WEBVTT 00:00.000 --> 00:25.280 A 00:25.280 --> 00:39.880 national broadcasting company presents Dick Powell as Richard Diamond, private detective. 00:39.880 --> 00:45.440 Mr. Diamond, the reason you're here is because I want someone to talk to the mayor. I don't 00:45.440 --> 00:49.520 know whether it was explained to you or not, but unless his honor is done away with himself 00:49.520 --> 00:52.040 by noon, a lot of people are going to get hurt. 00:52.040 --> 00:53.040 Including yourself. 00:53.040 --> 00:58.320 Oh, that doesn't really matter. You see, in making my escape, a guard attempted to stop 00:58.320 --> 01:04.000 me. I had to kill him. 01:04.000 --> 01:08.840 Here's another exciting half hour with Richard Diamond, private detective, starring Dick 01:08.840 --> 01:22.120 Powell. 01:22.120 --> 01:24.640 The detective agency, there's no corpse like an old corpse. 01:24.640 --> 01:25.640 Oh, Rick, that's awful. 01:25.640 --> 01:30.280 Yeah, but what am I going to do? I can't be witty and handsome at the same time. 01:30.280 --> 01:33.120 Well, don't be greedy. Just concentrate on one of them. 01:33.120 --> 01:34.800 Oh, you're pretty nothing today. 01:34.800 --> 01:37.680 Why don't you come on over and we'll both try and improve? 01:37.680 --> 01:39.160 Shame on you. You know I've got to work. 01:39.160 --> 01:40.160 Oh, have you got a client? 01:40.160 --> 01:43.000 Well, not yet, but I've set bear traps all the way down the hall. 01:43.000 --> 01:46.120 Well, now that's silly. How can you be sure you'll catch a client? 01:46.120 --> 01:50.840 Well, I can't be, but I get so lonesome up here with no one to talk to. It's fun setting 01:50.840 --> 01:51.840 broken legs. 01:51.840 --> 01:52.840 Oh, you're impossible. 01:52.840 --> 01:53.840 Diamond. 01:53.840 --> 01:54.840 Oh, my gosh. 01:54.840 --> 01:55.840 What's wrong, Rick? 01:55.840 --> 01:58.840 Those traps. I think I've caught something terrible. 01:58.840 --> 01:59.840 Hmm? 01:59.840 --> 02:00.840 Diamond, I got to talk to you. 02:00.840 --> 02:01.840 Who is it, Rick? 02:01.840 --> 02:04.840 Sergeant Otis. Says he's got to talk to me, but I'll be darned if I'll teach him how. 02:04.840 --> 02:05.840 Oh, say hello for me. 02:05.840 --> 02:06.840 Helen says hello, Otis. 02:06.840 --> 02:09.360 Tell her hello, then get off the phone. This is serious. 02:09.360 --> 02:11.360 Hey, what's with you? Somebody steal your catnip? 02:11.360 --> 02:14.360 Can't you stop being funny, Shamas? I mean it. This is serious. 02:14.360 --> 02:15.360 Helen, I'll call you back. 02:15.360 --> 02:16.360 Why? Is something wrong? 02:16.360 --> 02:19.360 Well, Otis looks worried, and he's making sense for the first time in 11 years. 02:19.360 --> 02:22.360 Oh, well, call me later and tell me about it. Bye. 02:22.360 --> 02:23.360 Bye, Hag. 02:23.360 --> 02:24.360 Now, Sergeant, what's on your personal mind? 02:24.360 --> 02:27.360 I want you to come down to the station with me in a hurry. 02:27.360 --> 02:29.360 Of course you'll think this is a silly question, but why? 02:29.360 --> 02:31.360 You remember Lewis Spence? 02:31.360 --> 02:32.360 Lewis Spence? 02:32.360 --> 02:36.360 About four years ago. Caught him running around sticking dynamite under the homes of some of our city officials. 02:36.360 --> 02:39.360 Oh, yeah, yeah. Socialistic nut. Put him away, didn't they? 02:39.360 --> 02:42.360 Yeah, crazy as they come. Well, he's out. 02:42.360 --> 02:47.360 What do you mean he's out? If they cured his head, he'd still face a lot of years up the river. 02:47.360 --> 02:49.360 Oh, he ain't cured. Not a bit he ain't cured. 02:49.360 --> 02:50.360 You mean he busted on? 02:50.360 --> 02:53.360 Yesterday. Now, do me a favor and come on down to the station. 02:53.360 --> 02:55.360 Oh, wait a minute. Wait a minute and take it easy. 02:55.360 --> 02:58.360 What's going down to the station got to do with Lewis Spence? 02:58.360 --> 02:59.360 He's down there with the lieutenant. 02:59.360 --> 03:03.360 Well, great. Put them both in fancy jackets and send them home. 03:03.360 --> 03:07.360 We can't. He walked in 20 minutes ago and asked to see the lieutenant. 03:07.360 --> 03:10.360 I didn't recognize him, so I let him in. Now we can't get him out. 03:10.360 --> 03:11.360 Why the devil can't you? 03:11.360 --> 03:14.360 He won't let us in and he won't let the lieutenant out. 03:14.360 --> 03:18.360 He's sitting there holding a big bomb and it's ready to go off. 03:34.360 --> 03:36.360 Oh, that looks like a convention. 03:36.360 --> 03:38.360 Everyone's trying to think of something to do. 03:38.360 --> 03:41.360 Well, why is Spence doing this? What's he going to do, just sit in there? 03:41.360 --> 03:44.360 You'll really get a boot out of this, Shammus. 03:44.360 --> 03:47.360 If the mayor don't jump off the top of the city hall by noon, 03:47.360 --> 03:50.360 Spence blows up the whole fifth precinct. 03:50.360 --> 03:51.360 What? 03:50.360 --> 03:51.360 That's right. 03:51.360 --> 03:53.360 Hey, Otis, get Diamond in there. It's 11 o'clock. 03:53.360 --> 03:54.360 Hello, Charlie. 03:53.360 --> 03:54.360 Hello, Rick. 03:54.360 --> 03:55.360 What do you mean, get me in there? 