Richard Diamond Private Detective: Rene Bennet Protection Case 10/22/1949

Summary

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Podcast Summary:

Richard Diamond, Private Detective: "Rene Bennet Protection Case" (Original Air Date: 10/22/1949)
Podcast: Choice Classic Radio Detectives | Old Time Radio
Host: Choice Classic Radio
Summary by AI, based on full episode transcript

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Overview

This episode of Richard Diamond, Private Detective transports listeners to the glamorous and cutthroat world of Manhattan’s high-fashion hat business. Richard Diamond, a suave and quick-witted private eye, is hired by milliner Rene Benet, who fears that his latest hat designs will be stolen before an important fashion show. What starts as a routine protection gig soon takes a deadly turn, plunging Diamond into a murder investigation where professional rivalries, secrets, and greed collide.

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Key Discussion Points and Plot Breakdown

1. Rene Benet Seeks Protection

• [03:05] Rene Benet visits Diamond’s office (thanks to a referral from Diamond’s friend, Helen Asher) to request protection for his new hat creations.
• He suspects someone in his own salon will try to steal his designs, as has happened at previous shows. He’s particularly wary of his jealous partner, Gerald Winters, and competing designer George Marchand.
• Benet instructs Diamond to pose as a famous "designer from Hollywood" so no one suspects a detective is involved.

2. Colorful Characters at the Hat Salon

• [06:49] Diamond meets the key suspects at Benet’s salon, including the sardonic partner Gerald Winters and the alluring junior designer, Lillian Richmond.
• The salon is depicted as full of bickering and egos, with plenty of banter ("I would rather join forces with a cobra than to keep on with Gerald. But he has an iron bound contract" – Rene Benet, [06:34]).

3. The Murder of Rene Benet

• [10:52] Early the next morning, Lt. Walt Levinson calls Diamond: Rene Benet has died in a car crash, apparently burned to death after an "accident."
• The scene at Riverside Drive suggests something suspicious—a smeared steering wheel and a fire started by a cigarette, though Benet didn’t smoke. Diamond deduces foul play.

4. Investigating Motives and Alibis

• [15:40] At Benet’s salon, Diamond and Levinson question the prime suspects about their whereabouts the previous night:
  • Gerald and Lillian claim to have been home asleep.
  • Lillian feigns innocence but displays noticeable shock at Benet’s death.
• [18:02] Diamond visits George Marchand, who is nervous and denies involvement, although he and Benet were known rivals.

5. Diamond’s Reasoning and Theories

• [19:27] Diamond develops his theory:
  • The killer was someone Benet trusted (he wouldn’t have taken a ride otherwise).
  • The killer used gloves (odd on a warm night), suggesting a woman.
  • The steering wheel’s lack of fingerprints hints someone else was driving.
  • The killer needed to access Benet’s safe for the designs, which are now doubly valuable.

6. The Trap and Final Confrontation

• [21:05] Diamond, Levinson, and Otis stake out the salon at night, waiting for the culprit to retrieve the stolen designs.
• [23:10] Lillian arrives, claiming she’s just picking up sketches. Diamond lays out his points: only someone trusted could lure Benet away, and the gloves combined with other clues point to her.
• George Marchand appears, exposed as Lillian’s accomplice. Under pressure, the two turn on each other:
  • “She was the one that did it. She knew Winters would be blamed for it. Yes, she stole the designs for me because she wanted to ruin Benet and take over his salon. But I did not know she was going to kill him.” — George Marchand, [25:10]
  • Lillian, furious, admits to the theft but blames George for his role.

7. Diamond’s Signature Song and Epilogue

• [26:13] Scene shifts to Diamond at home with Helen Asher, his girlfriend, where he sings “Don’t Cry Joe” ([27:03]) at her urging, ending the episode on a light note.

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Notable Quotes & Memorable Moments

Diamond’s Wit

• “Hello there, this is Diamond. You know, I like to say that hello there, this is Diamond. I don't know why. Maybe it's just because I say it all the time.” – Diamond, [00:49]
• “Look, I don't care if you swipe John Frederick's Toupee. For $100 a day in expenses, I'll grow a mattress on his skull.” – Diamond to Benet, [03:36]

On the Fashion Rivalries

• “On similar occasions the same thing has happened... that low life George Marchand had his showing, and my hats were the high point of his show.” – Rene Benet, [04:18]
• “I would rather join forces with a cobra than to keep on with Gerald. But he has an iron bound contract that assures him of at least 50,000 a year.” – Rene Benet, [06:34]

