 Johnny Duller, Mr. Duller you will be amazed you will be thrilled. Yeah, well I think I've had all the thrills I need here in Paris and who are you? I'm a sir I'm the night clerk here in the hotel. Oh, what's all the excitement about? Mr. Duller, I have the telephone call for you and Mr. Yeah, it is wonderful. It is the long distance. It is the Transatlantic. A transatlantic call. From the what you call the United States. Wow, fully for you. But I call the ocean. It must be the most important. Yeah, well put them on and we'll see. No, we miss you. Hello. Johnny? That's right. George Reed here. Well, George. All right, clerk, you can get off the line now. What, Johnny? You hear me? Clerk? Oh, Mr. Come on, hang up. Very well, Mr. That's George. You get my cable report on the only jewels. Yes, you did a great job in spite of all the money you threw around. I mean what you gave that man to Marseille. But listen, I'm glad I caught you before you left. I'm flying on back tonight, seeing Hartford in the morning. No. What? Contact Mr. Maurice Rigo there at our Paris office. Oh, what about getting those jewels back to America? No, that's all taken care of. But in talking with him a minute ago, I happened to mention that you're there. So he wants you to stay around and see if you can help locate a Chalini medallion. Chalini? A famous Italian artist? Yes. And the medallion was stolen from the galleries of the Louvre two or three weeks ago. Priceless. So it has to be found and returned to them. Well, I'll do what I can, George. Good. Well, contact this man Rigo at our office there immediately. Contact Rigo, huh? That's right. But why do you say it that way? Because maybe I won't bother him. What? George, maybe I've got a better idea. CBS radio brings you Bob Bailey in the intriguing adventures of the man with the action-fact expense account. America's fabulous freelance insurance investigator. Yours truly? Johnny Duller. Expense accounts submitted by special investigator Johnny Duller. The Floyds of England North American office. Or maybe it's the Paris office, we'll see. Following is an account of expenses incurred during my investigation of the Embarcadero matter. Expense account item one, a few francs. Call it 10 cents American for a telephone call. Not to Rigo at Floyds of England, but to my old underworld contact, Louis Dumasac. The strange little character who calls himself the great cat. Most loyal, most faithful friend. Yeah, yeah, I'm sure. Are you living it up on that money I gave you for locating the only jewels for me? Most unfortunate. Only one small, what you call, investment. And now, hey. Easy come, easy go, huh? The five thousand is gone. And I was so sure of this one. What kind of an investment of my sack? What you are so beautiful. Gee, oh no. Ah, that Marseille, Marseille. How could, how could such a lovely vision deceive me so? Oh, oh. I'm Christ, a man without hope. And, and, Monsieur. Yeah? I'm also very, what you call, broke. Uh-huh. Uh, I think a hundred dollars might help to raise your spirits. Five hundred dollars? Oh, my wee, Monsieur. But, but for what? One hundred. What's the information about what happened to the Cellini medallion? Ah, we stole it from the Louvre. Or you know about it then? But of course. You know where it is? No, no. But, but for you and me, I will somehow find out. Good. But the people I will have to see, the cutthroat I will have to pay for the information. But for you and the four hundred dollars you have promised me. Okay, okay. One hundred and fifty. Want to call me when you've got the dope one? No. If I bring the information to you, I can then collect for it right away. Oh, two hundred. I'll wait to hear from you. Okay, now George, don't flip your lid over some more money for Dumasack. After all, he knows more about what goes on in the Paris underworld than any other man alive. And if in a day or two he can come up with the information I need, or put it this way. He saved the company a lot of time and money in the past, and I'm sure he can do it again. Also, if his poking around is as dangerous as he seems to be. Oh, yeah. Well, come in, come in. Dumasack. Oh, we, Mr. Dixargris. Oh, the dangerous mission you sent me on is a feather complete. But I only talked to you on the phone about an hour ago. I've wasted no time. You have the three hundred dollars for me. One fifty. You have the information? We, the Chalini Medallion. Well? Well, it's on the way to your own country. On the way? How? Hidden away in the case of wine aboard the ship, the Clamper Hall, out of La Hove. The Clamper Hall, huh? Destination? San Francisco. And when's it due to arrive there? Late tomorrow night. The cargo is many cases of wine. It's bottles of wine. The medallion is hidden away in one of them. You're sure of all this, Dumasack? But of course one of me. Because if I fly all the way to San Francisco and find out you give me a wrong steer. Oh, no, no. How can you, my oldest, my dear one? Yeah, sure. Now this means that someone over there is going to have to pick it up. We, at the warehouse, at the pier. I miss you, Frank Gristel. Gristel? You know? If he's the one I'm thinking of. A fence who used to operate New York, but they can never pin anything on him? It must be the same. But in the ship of the wine, how do you know