03:55.360 --> 03:56.360 Didn't you tell him, Otis? 03:56.360 --> 03:57.360 No, I ain't had time. 03:57.360 --> 04:01.360 Well, come on, come on. Why me? What do you want me in there for? 04:01.360 --> 04:04.360 Spence wants someone Levinson can give direction to. 04:04.360 --> 04:05.360 He says no cop. 04:05.360 --> 04:07.360 Levinson buzzed out and told us to get hold of you. 04:07.360 --> 04:08.360 Okay. 04:08.360 --> 04:10.360 Wait a minute. Talk to the lieutenant on the intercom. 04:10.360 --> 04:12.360 Spence won't know who's walking through the door 04:12.360 --> 04:14.360 and maybe blow the whole joint up. 04:14.360 --> 04:15.360 Otis, you amaze me. 04:15.360 --> 04:19.360 I ain't so smart. I was Spence's idea. Come on. 04:22.360 --> 04:24.360 Here, go ahead. 04:24.360 --> 04:25.360 Walt? 04:25.360 --> 04:26.360 Rick? 04:26.360 --> 04:27.360 Yeah. 04:27.360 --> 04:28.360 Wait a minute. 04:28.360 --> 04:30.360 Diamond's outside now. 04:30.360 --> 04:32.360 Okay, tell him to come in. 04:32.360 --> 04:34.360 But just him. Anyone else? 04:34.360 --> 04:36.360 Okay, okay. 04:36.360 --> 04:38.360 Rick, come on in, but no one else. 04:38.360 --> 04:41.360 All right. Otis, stick right here. I may want to talk to you. 04:41.360 --> 04:42.360 Sure. 04:46.360 --> 04:47.360 Diamond. 04:47.360 --> 04:48.360 Yeah? 04:48.360 --> 04:49.360 Nothing. 04:49.360 --> 04:50.360 You're so right. 04:52.360 --> 04:53.360 Hello, Rick. 04:53.360 --> 04:54.360 Walt. 04:54.360 --> 04:56.360 This is Mr. Lou Spence, Rick. 04:56.360 --> 04:57.360 Mm-hmm. 04:57.360 --> 04:58.360 How are you, Mr. Diamond? 04:58.360 --> 05:01.360 What's the matter, Spence? You want an early Fourth of July? 05:01.360 --> 05:02.360 Rick. 05:02.360 --> 05:03.360 You think I'm kidding, Mr. Diamond? 05:03.360 --> 05:05.360 You think I'm not serious about this thing? 05:05.360 --> 05:06.360 Is that the bomb? 05:06.360 --> 05:08.360 Right here in my lap. 05:08.360 --> 05:11.360 He's got it rigged so it goes off the minute he relaxes his hand. 05:11.360 --> 05:14.360 You see, I thought maybe the police would want to take it away from me. 05:14.360 --> 05:18.360 If you shoot me, try to knock me out, well, it goes off. 05:18.360 --> 05:20.360 Then you won't mind if I take a look, huh? 05:20.360 --> 05:21.360 Rick, please. 05:21.360 --> 05:24.360 Stay right where you are, and I'll stay over here. 05:24.360 --> 05:27.360 Well, just as you say, Mr. Spence. 05:27.360 --> 05:31.360 Mr. Diamond, the reason you're here is because I want someone to talk to the mayor. 05:31.360 --> 05:33.360 I don't know whether it was explained to you or not, 05:33.360 --> 05:36.360 but unless his honor is done away with himself by noon, 05:36.360 --> 05:38.360 a lot of people are going to get hurt. 05:38.360 --> 05:39.360 Including yourself. 05:39.360 --> 05:41.360 Oh, that doesn't really matter. 05:41.360 --> 05:44.360 You see, in making my escape, a guard attempted to stop me. 05:44.360 --> 05:46.360 I had to kill him. 05:46.360 --> 05:48.360 He split his head open with a crowbar. 05:48.360 --> 05:49.360 That's right. 05:49.360 --> 05:51.360 Oh, mind if I sit down? 05:51.360 --> 05:52.360 Not at all. 05:52.360 --> 05:54.360 But it's four minutes after 11. 05:54.360 --> 05:56.360 I hope you don't plan on staying too long. 05:56.360 --> 05:57.360 Cigarette? 05:57.360 --> 05:59.360 No, thank you. 05:59.360 --> 06:03.360 You look like a pretty reasonable guy, Spence. 06:03.360 --> 06:04.360 Thank you. 06:04.360 --> 06:07.360 It's too bad Lieutenant Levinson didn't think so when they arrested me. 06:07.360 --> 06:10.360 Now I'm going to have to show him I'm not as insane as he thought I was. 06:10.360 --> 06:13.360 Oh, well, you'll have to excuse that, Spence. 06:13.360 --> 06:15.360 Walt thinks everybody's a little... 06:15.360 --> 06:17.360 Well, you know, even me. 06:17.360 --> 06:18.360 That's very interesting. 06:18.360 --> 06:20.360 Oh, and with good reason. 06:20.360 --> 06:21.360 Ever take a look at his sergeant? 06:21.360 --> 06:23.360 Mr. Diamond, when the lieutenant arrested me, 06:23.360 --> 06:26.360 I was putting an explosive under the mayor's house. 06:26.360 --> 06:30.360 He stopped me in my first attempt to rid the community of a political Judas. 06:30.360 --> 06:32.360 But now, as you see, I have a second chance. 06:32.360 --> 06:35.360 You really think the mayor's going to jump off the city hall? 06:35.360 --> 06:36.360 He better. 06:36.360 --> 06:38.360 And by 12 o'clock. 06:38.360 --> 06:41.360 By the way, you have 55 minutes. 06:41.360 --> 06:43.360 Now, look, Spence... 06:43.360 --> 06:44.360 Forget it, Mr. Diamond. 06:44.360 --> 06:46.360 I know just what you're thinking. 06:46.360 --> 06:48.360 How to get me without the bomb going off. 06:48.360 --> 06:50.360 You'll never make it. It's too well thought out. 06:50.360 --> 06:53.360 I've planned this for four years. 06:53.360 --> 06:56.360 In case you're wondering how much dynamite he's got, Rick... 06:56.360 --> 06:58.360 Oh, Mr. Diamond needs convincing. 06:58.360 --> 07:03.360 Well, under this overcoat, Mr. Diamond, are some 100 sticks. 