Diamond’s Detective Logic

• “Benet didn’t smoke... The killer wore gloves and it was too hot that night for a man to wear them without looking suspicious.” – Diamond, [23:35]

Culprits Turn on Each Other

• “She was the one that did it... she stole the designs for me because she wanted to ruin Benet and take over his salon. But I did not know she was going to kill him.” – George Marchand, [25:10]
• “You did know it! You helped me plan it... If I got the best sketches for you, I'll take my eyes out.” – Lillian Richmond, [25:35]

Light-hearted Closing

• “Don't cry, Joe. Let her go. Let her go. Let her go...” – Diamond singing, [27:03]

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Important Segment Timestamps

• [03:05] – Rene Benet asks for Diamond’s help protecting his designs
• [06:49] – Diamond meets the salon staff, covers as “Richard of Hollywood”
• [10:52] – Lt. Levinson calls Diamond to reveal Benet’s death
• [15:40] – Questioning of suspects at the salon
• [18:02] – Interview with George Marchand
• [19:27] – Diamond and Levinson debate suspects, explore key clues
• [21:05] – Stakeout at Benet’s shop, waiting for the killer
• [23:10] – Midnight confrontation with Lillian Richmond
• [25:10] – Culprits confess and indict each other
• [27:03] – Diamond sings “Don’t Cry Joe” in the closing scene

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Tone and Style

The episode maintains its signature blend of breezy, wisecracking humor (especially from Diamond), snappy dialogue among rival designers, and tense moments rooted in murder and suspicion. There’s a clever, sardonic edge to the repartee, as well as a noirish sense of danger amidst the world of high society fashion.

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Summary Verdict

This episode is a fine example of Richard Diamond’s mix of hard-boiled mystery, glamour, and comedy. The murder mystery is neatly plotted, the character banter is sharp and memorable, and Diamond’s deduction skills are on full display. The twist ending, with the fashionable femme fatale and her accomplice, is classic radio noir—with a touch of Broadway lounge.

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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.

[A]

Hello there, this is Diamond. You know, I like to say that hello there, this is Diamond. I don't know why. Maybe it's just because I say it all the time. Hello there, this is Diamond. You know, I think it sounds kind of, well, pretty bad. Of course, I'd rather say hello there, this is. I've got a sponsor, Diamond. But that's silly too, because if I had a sponsor, I wouldn't have time to say, hello there, this is Diamond. I'd be overshining his shoes confused. Well, so am I. Want to get really mixed up? Let me tell you what happened last week. This is real silly. So silly it wound up with murder. I was sitting in my office thinking about June Allison, when the phone rang. Diamond Detective Agency. No other corpse can make that statement.

[C]

Oh, Rick, don't believe it.

[A]

Just listen to what one of our satisfied customers has to say about Diamond. I've been buried now on the third year.

[D]

Rick.

[A]

Hello?

[D]

Alan, you idiot, what are you doing?

[A]

I know this will throw you nothing.

[D]

No washing today.

[A]

Finished an hour ago. Oh, by the way, I got a beef.

[D]

A beef?

[A]

Yeah. Those socks you knitted for me shrunk so much I need four more pair.

[D]

Well, if they shrunk, what do you want with four more pair?

[A]

Gonna start a new fad. Gonna wear them on my toes, you know, toe socks.

[D]

Well, if I knit you four pair, that'll only give you ten altogether.

[A]

By George, you really pulled off a speedy, didn't you?

[D]

Well, howdy. Wasn't half as bad as some of those ghastly's you come up with.

[A]

All right, smarty. Now what's on your rural mind?

[D]

Want you to do me a favor.

[A]

Like for instance?

[D]

No. For instance, I told you a friend of mine would come up and see you and I want you to do what you can for him.

[E]

Mr. Diamond.

[A]

Hold it a minute, honey. Yeah?

[E]

Mr. Diamond, I was told to look you up. I am Renee.

[D]

Rick. What is it?

[A]

Helen?

[D]

Yeah, what's the matter?

[A]

Something just tiptoed into my office. I got a hunch you know about it.

[D]

Oh, maybe that's Renee.

[A]

That's what it says.

[E]

If you are Mr. Diamond, I wish you'd please pay a little attention to me. Or aren't you interested in a potential client?

[A]

Hold it a second, honey. Sure, I'm always interested in a potential client. What did you do, lose your wedges?

[E]

I beg your pardon?

[A]

Forget it. I've got Ms. Asher on the phone now. She just told me you were coming up.

