on any of them, go hire yourself Humphrey Bogart.

[C]

Then what do we do?

[A]

You stand by and watch like you make like you knew what I was doing. See, the little old elevator's coming back down. Now you just hold it there while I look at the mailboxes. Mrs. B. Callahan, this is Lillian McEdward, Mrs. Mike and Ms. Sally Maxwell. Okay, now we push the button for the fourth floor and away we go. Fun.

[C]

How do you know where to go?

[A]

I got the name off the mailbox.

[C]

But you said yourself there must be a lot of people on the fourth floor.

[A]

Elementary, my dear girl. Process of elimination. We're lucky this time. Only one single girl on the fourth floor. Sally Maxwell. Come on, it's 406.

[C]

What if there'd been more than one single girl?

[A]

So I make some new friends. Now, stop asking questions and stick close.

[C]

I'd love it.

[A]

Now, here it is. 406. Hold it down.

[D]

Can you hear anything? No.

[A]

Yeah, somebody's moving around. Oh, duck.

[C]

What?

[A]

Too late, June. Good evening. I represent the Great Nothing Life Insurance Company. What are you doing here, June?

[C]

I might ask you the same thing.

[A]

Do you mind if we come in? I like to interest you in our indemnity clause. Stop pushing. Get out of my way. You don't know what you're missing. You get $3 million if a Python bites you in the middle of Times Square. You can't force your way in here like that, you. Oh, now you've hurt my feelings. Take your hands off me or I'll strike you again. Sure, but you need two more to put you out. Here, have one on me. Now, the next time you go striking people.

[C]

Mr. Diamond.

[D]

Look.

[A]

I looked past the little guy in spotted the body. She was blond and I didn't know why. She was hanging onto the rug. That way she wasn't going anywhere. All right, you get out of my way, huh? Oh, what a lovely gun.

[C]

Martin, you killed that girl.

[A]

No, I did not. I came in here and found her like that. But I didn't kill her. She's been shot. I know that. I found the gun by her body. You don't think I'd kill her? I was in love with her. Martin, is that the gun that did it? Yes. I mean, no. I. Oh, I don't know what I mean, but you stand right there. Don't take another step.

[C]

That's your gun, Martin.

[A]

You shut up. I didn't kill Sally. But I know I haven't got a chance of proving it, so you come any closer, I will most certainly shoot you. I hate to look like an idiot, but it's against the law to shoot people.

[C]

Mr. Diamond, be careful.

[A]

Come on, Martin, give me the gun. You don't think I'll shoot, do you? Come on, give it to me. Just one more.

[D]

Flick out. He's going to shoot.

[A]

Come on, open up in there. What? Better drop it. Martin, you got company.

[D]

Stay back.

[A]

Stay back. This is police. Open up. We'll break the door in. Police. Give me the gun, Martin. No.

[D]

No.

[A]

Let him in, June. They've all left and tears down the whole wall. I've got Martin.

[C]

Yes. All right.

[A]

I didn't do it. I didn't do it. What's going on in here? Hello, Walt. Hey, Lieutenant. Look, it's the gum Show Rick. Why do you guys always have to break down doors? Why don't you try turning the knob first, Otis? Didn't you see if it was unlocked? I forgot. Lieutenant, you mallet head. We got a report that someone heard a shot from this apartment as the body wolf. Who's this guy? Martin H. Here's his gun. He was going to use it on me. I didn't kill her. I came in and found her that way. Oh, shut up. Who's the girl with you? Diamond, this is Mrs. Hire. Martin is her husband. Don't say the old triangle, huh, rick?

[C]

I engaged Mr. Diamond to follow my husband.

[A]

That's right, Walt. We caught Martin trying to sneak out on the corpse. I told you I didn't kill her. And I told you to shut up. This your gun? Yes, but I found it lying by the body. I knew I'd be blamed if someone found my gun, so I put it in my pocket. Sir. Timoric. Haven't had time. Shake him down, Otis. Yeah, Lieutenant? I want my lawyer. And you get away from me. You open your trap just once more. Okay, butthole.

[C]

Please, Mr. Diamond, I'd like to get out of here.

[A]

Sure. Okay, Walt. Yeah, but I want to talk to both of you down at the station later. Here's something, Lieutenant. What is it? Letter.

[C]

Are you coming, Mr. Diamond?

[A]

You go on down. I'll be right with you.

[C]

All right, Walt.

[A]

What does the letter say? You can't continue this way. I've decided to break it off once and for all. It will do no good to see me, so please stay away and leave me alone. Sign Sally. Let me see that. Yeah. Well, what about it? You. Is the dead girl named Sally? Yes. I don't know why she sent it. We were both in line. Sure, sure. What were you going to do about your wife? I was going to tell her this evening. Then I received this note. I came right over to see Sally, but believe me, I didn't kill her. Tell me something, Martin. Is this the way you received the letter? Yes. Why? Now, you wait a minute, Rick. I'm very happy with what I've got, so don't start making like Sherlock Holmes. Oh, well, I. I guess you're right, Walt. He admits it's his gun. And this letter is certainly motive enough.

[C]

Yeah.

[A]

Otis called for the wagon to put the cuffs on higher, right, Lieutenant? Well, why would someone send a letter after tearing off the top of it, huh? See, the top of this letter is missing the part that usually reads Dear Julius or something. So what? Do me a favor, will you? Walt. Oh, what is it? Give me three minutes and then have Otis fire a shot from this apartment.

[D]

What?