07:03.360 --> 07:06.360 Uh, does the mayor know about it yet? 07:06.360 --> 07:07.360 Yeah. 07:07.360 --> 07:09.360 Oh, you want me to talk to him, huh? 07:09.360 --> 07:11.360 I don't care whether you talk to him enough. 07:11.360 --> 07:13.360 I just want you to be there when he jumps. 07:13.360 --> 07:14.360 Swell. 07:14.360 --> 07:17.360 And just because you come back and tell me he's jumped, that isn't enough. 07:17.360 --> 07:19.360 I want his body in this room. 07:19.360 --> 07:22.360 Uh, Walt, I, uh... I don't know what to say. 07:22.360 --> 07:24.360 Don't say anything, Rick. Just get out of here. 07:24.360 --> 07:27.360 I'm sorry I dragged you over, but I needed time. 07:27.360 --> 07:30.360 You still do. It's 54 minutes to 12. 07:30.360 --> 07:31.360 Clear the building, Rick. 07:31.360 --> 07:33.360 Yes, do that, Mr. Diamond. 07:33.360 --> 07:36.360 I think the lieutenant is going to make a hero of himself. 07:36.360 --> 07:39.360 Uh, look, Spence, I've, uh... I've got till 12 o'clock, haven't I? 07:39.360 --> 07:41.360 Unless someone tries to get me. 07:41.360 --> 07:44.360 Well, then, uh, sit tight, Walt, and give me till 12. 07:44.360 --> 07:45.360 Okay, Rick. 07:45.360 --> 07:47.360 I hope you spend the time wisely. 07:47.360 --> 07:50.360 I'm sure you'd rather see the mayor die than your best friend. 07:50.360 --> 07:54.360 Oh, Spence, if you forget about this, they'll probably just put you back at... 07:54.360 --> 07:55.360 Goodbye, Mr. Diamond. 07:55.360 --> 07:57.360 53 minutes. 07:57.360 --> 07:58.360 Okay. 07:58.360 --> 07:59.360 Walt? 07:59.360 --> 08:02.360 Go ahead, Rick. Like you said, 53 minutes. 08:05.360 --> 08:07.360 Goodbye, Mr. Diamond. 08:07.360 --> 08:09.360 Come back soon. 08:10.360 --> 08:11.360 Otis. 08:11.360 --> 08:13.360 Yeah? What's going to happen? 08:13.360 --> 08:14.360 Clear the building. 08:14.360 --> 08:15.360 Well, what about it, Rick? 08:15.360 --> 08:17.360 Lieutenant wants the building cleared. 08:17.360 --> 08:21.360 Okay, come on, you guys. Weapons and sets clear the building, so we clear the building. 08:21.360 --> 08:22.360 Good luck, Rick. 08:22.360 --> 08:24.360 Thanks, Charlie. 08:25.360 --> 08:26.360 Okay, what do we do? 08:26.360 --> 08:27.360 I don't know. 08:27.360 --> 08:29.360 What do you mean you don't know? 08:29.360 --> 08:31.360 It's ten minutes after 11. 08:31.360 --> 08:35.360 In another 50 minutes, this whole building is going to get blown high in the kite. 08:35.360 --> 08:36.360 Okay, do something. 08:36.360 --> 08:37.360 Huh? 08:37.360 --> 08:38.360 Well, go ahead. 08:38.360 --> 08:39.360 Well, I, uh... 08:39.360 --> 08:42.360 You see, Otis, you're in just as tough a spot as I am. 08:42.360 --> 08:45.360 Yeah, but you're smarter than I am. You can usually come up with something. 08:45.360 --> 08:47.360 Well, usually my problems are a puzzle, Otis. 08:47.360 --> 08:49.360 Spencer's a problem and a puzzle. 08:49.360 --> 08:51.360 I don't know about guys like him. 08:51.360 --> 08:53.360 Well, for Pete's sake, who does? 08:53.360 --> 08:55.360 Well, that's an idea. 08:55.360 --> 08:56.360 Huh? 08:56.360 --> 08:57.360 Stay here and keep close to the intercom. 08:57.360 --> 08:59.360 Don't let the lieutenant get any crazy ideas. 08:59.360 --> 09:02.360 Hey, wait a minute. Where you going? You're acting screwy. 09:02.360 --> 09:21.360 Well, Otis, I'm going to go see someone who takes care of people who act screwy sometimes. 09:21.360 --> 09:25.360 Well, that's the story, George. You're a psychiatrist. What do I do now? 09:25.360 --> 09:29.360 Well, we solved your problem with that little blonde dancer in Flatbush. 09:29.360 --> 09:31.360 Maybe we can do something about this. 09:31.360 --> 09:33.360 Of course, she didn't have a hundred sticks of dynamite. 09:33.360 --> 09:37.360 Oh, she didn't, huh? What do you think I talked about for six weeks on that couch over there? 09:37.360 --> 09:40.360 Look, George, this isn't anything like that. This is a real mess. 09:40.360 --> 09:42.360 Now, Rick, take it easy. 09:42.360 --> 09:46.360 It's only a mess because you're used to working with something that has a pattern. 09:46.360 --> 09:49.360 Maybe not at first, but you know there's one there and you set out and find it. 09:49.360 --> 09:51.360 But with Spencer, you feel there's no pattern. 09:51.360 --> 09:56.360 Oh, there's a pattern, George. Just wait for 38 minutes, then duck. 09:56.360 --> 09:59.360 There's no possible way to get the bomb away from him without it going off? 09:59.360 --> 10:02.360 Not the way he tells it. He only has to relax his hand. 10:02.360 --> 10:03.360 That's the way he tells it. 10:03.360 --> 10:06.360 Well, I'm not going to take the chance and call him a liar. 10:06.360 --> 10:09.360 If I only knew for sure just how that bomb worked, I could reason with him. 10:09.360 --> 10:13.360 Well, before you can reason with him, you've got to know something about him. 10:13.360 --> 10:15.360 And what do you know about Lewis Spencer? 10:15.360 --> 10:20.360 Arrested a couple of years ago for planting dynamite under the homes of some of our more prominent city officials. 