Richard Diamond, Private Detective: Mr. Victor's Daughter 01/15/1950

Summary

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Choice Classic Radio Detectives: "Richard Diamond, Private Detective – Mr. Victor’s Daughter"

Original Broadcast: January 15, 1950
Podcast Air Date: May 4, 2026

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Episode Overview

This episode, “Mr. Victor’s Daughter,” showcases private eye Richard Diamond entangled in a high-stakes web involving the daughter of a prominent newspaper owner, a criminal kingpin, and a scheme to frame an innocent woman for a crime she didn’t commit. With his famous wisecracks and dogged persistence, Diamond must navigate threats, beatings, and double-crosses to protect his client and uncover the truth.

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Key Discussion Points & Story Breakdown

1. The Case is Set—Hiring Richard Diamond

• [00:51–03:50]
  George Victor, a wealthy newspaper owner, hires Diamond (Dick Powell) to protect his daughter, Kathy Victor, after threats from criminal Aaron Ziegler, who Victor is about to expose in the press.
  • Victor worries for Kathy's safety; she is involved with Doug Saxon, an associate of Ziegler.
  • Quote [01:54]:

    "My fee is $100 a day, in expenses. Unless we settle that first, I couldn’t solve the case if it was tagged 100 proof." — Richard Diamond

2. Tracking Down Doug Saxon

• [03:50–06:54]
  Diamond confronts Saxon at his apartment, discovering his indirect role as a pawn in Ziegler’s plot. Diamond forces Saxon to call Ziegler and back out of their nefarious deal.
  • Quote [05:41]:

    "The name’s Diamond. Richard Diamond. Occupation: private detective." — Diamond

3. Diamond Gets Warned (and Beaten)

• [07:26–09:39]
  In his office building, Diamond is ambushed and roughed up by Ziegler’s thugs. They threaten him to drop the case and physically intimidate him with repeated blows.
  • Memorable Exchange [08:12]:

    "Now, come on, fun’s fun, but I got business." — Diamond (after being hit)

4. Nocturne Club—Meeting Kathy Victor

• [10:20–13:45]
  Battered, Diamond visits the club where Kathy works. He attempts to warn her, but she rebuffs his concern, and banters back with Diamond’s trademark sarcasm.
  • Kathy resists help, showing both vulnerability and defiance.
  • Quote [12:26]:

    "I’m not trying to take care of you. I’m doing a job. Maybe you don’t know this, but you’re being majored for a patsy." — Diamond

5. Showdown with Ziegler

• [13:56–15:58]
  Diamond confronts Ziegler directly, refusing a bribe and demanding he leave Kathy alone. Ziegler pretends ignorance about the beating and tries to cop an alibi for his goon, Tony.
  • Quote [14:13]:

    "Well, it’s yours. That makes it so lousy, it’s liable to crawl right out of my pocket." — Diamond (refusing Ziegler’s bribe)

  • Feisty verbal sparring underscores Ziegler’s power and Diamond’s unwillingness to back down.

6. Unraveling the Frame—Police Cooperation

• [17:15–18:35]
  Diamond visits Lieutenant Walt Levinson at the Fifth Precinct, piecing together Saxon’s criminal ties and the potential for a frame-up involving narcotics.
  • Walt’s gruff affection for Diamond and dry wit emerge.
  • Quote [18:25]:

    "Because for some stupid reason, I like you. And I don’t want to see you make a fool of yourself." — Walt Levinson

7. Tip-Off in Chinatown—Wu Li’s Help

• [19:14–20:22]
  Diamond seeks information from Wu Li, an old, wise Chinatown contact, confirming Doug Saxon’s frequentation of a location run by Fu Shen.
  • Quote [20:14]:

    "May you live 10,000 years." — Diamond, honoring Wu Li

8. Rescue and Final Confrontation

• [21:14–24:24]
  Diamond locates Kathy in a Chinatown drug den, exposes the plot, and—after another showdown with Tony—manages to get the police to the scene just in time. With swift action and a police assist from Walt, Kathy is saved before being framed, and the criminals are apprehended.
  • Quote [22:13]:

    "So this was the game, huh? Bring her here, knock her out, plant narcotics on, and then push her into the street to get picked." — Diamond