[E]

Oh, well, please say hello to Ms. Asher. She's such a darling.

[A]

Yeah, Honey, Renee says to say hello. Says you're a darling.

[D]

Oh, well, say hello to Renee. He makes my hats for me.

[A]

I'll get the story from him. Call you later. Now, Mr. Renee, your full name is Benet.

[E]

Renee Binet. How do you do?

[A]

How are you, Mr. Benet?

[E]

Mr. Diamond, I have a problem and Ms. Asher seemed to think that you could help me with it.

[A]

Depends. Cigarette?

[E]

No, thanks. I never use them. Depends on what? You don't even know my problem yet.

[A]

Look, I don't care if you swipe John Frederick's Toupee. For $100 a day in expenses, I'll grow a mattress on his skull.

[E]

Mr. Diamond, I. That you don't know much about hats.

[A]

You are so wrong. Am I?

[E]

Well, it may interest you to know that John Fredericks are two people. Mr. John and Mr. Fredericks.

[A]

Look, Mr. Benet, I don't care if they're patrol number three of the Brownies. Can you afford 100 a day in expenses?

[E]

Mr. Diamond, I am the new sensation in hats.

[A]

You must look lovely. Okay, Mr. Benet. I take it you can afford me now. What's your problem?

[E]

I want you to prevent a theft of my three latest creations.

[F]

Hats.

[E]

Creations, Mr. Diamond?

[A]

Okay, creations. Why do you want them protected? Why?

[E]

Because someone is going to steal them before my false showing.

[A]

How do you know that?

[E]

Because on similar occasions the same thing has happened twice to be exact. The designs were stolen and two weeks later that low life George, my son, had his showing. And my hats were the high point of his show.

[A]

What did you do?

[G]

What could I do? I couldn't prove it.

[E]

If I attempted to expose him, he would have said that I was lying. Everybody knows how much we hate each other. I'd have been a laughingstock.

[A]

Do you think he had the hat stolen?

[E]

I'm sure of it. And I'm also sure that someone in my salon is responsible for the actual theft.

[A]

You know, definitely no. No.

[E]

But I suspect my partner, Gerald Winters. He's always been jealous of my ability. Oh, Mr. Diamond, couldn't you open a window or something? It's frightfully hot.

[A]

Oh, it's. It's the air conditioning. I keep a bag of red lipped jumbos up in the vent. Sometimes they get stuck.

[E]

Red lip Jumbos Pistachio nuts.

[A]

You like hats? I get hung up on pistachio nuts.

[E]

Perhaps you should see a psychiatrist.

[A]

I did.

[E]

What happened?

[A]

I sent him 5 pound of pistachios just yesterday.

[C]

Oh.

[E]

Oh, well, here's my card. I'll see you at my salon, Mr.

[F]

Diamond, in about an hour.

[A]

Oh.

[E]

Oh, and something else. I don't want my partner or the help to know that you are a private detective.

[A]

What am I supposed to do? Buy a hat? Well, I'll.

[E]

I'll tell them that you're a designer from Hollywood. That way whatever you say will be all right. See you in an hour.

[H]

You say this Richard of Hollywood is coming here to look at our new line?

[E]

That's correct, Lillian.

[A]

Never heard of him.

[E]

Well, that's not so surprising, Gerald. There are a lot of people I'm sure you've never heard of. Especially the more famous ones.

[A]

I don't like that.

[E]

Oh, don't you? Well, I'm overjoyed that you're sure of one thing at least.

[H]

Now don't you two start fighting again. I've never heard of this Richard of Hollywood either.

[E]

Well, he's a. He's a new man. Works for the studios. Has made quite a sensation the last year or so.

[F]

Well, I'm sick and tired of temperamental artists.

[A]

I'm going back to my office.

[E]

Why don't you do that, Gerald? Keep the books in the black, dear Potter, while I work to pay for your salary.

[F]

You know, Rennie, someday I'm going to strangle you with one of your own hats.

[E]

Why don't you buy yourself a barbell instead? Then the next time you get into a bathing suit, there'll be no doubt that you have muscles.

[A]

Office boy.

[H]

How can you two continue like this?

[E]

It's frightful. Lillian, my love, I would rather join forces with a cobra than to keep on with Gerald. But he has an iron bound contract that assures him of at least 50,000 a year.

[F]

I'm helpless.

[A]

Yes, come in. Oh, mister.

[E]

I mean, Richard. Come in, come in.