10:20.360 --> 10:26.360 Bound insane, sent to the state asylum, killed a guard, broke out, turned himself into a human bomb, 10:26.360 --> 10:28.360 and took a seat in the 5th Precinct police station. 10:28.360 --> 10:29.360 That's all? 10:29.360 --> 10:30.360 Well, isn't that enough? 10:30.360 --> 10:34.360 Well, I'll tell you what, Rick. I know Dr. Carroll at the state asylum. 10:34.360 --> 10:37.360 Suppose we give him a call and see what we can find out. 10:37.360 --> 10:38.360 You think it'll help? 10:38.360 --> 10:39.360 I don't know. It might. 10:45.360 --> 10:46.360 Lock distance. 10:46.360 --> 10:52.360 Operator, this is an emergency. This is Dr. George Thacker, and I want to speak to Dr. Robert Carroll at the state asylum immediately. 10:52.360 --> 10:53.360 What was the name again? 10:53.360 --> 10:54.360 Dr. Robert Carroll. 10:54.360 --> 10:55.360 One moment, please. 10:55.360 --> 10:57.360 It'll be a minute, Rick. What time is it? 10:57.360 --> 10:58.360 Oh, 25 after. 10:58.360 --> 10:59.360 You got another phone here, George? 10:59.360 --> 11:01.360 Yes, I've got several lines in the other office. 11:01.360 --> 11:04.360 Then I'll make a call. Let me know when you get Dr. Carroll on the line. 11:04.360 --> 11:08.360 Operator, would you please hurry? I hate the use of the expression, but this is a matter of life and death. 11:11.360 --> 11:13.360 You're on my line, Rick. Use the other phone. 11:24.360 --> 11:25.360 Yeah? 11:25.360 --> 11:26.360 Jonas? 11:26.360 --> 11:28.360 Yeah. Where the devil are you? It's almost 1130. 11:28.360 --> 11:30.360 You talked to the lieutenant since I left? 11:30.360 --> 11:32.360 Yeah, once. He wanted me to get out of the building. 11:32.360 --> 11:35.360 Now, you just stay put until I get there. I don't want to wall to try anything stupid. 11:35.360 --> 11:37.360 Yeah, well, I want to know what you're doing. 11:37.360 --> 11:40.360 I'm trying to get an idea, Otis. Just one little idea. 11:40.360 --> 11:47.360 Trying to get an idea? I suppose you've been spending the last 20 minutes sitting in Central Park waiting for one to come to you. 11:47.360 --> 11:50.360 Rick, come in here and pick up the other phone. I've got Dr. Carroll on the line. 11:50.360 --> 11:51.360 Bye, Otis. 11:51.360 --> 11:55.360 I've explained the situation to him. I won't interrupt him unless I think it's necessary. 11:55.360 --> 11:58.360 Fine. Hello, Dr. Carroll? 11:58.360 --> 11:59.360 Mr. Diamond? 11:59.360 --> 12:07.360 That's right. Now, doctor, I really don't know what good this is going to do, but tell me everything you know about Lewis Spence and as fast as possible. 12:07.360 --> 12:11.360 Well, first of all, he's an aggressive paranoic with homicidal tendencies. 12:11.360 --> 12:16.360 He feels persecuted by society or rather by those who help to govern society. 12:16.360 --> 12:18.360 Why does he feel this way? 12:18.360 --> 12:23.360 He believes in a great many things, all of which he thinks himself capable of achieving. 12:23.360 --> 12:34.360 Paranoics are frustrated to a point where they perhaps imagine themselves as capable artists or great scholars, such as in the case of Lewis Spence, society being his judiscope. 12:34.360 --> 12:38.360 Pardon me for interrupting, Bob, but don't you think Spence is capable of doing this sort of thing? 12:38.360 --> 12:47.360 Oh, absolutely, George. You see, he's doing this whole thing purely because he enjoys the agony of it, but he's nonetheless ashamed. 12:47.360 --> 12:55.360 But what about the mayor jumping off the city hall, doctor? Just to be ridiculous for the moment, what if his honor did jump? Would Spence then give up the bomb? 12:55.360 --> 13:05.360 I doubt it. If the mayor jumped, it would give Spence a certain amount of satisfaction. But I still think he'd set the bomb off as a climax to his own cleverness and persecution. 13:05.360 --> 13:09.360 Pardon again, Bob. Any usual therapy that you used on Spence? 13:09.360 --> 13:20.360 Yes, as a matter of fact. Spence, as I've said, imagined himself a great talent, and he seemed to be particularly taught the more artistic accomplishments, such as painting and music. 13:20.360 --> 13:23.360 In his quieter moments, we saw that he had a radio. 13:23.360 --> 13:25.360 How does this music affect him, Bob? 13:25.360 --> 13:31.360 He allows it to lull him into a sense of security. Sometimes he even believes he's written it. 13:31.360 --> 13:40.360 You see, Mr. Diamond, he believes that his environment is against him, that it is trying to debase, degrade, and persecute him. 13:40.360 --> 13:44.360 He fights off any acts of moral turpitude by becoming the thing he imagined. 13:44.360 --> 13:49.360 Oh, I hate to break it up, boys, but it's 25 minutes to 12. I've got to leave. Thank you, doctor. 13:49.360 --> 13:50.360 I hope I've been some help. 13:50.360 --> 14:03.360 Well, you've given me an idea anyway. Goodbye. 14:03.360 --> 14:04.360 Oh, Miss. 14:04.360 --> 14:07.360 Just a minute, just one minute. I'll be right with you. 14:07.360 --> 14:08.360 Oh, look, I'm in a hurry. 14:08.360 --> 14:13.360 So you're in a hurry, so is everybody else. You'll have to wait until I'm through with this gentleman. 14:13.360 --> 14:14.360 Sweetheart. 