9. Wrap-Up & Lighthearted Closure

• [25:06–28:04] (Epilogue)
  Diamond returns to his love Helen for some gentle post-case ribbing. She teases Diamond about "the girl in the case." The episode ends with the two bantering about paychecks, dinner, and the realities of a detective’s bank account.
  • Quote [26:15]:

    "She’s pretty as I am?" — Helen
    "Oh, honey, nobody is." — Diamond

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Notable Quotes & Moments

• Diamond’s irrepressible humor:

  "I'd bow from the waist, but my empty money belt might choke me." [03:50]

• Kathy’s weary detachment:

  "I work late. Catches up with me." — Kathy [11:49]

• Walt’s signature cop worry:

  "Why, my ulcers told me you were up to some stupid business." — Walt [23:40]

• Helen’s gentle suspicion:

  "Was she pretty, Rick?" — Helen [25:36] "Oh, honey, nobody is." — Diamond [26:15]

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Important Segments & Timestamps

• The Setup—Victor hires Diamond: [00:51–03:50]
• Saxon confronted and forced to quit: [03:50–06:54]
• Diamond’s beating by Ziegler’s thugs: [07:26–09:39]
• At the club—meeting Kathy: [10:20–13:45]
• Confrontation with Ziegler: [13:56–15:58]
• Info from Walt at the precinct: [17:15–18:35]
• Wu Li’s tip in Chinatown: [19:14–20:22]
• Rescue and wrap-up: [21:14–24:24]
• Epilogue and Helen’s ribbing: [25:06–28:04]

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Tone & Style

Faithfully preserving the rapid-fire wit and noir bravado characteristic of Richard Diamond, the episode blends hard-boiled tension, banter, and sentimental moments. The dialogue is laden with dry one-liners—Diamond’s weapons against both danger and romantic entanglements.

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For any fan of classic detective radio, this episode offers intrigue, sharp humor, and the iconic cool of Dick Powell’s Richard Diamond at its best.

Transcript

[A]

Welcome to Choice Classic Radio, where we bring to you the greatest old time radio shows, like us on Facebook, subscribe to us on YouTube, and thank you for [e-mail].

[B]

Here's Dick Powell as Richard diamond, private detective.

[C]

Oh, may I do something for you, sir?

[D]

I'll repeat the offer while I think of something.

[C]

I beg your pardon?

[D]

That's not the way I heard it. First, did you Want to see Mr. George Victor?

[C]

May I have your name?

[D]

Let's. Let's trade. Mine's Diamond. Richard diamond.

[C]

Oh, of course. Mr. Victor's expecting you.

[D]

Well, it's too much to hope that you were.

[C]

He's waiting for you, Mr. Diamond.

[D]

Thanks. Any door?

[C]

Straight ahead. Go right in.

[E]

Yes?

[D]

Mr. Victor?

[E]

Yes.

[D]

Oh, you're done?

[F]

Uh huh.

[G]

Come in and sit down.

[D]

Thank you.

[G]

You said you'd come immediately, and that was over an hour ago when I phoned you.

[D]

Well, I didn't want to come to my bare feet. What? I was washing out a pair of socks.

[G]

You're. You're sure you're Richard Diamond?

[D]

Reasonably sure, yes. My. My credentials.

[G]

All right. You were recommended to me by Lt. Levinson of the police department. I want to hire you.

[D]

My fee is $100 a day in expenses unless we settle that first. I couldn't solve the case if it was tagged 100 proof.

[G]

Here are two checks. One for 100, the other for 5. You get the hundred if you take the job, and the other one if you do the job satisfactorily.

[D]

Tell me all about it.

[G]

You may have heard that I bought the controlling interest in one of the biggest newspapers in the city.

[D]

That I heard.

[E]

All right.

[G]

I'm going to expose the numbers racket.

[D]

That's been tried before.

[G]

I know, but this time it's different. I have all the evidence I need to expose one of the biggest operators, Aaron Ziegler.

[D]

Oh, you do pick them big.

[G]

You know him?

[D]

We did some spitting at each other when I was on the force.

[G]

Well, then you know what is.

[D]

Yeah, but you said you had all the evidence. Where do I come in?

[G]

Ziegler's my affair. Yours will be my daughter.

[D]

Here's her picture. Well, you can have Ziggler. I'm happy with this arrangement.

[G]

This is no joke, Mr. Diamond. My daughter works for Ziggler.

[D]

Oh, you got a million bucks for every Mongolian in Asia, and your daughter works hobby.