[A]

Is that all you can say? Have Otis fire a shot in about three minutes after I leave. I will not. The police department can't go around making like it was the fourth of July. You want to solve a murder, don't you? I have solved it. What more do I need? I got a suspect, the murder weapon and a good motive. What if you just kill someone and a guy caught you at it? What would you do, knock him off too? Well, I caught higher in the act, and he didn't pull the trigger. And you said yourself he was going to. But he didn't. And he took too much time thinking about it. Well, I can't remember hearing a shot when I came in this building. So you didn't hear a shot. Maybe you couldn't. That's what I want to find out. I was right behind Martin all the way up to this apartment. I didn't hear a shot. Maybe you didn't kill her. That's right, I didn't. Please. I didn't kill her. You see, Walt? Oh, you always start something like this. Martin, did your girlfriend Sally have any enemies? No. At least she never told me about any. Now, where are your brain trust? Just a little more sure of myself. First Martin can't make up his mind about shooting me. Then he claims that the murdered girl didn't have any enemies. Does that sound like a killer trying to cover up? You've run into smart killers before. I'm surprised at you, Rick. I called the station lieutenant. I'm proud of you. Go on in the other room and shoot that cannon of yours off when I tell you. The what, Lieutenant? You heard me. Shoot it into a mattress. But don't muffle a shot. Okay, but not till I tell you might think it's fun and blow up the whole building. Thanks, Rob. What are you doing? Oh, just looking around this desk to see if I can find the top piece of this letter. Oh, Martin, are you sure that your girlfriend didn't know anyone who might want to kill her? She never said she was in danger. But you might ask her husband. Her husband? Oh, swear. Why didn't you say something about her husband before this? You didn't ask who is her husband? His name's Leon Fisk. The gambler? Yes. Oh, by Walt. Now you wait a minute. Have orders. Start making like a Roman candle three minutes after I leave. What's that you've got in your hand, huh? Well, it's a piece of stationary from the desk that matches the stationary this letter was written on. You can't take that letter. It's evidence. What is? That letter the murdered girl wrote to this guy. Well, how do you know she wrote it? Because this guy said so. Yes, but I'm not sure. It could be forged. See? What? Maybe she didn't write it. Well, that's why I want it. The lab will be able to tell from other samples of her handwriting.

[C]

Now what, Walt?

[A]

Who wrote that letter? Well, don't you know? Of course I don't know, but we found it on this guy, and it's police evidence. Why? Why? Because it just is, that's all. Well, anybody could have written it. You could have written it, Martin. Yes, I guess I could. And send it to yourself? Why would I send it to myself, Lieutenant? You wouldn't. That's why it's important. You mean the letter itself or the fact that he couldn't have sent it to himself? Both reasons. Well, if he couldn't have sent it to himself, that eliminates him as a suspect. Yes. He didn't do it. Did you, Martin? No. Seawall. Wait a minute. Wait a minute. Why do I always get into something like this? You asked me if I sent the letter to myself. You shut up. And you said he couldn't have. That's right, he couldn't. Then someone else did. Of course they did. Okay, then as long as you're not so sure it's important, I'm going to take it with me. Who says it's not important? Well, if he didn't send it to himself, then someone else did. And if someone else did, the murdered girl couldn't have. So anyone could have sent it. Isn't that right? Say that again. He said if I didn't send the letter to myself, then I couldn't have gotten it, and. No, no, he said you couldn't have sent the letter to. No, no. Wait a minute. You couldn't have written it to. To myself. Yeah. So someone else wrote it and sent it to the murdered girl and. No, no, no, no, no, no. Send it to me. You're crazy. I distinctly heard him say. Walt. Yeah? After you figure it, I'll be sure and have Otis fire that shot. I'm gonna see Leon Fisk. Okay. Okay. Now, let's start it again. If I didn't. If somebody didn't. If. If you didn't. If I didn't what, Lieutenant? O up. What is the matter, Lieutenant? He did it again. And you helped him, you rat. I'll see that you get the chair. Even if you didn't kill her. What did I do? You shut up.

[C]

What took you so long?

[A]

I had to get a merry go round started.

[C]

Can I drop you somewhere?

[A]

Just relax for a second. I've got to think something out.

[C]

Well, I didn't ever think Martin could kill anyone. Yeah, what was that?

[A]

Just. Just a backfire. Look, drive me across town. I want to talk to a guy named Leon Fisk.

[C]

Leon Fisk?

[A]

Yeah, Runs a nightclub with an iron claw in the back room.

[C]

What's the address?

[A]

222 East 45th. I remember it because when I was on the force, I used to raid his place for exercise.

[C]

Thinking of doing some gambling.

[A]