14:14.360 --> 14:15.360 Now look. 14:15.360 --> 14:16.360 You look. 14:16.360 --> 14:17.360 Oh, a badge. 14:17.360 --> 14:20.360 Yeah, now this is police business. Got to be in a hurry. Is that clock right? 14:20.360 --> 14:22.360 Yeah, it's a quarter to 12. 14:22.360 --> 14:23.360 16 minutes to. 14:23.360 --> 14:26.360 All right, 16 minutes. You want to split heads? 14:26.360 --> 14:28.360 No, I want a portable phonograph and quick. 14:28.360 --> 14:33.360 Okay, okay. Here's one right here on the counter. Three speeds, interchanging. 14:33.360 --> 14:34.360 I'll take it. 14:34.360 --> 14:36.360 Okay, I'll go back to the storeroom and get you a new one. 14:36.360 --> 14:37.360 Forget it. I'll take this one. 14:37.360 --> 14:44.360 Look, mister, we've got a policy here. I can't say you're nothing off on the counter. Supposing it don't work when you get it home. 14:44.360 --> 14:45.360 You'll hear about it. 14:45.360 --> 14:47.360 You see, that's just what I mean. 14:47.360 --> 14:48.360 Does it play now? 14:48.360 --> 14:50.360 Certainly, like everything. Listen. 14:53.360 --> 14:56.360 Oh boy, that's Pete Wugalo's new arrangement. He's crazy. 14:56.360 --> 14:57.360 Okay, okay. 14:58.360 --> 15:00.360 Hmm, don't dig it, huh? 15:00.360 --> 15:03.360 Give me a record by Debussy or Ravel. 15:03.360 --> 15:09.360 Oh, no wonder. Well, let's see, we got the engulfed cathedral by Debussy. 15:09.360 --> 15:11.360 No, no, something with a little more excitement. 15:11.360 --> 15:15.360 All right, all right, I'll read them off. Debussy or Ravel? 15:15.360 --> 15:16.360 Ravel. 15:16.360 --> 15:20.360 La...Wolfe, I guess. We got Bolero. 15:20.360 --> 15:21.360 I'll take it. 15:21.360 --> 15:22.360 Which one? 15:22.360 --> 15:23.360 The Bolero. 15:23.360 --> 15:24.360 Okay, I'll have to play it for you. 15:24.360 --> 15:25.360 I've heard it. 15:25.360 --> 15:29.360 So what? It's another policy of the store. There might be an imperfection on... 15:29.360 --> 15:30.360 Give me the record. 15:30.360 --> 15:32.360 Hey, don't get so grabby. 15:32.360 --> 15:35.360 Now look there. You want me to have you locked up for obstructing justice? 15:35.360 --> 15:36.360 Huh? 15:36.360 --> 15:40.360 Well, unless you give me that record and this machine, this one right here, I'm going to snap the cuffs on you and haul you down to headquarters. 15:40.360 --> 15:41.360 Oh. 15:41.360 --> 15:42.360 You want me to do that? 15:42.360 --> 15:43.360 Oh, you can't. 15:43.360 --> 15:44.360 All right, what's your name? 15:44.360 --> 15:46.360 Oh, take the machine and the record. 15:46.360 --> 15:52.360 Thanks. Charge it to Lieutenant Walter Levinson, 5th Precinct, Homicide Division. If it works, you get paid. 15:52.360 --> 15:55.360 If it doesn't, don't even bother sending over a repairman. 16:06.360 --> 16:09.360 Diamond, oh my gosh, you know what time it is. 16:09.360 --> 16:10.360 What exactly? 16:10.360 --> 16:13.360 Exactly six minutes two. What the devil you got there? 16:13.360 --> 16:14.360 A phonograph. 16:14.360 --> 16:15.360 A phonograph? 16:15.360 --> 16:17.360 You talk to Walt since I left? 16:17.360 --> 16:20.360 No. Now what's the idea with a phonograph? 16:20.360 --> 16:23.360 Hunch, Otis. Maybe we can save this whole mess. 16:23.360 --> 16:25.360 Well, for Pete's sake, can I help? 16:25.360 --> 16:29.360 Sure you can, Otis. Now take this machine in the other room and play this record. You know how it works? 16:29.360 --> 16:30.360 Well, I can find out. 16:30.360 --> 16:36.360 You've got less than five minutes to find out, so make it good. I don't want to hear anything until you're ready to let it play all the way through. 16:36.360 --> 16:38.360 Okay. Diamond. 16:38.360 --> 16:39.360 Yeah, yeah. Go on, go on. 16:39.360 --> 16:43.360 Whatever you're going to do, if I louse it up, I louse up everything, huh? 16:43.360 --> 16:45.360 You won't louse it up, Otis. 16:45.360 --> 16:48.360 Oh, I'm so stupid, but I'll try. 16:48.360 --> 16:49.360 Otis. 16:49.360 --> 16:50.360 Yeah? 16:50.360 --> 16:52.360 You don't have to wind it. Just plug it in. 16:52.360 --> 16:54.360 Oh, yeah, yeah. I heard about them kind. 16:54.360 --> 16:55.360 All right, then get going. 16:55.360 --> 16:56.360 Okay. 16:59.360 --> 17:02.360 Yeah, Walt, it's Diamond. What's up? 17:02.360 --> 17:03.360 Careful, Lieutenant. 17:03.360 --> 17:05.360 Oh, I'm getting sick of this. 17:05.360 --> 17:06.360 Walt! 17:05.360 --> 17:06.360 Yeah? 17:06.360 --> 17:08.360 Relax. I want to come in. 17:08.360 --> 17:12.360 How about it, Spence? By all means, have Mr. Diamond come in. 17:12.360 --> 17:13.360 All right, Rick. 17:21.360 --> 17:23.360 You have some news for me, Mr. Diamond? 17:23.360 --> 17:26.360 Well, in a way, yes. Mind if I sit down? 17:26.360 --> 17:27.360 Not at all. 17:27.360 --> 17:29.360 Ah, how do you feel, Walt? 17:29.360 --> 17:30.360 Ah, dandy. 17:30.360 --> 17:35.360 I'm afraid the Lieutenant is growing uncomfortable. It is getting late, isn't it, Lieutenant? 17:35.360 --> 17:37.360 Rick, I want you out of this building. This crackpot is... 17:37.360 --> 17:38.360 What? 17:37.360 --> 17:38.360 Wait a minute now. 17:38.360 --> 17:39.360 What did you call me? 17:39.360 --> 17:40.360 Now look, I've taken enough... 