[G]

Perhaps she became infatuated with a man named Doug Saxon and went to work to support him. Will you listen to me?

[D]

Oh, sorry. Go ahead.

[G]

Mr. Victor Saxon. Has some connection with Ziegler. I objected to her seeing Saxon, and there.

[D]

There was an argument, and being 21, she walked out. Yes.

[G]

Ziegler gave her a job singing in the Nocturne Club.

[D]

I know the place.

[G]

Now, what I want you to do is.

[D]

I think I know Mr. Victor. You got evidence on Ziggler that makes him an unhappy boy. And being unhappy, he wants to smile again. So he sets glamour lad Saxon loose. Your daughter falls for him and the frame's begun. Right.

[G]

Ziegler told me he was going to stop me from printing the expose of his record. I. I know he'll use my daughter Kathy.

[D]

What does she have to say about it? She won't see me. And you've got no idea what the frame will be? No.

[G]

That's your job. Find my daughter. Stay with her until the paper goes to press.

[D]

And when will that be?

[G]

10 tonight.

[D]

All right, Mr. Victor, you hired yourself a boy. I'll pick up that $500 check after I pick up the late edition. Good day, sir. Oh, yes, if you will excuse the expression. The retainer. $100. Oh, here you are. Oh, wow. Thank you. I'd bow from the waist, but my empty money belt might choke me. I'll keep in touch. A couple of phone calls to old acquaintances who still kept in touch with the shady side of our city, and I had Saxon's address. A half hour after I left George Victor, I was punching the buzzer to Saxon's apartment. Good afternoon, Mr. Saxton. Who are you?

[B]

What do you want?

[D]

I'm Mother Hubbard, and I've come to look at your cupboard. Ask me in. What's the idea who. This won't take long, Mr. Saxton. Listen, you. I was just gonna ask you to listen, but since you ask first, go ahead and give me something to listen to. I. Did Ziggler send you? Well, maybe, maybe not. It's a nice place here. All the scenery. Autograph, big overstuffed chair.

[B]

I'm glad you like it, but don't make yourself comfortable.

[D]

What's in the other room?

[B]

Look here, I don't know who you are or what you want, but maybe

[D]

Ziggler did send me. Did he? No. You a cop? Used to be. Always enjoyed my work, and I never enjoyed it more than when I was up against a character like you. Get out of here. Oh, now, somehow getting tough doesn't look well on you. You're not the type. Section from a quick but thorough study. I'd say you were more used to soft lights, sweet music and setting up Pigeons to be knocked over by your boss.

[B]

I don't know what you're talking about.

[H]

Kathy.

[D]

Victor know her. What if I do? You know her. And Saxon, keep away from her. Now you're scaring me. Sure.

[E]

Hey.

[D]

Hey.

[I]

What do you want from me?

[D]

Why are you doing this? I'm hard to do it. The name's Diamond. Richard Diamond. Occupation, private detective. Private detective? Yeah. You're gonna make a phone call now. I won't. You're calling Ziegler to tell him you quit.

[B]

I can't do that.

[D]

Unless you want this floor lamp on your head. Diamond, please. Please don't. Now, that's better. Now, go ahead. What'll I tell him? Your health is bad. You're going to take a boat trip.

[B]

Well, that's ridiculous.

[D]

Well, then you think of something. But think.

[I]

But I. Hello?

[D]

This is Saxon. I'd like to talk to Aaron. Oh, well, I'll call back.

[G]

It's important.

[D]

It's important.

[I]

I gotta talk to him.

[D]

All right, get him. They're putting me through and. Hello? Hello, Aaron? Listen, I. I can't go through with the deal.

[B]

Something came up.

[D]

I mentioned my name.

[B]

A man named Diamond Richard.

[D]

Yeah. Yeah, that's right. I don't know Aaron, but please don't blame me.

[I]

I did. Hello?

[D]

Hello, Aaron? Aaron, he.

[I]

You're hung up.

[D]

Good. You do the same. You don't know what he'll do, Diamond. You don't know him. Oh, but I do. Well, happy landings, glamour boy.

[B]

You can't leave me like this.

[D]

You know, after a long look at you, I don't think I'd like to stay. Bye, Saxon. 20ft of the east river look good on you. Okay, so it was a bluff. I knew Ziggler wouldn't be scared off that easily. But when you go hunting ducks, you put out a decoy. I did. The decoy was me. It was an hour later that I got back to my office building and walked into the lobby. The elevator door there was open, but the jockey was missing. I was about to take the hard way up the stairs when.