[A]

Thanks. Thanks. You better go out and pour some water on your partner. I just ran into him, Gerald.

[E]

What do you mean?

[A]

Well, I was looking for you and he came up and introduced himself.

[E]

You told him your name?

[A]

Told him I was a hat designer from Hollywood. So he pointed out your office and said something about my lily white hands.

[E]

And what happened?

[A]

I didn't like the remark, so I shoved one of them down his throat.

[G]

Oh, wonderful.

[E]

This I'll have to see.

[A]

I put a feather in his mouth.

[H]

He can't miss him, Renee, don't you think?

[E]

Oh, I'm sorry. Stupid of me. Lillian, this is Richard of Hollywood.

[A]

What? Oh. Oh, yeah.

[H]

Is something wrong?

[A]

Oh, no, no, no. How do you do?

[E]

This is Lillian Richmond, my junior designer and chief model. Now, you two think of something clever to talk about. I want to see Gerald, bloody nose feather and all.

[H]

Cigarette? You look nervous.

[E]

Thanks.

[H]

So Gerald was the victim of a collision?

[A]

Yes.

[H]

Do your friends call you Richard or.

[A]

It depends on how friendly they get. Then sometimes they come up with some real hair curlers. What do your friends call you?

[H]

I prefer Lillian, but sometimes they call me Lil.

[A]

Lil sounds more interesting.

[H]

That's when they call me Lil. When things get interesting. You don't act much like a hat designer, Richard. More like you should be playing football.

[A]

Oh, well, I. I started by designing helmets for Notre Dame.

[H]

I understand you work for the movies. You with any particular studio?

[A]

Hmm? Oh, no, no, no. I. I'm. I'm with an independent company, Real Square Productions. We make training films.

[H]

Training films?

[G]

That was simply wonderful.

[E]

I had to pour a glass of water on him. Several customers were so frightened they left. But it was worth it. And how are you two getting along?

[H]

Arisha, I was just talking about football. He was explaining the merits of a short past.

[E]

Oh, well, if you don't mind, Lillian, Mr. Richard and I have some business to talk over.

[H]

Not at all. Get him to tell you how he started by making helmets. Maybe you'll get some new ideas. Renee.

[C]

Helmets.

[E]

Oh, my goodness.

[H]

See you later, Risha.

[A]

I'll wear my muzzle.

[E]

Isn't she lovely? She has about as much conscience as a tiger in a chicken coop.

[A]

Okay. Now. Now, what about our business?

[E]

Oh, of course. Now, here's a retainer. I trust that 500 is enough to start on?

[A]

My landlord will think so. What do I do?

[E]

Well, I've told everyone that you're going to be with us until the fall showing. You want to see how I work? Perhaps take some designs back to Hollywood with you? Now, all you really have to do is to get to know the people that work for me. Now, be here from 9 in the morning to 6 at night and keep those designs from being stolen.

[A]

Oh, by the way, where are the designs?

[E]

In my safe here. Tomorrow they go to the designing rooms. And that's when the situation becomes acute. We'll have nothing to worry about until tomorrow. So I'll see you tomorrow in the morning at 9, Mr. Diamond.

[A]

Okay. Oh, in case you need me, here's my card. I'll write my home number on It. For some reason when I get a client they always run into silly little things like murder or something. You just might need me. See you in the morning. I left Renee and headed for my apartment. I had suddenly found myself in the horrible position of a man with a steady job. Nine in the morning until six in the evening. Now I'm a guy who can get along without too much sleep. Especially when the situation calls for it. Like the little blonde dancer that works over on 52nd Street. There was a situation. But this time I figured a good night's rest wouldn't do me any harm. So when I got home I fixed a bite to eat, took a hot shower and climbed into my little old sack. Okay, okay.

[F]

Diamond.

[A]

Oh, hello honey.

[F]

Now you stop that. Wake up.

[A]

Huh? Oh no, no. Who is it?

[F]

It's Lieutenant Levinson.

[A]

Well, bully for you. What time is it?

[F]

It's 4:30 in the morning.

[A]

Goodbye, Walt.

[F]

Now you wait a minute. I'm just trying to make things easy on you. And what was that hello honey for?

[A]

Oh, I was dreaming. What do you mean make things easy for me at 4:30 in the morning? Nothing's easy.

[F]

I wanted to let you get here under your own steam. I know what a shock it'd be if I sent Otis down there to drag you out of bed.

[A]

Oh yeah. Horrible adole ate the fire. The Dracula was loose again. Hey, what do you want me there for?