17:40.360 --> 17:41.360 What difference does it make now at 12 o'clock? 17:41.360 --> 17:42.360 Well, sure it does. 17:42.360 --> 17:43.360 Why? 17:43.360 --> 17:45.360 Because the Mayor may jump. 17:46.360 --> 17:47.360 What? 17:47.360 --> 17:52.360 Yes, he's locked himself in his office. They can't get him out. He just may jump. 17:52.360 --> 17:55.360 Oh, really, Mr. Diamond? 17:55.360 --> 17:56.360 Well, what's the matter? 17:56.360 --> 18:01.360 I know the Mayor won't jump, no matter how many people die when I release this trigger. 18:01.360 --> 18:04.360 I just want him to have to face it the rest of his life. 18:04.360 --> 18:11.360 I want everyone like me that his kind will let fulfill their potential talents to realize what a Judas he really is, what all men like him really are. 18:11.360 --> 18:12.360 Well, you know that makes sense. 18:12.360 --> 18:17.360 Don't try to get on the good side of me, Mr. Diamond. I know what you think about me. I know what you all think. 18:17.360 --> 18:20.360 It doesn't make good sense to you or anyone else. How could it? 18:20.360 --> 18:23.360 You don't understand those of us who have a truly great talent. 18:23.360 --> 18:25.360 Well, I'll buy that. I don't understand it. 18:25.360 --> 18:26.360 Of course not. 18:26.360 --> 18:29.360 Well, maybe he doesn't spend, but how do you know? Maybe I do. 18:29.360 --> 18:38.360 Stop playing, Mr. Diamond. Look at the time. Five minutes. Five minutes and I become a martyr. We'll all get blown to kingdom come. 18:38.360 --> 18:39.360 Rick, get out of here. 18:39.360 --> 18:42.360 All right, Spence, I'm going to prove you're wrong. 18:42.360 --> 18:43.360 Rick, for the love of... 18:43.360 --> 18:44.360 Shut up, Walton. 18:44.360 --> 18:49.360 All right, go ahead, Mr. Diamond. What are you going to prove? 18:49.360 --> 18:52.360 I'm going to prove that I know more about you than you think. 18:52.360 --> 18:54.360 Of course you know a lot about me. Criminals have records. 18:54.360 --> 18:59.360 Oh, I don't mean that. I mean more about yourself, what you think, your talents. 18:59.360 --> 19:06.360 What do I think, Mr. Diamond? You fool. How could you know what I think? 19:06.360 --> 19:09.360 Because a talent like yours is easy to spot. 19:09.360 --> 19:11.360 Four minutes, Mr. Diamond. 19:11.360 --> 19:14.360 It's not hard to tell about people like you. 19:14.360 --> 19:16.360 People like me? What about people like me? 19:16.360 --> 19:23.360 Well, I, Spence, I meant that, well, there are not many of them there. There are few and far between. They're gifted. 19:23.360 --> 19:24.360 What? 19:24.360 --> 19:30.360 Certainly. There's something you have that very few are lucky enough to be gifted with. 19:30.360 --> 19:31.360 Rick, please. 19:31.360 --> 19:33.360 Nearly 12, Mr. Diamond. 19:33.360 --> 19:36.360 I can tell that you are an artist, Spence. 19:36.360 --> 19:38.360 An artist? 19:38.360 --> 19:40.360 Yes, and a very good one. 19:40.360 --> 19:42.360 How do you know this? 19:42.360 --> 19:45.360 Very few people spot it. Do this, Spence. 19:45.360 --> 19:49.360 Very few. You surprise me, Mr. Diamond. 19:49.360 --> 19:51.360 He surprises me, too. 19:51.360 --> 19:53.360 Walt, keep quiet. 19:53.360 --> 19:57.360 Yes, Walt, keep quiet. It's two minutes to 12, Mr. Diamond. 19:57.360 --> 20:01.360 You can leave because maybe you have been honest with me. 20:01.360 --> 20:07.360 Perhaps you do recognize something that... 20:07.360 --> 20:09.360 What's the matter, Spence? 20:09.360 --> 20:11.360 Music. 20:11.360 --> 20:13.360 Music? I don't hear anything. 20:13.360 --> 20:16.360 Music. Beautiful music. 20:16.360 --> 20:18.360 I don't hear a thing, Spence. Do you, Walt? 20:18.360 --> 20:20.360 No. 20:20.360 --> 20:23.360 Oh, you must hear it. It's beautiful. 20:23.360 --> 20:25.360 Don't you hear that wonderful rhythm? 20:25.360 --> 20:27.360 You see, Spence, we're not as lucky as you are. 20:27.360 --> 20:30.360 No, no, no one is. This is my music. 20:30.360 --> 20:33.360 This is what I would write if it wasn't for the people who won't let me. 20:33.360 --> 20:35.360 What does the music sound like? 20:35.360 --> 20:40.360 Oh, poet's words. The power and strength of death. 20:40.360 --> 20:42.360 It makes you imagine things, doesn't it? 20:42.360 --> 20:46.360 Yes, yes, oh, yes. 20:46.360 --> 20:49.360 You hear the music and you become powerful. 20:49.360 --> 20:51.360 Like making that bomb. 20:51.360 --> 20:54.360 Not just anybody could think of that. It takes a genius. 20:54.360 --> 20:57.360 You understand. You do understand. 20:57.360 --> 21:00.360 Of course I do, but I'm still amazed. 21:00.360 --> 21:04.360 There you sit with the power of life and death in your hands, and no one can do a thing. 21:04.360 --> 21:06.360 It must be wonderful. 21:06.360 --> 21:10.360 It is. Like the music, it's wonderful. 21:10.360 --> 21:12.360 In seconds we'll all be torn from our earthly bonds, 21:12.360 --> 21:17.360 taken away from this dirty, filthy world to a place of clean, wonderful things like the music. 21:17.360 --> 21:19.360 But you, you're an artist. 