[J]

Diamond.

[D]

Oh, hello. Where'd you come from?

[J]

Under a cabbage leaf. Don't believe it. Get in the elevator.

[D]

I'll walk.

[J]

Hey, Mac. Mr. Diamond don't want to get in the elevator.

[E]

Maybe he gets car sick.

[D]

Get in, Diamond. What's the big idea?

[J]

Close the door, Mike.

[E]

Sure

[J]

you know how to run this thing, Diamond?

[D]

No.

[J]

Start it up. Go on.

[D]

Okay. Floors, please.

[J]

I'll tell you when this is far enough. Stop it. And keep your hands away from that door.

[D]

What Are you gonna do? Eat your way out?

[J]

He's a cod, ain't he?

[D]

Oh, now, come on. Fun's fun, but I got business.

[J]

So we.

[E]

We told you to take your hands off those doors.

[D]

Oh, you did, huh? Yeah. Oh, he won't go down.

[E]

Sure he will. He's just stubborn. Give me that SAP. You see?

[J]

Yeah. Think he's still tuned in?

[E]

Let's see.

[F]

Diamond.

[E]

Hey, Diamond. He should know better than that. It ain't polite not to listen. Kick him in the ribs. Now, how about it, Diamond? You want to listen?

[J]

He's shaking his head. He says yes.

[E]

Okay. Now stay away from the dame you're supposed to take care of.

[B]

Go back to Victor and tell him

[E]

you don't want the job. Tell him it's too rough. And if he don't understand, show him your bruises. Hey, give him a bruise where it shows.

[F]

Look at that.

[E]

I don't think he likes you kicking him in the chops.

[J]

What does he want?

[D]

Bedroom slippers?

[E]

Okay, open the doors and let's get out of here.

[J]

I think I ought to give him another boot just to make sure.

[E]

Ain't you ever satisfied? Go ahead.

[D]

Okay, let's go.

[E]

You know something? You got an awful disposition.

[D]

You don't come out of a beating like that right away. A professional working over is like spending a weekend in a taffy machine. I reached out and tried to touch things, but it was like trying to paint the inside of a balloon with a hammer. I was numb. And when the little jabs of feeling started pinching my cheeks I found out that I was warm and sticky. Finally I pulled myself up, stood there for a minute, decided my legs weren't macaroni and went to the washroom to clean up. Then I headed for the Nocturne Club. It was too early for customers, but there was a bartender and a girl with blonde hair playing the piano.

[B]

We ain't open yet, Mac.

[D]

Oh, you ain't? Well, give me a bib. I may cry all over the place. You look awful.

[E]

Truck hit you or something?

[D]

I was blowing a tube in a high wind. Yeah? Yeah. Screwed me eight feet into the ground.

[E]

Ain't that terrible?

[D]

Yeah, ain't it? Hey, who's the dame with the fingers?

[E]

Oh, entertains here. Name's Victor. Kathy Victor. Got a swell set of pipes. And if you're looking for a job, we don't need no Tober flyers.

[D]

Look, here's for a drink. And here's something for you because you ain't open yet. Fix me something that'll turn me all One color?

[E]

Sure.

[D]

Will it be black or blue? Anything that goes with my tie. Bring it to the piano.

[E]

I thought you wanted it.

[D]

Oh, I'll laugh later.

[E]

I thought it was pretty good.

[D]

Hey, know the words to that?

[C]

Yeah.

[D]

Time. In my hands of your looks, I'd

[C]

say you needed time.

[D]

Oh, don't let the bruises fool you, honey. When the swelling goes down, my face is fairly normal. Hey, the blue and yellow make green, don't they? Yeah. Why?

[E]

I wasn't sure. But here's a drink anyway. Who knows? Maybe you'll turn plaid.

[D]

Sure.

[I]

Here.

[D]

Put this in your pocket and go back in the bottle.

[E]

Sure. Thanks.

[D]

Yo, when you want another one?

[C]

Hey,

[D]

what's the matter? Why'd you stop?

[C]

I need a drink, too.

[D]

You get the jumps early, huh?

[C]

I work late. Catches up with me.

[D]

Oh, try out. Running them for a day does wonders.