[F]

Well, I know you won't be surprised, but there's been a Ritteral killing.

[A]

Well so what?

[F]

So you're mixed up in it. Now get down here.

[A]

Now wait a minute. Wait a minute. Who's dead?

[F]

A guy named Benet. Auto accident.

[A]

Renee Benet?

[F]

Yeah, I guess that's the way you pronounce it. You see Otis, you mallet head, you were wrong. It's pronounced Benet, not Benny. That idiot was calling him Rennie.

[A]

Benny. Walt. How did you know I was working for Benet?

[F]

Your card was found in his pocket. I'm at 125th street, so come on up as fast as you can.

[A]

As soon as I get my football helmet off.

[F]

Football helmet? You sleep in a football helmet?

[A]

Well I do. Don't you? Bye. I left the apartment and took off the address Walt had given me. It was way uptown on Riverside Drive. It was cold and the fog had begun to drift in. I found Walt over near the prowl car and he briefed me. Rene Benet had been killed in an automobile accident. His car had crashed over 100 foot viaduct.

[F]

He went through the guardrail up there.

[A]

Rick Wonder what he was doing way up here certainly wasn't headed home.

[F]

Maybe he was going to see someone.

[A]

Maybe. Better check and see if he knew anyone out this way.

[F]

Now you wait a minute. You think something's wrong?

[G]

Could be.

[A]

Huh? He had a partner who might want him out of the way. Oh, it's a mess, isn't it?

[F]

Yeah, Pretty badly burned before the fire boys got here. Wait a minute. Otis is over there with him.

[E]

Otis?

[A]

Probably warming his feet.

[F]

He couldn't warm those big things in an atom bomb. Otis.

[A]

Yeah, Lieutenant.

[F]

Yeah, Lieutenant. Yeah, Lieutenant, did you find anything?

[D]

Yeah, there's been a fire.

[F]

Oh, get over here, Walt.

[A]

What about that card you found in his pocket? Why didn't it get burned?

[F]

It was in one of his suits over his apartment. I put in a call, checked his license plate, found out who he was, where he lived and sent a couple of boys over. They came up with your card. You know how they all love you.

[A]

Anything else in the apartment?

[F]

Nothing yet. We'll get a report.

[D]

Here I am, Lieutenant.

[A]

He's getting smart.

[C]

Oh, hello, Shammas.

[F]

Otis, get the car started. We'll go back to the station, wait for a report about this accident.

[C]

Yeah, a lieutenant.

[F]

No, no, that's right. You touch that siren and I'll throw you out of the car.

[C]

Guy can't have any fun anymore.

[A]

Walt, when are you gonna get that report? At 6:30 in the morning.

[E]

I know it's 6:30.

[A]

I always yawn like this when it's 6:30.

[F]

Maybe this is it.

[A]

Yeah, I got that report, Lieutenant.

[F]

Take the marbles out of your mouth. What did you say?

[C]

Oh, yeah, sorry. I'm a little sleepy.

[F]

Maybe you'd like me to sing your lullaby.

[C]

That'd be silly.

[F]

Well, that makes sense.

[C]

I got that report.

[A]

Benny Bennet.

[C]

Okay, he died from the fire. Autopsy showed he had a slight concussion, but not serious enough to kill him.

[F]

What about the car?

[C]

It wasn't tampered with. It was something funny though. A steering wheel was smeared like someone had been wearing gloves. No prints. Benny didn't have on any gloves.

[F]

How'd the fire start?

[C]

Cigarette in the upholstery.

[A]

Cigarette in the upholstery.

[F]

Okay, Otis, I'll call you if I need you. Go on back to sleep. Did you hear?

[A]

Yeah. Bennet was murdered.

[F]

What makes you so sure, Walt?

[A]

Otis said he had a slight concussion, but not enough to kill him, right?

[F]

Okay.

[A]

You gonna tell me that he was unconscious the whole time? It took that fire to start. Ordinarily, a cigarette smolders a long time.

[F]

Then why didn't he get out of.

[A]

The car because he didn't have time to wake up? Someone helped that fire along. Got it burning in a few minutes and then pushed the car over the viaduct.

[F]

That isn't enough.

[A]

Okay, how's this then? Benet didn't smoke.

[F]

Now that I'll buy. But how do you know?

[A]

He told me. I offered him a cigarette in my office this morning.

[F]

Well, who do you think did it?

[A]

Well, I know he had two enemies. His partner Gerald Winters, and another hat designer, a George Marchand.

[F]

I'll have them picked up.