That's the way it'll probably end up. Let's go. She drove me across town and 10 minutes later we pulled up in front of a low building with a flight of steps leading down to a basement door. A large sign over the door read Seller Club. I got out and thanked June for the lift and watched her drive off. I went down the steps and through the door. Something I can do for you? Yeah, I'd like to see Leon Fisk. Maybe you don't want to see it. What's the name? Just tell him. Diamond. Okay. You got a phone booth? Yeah, right over there. Thanks. I found the phone booth and went in. In my business, you work with hunches and sometimes they pay off. I knew that the torn letter had to be sent to someone. The dead girl was going to slough. I didn't think it was higher. So the next best prospect was her husband, Leon Fisk. I didn't have a thing to pin on him. But a good bluff can open a lot of doors. I took out the letter and copied the handwriting on the other piece of stationary. I wrote the name Leon at the top. And then the words we can't continue so they'd correspond with the first part of the original. Yeah. What was your right? What's it to you? You don't have to get sore. I just thought maybe you was getting a tip and horses. And I sure could use a winner. The nags have been beating me to death. Oh, no. Tell. Okay, the force and seal that door right over there. Thank you. Well, diamond, it's been a long time I haven't missed you. Leon. What brings you here? Your wife is killed tonight. Sally. One's usually the lemon. That's too bad. How'd it happen? I thought maybe you could tell me. I don't know anything about it. Ever see this letter before? Hey, what's the matter? That's your wife's handwriting, isn't it? Yeah. It says, leon, we can't continue. Then the writing stop. So what? The guy the police are holding got a letter from Sally, too. It started the same way, but it wasn't addressed to anyone. Top was torn off. You know what I think? No, tell me. I think she started one letter to you, then threw it away and wrote another one. I think you sent the second to Martin Har after tearing off the name Leon. Go on, baby. You didn't count on her starting a second one, so you went up to her apartment and killed her with Martin's own gun. Oh, with his own gun. Maybe you can tell me how I got it. Oh, I think so. You had to know a lot of things before you could kill your wife. What time Martin would arrive, so the time of death would be close. You had to have his gun to leave by the body. And you had to have a witness who would swear Martin killed her. It had to be time. Just right. You're talking yourself into a corner. How would I get all these things? By working with someone who was close enough to Martin. Maybe like his wife. You're crazy. Am I? She just drove me to this place. So what? A lot of people know this place. She told me she didn't. So I gave her an address eight doors down. But she pulled up right in your front of your door. Well, that could happen. It was too Pat Lyon getting me to come to her place at 10 minutes to 8 and knowing her husband would leave close to 8. She had to know it because that letter was delivered just before I got there. You can prove it. You made one mistake. I didn't hear a shot when I got to your wife's apartment. I found out later that you could hear one all the way down in the street. Your wife was killed before Martin went into that building. Probably when you saw his cab pull up. Well, anyway, it's enough to hold you on. And I think we can prove later on that you've been seeing June Hire. Pretty smart. Sham Estamon. Oh, you mean you admit it. Okay, baby, come on in.

[F]

June, come on out of there.

[C]

Leon, are you crazy?

[A]

Well, well, well. I didn't know you kept your back room stocked with nylons, Leon. Yeah, yeah, I guess you two don't need any introduction.

[C]

Why did you have to drag me into this?

[A]

You heard what diamond said. He knows all about it. You got the car out back?

[C]

Yes, but what are we going to do with him?

[A]

Diamond? He's going Swimming with a barrel of cement. Lieutenant Levinson wouldn't like that. He knows I came here. You're lying.

[C]

Wait a minute. Maybe he isn't. Diamond was upstairs with him for quite a while.

[A]

Okay. Sure. We'll have to hurry things up.

[C]

Leon, you can't shoot him.

[A]

Yeah, you should know. It's not quite the point. I'm not gonna knock him off here in the office. We'll take him in the car and do it later.

[D]

No, Leon.

[E]

What do you mean, no?

[C]

It was your idea to kill your wife. I just helped get the gun. I'm not going to be along if you kill Diamond.

[A]

You're going to be right with me, baby. Because you're in this up to your pretty neck, and I need that car.

[C]

I'm not going to do it.

[A]

Oh, yes, you are. You and diamond go swimming together. Leon, give me that gun. Let me go. Come on. Drop it. You go to the devil.

[C]

June.

[A]

June, come back here.

[C]

I'm getting off. You got me into this mess.

[A]

Come back here, you. You dirty little tramp. Don't you take that car. You're not going anywhere, Leon. You want to bet I'll flinch.

[C]

You.

[A]

Diamond. He hit me with the butt of his gun. And I went down like the price of wheat in July. As I picked myself up, I watched him run for the back door. Wait for me. They're not gonna leave me here to take a rock. I got my gun out and stumbled over to the window and looked out. Just as the car started up, I spotted Leon with a gun in his hand. He looked mean enough to start shooting with it. He did. He started running up the alley. Then I suppose I could have said something like, stop or I'll shoot. But I was too tired. I just rested my arm on the window and let him have it. Well, Walt finally showed and cleaned things up. I was bleeding again, so I headed for 975 Park Avenue and my uncle. Usual first aid station. Yes. Hello, Francis. Ms. Asheron. Oh, my goodness. Mr. Diamond.

[C]

Come in, sir.

[A]

Come in. You've been hurt again. I guess you'll have to answer the door a little quicker after this, Francis. Or build a first aid station in the hall. Usual, sir? No, you can forget the plasma, Francis. I had liver for dinner. I can stand the loss.

[C]

Just as you say, sir. Ms. Asher is in the study.

[A]

Oh, thank you. Why don't you go to bed? You look tired.

[C]

Yes.

[A]

Good night. Boo.

[C]

Oh, wig.

[A]

Yeah.

[C]

Isn't it awful what happened to your chin?

[A]

Oh, I got it caught on the.38. Wanted to go.

[C]

Want you to go. Why?

[A]

Well, I thought maybe my poor little face scared you.

[C]

Oh, I like your poor little mussed up face.

[A]

Well, thanks, Sporty.

[C]

How about some music?

[A]

Oh, I'm too tired. Turn on the radio.

[D]

All right.

[C]

Now let me look at that chin.

[A]

Oh, that's soothing. Hey, don't shut that radio off. I'm trying to sleep. Now, what is that?

[C]

Oh, it's that crabby old neighbor.

[A]

Oh, it is, huh?

[C]

Now, Rick, don't get mad. I'll turn it off.

[A]

You want something, Max? Yeah, some sleep. Is that too much to ask? Well, stick your head in the closet. Now look, bud. You look. That radio wouldn't wake a two year old. Well, just pretend I haven't stopped teething white guy. All I want is some sleep. Oh, you do, huh? Peepee time, gal. You're turning night in a day, Rick. Oh, that guy upsets me.

[C]

Oh, right, he upsets you. That's too pretty a song to sing like that. No, now you do it right or I'm gonna be mad.