[C]

Oh, I know you. You're a spy from Alcoholics Anonymous.

[D]

Go ahead, play some more.

[C]

Yeah,

[D]

Your father sent me one. Remember him? Why don't you leave now before we're really acquainted?

[C]

I don't know who you are, what you want, but if my father sent you, I'm not buying.

[D]

Okay, so you're having a good time now. But there's always the next morning. Thought of that.

[C]

I don't need anyone to take care

[D]

of me, Ms. Victor, I'm not trying to take care of you. I'm doing a job. Maybe you don't know this, but you're being majored for a patsy. And your father's going to fit the same frame Saxon and Ziegler are working up for you.

[C]

You're crazy. But I like you, so I'll forgive him.

[D]

I'll cut it out.

[C]

I thought you wanted me to play.

[D]

Look, you're spoiled. You had a mouthful of silver spoons and a handful of gold pieces for building blocks when you were a kid. But you're not a kid anymore. You're playing with bad boys.

[C]

Maybe that's the way I like them.

[D]

What do I have to say to make you realize, young lady? Ask.

[J]

What?

[C]

Diamond Doug.

[D]

Oh. Well, well, Mr. Saxon. I thought you weren't going to be around here anymore.

[B]

I changed my mind.

[D]

You're changed, too. Since I last saw you. Only my looks, they'll heal. But tomorrow you will still be a greasy little gigolo.

[B]

You can't talk that way to me.

[D]

Oh, shut up.

[I]

I.

[F]

Never mind.

[B]

Mr. Ziegler would like to see you. He saw you come in.

[D]

And where is Mr. Ziegler?

[B]

In his office. Right back that way.

[D]

Okay. Okay. I haven't seen Ziegler for a long time. Maybe he wants me to set his broken arm.

[B]

His arm's all right.

[D]

I'll stick around. You may find out you're a chronic liar. Keep playing, baby. I'll be right back. Like I said, I knew my bluff of Saxon wouldn't work. But I had what I wanted. A look in on Ziegler and maybe a hint on what the frame was going to be. I walked to and into his office. Well,

[F]

Diamond.

[D]

Hello, Ziggler.

[F]

Oh, what happened to your face?

[D]

Oh, got it caught in an elevator. What do you want with me, Diamond?

[F]

Here's a grand. Go out and have fun tonight, huh? All night.

[D]

Oh, that money won't do me any good.

[F]

Why not? That ain't counterfeit.

[D]

Well, it's yours. That makes it so lousy, it's liable to crawl right out of my pocket.

[F]

Well, then get rid of it.

[D]

In a hurry, you get rid of it.

[J]

No.

[F]

It's better waking up with a headache than not being able to find your head at all.

[D]

Oh, look, Ziggler, you don't scare me. Now, let's level. You know why I'm here. Let Kathy Victor alone.

[J]

You want to see me, boss?

[D]

Well, look who's here.

[F]

Oh, you know Tony Diamond.

[D]

And we met. Yes. He stubbed his toe on my chin.

[J]

I don't know what you're talking about.

[F]

When was this, Diamond?

[D]

Ah, you know what? It was about an hour ago.

[J]

You crazy?

[F]

Yes, Diamond. Tony was right here with me all morning.

[D]

Okay.

[F]

Are you leaving, Diamond?

[D]

Yeah, yeah. Got any other ideas? Yes.

[F]

I think you should consider my proposition.

[D]

I'll let you know.

[F]

About what?

[D]

Things in general.

[F]

Oh, no.

[D]

All of a sudden you're happy.

[F]

You make me that way, Diamond. You're working the dark, aren't you?

[D]

I'll feel my way around, believe me.

[F]

Diamond, there anything wrong? Why?

[D]

We love Ms. Victor here.

[F]

Just because her old man gets excited and hires you to bend an eye over her don't mean anything is wrong.

[D]

Does it? Since you ask me, I'll tell you the answer's yes.

[F]

You think so?

[B]

Yeah.

[D]

Otherwise, why beat me up? Why offer me a grand to look the other way?

[F]

I don't know nothing about the beating. And as for the grand, I like you.

[D]

Oh, yeah? Well, okay, Zega, I think I'll go now. And just to make you happier, I'll probably stick with the case.

[F]

So long, Diamond.

[D]

Oh, by the way, Ziglar. What now? Did you say this. This gentleman's name was Tony?

[F]

That's his name.