which case hands the Chalini Medallion in it? Ah, by this, by this mark, mon ami. Yeah? It's all. A tiny circle, yeah? Ah, with a Maltese cross in it. Oui, l'acceau. Okay, Dumasack. I better pack up and catch a plane back to the States. Mon ami. Ah. Oh, yeah, sure. Here you are. Fifty, a hundred, a hundred and fifty. Ah, je suis bien sûr. Oh, such a dangerous... Okay, okay. A hundred, seventy, ninety, two hundred. Ah, merci. Merci beaucoup. Bon voyage. Oh, success. Wait a minute. Hein? You dug up an awful lot of information in a very short time, Dumasack. Even about that mark on the case of wine. Oh, but of course, monsieur. You see, I put it there myself. You what? Oui. When I helped my friends to smuggle the medallion aboard the ship. Expense account item two is a couple of hundred bucks to Dumasack for the information about the stolen Chalini Medallion. Item three, ninety-two dollars American for my hotel there in Paris and a taxi out to Orleans. Item four, five ninety-nine even. Plain fare, Paris to New York to San Francisco and a taxi to my favorite hotel for hunting in up on Nav Hill. A pea soup fog gets settled over the city and the driver had to practically feel his way the last couple of blocks. By the time I cleaned up and changed my clothes, it was late and I was hungry. And after the long plane trip, I was glad for a chance to walk over to the Florida League on Sutter Street. Cocktails and a rare good dinner ran up item five, eleven dollars even. Then I started back to the hunting then again on foot. I say I started. It was late, remember and dark, not many people on the streets. And suddenly I was conscious of someone behind me slowly catching up with me. In the fog, he was only a shadow, but I was sure he was following me. I slipped out my gun under my coat and slowed my pace. All right, brother, what? Yeah, hi, Jay. Smokey Sullivan. Yeah. Well, what under the... how are you, Smokey? I thought that was you coming out of that Florida League. Hadn't you better put that back in your coat? Oh, yeah, sure. Hey, listen, you're just a man I want to see. Yeah. And if you can dig up some information for me about somebody, I'll make it with you a while. You're real good to me, Johnny. I'll do anything I can and listen. I don't know why you're out here this time and maybe this ain't got nothing to do with it. What's that, Smokey? I've been hanging around the docks the last couple of days, down to the Barcadero. Doing a little honest work for a change? Yeah. I'm real clean now, Johnny. I've been going straight. That's the stuff. But I know how to keep my eyes open. You know what's going on down there? What? Smuggling, Johnny. There's a lot of smuggling all the time, you know what I mean? Keep talking, Smokey. Yeah. Well, most of it comes in from Japan and China, places like that. It's the boys on the boats bringing stuff in. Ah. Well, what I'm interested in. Narcotics, Johnny. Mostly heroin, stuff like that. Yeah. Well, now, Smokey, when you get any info about that kind of stuff coming in, you tip off the Treasury boys, the Narcotics Division. Me, Johnny? Me, go the cops? You mean because of your pass rate? Yeah. They wouldn't believe me, Johnny. That's a trouble with going legit. I mean the kind of guy I was. Don't ever kid yourself. I don't want to lecture you, Smokey, but believe me, it's the best way in the world for you to make up for some of the things you've done in the past. Look what you've done in helping me. Yeah, I know. And it was you got me going straight. But don't you see, if anybody was to find out that I was in... Don't worry. The Treasury boys will never talk. Okay, Johnny. Well, now the man I'm interested in. But now like I was gonna tell you. Smokey, listen. Like I said, most of this stuff is from the Orient. But down there to the docks, a couple of nights running now. Well, Johnny. You ever hear of Frankie Gerstel? Are you kidding? That's the man I was gonna... You mean the one who used to be a fence back in New York? Yeah. Long time ago I'd done a couple of jobs for him. That was before you. You've seen Gerstel around here? Down to the Embarcadero. Sure. Waiting for the Clemper Hall to pull in from Europe. The Clemper Hall, Johnny? Yeah. Will the cargo of French wine? Yeah, that's it. How do you know? I helped unload it. What? Yeah, I'll come in ahead of time early this morning. Then I got here too late. Huh? Well, maybe I haven't. Come on, let's get on down to the Embarcadero. Item six, a buck and a half for a taxi. Pier 93 where the Clemper Hall was birthed was dark. Except that is for a dim light in the office on the street side. Back in the huge warehouse extending out over the waters of the bay, there wasn't even a glow from a nightlight. Funny, Johnny. They're not having some kind of a light in the warehouse, yeah. I'm gonna find out about that for the watchman there in the office, if we can wake him up. Yeah. Sleeping on a job like that, why he was... Hey, watchman. Watchman, come on, open up. Johnny. Yeah, I see. Come on, smokey, give me a... Here we go, now. All right, wake up, Missy. Come on, I said wake up. Just sleep all right. For good. Shrouded San Francisco or the Embarcadero at night. There in a little office on the shore end of Pier 93, we found the watchman. We found him dead for the bullet in the back