[A]

Well, honey, then that's the last thing I want you to be. Now, cuddle up on the sofa. You comfy? Don't be mad now, baby. Sleepy time gal, you're turning night into day. Sleepy time, G. You dance the evening away before it sleeps. Silvery star fades out of sight. Please give me one little kiss. Then let us whisper good night. It's getting late and baby, your pillars waiting. Sleepy time gal, when all your dancing is through. Sleepy time gal. I'll find cottage for you. You'll learn to cook and to sew. What's more, you'll love it. I know when you stay at home, play at home. Eight o'. Clock. Sleepy time. G. Well, how was that, baby? Helen. Helen. Well, how do you like that? She snores too. Hey, you Max?

[C]

Yeah. Now what do you want?

[A]

How about a game of gin? I'm lonesome. 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 Wills Herbert, Jane Ovelo, Joan Banks and Stacy Harris. Music was under the direction of Frank Worth. Richard diamond is written by Blake Edwards and directed by William P. Rousseau. 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. This program has come to you from Hollywood. This is NBC, the National Broadcasting Company.

[E]

From New York. The makers of clipper craft clothes for men. And 924 leading retail stores from coast to coast present the world's most famous detective, Sherlock Holmes. Our stories are based upon the character of Sherlock Holmes, created by Sir Arthur Conan Doyle. Sherlock Holmes is portrayed by John Stanley, Dr. Watson by Alfred Shirley. And the dramatizations are by Edith Miser. And so tonight we make our way through a cold November rain to the cheerful fire lit study of our old friend, Dr. John Watson.

[F]

You know, you know, Mr. Harris, I'm surprised and delighted to hear you mention my given name. Everyone, of course, knows that Holmes first name is Sherlock. But to most people I'm just Dr. Watson. To hear them talk, you might think I'd never been christened. But draw up your chair to the fire.

[E]

Feels good to get in out of the wet, Doctor. Only a Sherlock Holmes adventure could lure me out on a night like this.

[F]

That's exactly what I used to say in the old Baker street days, Mr. Harris. Yes, it brings to mind a case that looked like a neat little murder in Tufnell Park. Too neat as it turned out. If Holmes, the incurable skeptic hadn't happened along at the psychological moment, the wrong men would have undoubtedly gone to the gallows.

[A]

And.

[F]

But before we become any further involved in what appear to be mayhem and sudden death, suppose we do homage to our sponsor's excellent product.

[E]

Happy to oblige, Dr. Watson. Every man likes to trade in the leading store in his community. The store that really has its roots in the town. A store run by friendly local people you respect and who respect you. Now, the whole idea behind Clippercraft is to make it possible for you to shop at fine stores like this and get what are acknowledged to be the finest values in clothes in America. The Clippercraft plan makes it all possible. Concentrating the buying power of 924 leading stores across America, making tremendous savings in manufacturing and distribution costs. At your Clipper Craft dealers you can buy superlatively fine Clipper craft suits at only 35 and $40. With a few special numbers at 43.75. Topcoats and overcoats are only 30 to $40. Sport jackets only $24. Clipper craft clothes are so exceptionally fine that we urge you to compare them with clothes selling for many dollars more. And now, Dr. Watson, to get back to the neat little murder in Tufnell Park.

[F]

Right. As a matter of fact, Holmes and I just missed being eyewitnesses to the shooting. It was a night when the century was very young. A night very Much like tonight. Rain with a bit of mist mixed in for good measure. Holmes and I were taking a slight constitutional.

[E]

You mean you went walking on a night like this for pleasure, doctor?

[F]

We were out walking, Mr. Harris, to relieve the tension. It had been raining for four days from Monday to Thursday. I doubt whether it ceased for a moment. When for the fourth time, after pushing my chair back from the breakfast table, I saw the heavy brown swirl condensing in oily drops on the window panes, I was ready to jump out of my skin.

[E]

Can't say I blame you, Holmes.

[F]

Nerves were, if possible, in worse shape than mine. He paced around our lamplit sitting room like a caged animal, cursing under his breath in a fever of suppressed energy. Finally, as evening drew in, he proclaimed he was going out for exercise if he had to swim in the gutters. We donned caps and ulsters and after a certain amount of acrimonious discussion I persuaded Holmes into his overshoes and muffler. For half an hour we stood the streets in silence. Little by little our nerves relaxed and our pace slackened. By the time we started across Tufnell Park, Holmes was feeling almost am.

[G]

Nothing of interest in today's papers, I suppose, Watson?

[F]

Oh, only news of the revolution, the possible war and an impending change of government.

[G]

Commonplace, my dear Watson. Yes, the London criminal's certainly a dull fellow. The thief or murderer could roam London on a night like this as the tiger does his jungle. Unseen until he punces and then evident only to his victim.

[F]

Well, there have been a few petty thefts.

[G]

Petty theft, pickpockets and handkerchief snatches. The stage is set for something somber, sinister, violent.

[F]

Oh, I do wish you wouldn't run on like that, Holmes. At least until we reach the other side of the park. It's uncommonly dark in here tonight.

[G]

Yes, I was wondering if you'd noticed that, Watson. There should be a street lamp along here somewhere. But either the lamplighters neglected to light it or. Hello, here's the lamppost. There's glass scattered on the pavement. The light's been put out, Watson. You heard that?

[F]

It sounded like someone shooting.

[G]

Let's be accurate, Watson. There were two gunshots. The second, I think, was particularly.

[F]

Holmes. Holmes, here comes a woman. She's running along the path. She's terrified.

[D]

Help. Someone help.

[G]

Pardon me, madam, can I be of assistance? I'm Sherlock Holmes.