[D]

Okay, Tony.

[J]

What?

[D]

I Wouldn't do this for everyone. But your shoelace is untied. You're allowed to trip over it.

[J]

What are you talking about?

[D]

It bums away.

[F]

Oh, that ain't nice, Diamond. When you do that to a man,

[H]

you're able to bust all his teeth.

[D]

So what? You probably had your eye on the Goldmans anyway. Be good, Ziggler. Oh, hi there. You looking for another drink?

[E]

Now, I got one here that I just fixed. You know, you kind of got me

[H]

started on that color.

[D]

Where'd the girl go?

[E]

Huh? What girl?

[D]

You know, Anne Saxon. Where's he?

[F]

Never heard of him.

[D]

Have you ever been to Hamilton? Huh? Has his picture on all ten dollar bills. This one's suitable for framing in your pocket.

[E]

Can't do it, mister.

[D]

Two pictures of Hamilton.

[E]

Well, they sure would look nice on me. But I work here, mister. I got a wife and kids, see?

[D]

Yeah, yeah, I see. Okay, fella, forget it. Well, I fell for the oldest gag in the world. Kept busy someplace else while Saxon walked out with the girl. Now, I had to find her, but where? I had until 10 that night to stop a frame up I didn't know anything about. But I played a hunch and headed for the Fifth Precinct police station. And Lieutenant Walt Levinson. I walked in on him.

[I]

Diamond. Oh, no.

[D]

Hi. Hiya, Walt.

[B]

Now, please go home.

[H]

Nothing good can come of this.

[D]

Why, Walt, I'm surprised at you.

[H]

Well, I'm not. You've got some horrible joke up your sleeve. I don't want any part of it.

[D]

I can only stay a few minutes. I. I want to know about a guy named Saxon.

[H]

Douglas Saxon.

[D]

That's it.

[H]

What's the matter? Can't you find things out for yourself?

[D]

Right now, Lieutenant, I'm a citizen asking about a guy. Now, what have you got on Saxon, Walt? Not a thing.

[H]

He was clean when we picked him up a couple of times.

[D]

Why was he picked up?

[H]

Why are you so interested in him?

[D]

What goes with my business?

[H]

Oh, and if I tell you?

[D]

Well, I'll tell you something sometime. Now, come on, Walt, give.

[E]

Okay, okay.

[H]

He was picked up on suspicion of handling narcotics. But that's a job for the Vice Squad. Why is he so dear to you?

[D]

He's working for Aaron Ziggler.

[H]

This Mr. Diamond is not new.

[D]

He'd be just the boy to work a frame for Aaron, wouldn't he? If it involved a gal, yeah, this does. How? Dunno yet. But if she was picked up with narcotics on her, it'll be a nice frame, wouldn't it?

[H]

What makes you think it would be a frame.

[D]

This gal looks too healthy.

[H]

Yeah, but you could be wrong.

[D]

Why?

[H]

Because for some stupid reason, I like you. And I don't want to see you make a fool of yourself.

[D]

Why would I do that?

[H]

For this dame.

[D]

What dame?

[H]

The one that Saxon's going to frame.

[D]

Is he going to frame her?

[H]

Of course he is.

[D]

I better get her out of it. Certainly.

[H]

That's just what I was saying.

[D]

Bye, Walt.

[E]

Rick.

[D]

Yeah?

[J]

Thanks.

[D]

What for?

[H]

For not dragging out that who's on first routine. I don't think my stomach could have stood it today.

[D]

Oh, Walt, you're an idiot. Ah, be a good boy. When you pound a police beat in New York, you make a lot of unusual friends. And if you ever get in plain clothes, those friends come in handy sometimes. I grabbed a cab in front of the precinct station and headed for Chinatown. Walt and I had known an old Chinese named Wu Li who'd been around a long time. He knew everyone and everything that went on in Chinatown. And if anyone knew where we could find Saxon, he did.

[K]

Saxon? Saxon is possible. I do not know him.

[D]

Oh, I think you do.

[K]

Just so he said, this man Saxon deals in sweet dreams. However, his rumor not proved.

[D]

Does he ever come to Chinatown?

[K]

You like perhaps a cup of tea?

[D]

I ask this as a favor, Wooly.

[K]

Enemies are made to do evil. Friends to ask favors. Sometimes is no difference.

[D]

Will you tell me, Wooly?