[A]

No, no, no. Let him alone for a while, huh? Let's have some breakfast first and then go down to Renee's salon when it opens.

[F]

Quite a store.

[H]

Yes. Oh. Oh, good morning. How's Richard from Hollywood?

[A]

From hunger.

[F]

Richard from Hollywood.

[A]

All right.

[G]

Oh, I wish Otis was here.

[H]

He'd love this.

[A]

Well, whose side are you on? Walt, this is Lil. Lillian Richmond. Walt. Lillian, this is Lieutenant Levinson. Lieutenant, Homicide.

[H]

Oh, well I hope he's just in to buy a hat for his wife.

[F]

I'm not married, Ms. Richmond.

[D]

Well, to buy a hat.

[F]

Lillian, I just called Renee's apartment. Oh, what do you want?

[A]

Walt, this is Gerald Winters.

[F]

Who split his lip.

[A]

He ran into a fist.

[F]

Where were you between three and four o'clock this morning, Mr. Winters?

[A]

What do you want to know for?

[H]

Gerald, this is a Lieutenant from homicide. I think maybe something's happened.

[F]

What could have happened? I was in bed from 11 o' clock till 8. Besides, what's a policeman doing with the great Richard from Hollywood? Did someone see one of his creations and strangled to death?

[A]

Where were you around for this morning? Lillian?

[H]

Also in bed. But I can't prove it.

[E]

Why?

[A]

Bernays been killed.

[D]

What?

[F]

You don't seem too upset, Mr. Winters.

[A]

No. Well, you're right.

[F]

As a matter of fact, I'm not.

[H]

How did it happen?

[A]

Car went over the viaduct. Burned to death.

[H]

Then why ask us where we were? It was an accident, wasn't it?

[F]

No, it was not an accident. Mr. Winters, what happens to you now? You take over the firm?

[A]

Yes, it all goes to me.

[F]

I think you'd better come down to the station, answer a few questions. Oh no you don't.

[A]

This is absurd.

[F]

I. I hated Renee, but I'd never kill him. Rick, do me a favor and go over to this George Marchand. Talk to him until I can send Otis down to pick him up. You. You aren't a hat designer, are you?

[A]

Bingo. You win. Another split lip.

[F]

No, not. Lay off him, rick. Come on, Mr. Winters. Let's go. I knew he wasn't. I just knew that man couldn't be famous in Hollywood or anywhere else.

[D]

Well.

[A]

Mm.

[H]

Police?

[A]

Private detective. The name's Diamond.

[D]

Mm.

[H]

Did you ever play football?

[A]

Yeah.

[H]

Stop back after you see Marshall. I'd like to find out more about the game.

[A]

Strong line and a good backfield. You've played it.

[G]

Good morning.

[H]

Good morning.

[G]

Good morning. What can I do for you?

[A]

George Marchand?

[C]

Yes?

[A]

I'm from the police, Mr. Marchand.

[C]

The police?

[A]

Your competitor, Rene Benet, was killed last night.

[H]

What?

[A]

He was burned to death in his car.

[G]

Oh, but this is horrible. Horrible. But what has Rene's death to do with me?

[A]

Well, we think he was murdered and we're trying to find a good motive.

[G]

Mr. Diamond. It's true that Rene and I were enemies.

[A]

Everyone knew it.

[G]

But to think that I would take his life is utterly absurd.

[A]

Yeah. Where were you about 4 this morning, Mr. Mahjong?

[G]

Well, I. I was in bed, asleep.

[A]

Everybody sure had a dull evening. How well do you know Gerald Winters, Rene's partner?

[G]

Oh, just slightly.

[A]

How about Lillian Richmond?

[G]

By reputation. Only.

[A]

One more question. When's your fall showing, Mr. Marshall?

[G]

In two days.

[A]

Well, be sure to be around for it. The police get very unhappy if a murder suspect catches the first plane for the border. Murder suspect. See you later, Mr. Marshall. I left Marshall counting his pulse and wondering just how much I did know. And if he could have seen what was going on in my little old mind, he might have grown a few white hairs. I grabbed a cab and headed for the 5th Precinct Police Station. And Walt Levinson? Needless to say, he was not happy.

[F]

Oh, now, you wait a minute, Diamond. I'm satisfied with Gerald Winters. He's the only one who had a motive.

[A]

The only one who had a motive? That you can see. Too many things point to someone else.

[F]

Give me a for instance.

[A]

Oh, you always want a for instance. Well, hang it.