[D]

Thank heaven. You're just the man I need. It's murder.

[A]

Where?

[D]

Up ahead there. There's an open circular space with a fountain and a new hedge all around. I was walking towards it when I saw a man rise up out of the bushes. He shot at someone sitting on a bench in front of the fountain and then he disappeared.

[G]

In which direction?

[D]

I don't know. Oh, please, please save the man's hurt. I'll get a doctor. I'll be right back.

[G]

It won't be necessary. My friend here is a medical man. And judging by your cap and cape you're not unacquainted with the medical profession yourself.

[D]

No, Matron at the St. Pancras Infirmary.

[G]

Excellent. Come with us. We may need your assistance.

[D]

But shouldn't someone go for the police? We mustn't let the murderer get away.

[G]

My dear miss. Mrs. Sydney. My dear Mrs. Sydney. The first thing is to ascertain if it really is murder.

[F]

We're dealing with the first things, Holmes, if you'll pardon, my saying so is to save the victim's life. If we can.

[G]

My dear Watson, for once I agree with you. Come.

[D]

I'm short.

[G]

Here he is, Watson, on the ground beside the bench.

[F]

Holmes, lights some matches so I can.

[A]

Have a look at him.

[D]

Good lord, it's Superintendent Jaffers. His neck. He's been shot in the neck.

[F]

Yes, I'm afraid it's serious, madam, don't you?

[G]

I'm glad.

[A]

Have them get me to the infirmary.

[G]

He's right, have to operate.

[F]

Hurry. Mrs. Sidney. Tell them to send the ambulance and a stretcher.

[G]

Robert.

[D]

Robert, what happened? Oh, Robert, what have they done to you?

[F]

Nellie, where were you?

[A]

I waited.

[D]

I came as quickly as I could. They wouldn't let me off duty. Nellie, never mind that. Go get help. Tell them to bring the ambulance. Oh no, no, I want to stay with him. And what good would you be? Just a probationer? I'm the one he needs now.

[F]

For the love of heaven, someone go. We've got to get the bullet out of him. He's bleeding internally.

[D]

All right, I'll go, I'll go. But oh please don't let him die. Thinks she's a nurse. What does she know? What does she know about anything?

[G]

Watson, any more wounds beside the one in the neck?

[F]

Great Scott, no. That's enough, isn't it?

[G]

But there were two shots. We heard two shots. Watson.

[F]

Don't bother me now, Holmes. Can't you see I'm busy?

[G]

He was sitting on the bench. The bullet entered from the front. The shot was fired from this direction.

[D]

That's right, Mr. Holmes. The man came out of the bushes from over there. He took two steps and then I saw the flame spurt out.

[G]

Of his revolver once or twice.

[D]

Well, I don't. Well, that is, once. I'm sure it was only once.

[G]

It was George Hartley. Oh, George McGowan has spotted his cap in the dark over there. Been shadowing me all afternoon. Thought I'd shaken him off, but I wouldn't have kept it. The appointment with Nellie. Knew I was in danger the minute I saw his cap come out of the bush. Did he say anything? Did he threaten you? No, didn't say anything.

[A]

Just shot me.

[G]

What did his face look like as he came toward you?

[D]

Leave him alone. Can't you leave him alone?

[A]

That's right, sir.

[F]

Don't try to talk. Save your thing.

[D]

Here comes the ambulance.

[F]

Thank him for that. It won't be long now.

[D]

He's in here. We brought the ambulance as close as we could, but the path is much too narrow. Never mind the excuses, Nelly. Bring the stretcher over here.

[G]

Yes, ma'. Am.

[A]

Down, George.

[F]

That's right, boys. Now, easy, easy. I'll take the shoulders and the head.

[D]

I brought a lantern. You keep away from him. You've done enough harm already.

[F]

Nelly, come on. Carry him to the ambulance. Careful. Keep out of state.

[D]

Oh, his head. You fool. You got his head lower than his feet.

[G]

Watson, when you finished operating, be sure to save me the bullet.

[F]

I'm not interested in adding to your grisly souvenirs.

[G]

I'm not asking for a souvenir, Watson. I'm demanding evidence. Be sure I get that bullet.

[D]

It's all my fault. I shouldn't have said I'd meet him here tonight. I knew old George had threatened Dr. Jeffers when he was released today.

[G]

Who is old George, Miss Nelly? And what did he have against the superintendent?

[D]

Well, Nothing, really. George McGowan is just a tragic old man who drank too much and couldn't get on with his family. His daughter stood it as long as she could, and then she had him committed.

[G]

I see.

[D]

The first few days were pretty bad. He had DTs, you know. And he kept yelling for his revolver to protect himself. Fortunately, Dr. Jefferson had taken the gun away from him when old George arrived, that's when he first took a dislike to Dr. Jeffers. And even after he was better, he went on hating him.

[G]

Is Dr. Jeffers generally disliked?

[D]

Oh, no. He's wonderful. That is. Well, I suppose he is strict, but you have to be if you're in charge of a place like St. Pancras.

[G]

You wouldn't by any chance, be prejudiced?

[D]

Well, I. Perhaps I am, just a bit. It's a secret, but well, Dr. Jefferson and I are engaged to be married.

[G]

Yes, I gathered as much. Tell me, Ms. Neville, does anyone else suspect this attachment?

[D]

Oh, no, no, I'm sure No one does. Dr. Jeffers was most particular. None of the other nurses should find out. He said it would be bad for hospital discipline.

[G]

I see. Tell me, what did Dr. Jeffers do with Mr. McGowan's revolver when he took it away from him?

[D]

Oh, he put it in the safe. That's what they always do with the patient's valuables when they arrive. They're handed back, of course, when the patient is discharged.