21:19.360 --> 21:23.360 How could you ever take a thing like that bomb and put it together? 21:23.360 --> 21:27.360 A thing like this bomb? Oh, this is a masterpiece. 21:27.360 --> 21:29.360 Just looks like a small box to me. 21:29.360 --> 21:33.360 Oh, it took me weeks. Just a small box. 21:33.360 --> 21:35.360 Oh, no, you see, if my finger relaxes... 21:35.360 --> 21:36.360 Yeah, I know about that. 21:36.360 --> 21:40.360 But this took genius. It's not just relaxing my finger. 21:40.360 --> 21:43.360 It's how I put it together so as to get the required result. 21:43.360 --> 21:47.360 It's like the hammer action on a gun, but it's reversed. 21:47.360 --> 21:49.360 Well, I'll be darned. 21:49.360 --> 21:52.360 You mean when you release your finger, that makes the hammer fall? 21:52.360 --> 21:55.360 I can see you appreciate things of genius. 21:55.360 --> 21:58.360 I wish you could hear the music too, Mr. Diamond. 21:58.360 --> 22:01.360 You'd really appreciate that. It's so wonderful. 22:01.360 --> 22:03.360 Well, tell me more about the bomb. 22:03.360 --> 22:06.360 When you release your finger and the hammer falls, what does it hit? 22:06.360 --> 22:09.360 Well, that's a simple part. I'm surprised at you. 22:09.360 --> 22:12.360 I just wanted to hear you tell me. After all, you invented it. 22:12.360 --> 22:15.360 Yes. It strikes a cap. It's that simple. 22:15.360 --> 22:19.360 Simplicity can be beautiful. Don't you agree? 22:19.360 --> 22:21.360 Absolutely. 22:21.360 --> 22:24.360 Listen to that music. It builds and builds. 22:24.360 --> 22:27.360 Tell me, Spence, what would happen if something got in the way of the hammer? 22:27.360 --> 22:29.360 I mean, between the hammer and the cap. 22:29.360 --> 22:31.360 Nothing can. There's nothing big enough in the box 22:31.360 --> 22:33.360 that the hammer wouldn't tear right through. 22:33.360 --> 22:35.360 Simplicity, Mr. Diamond. 22:35.360 --> 22:36.360 I'd sure like to take a look at it. 22:36.360 --> 22:39.360 Of course. There's nothing you can do. 22:39.360 --> 22:41.360 So by all means, look. 22:41.360 --> 22:43.360 Well, you've got glass over the end of the box. 22:43.360 --> 22:45.360 That's right. See my finger on the trigger? 22:45.360 --> 22:48.360 If I release it, that hammer falls and strikes that cap. 22:48.360 --> 22:49.360 Why the glass? 22:49.360 --> 22:52.360 So I could look in when I set it and see that everything was all right. 22:52.360 --> 22:54.360 Oh, that's very clever. 22:54.360 --> 22:59.360 That music is getting so big. I can't think. 22:59.360 --> 23:00.360 What time is it? 23:00.360 --> 23:01.360 Plenty of time, Spence. 23:01.360 --> 23:04.360 Yes, yes. When the music finishes. 23:04.360 --> 23:06.360 It's nearly done now. 23:06.360 --> 23:10.360 What? I thought you said you couldn't hear it. 23:10.360 --> 23:12.360 It's a phonograph from the other room, Spence. 23:12.360 --> 23:13.360 What? 23:13.360 --> 23:15.360 Tell me, Spence, what happens if I jam my hand through that glass 23:15.360 --> 23:17.360 between the hammer and the cap? 23:17.360 --> 23:20.360 What? That music! That music! 23:20.360 --> 23:22.360 Grab him off, grab him! 23:22.360 --> 23:24.360 Let me go! Let me go! 23:24.360 --> 23:27.360 You don't understand. You cheated! You did lie! You did lie! 23:27.360 --> 23:29.360 Let me go! Let me go! 23:32.360 --> 23:35.360 Well, that does it. Otis, take him away. 23:35.360 --> 23:36.360 With pleasure. 23:36.360 --> 23:37.360 And you, Rick. 23:37.360 --> 23:38.360 Yeah? 23:38.360 --> 23:39.360 How'd you know that music could work? 23:39.360 --> 23:41.360 How'd you know you could stop that hammer? 23:41.360 --> 23:43.360 How'd you know you wouldn't... wouldn't... 23:43.360 --> 23:44.360 Oh... 23:44.360 --> 23:46.360 Did you hurt your hand? 23:46.360 --> 23:47.360 Well, of all the... 23:47.360 --> 23:48.360 Well, did you? 23:48.360 --> 23:49.360 No! 23:49.360 --> 23:52.360 Well, all right. You just bet it is. Goodbye. 24:06.360 --> 24:07.360 Hi. 24:07.360 --> 24:09.360 Rick, what are you doing here? 24:09.360 --> 24:10.360 Oh, now, that's nice. 24:10.360 --> 24:12.360 Stop by my place some afternoon 24:12.360 --> 24:13.360 and see what kind of a welcome you get. 24:13.360 --> 24:15.360 Oh, I didn't mean that. 24:15.360 --> 24:16.360 I meant, what are you doing here so early? 24:16.360 --> 24:18.360 Well, things were getting boring. 24:18.360 --> 24:21.360 I thought I might come over and beat you up or something. 24:21.360 --> 24:24.360 Oh, now, isn't that sweet? 24:24.360 --> 24:26.360 Oh, Rick, what in the world have you... 24:26.360 --> 24:28.360 Oh, oh, the hand? Oh, it's nothing. 24:28.360 --> 24:31.360 I know, Red Heart, but what did you do to it? 24:31.360 --> 24:32.360 Well, I, uh, I kind of hurt it. 24:32.360 --> 24:34.360 Yes, I can see that, but how? 24:34.360 --> 24:35.360 Playing the piano. 24:35.360 --> 24:38.360 Oh, how could you hurt your hand playing the piano? 24:38.360 --> 24:40.360 Well, you know how I live my songs. 