of his head, which meant that an all probability Frankie Gerstel had gotten there before us had already taken the Chilini Medallion out of its hiding place. Or was it still there in one of the cases of wine stacked up in the warehouse in the long dark pier? There's only one way to find out. Oh, we better get out of here, Johnny. If the cops come around to find this watchman laying here dead, even with Johnny Dollar to explain it... Reach up and pull off that light, will you? But Johnny... All right, here, I'll do it. But look, don't you see, if the cops come around, they see this office dark. Yeah, yeah, we got a chance at it. Now, if this watchman had a flashlight on him... Yeah, in the side pocket of his coast. Side pocket, yeah. Yeah, here it is. What are you going to do, Johnny? I'm going back into that warehouse. But Johnny, don't you see, if you put on the lights back there... That's why I've got this flashlight. I've got to locate a case of wine in there with a pecunia mark on it. Look, something melts in that case. A priceless medallion that was stolen from the Louvre. It was smuggled in so Castel could pick it up. But if he's already been in here and taken... I'm going to make sure. You wait right here. Johnny, if a prowl car comes down the street... Okay, shove the watchman's body under the desk. Turn the light on again and sit there in that chair with your hat pulled down over your face. If a prowl car comes along, wave to it. Whatever you say, Johnny. If anybody else comes along, tries to get in here, yell bloody murder and get out the best way you can. I'm going back in the warehouse. And don't switch on the lights in there. Be careful, Johnny. Yeah, the light in the office when Smokey turned it on again made only a thin yellow line beneath the sliding door. That showed me nothing. That seemed only to accentuate the gloomy darkness of the huge warehouse. Cautiously, I felt my way to a pile of crates, stuck my head around the corner of it and flicked on the flashlight for a moment to get the lay of the land. Bails, crates, packing boxes and barrels filled the place. The cargo of the clumper hall. And there at the far end were the cases of wine I was looking for, hundreds of them. After mentally plotting a course through the mass of shipping, I turned off the flashlight and worked my way back to them in the darkness, finally reached them. Yeah, when I tilted one of them, it grew a little slightly. I was about to flick on the light again when I realized that if Frankie had come here, if he'd killed the guard but hadn't left, then somehow I had defined the case with the identifying mark on it. I put on the light again. And there in front of me was a case that someone had pried open. The cinch bar was lying beside it. On one corner was the mark that I heard someone else in there. Behind me, behind one of the packing cases, I felt my way around in the dark. I had them again. So I picked up the cinch bar. And I waited. Then... At least... At least I'd seen the flash of the gun. But again, I waited. Give up, dollar. I've been here over an hour. I can see it here, but you can't. Now? Well, I can see the flash of the gun. Just keep on talking, Frankie. What? Right here, Frankie. Stupid trick. Hey, your last shot wasn't it, Frankie? Yeah. Hey, Smoky. Okay, Smoky, come out here in the warehouse. Turn on the lights and we'll... Did you, dollar? And by the time you can reload, I can use them now. No, no, Smoky, no. I just want to dig you up from behind those crates and kill you. You hear me, dollar? You can't get away. Yeah. Because now I see you. So I pull this trigger... Smoky. Johnny! Johnny! I took the gun off the dead watch for this. Are you all right, Johnny? Yeah. Are you all right? Yeah, yeah, sure, sure I am. You saved my life, Smoky. Thanks. Yeah, you're welcome, Johnny. But listen, listen, the cops are coming. Yeah, I hear them. Well, Johnny... Stop worrying, Smoky. But don't you see... You're on their side now, remember? But if they... Yeah. Yeah, I guess I am. Sure. Delaney Medallion and Frankie Spockett. It was pretty obvious that he'd killed the watchman. Taking the medallion out of the wine case and was about to leave when we'd showed up. Smoky's shot had killed him. Had Smoky a bit worried, too, when the police barred in on us. But now, now he's a public hero. Oh, sure, there'll have to be some kind of a hearing on the whole affair. My deposition's already in. But Smoky's really in the clear. As for the couple of hundred bucks I gave him... Well, forget it, George. It came out of my own pocket. So, expensive out total, including the trip home, $1,174 even. Yours truly, $20. Now, here's our star to tell you about next week's story. Instead, let me say hi to you. Instead, let me say hi to three new CBS affiliates. They're KAAB in Hot Springs, Arkansas, WRIG in Warsaw, Wisconsin, and WOMI in Owensburg, Kentucky. Welcome to CBS Radio. Yours truly, Johnny Deller. Johnny Deller, starring Bob Bailey, originates in Hollywood and is written, produced, and directed by Jack Johnstone. Heard in our cast were Forrest Lewis, Stanley Jones, Tony Barrett, and Frank Gerstle. Be sure to join us next week, same time and station, for another exciting story of yours truly, Johnny Deller. This is Dan Cumberley speaking. This is the CBS Radio Network.