[G]

You say George McGowan was discharged today?

[D]

Yes, sir, at 10:00 clock this morning.

[G]

Did Dr. Jeffers return his revolver?

[D]

Oh, no, sir. That was what they had the row about. That and old George's cap.

[A]

Hey, there you are.

[G]

I've been waiting this half hour for me discharge. Well, here it is, George. And how many times do I have to tell you to take that cap off when you're in the house? I'm wearing my bonnet because I'm ready to go. Very well then, see you go straight home.

[A]

No dropping in at any pub on.

[G]

The way, mind you. Well, what are you waiting for? For yet to give me pack my pistol. Don't you think you're better off without it? Who's to be the judge of that? I brought it with me from Grassy. Well, you're not going to get it. If you're going to stand here arguing, take off that dirty cap. It's no dirty cap. It's my fine Scotch bonnet. It's the McGowan cotton. It is. I've kept it on in the presence of better men than you be.

[D]

That will do, George. You are not allowed to talk to the superintendent like that.

[G]

Oh, I ain't, ain't I, Matron? You and your nurses may be daft over this, doctor, but you'd better look out for old George. I'll get even with Mr. Superintendent Jeffers if it's the last thing I do.

[D]

I begged Dr. Jeffers to be careful, but he just laughed. He said if a doctor was going to worry about all the patients that took a dislike to him, he'd better give up medicine. Or do you think they'll be able to save his life, Dr. Jeffers, I mean.

[G]

Fortunately, my dear Dr. Watson is a much better surgeon than he is a detective. Your friend is in good hands, Dr. Watson.

[D]

Why then. Then you must be the great Mr. Sherlock Holmes.

[G]

Hadn't you guessed?

[D]

Well, no, I suppose I was so upset and then the light here is so dim tonight, all I can really see is that peak cap of yours.

[G]

Yes, Dr. Jeffers says it was Mr. McGowan that shot him. But I suspect all he saw in this light was a Scottish bonnet. I rather imagine that was why the street lamp was extinguished.

[D]

Of course, old George hoped to get away without being recognized at all. I wonder what are you looking for, Mr. Holmes?

[G]

Confound this rain. It's drowned my match.

[D]

We'll try another. Here, I'll hold my cape.

[A]

All right, thanks.

[G]

Yes, that's better. No footprints on this gravel. Confound it. Yes, hello. Here we are. Just as I expected. Right here on the ground under the u hedge. A trifle waterlong, but still recognizable.

[D]

Why, that's old George's cap. He must have lost it in the excitement. And look, they're on the grass. Mr. Holmes. There's his revolver too.

[G]

Don't touch it. Whatever you do, don't touch it. Don't want any unnecessary fingerprints. I'll handle it with my muffler. Good thing Watson bullied me into wearing it. Comes in useful after all. Although what fingerprints we have are probably badly smeared. The gun has recently been discharged. Yes, Only one chamber has been emptied. Interesting. Very interesting.

[D]

But Mr. Holmes. Dr. Jefferson, only one wound.

[G]

Quite right. Two shots were fired, however, I heard them myself.

[D]

But I don't understand.

[G]

I'm not sure I do either. That is, not entirely. But I have a few rather definite suspicions which I shall endeavor to confirm.

[D]

How will you do that, Mr. Holmes?

[G]

By means of some experiments with this revolver and with a bullet Dr. Watson is even now removing from the neighbourhood of your fiance's jugular vein. Yes. Suppose we get along to St. Pancras Infirmary. I'm counting on you to procure me some rather important information.

[D]

Anything I can do, Mr. Holmes, anything at all.

[G]

You can look through the files and get me Mr. McGowan's home address. I think a visit to his daughter is indicated. Let's see, 17 Burberry mules. 17. Yes, here we are. Dilapidated little villa. Ah.

[D]

What do you want?

[G]

Ms. McGowan, I presume. I wonder if I might speak to your father for a moment.

[D]

No, you can't.

[G]

You needn't be afraid. I've come to harm him. In fact, I think if you'll let me talk to him now, before the authorities arrive.

[E]

Once you're too late, Holmes, you'll not be playing ducks and drakes with the law this time.

[G]

Well, well, if it isn't Lestrade, the super snooper of Scotland Yard.

[E]

You can laugh Mr. Sherlock Holmes, but this is one time we don't need your assistance. I am here to arrest George McGowan for the murder of Superintendent Jeffers of St. Pancras Infirmary.

[G]

You mean to say he's dead?

[E]

No, but from what the matron tells me he will be before morning. So I've come to arrest his murderer.

[G]

Don't you think you may be underrating both Dr. Watson and myself? Also the Superintendent may pull through. And it's just possible McGowan is not the man who shot him.

[E]

Oh no, Superintendent Jeffers saw him. The matron says you found McGowan's cap and revolver, a Webley six cylinder, on.

[G]

The scene of the crime.

[E]

What's more, I've got the bullet they took out of Jeffers neck.

[G]

Possibly. But what makes you think the bullet was fired from that particular revolver?

[E]

Well it's the right size and caliber, that's enough for me. Furthermore, the young nurse tells me you made off with the gun and the cat. I'll thank you to hand him over.

[G]

So sorry but I can't you know. Not until I've conducted a few rather important experiments.

[E]

So obstructing the law, that's what it is. You've overstepped yourself this time Elms and no mistake. I'll have a warrant sworn out for your first thing in the morning.

[G]

Aren't you forgetting the real purpose of your visit here?

[E]

What's that?

[G]

The apprehending of your so called murderer, Mr. George McGowan.

[E]

I don't need you to remind me of a duty. Now then Miss, tell your father I.

[G]

Want to see him immediately.

[D]

Well you can't.