[F]

You're trying to convince me that Winters isn't the killer, aren't you?

[A]

Yes, I am. All.

[F]

And I want it. For instance, I want to know your reason.

[A]

Well, Winters and Renee hated each other. Even as partners, they really wanted each other out of the way.

[F]

Are you crazy? You just gave me the best reason for hanging on to Winters.

[A]

Walt, when Rene was killed, he was 10 miles away from his apartment going in the other direction. So what did you find out? If you knew anyone who might live out that way.

[F]

Even if he didn't know anyone out that way, I still say so.

[C]

What?

[F]

The killer went for a drive with him got out there, hit him over the head, poured gasoline on the seat and dropped a cigarette. Pushed him off the viaduct. And winter smokes.

[A]

I know.

[F]

I sent a whole carton down to a cell to make sure you're right.

[A]

About how the killer did it. But do you think Renee would have taken a drive like that with a man he hated? Knowing how much a man hated him? Huh? And another thing, it was pretty warm yesterday and last night, wasn't it?

[F]

It certainly was lousy weather.

[A]

Okay. The killer wore gloves. Isn't that a little strange on a warm night?

[F]

So we slipped on some gloves. Didn't want to leave any fingerprints.

[A]

No, no, no. The killer was driving. The report said there were absolutely no fingerprints on the steering wheel. If Renee was in the driver's seat, there would have been a few of his.

[F]

Anyway, we couldn't tell whether he was in the driver's seat. He could have been thrown aside when the car crashed. But I don't get this glove angle.

[A]

You want to catch a killer.

[F]

What kind of a remark is that?

[A]

Well, come on. Where are we going? Down to Rene's shop. We can get in through a window. I notice in the alley there are some designs in his safe. And Walt, the killer has to get them out tonight. And there you are, Lieutenant.

[C]

It's Jimmy.

[F]

Rick, I don't like this. Busting into a place without a warrant.

[A]

Oh, go on, climb in. And watch out for the burglar alarm.

[I]

All right.

[F]

Come on, Otis.

[C]

Okay.

[A]

Here, I'll give you a hand. Diamond. Well, that ought to be easy for you, Otis.

[C]

Yeah, why?

[A]

Well, you could hold on with the other four and still have one left over for grab me.

[C]

Oh, is that so?

[F]

You two lay off. Come on, Rick. Show me where to go.

[A]

Right over here in Renee's office.

[F]

What makes you think the killer hasn't already stolen the plans?

[A]

I wouldn't have done it the night of the murder. That would have shown a motive. Wouldn't have done it today. Too many people in the shop. Go on in.

[C]

Gee, Spooky. I can't see a thing.

[A]

Walt. Watch this.

[C]

Boo. Off a page sake, Shaw.

[F]

Lay off. Older Stymond. Where do we hide?

[A]

Just sit down anywhere and be quiet. The first person through that door is our killer.

[F]

Clock is gonna drive me crazy.

[C]

You want me to shut it off?

[F]

How do you shut off a clock?

[C]

Stupid. Busted. Rick.

[F]

Yeah, I still don't understand why that glove angle is so important.

[A]

Well, as a single item, it's not so important. But along with the rest, it was the first thing that gave me an.

[F]

Idea of the killer.

[C]

Yeah, I think I got it.

[A]

I did.

[C]

Rick, it's three o'.

[E]

Clock.

[F]

I don't think your killer's going to show.

[C]

Yeah, I'm getting stiff.

[A]

Hold it, Walt. I think we have a customer.

[F]

Otis, get up and stand next to that light switch. Flip it on when I tell you.

[C]

Yeah, right. Okay.

[A]

Otis. Oh, hello, Lillian.

[H]

You startled me. What's this all about? What are you doing here?

[F]

Waiting for you.

[A]

For me?

[H]

I don't understand. I was just coming over to pick up some of my sketches. I forgot them this afternoon.

[A]

So you waited until three in the morning?

[H]

I had a date.

[A]

Yeah.

[F]

Otis, go out and drag in her date.

[H]

Now you wait just a minute. I don't know what this is all about. But you know, right? Mr. Diamond, would you mind telling me what this is all about?

[A]

Sure, lover. Point by point, it goes something like this. Renee Benet was killed by someone he knew and trusted. He never would have gone for that riot otherwise. Benet didn't smoke, so the killer was an amateur and started the fire with a cigarette. The killer wore gloves and it was too hot that night for a man to wear them without looking suspicious.

[H]

Are you saying that you think.