24:40.360 --> 24:41.360 Mm-hmm. 24:41.360 --> 24:43.360 Well, truthfully, I was, uh, 24:43.360 --> 24:45.360 I was singing the Brother of the Wild Goose, 24:45.360 --> 24:49.360 and I got to that part about a wandering foot or a heart at rest, 24:49.360 --> 24:51.360 and while I was trying to make up my mind, 24:51.360 --> 24:53.360 my heart was resting, but my foot wandered up on the keyboard 24:53.360 --> 24:54.360 and stepped on my hand. 24:54.360 --> 24:55.360 And stepped on your hand. 24:55.360 --> 24:56.360 Yeah, that's exactly what happened, yeah. 24:56.360 --> 24:58.360 Well, I think you've got that bandage on 24:58.360 --> 25:00.360 just so you won't have to sing anything. 25:00.360 --> 25:02.360 Honey, have you ever seen me not want to sing? 25:02.360 --> 25:05.360 Well, sometimes it's a struggle. 25:05.360 --> 25:07.360 I don't even know whether I can play or not. 25:07.360 --> 25:08.360 Well, why don't you find out? 25:08.360 --> 25:09.360 After lunch. 25:09.360 --> 25:11.360 Before lunch. 25:11.360 --> 25:12.360 Before lunch. 25:12.360 --> 25:16.360 Well, maybe I don't need that finger. 25:16.360 --> 25:18.360 Go on. 25:18.360 --> 25:23.360 Love is a flower 25:23.360 --> 25:27.360 That blooms so tender 25:27.360 --> 25:31.360 Each kiss a dew drop 25:31.360 --> 25:35.360 Of sweet surrender 25:35.360 --> 25:40.360 Love is a moment 25:40.360 --> 25:44.360 Of life enchanting 25:44.360 --> 25:47.360 Let's take that moment 25:47.360 --> 25:53.360 That tonight is granting 25:53.360 --> 25:59.360 There's no tomorrow 25:59.360 --> 26:03.360 When love is new 26:03.360 --> 26:08.360 Now is forever 26:08.360 --> 26:13.360 When love is true 26:13.360 --> 26:16.360 So kiss me 26:16.360 --> 26:22.360 And hold me tight 26:22.360 --> 26:27.360 There's no tomorrow 26:27.360 --> 26:33.360 There's just tonight 26:33.360 --> 26:34.360 You like that? 26:34.360 --> 26:36.360 Oh, so pretty. 26:36.360 --> 26:37.360 Thank you. 26:37.360 --> 26:38.360 Oh, that reminds me. 26:38.360 --> 26:40.360 We're having spaghetti for lunch. 26:40.360 --> 26:41.360 Oh, good. 26:41.360 --> 26:51.360 Whistle 26:51.360 --> 27:01.360 So kiss me and hold me tight 27:01.360 --> 27:07.360 There's no tomorrow 27:07.360 --> 27:17.360 There's just tonight 27:17.360 --> 27:19.360 That was nice. 27:19.360 --> 27:22.360 Now tell me, how did you hurt your hand? 27:22.360 --> 27:23.360 Simple, simple. 27:23.360 --> 27:24.360 I was grabbing. 27:24.360 --> 27:25.360 Grabbing? 27:25.360 --> 27:26.360 Mm-hmm. 27:26.360 --> 27:27.360 Like this. 27:27.360 --> 27:28.360 Come here. 27:28.360 --> 27:29.360 Oh, Rick. 27:29.360 --> 27:32.360 Oh, of all times. 27:32.360 --> 27:33.360 Hello. 27:33.360 --> 27:34.360 Hello. 27:34.360 --> 27:35.360 Walt? 27:35.360 --> 27:37.360 Yeah, I just thought I'd call and... 27:37.360 --> 27:38.360 Oh, you did, did you? 27:38.360 --> 27:40.360 Well, you sure picked a nifty time to do it. 27:40.360 --> 27:41.360 Did I bust up something? 27:41.360 --> 27:43.360 Yes, you did bust up something. 27:43.360 --> 27:44.360 Well, you don't have to get sore. 27:44.360 --> 27:45.360 Well, who's sore? 27:45.360 --> 27:46.360 I am. 27:46.360 --> 27:48.360 That's the last time I let you do me any favor. 27:48.360 --> 27:49.360 Okay, okay. 27:49.360 --> 27:51.360 If that's the way you feel about it, good-bye. 27:51.360 --> 27:52.360 Good-bye. 27:52.360 --> 27:54.360 Well, what in the world was all that about? 27:54.360 --> 27:56.360 Oh, well, honey, you see, it's like there's Walt 27:56.360 --> 27:58.360 gotten some trouble and I... 27:58.360 --> 27:59.360 Well, I helped him out of it. 27:59.360 --> 28:02.360 No, you see, I don't want him to feel obligated. 28:02.360 --> 28:04.360 But, well, that's not actually it. 28:04.360 --> 28:07.360 He doesn't want me to know how he really feels. 28:07.360 --> 28:09.360 I...it... 28:09.360 --> 28:10.360 Oh, what am I trying to explain it for? 28:10.360 --> 28:12.360 I don't understand it myself. 28:12.360 --> 28:20.360 MUSIC 28:20.360 --> 28:23.360 WHISTLING 28:29.360 --> 28:31.360 You have just heard Richard Diamond's Private Detective, 28:31.360 --> 28:32.360 starring Dick Powell. 28:32.360 --> 28:34.360 Ed Begley played Lieutenant Walt Levinson. 28:34.360 --> 28:37.360 Also in the cast were Wilms Herbert, Francis Robinson, 28:37.360 --> 28:40.360 Stanley Waxman, Cynthia Corley, and Paul Dubov. 28:40.360 --> 28:42.360 Music was under the direction of Frank Worth. 28:42.360 --> 28:44.360 Today's show was written by Blake Edwards 28:44.360 --> 28:46.360 and directed by Russell Hughes. 28:46.360 --> 28:48.360 Dick Powell currently may be seen in the motion picture version 28:48.360 --> 28:50.360 of the best-selling novel, Mrs. Mike. 28:50.360 --> 28:53.360 This is Eddie King inviting you to be with us next Sunday 28:53.360 --> 28:56.360 at the same time, when we will again bring you Dick Powell 28:56.360 --> 28:58.360 as Richard Diamond's Private Detective. 28:58.360 --> 29:09.360 MUSIC 29:09.360 --> 29:12.360 There's more great listening in store for you today on NBC. 29:12.360 --> 29:15.360 You'll hear the hilarious Phil Harris and Alice Faye show. 29:15.360 --> 29:17.360 And this evening on Theatre Guild on the Air, 29:17.360 --> 29:21.360 Gertrude Lawrence and MacDonald Carey will star in Lady in the Dark. 29:21.360 --> 29:40.360 Next, hear guest star Deborah Alden on The Harvest of Stars on NBC.