[G]

But why not?

[D]

Because he didna come home. And if you had the sense you're born with you'd go and look for him lying drunk in some pub or some ale house. What are we paying taxes for, I'd like to know? Why didn't they keep him in the hospital till he was cured, eh? And why don't you smart alecks mind your own business, ay, the both of you.

[G]

It seems Ms. McGowan has put us both in the same class. Congratulations Lestrade. You've been promoted.

[E]

You go to blazes. And another thing. You bring that cap and that revolver down to the yard first thing in the morning Elms and I'll see you put behind bars.

[G]

You've made your little ultimatum Lestrade. Now I'll make mine. You bring that bullet they took out of Dr. Jeffers neck around at 221B Baker street before midnight tonight. Or I'll make you the laughingstock of London.

[E]

That's bluff. Pure bluff.

[G]

Possibly. Look here Lestrade, I'll stake my reputation that that bullet was not fired from McGowan's gun. You can bring a warrant with the bullet. If I'm wrong you can arrest me for trying to conceal evidence.

[E]

Pretty sure of yourself aren't you? All right, it's a deal. I'll bring the warrant and the ancuff.

[G]

All right George, the coast's clear. You can come out from behind the rain barrel.

[A]

Thank you sir.

[G]

Whoever you be for, no turning me in. Don't mention it. Oh just one thing. Tell me the truth George. Did you shoot Superintendent Jeffers tonight in Tufnell Park? So help me sir, I don't know. I followed him about all afternoon but it was that wet and Aurora had to stop in now and again for a weed wrap and pretty soon I was in a bit of a fog as you might say. So I don't rightly remember what happened. When? When I come to I was lying in the gutter with my bonnet gone and my hand here covered with blood. It could be me a blood sir. I've got a nasty cut over my left eye. Let's hope it is your own blood George. If it's not we shall both then end up in J.

[F]

Holmes. What in the name of common sense do you think you're doing?

[G]

Shooting.

[F]

That's obvious. I may say it was obvious the moment I turned the corner of Marybone Road. What's the idea of target practice this hour of the night?

[G]

This is not target practice Watson. You'll notice I'm shooting into a large cylinder filled with cotton wool. It's a little experiment whereby I hope to convince Inspector Lestrade that Baker street is more sapient than Scotland Yard. Oh that if I'm not mistaken, is the minion of the law in person.

[F]

Oh I'll go down.

[G]

Don't bother Watson. I told Mrs. Hudson we were expecting a midnight caller. She'll let him in. Yes, 12 o'.

[D]

Clock.

[G]

Come in Lestrade, come in. Your promptness itself.

[E]

Well Holmes, I brought the bullet and the Ankovs.

[G]

Fair enough. Now here, take this chair here by the microscope. I'll turn the lamp up a little higher. Now then, if you'll give Dr. Watson the bullet he extracted from Dr. Jeffers neck and allow him to place it under the lens.

[E]

All right but no anky panky mind really. By the way Dr. Watson, how is the victim? Did you pull him through?

[F]

Well I'm glad someone is interested I left Dr. Jeffers resting quietly. Thank you, Holmes. Never thought to inquire?

[G]

My dear Watson, I have every confidence in your medical ability. No, what I'm really curious about is the pattern of the marks on this bullet. Pardon me. While I focus the lens. Yes. Let's see. I thought so. I thought so.

[E]

He may know what you're talking about, Dr. Watson, but I'm completely in the dark. How about you?

[F]

I confess, Lestrade, I'm quite frequently in your predicament.

[G]

But it's all so childishly simple. This bullet could not possibly have been fired from George McCullum's revolver. The boar patterns are entirely different.

[E]

What's he raving about?

[G]

Here, look in the microscope while I explain in words of one syllable.

[E]

I'm looking. Go ahead.

[G]

Notice the pattern of lines, walls and scratches on that bullet. Fix them well in your mind.

[E]

All right, I'm doing it.

[G]

A few years ago, Lestrade, I persuaded Scotland Yard to take up the science of fingerprinting. Fingerprints are now recognized as the one sure method of identification. No two sets of fingerprints can possibly be alike.

[E]

Granted.

[G]

I'd like to introduce you to the science of ballistics.

[E]

Oh, what's that?

[G]

Every gun that's capable of firing a bullet leaves on that bullet a pattern of its own. A pattern that's as individual as a man's fingerprints and as incapable of duplication. Now, Watson, if you'll dig one of the bullets fired from Mr. McGowan's Webley out of that cotton wool.

[F]

All right.

[G]

We'll have a look at it under the microscope.

[F]

Here you are, Holmes.

[G]

Lestrade, you've memorized the pattern made by the killer's revolver on the bullet. Now have a look at this one fired from old George's gun.

[E]

Great Scotch, all right. They're different. Different is night and day.

[G]

Therefore, the Webley did not fire the shot that was supposed to kill the superintendent. And McGowan is not the potential killer.

[E]

But look here, Elms, you just had a look at the second bullet yourself. What made you so sure earlier this evening that McGowan wasn't guilty?

[G]

For one thing, the stage was too carefully set. Why was the street lamp extinguished? So Jeffers couldn't really recognize the person who wore McGowan's cap. Why were both the cap and the revolver left at the scene of the crime? To incriminate old George. Fortunately for him, McGowan was the one person who couldn't possibly have fired the Webley because it was carefully locked in the hospital safe.

[F]

But who could have taken it from the safe.

[G]

Almost any of the officers of the hospital staff, I imagine. But how can we find out which one? By paying a return visit to the hospital, Lestrade. Whoever fired that shot will be quite chagrined to learn it wasn't fatal. I rather suspect a second attempt will be made on Dr. Jeffers life. The very near future.