[K]

You ask in name of friendship?

[D]

I do very well in Chinatown.

[K]

Is establishment owned by a man named Fu Shen? Perhaps. I say perhaps. This man Saxon is there.

[D]

He's been there before.

[K]

My eyes are old, perhaps mistaken.

[D]

Not your eyes.

[K]

I shall give you address, then make call to Fu Shen. You will be allowed to enter his establishment.

[D]

May you live 10,000 years.

[K]

And may you live to mourn at my funeral.

[D]

The old boy gave the address and I left the shop five minutes later. I walked through the back door of the old frame building and Fu Shen bowed from the waist and led me upstairs to a private room that fronted the long hall. I noticed there were three other closed doors in the floor aside from the big room downstairs. If Kathy Victor was in the building, she had to be in one of those rooms. I walked into my room, closed the door behind me. There was a bed in one corner and a chair near it. A low table was near the bed, and a dim light threw diagonal shadows like fingers across the walls. I waited until the proprietor had time to get downstairs. Then I opened the door and looked out in the hall. It was empty, so I started throwing open doors I had to be quick before I had a dozen hopped up thugs on my back. The first was a cold turkey. Beat it.

[B]

This room's in use.

[H]

Diamond.

[D]

Well, Mr. Saxon, I presume. Look, look, Diamond. Lay off me, will you? Where's the kid? I don't know who you mean.

[G]

You will.

[I]

No, diamond, my arm.

[B]

You're.

[C]

You're hurting.

[D]

So here's another twist for s. Now sing Saxon and log.

[I]

Look, you got it wrong.

[D]

I. Oh, how wrong can I be?

[I]

Okay, okay.

[B]

But it wasn't my idea.

[D]

I can believe that. Ziggle thought it up. You pulled it off for a couple of grand.

[B]

Listen, if I tell you, will you let me go?

[D]

The girls all you want. Let me go, will you?

[J]

Where is she?

[D]

In the next room. Walk ahead of me. And in case you get any ideas. Now, walk ahead of me. Open the door.

[I]

You got my arm.

[D]

You got another one. But not for long if you try anything. Open it.

[E]

There.

[D]

There she is. Oh, out cold. She's all right.

[I]

Just.

[D]

Just knocked out, huh? Let me go now, Diamond. Sure. So this was the game, huh? Bring her here, knock her out, plant narcotics on and then push her into the street to get picked.

[B]

Look, I showed you where she is.

[I]

Now, give me a break.

[D]

You know, I was just thinking of that. How would you like it? In the arm or in the jaw? Crumb. Come on. Come on, Mr. Victor, let's. Let's wake up now. Come on. Come on.

[J]

Mr. Diamond, you got bad habits.

[D]

Yeah. Yeah, Tony. And one of them is running into you.

[J]

Okay, Diamond. Keep your hands where I can see them.

[D]

Right on the ends of my arms.

[J]

What a sense of humor. All right, Diamond.

[D]

All right, what?

[J]

I think you're gonna get a hole in the face.

[D]

Just a minute, Tony. You hear anything? Yeah. Those are police cars, Tony. Coming here?

[J]

You're crazy.

[D]

Yeah? You don't think I'd come here alone, do you? Get over there by the dock. Look, Tony, you got yourself all dirtied up for Ziegler. Is he here? No. He let you and Saxon walk around in the mud. Those cars are almost here, Tony.

[I]

Shut up.

[D]

I got orders to rub me out, I know. But what if you do? How you gonna get out? Got an answer for that?

[J]

They ain't coming here.

[D]

That didn't go past Tony. Now, listen, I got nothing against you. Make a break for it, out the back door. All I want is the girl. Go on, fast, before it's too late.

[J]

Yeah, I ain't gonna take the rat for nobody.

[D]

Diamond. Rick diamond, you in here?

[I]

Diamond.

[D]

Up here.

[I]

Walt.

[D]

Come On.

[H]

Are you all right?

[D]

Sure. But I sent a package. Special delivery out the back door.

[H]

We've got that covered. Otis will sign for.

[D]

Okay. Wonderful. And now. Hey, wait a minute. What are you doing here? Why'd you come?

[H]

Why, my ulcers told me you were up to some stupid business. I know when you left me, you had some dizzy idea in your thick skull. I'm a cop, you know. I checked the Wu Lee, too.

[E]

Hey, at the girl?