[A]

Did you kill Benay? Sure you did.

[G]

Come on, you get in there. Take your dirty hand off of me. Here he is, Lieutenant. This is the guy in the car. What is this all about?

[H]

You better ask Mr. Diamond. Although I don't think he'll make much sense. He just accused me of killing Rene. What?

[A]

Good morning, Mr. Mahjong. I thought you didn't know Lillian.

[G]

Well, prior to this evening. I did not. I. I called her because I. I wanted to talk to her about Rene's death.

[A]

You're lying. Today at your shop, you call me Mr. Diamond. How did you know my name?

[G]

Well, you told it to me.

[A]

Oh, no, no, no. You're fibbing again. I just said I was from the police. Only one person who knew both of us could have called you. And she also knew I was on the way over to your shop, didn't you, Lil?

[H]

The name is Ms. Richmond. Now prove that I killed Renee. You've got no motive.

[A]

Well, the designs are enough to start with. You probably suspected I wasn't a hat designer. And you knew you had to work fast if you were going to get those designs to Marchand here before this fall showing.

[G]

That's not true. Lillian never gave me any designs from Rene.

[F]

You know, of course, Mr. Marchand, that if we stick your girlfriend with a murder wrap, you're an accessory before and after the fact.

[C]

What?

[A]

Sure, maybe you'll. Maybe you'll get to sit in a nice electric glove seat and hold hands.

[G]

Oh, but I had nothing to do with the murder.

[A]

Well, you knew about it and you knew who did it. That's enough to put you away for 20 years. Being mixed up in the actual motive might get you lied.

[H]

No, no, no, no.

[G]

She was the one that did it. She knew Winters would be blamed for it.

[H]

George.

[G]

Yes, she stole the designs for me because she wanted to ruin Benet and take over his salon. But I did not know she was going to kill him.

[D]

Why, you dirty little man.

[H]

You did know it. You did know it. You helped me plan it. If I got the best sketches for you, I'll take my eyes out.

[G]

Get that away from me.

[A]

Come on, lady, let's go.

[F]

Okay, haul them both out of the car.

[A]

Rick.

[F]

I don't know how.

[A]

Rick. Oh, no.

[E]

Rick.

[F]

Oh, why does he always disappear like that?

[D]

Rick, what's that you're playing?

[A]

That's a new thing. Kind of pretty. Don't cry, Joe.

[D]

Well, sing it.

[A]

All right, but. But you know that gripey neighbor in the other apartment building?

[D]

Oh, don't pay any attention to him. You don't hear any of the other tenants yelling for you to shut up?

[A]

Well, maybe they're not as forceful as the Grouchy. You see, honey, I got a couple of letters.

[D]

Letters?

[E]

Mm.

[A]

From the people in that building. Most of them like the singing, but a couple feel the same way the Grouch does.

[D]

Well, there's only one way to find out what all the people in the building think.

[A]

How's that?

[D]

Open the window and sing so they can all hear you.

[A]

Okay, I'll buy it. You open the window. Don't you think maybe this is silly?

[D]

Rick, I like you to sing when you come over here, but I don't want you to do it if no one else does. Now, go ahead.

[A]

Okay.

[I]

Don't cry, Jo. Let her go. Let her go. Let her go. Don't cry, Jo. Let her go. Let her go. Let her go. You've got to realize.

[A]

This is the wind up.

[I]

You'll feel much better once you make your mind up. Don't cry, Jo. Let her go. Let her go. Let her go.

[D]

No reaction yet.

[H]

Maybe they all took poison.

[A]

Well, give them time. We'll find out soon enough.

[D]

I guess so.

[A]

Come on, let's go to the kitchen and case the icebox.

[B]

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 hi Aberback, Kay Brinker, Clark Gordon and Jay Novello. Music was under the direction of Frank Worth. Richard diamond is written by Blake Edwards and directed by Richard Sanville. Dick Powell soon will be seen in the screen version of the best selling novel Mrs. Mike. Now this is Eddie King inviting you with us again at the same time next week when we will again bring you Dick Powell as Richard Diamond, Private Detective. Saturday night brings you some of the week's best radio entertainment when you tune for the stars on NBC. Stay tuned to NBC every Saturday evening for a great lineup of programs including Hollywood Star Theater, Ralph Edwards, Truth or Consequences, your Hit Parade, A Day in the Life of Dennis Day, the Judy Canova show, and Grand Ole Opry. All the best on NBC. Stay tuned for Irene Dunn and Hollywood Star Theater on NBC.