[E]

Take a good long look before the mirror. If you hadn't seen that Clippercraft label, how much would you say that beautiful suit costs? Well, many, many dollars more than the figure on the price ticket. It's pretty hard to believe you can buy clothes that fit so beautifully. Such long wearing woolens, such smart styles and superior tailoring at prices so remarkably low. Suits at only 35 and $40 with a few special numbers at $43.75, topcoats and overcoats at only 30 to $40 and sport jackets at only $24. Without the famous Clipper Craft plan, it would be impossible. It concentrates the buying power of 924 leading stores across America. Gives you the savings that result from group buying at the store you can trust at your own local independent store. Selling beautifully tailored, expensive clothes at inexpensive low prices at the nation's finest independent stores is the great big idea behind the ClipperCraft plan. That's why men who know insist on Clipper Craft clothes. So be sure to visit the Clipper Craft store in your city.

[G]

The leading stores in the metropolitan area that bring you Clipper Craft clothes are Saks 34th Broadway at 34th Street, Manhattan, Abraham and Strauss, Brooklyn, the Boulevard Men's Shop, Kresge, Newark, Newark, New Jersey, and the B&B Clothes Shop, 16408 Jamaica Avenue, Jamaica. These great courteous and friendly stores are proud to add their names to that of Clippercraft in the label of your suit, top coat, sports jacket and overcoat. Watson, in which wing of the hospital have they put Dr. Jeffers?

[F]

He's on the ground floor over there to the left where the light is burning.

[G]

Good. The window's partly open. You should be able to stand behind those bushes and see in without being observed. Come along, Lestrade. I'm coming. Quiet, you two.

[A]

Here we are.

[G]

We can see over the sill. Nurse has her back turned. She won't notice.

[F]

Everything seems to be quiet enough. Jeff has just moved his hand.

[G]

He's coming out of the ether, I imagine. Color looks good. Quiet. The door's opening. It's the matron. She's coming in with a glass of something in her hand.

[D]

I've brought him some warm drink. Nurse, why don't you go have your supper now? There's a kettle boiling in the pantry. I'll sit with him for a while.

[G]

The nurse is leaving. The matron. Smooth enough? The covers.

[D]

Robert. Robert, can you hear me?

[G]

He's opening his eyes.

[D]

You are going to live, Robert. They saved you. I sought that. I was the one that found you. If it weren't for me you'd have bled to death. You were a fool to throw me over for that young nurse.

[G]

Matron, life is like that. Couldn't help it. We love each other. Going to be married. Sorry.

[D]

Don't worry about it. What is to be is to be. Here, drink. This will make you feel better.

[G]

Jefferson, don't touch that glass.

[D]

What are you doing here?

[G]

We came back to prevent your making a second attempt on Dr. Jeffers life and to find out why you made the first. Watson, help Lestrade over the sill before he strangles himself. Yes, Matron. You've just given us the strongest motive that exists for murder. Jealousy.

[D]

You think you are smart, Mr. Holmes? You can't prove anything. You'll never find my fingerprints on any revolver and you'll never find the revolver. Mr. Lestrade here knows you can't convict anyone without proof.

[G]

I think the contents of that glass will prove you tried to murder Dr. Jeffers. Take the glass away from a Lestrade, quick before she can empty it.

[D]

No you don't.

[F]

Good Lord. She drank it, Holmes. She drank it herself. Oh, there was nothing Holmes or I could do, Mr. Harris. That glass contained a very lethal dose of prussic acid. She was dead inside of two minutes.

[E]

Good Lord. Tell me, Dr. Watson, when did Sherlock Holmes first suspect the matron of trying to kill Dr. Jeffers?

[F]

Almost once. Or perhaps I should say from the moment we entered the circle of Yew Hedge that surrounded the fountain. You may not know it, Mr. Harris, but a good English Yew Hedge is as impenetrable as a brick wall and much more impossible to scale. There was only one entrance to that circle, the one through which the matron ran practically into our arms. No one else could have passed without our seeing him. Consequently, no one else was in the circle with Dr. Jeffers when he was shot. It had to be the matron who fired the revolver. Who fired the two revolvers? I should say the one to incriminate George McGowan and the other to do the job.

[E]

Thank you, Dr. Watson. And now what is in store for us for next week?

[F]

Next week? Well now let me see. I think I'll tell you how Holmes unearthed a stolen naval treaty that threatened the peace of Europe. It involves a careless young employee of the British Foreign Office, a beautiful lady with a lamp and a mist shrouded garden.

[E]

The makers of Clipper craft clothes and 924 leading stores from coast to coast have brought you another in the new series of broadcasts featuring the world's most famous detective, Sherlock Holmes. Sherlock Holmes is produced and directed by Basil Loughran with special music by Albert Berman. If you don't know your Clipper Craft dealer, write ClipperCraft, 200 Fifth Avenue, New York City. Be sure to listen next week to Sherlock Holmes in the case of the Stolen Naval Treaty. If you'd like to attend the Sherlock Holmes broadcasts in New York, see your local Clipper Craft dealer and he'll tell you how to obtain your tickets. This is Cy Harris speaking for Clippercraft Code. This is the world's largest network, serving more than 450 radio stations and Mutual broadcasting systems.

[B]

There's more from Richard Diamond, Sherlock Holmes Case Closed alongside thousands of Relic Radio podcast episodes at the website relicradio.com. you'll find our Shout Cast stream there as well, with even more old time radio streaming 24 hours a day, seven days a week. While you're there, hit that donate button or one of the support links in the show notes if you'd like to help support this and all of the shows. Thanks as always to those who have thanks for joining me this week. Be back next Wednesday with another hour of Case Closed.