[D]

Yeah, yeah, she'll be all right. Coming around. Okay, huh?

[H]

Oh, and Saxon.

[D]

Hey, what did you hit him with? Start limp, Walt. Listen, if the papers get word of this, this kid's father will be ruined.

[H]

If she's in the clear, you've got my word no one will hear about.

[D]

I know she's in the clear, but I can't leave her here. I got a job to do. I was hired.

[H]

Oh, you want to take her, huh?

[D]

Yeah, I. I think she'd like to go home. Okay.

[H]

I'll take your word. She's all right. Now beat it fast before the narcotics boys get here.

[D]

Thanks, Walt. Come on, baby. Snap out of it.

[E]

Come on.

[C]

Come on.

[H]

Get her out of here before we're all booked for obstructing justice.

[D]

I'm going. Hey. Hey, Walt. Yeah? How you going to explain knocking over this joint before the vice squad? Why?

[H]

Didn't you know I got a reported homicide here. I'll let you know what happens.

[D]

Where'll you be? Oh, silly boy. Where else but Helen's? Now, come on, Cassie, baby, on your feet. On your feet. Walt. Now what? I love you.

[H]

I'll marry you later. Now take off. Oh, my stomach.

[C]

Oh, hello, Rick. You're late.

[D]

Hey, get a load of those silk slacks.

[C]

They're lounging pajamas.

[D]

I've been a lot of lounges, dear. Never saw anything like those.

[C]

You like them?

[D]

Yeah. Yeah, they're all right. The stuffing that gets me red. Be proud of what you got, baby. I knew a guy who had 16 toes on each foot.

[C]

What good did that do? It.

[D]

He used to tell everybody he was a duck. Made a fortune selling his hair for pillow stuffing.

[C]

You look awful.

[D]

Could have been worse.

[C]

Oh, was she pretty, Rick?

[D]

Who?

[C]

The girl in the case.

[D]

What case?

[C]

Why were you late getting here?

[D]

Oh, well, I had to take a girl home and introduce her to a man. Her father.

[C]

I see. How long did that take?

[D]

How did you know about the girl?

[C]

Lt. Levinson phone asking for you. I took the message. He said she's all right. And a man named Saxon did a lot of talking.

[D]

Oh, wonderful.

[C]

Who's she? Who's Saxon?

[D]

I'll read all about it in the papers, dear.

[C]

Is she blonde or brunette?

[D]

Both. Blonde with a brunette Disposition. At the piano too?

[C]

She's pretty as I am.

[D]

Oh, honey, nobody is. Oh, well, nothing'll do until the office opens again tomorrow.

[I]

Time on my hands, you in my arms

[D]

Nothing but love

[I]

in view.

[D]

Then if you fall once and for

[I]

all

[D]

I'll see my dream

[I]

come true. Moments to spare for someone you care for One love affair,

[D]

just the two.

[I]

With time on my hands and you in my arms and love in my heart all for you.

[C]

How long did it take you to take her home?

[D]

Oh, let's forget her, Ellen.

[C]

I'm willing. But are you?

[D]

Look.

[C]

Oh, what nice big checks.

[D]

Yeah, another day, another 600 bucks.

[C]

Are we going out for dinner?

[D]

With what?

[C]

You've got a handful of checks, Baby,

[D]

I got news for you. The banks are closed.

[C]

Oh, come on. I know the bartender at the Nocturne Club.

[D]

Oh, no.

[B]

You have just heard Richard Diamond, Private Detective. Starring Dick Powell. With Virginia Gregg as Helen and ed Begley as Lt. Walt Levinson. Also in the cast were Wilms Herbert, Larry Dobkin, Gene Bates, Stanley Waxman, Paul Dubob and High Averback. Music was under the direction of Frank Worth. Richard diamond is written by Blake Edwards and directed by Russell Hughes. Dick Powell currently may be seen in the motion picture version of the best selling novel, Mrs. Mike. This is Eddie King inviting you to be with us next Sunday at this same time when we will again bring you Dick Powell as Richard Diamond, Private Detective. What's on NBC today? Great shows for Sunday on NBC include the adventures of sam spade and theater guild on the air. Helen hayes and walter abel co star on theater guild today. And for his caper, sam spade turns to television for help. You'll enjoy both these stellar shows. Sam spade then theater guild today on NBC. Now stay tuned for james melton and harvest of stars on NBC.