October 27, 2024 • 28 mins
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Speaker 1 (00:01):
The National Broadcasting Company presents the adventures of Sam's Fade
Detective Sam's Say Detective Agency Me Sweethearts? Yeah, where have
you been? I don't know what to tell them? Tell who,
the reporters, everybody. They also use the first comed detective
(00:23):
in the history of samentist go to get rich? Honestly,
Oh it's Sam. When I think of all the back salary,
I'll be getting the first cult easy girl, easy preparing yourself.
Dam Yeah. The fifty thousand dollars is not available to
employees of a network or sponsor, which, unfortunately I happen
to be. Yeah, what cheer up, girl? Think of the taxes?
(00:44):
We'll say, Now, make everything fast, time on my way. Meanwhile,
puzzle me this. You're ready? All right? Whine is a
man who was going to blow his brains out, set
his mantle clock. I had four hours? Can It does mix, Sam,
but it does Marlon Ponder's Sweetheart. I'll be down in
a Trice nineteen fifty one model with an intellectual type
report to challenge serious thinkers everywhere to it the Biddle
(01:06):
Riddle Caper.
Speaker 2 (01:12):
For NDC.
Speaker 1 (01:13):
William Spear Radio's Outstanding Producer Director of History and Crime
drama brings you the greatest private detective of them all.
In the Adventures of Sam's Faith microphone, Iffy, damn, I
(01:37):
get anywhere with it? Never kick on the third down, chirup,
give it another trial. I'm mentally through. Well, you know
that I just give up. Sam, funny little bronze on
your cheek. Go ahead, Yes, Kate, you get warm. That's
what happens when somebody hits you with a microphone. Sleet. Now,
(02:00):
if you look closer, just above the marks under my eyes,
clearly and distinctly in reverse, of course, the three letters
of a network known far and wide for its hospitality
to unemployed private detective sh not here girl, pow. He's
a pencil who knows a sponsor may be listening, Ready
to mister Tracy Abbott. Drake Corton Hotel copied of Dundeet
Homicide from Samuel Spade, licensed number one three seven, five
(02:21):
nine six, subject the Biddle Riddle kper Dear Tracy. It
had a nice conventional start, this one, A nice conventional
phone call telling me to drop up to room four
oh two of the Drake Carpner around three in the afternoon.
But when I got there, I found that over the
nice conventional number on the door was hung a temporary
sign reading Olympic Radio Productions. Tracy Abbott, editor, director and producer,
(02:45):
fitting farewells to a nice conventional part I made bold
end of the door Abbot five fourty eight of Solid
Hollywood was waltzing. Was what I took to be a musician,
composer or some such. We opened coal Bunny like this
now killer large, bang in with the thing see bombump
(03:06):
bump bump bump bump bump bum form a great, big,
wonderful cord there bunny, check check, and then the teaser quote,
don't go away you out there, stick right close to
that radio set of yours, because the next half hour
might put fifty thousand dollars in your pocket. Yes, fifty
thousand dollars will be paid by the sponsors of this
program or information leading to the arrest and conviction of
(03:28):
a killer at large bat tonight. That said, sustain the cord.
Yeah tonight, the murder Tremlo tremlo tonight, the murder of
Carold Stephens. Then got any boo boom bum bom bump
bum form checksh what's that several crash do it again?
(03:50):
Don't need it. Check check big, wonderful lush. That's the
word lush, with scope and sweep and power. I got it. Well,
I'll get as lush as I can with eight piece
of scopes. Importance, got a sound important check check and
boom oh oh, I'm Sam Spade, mister rabbit. Ah, yes, yes, Spade,
glad to see you. Please it on and no. On
the other hand, you'd better stand up. No time to lose.
(04:11):
You have twenty four hours to find a man farming.
Well that's pretty short notice. Howlets a spade killer at large?
Is real? We keep a sensitive finger on the pulse
of the people. Well, that's nice. We deal in real facts,
real people, real crimes, and real criminals. Check. Just how
do you do this? How do you accomplish all this
on the radio budget of today? Now you see before
you stay the mechanical marble which makes this possible. The
(04:33):
tape recorder. You're familiar with the tape recorder. Oh moral
Check tomorrow night at nine pm PSD. With the aid
of the tape recorder, we shall reconstruct one of San
Francisco's more sensational unsolid crimes, the murder of Carol Stephens.
You mean the burless dag three years ago, two years,
eight months and twenty nine days. You remember much about it?
Let me see, she turned up dead on the floor
(04:53):
of her apartment, didn't she check? Victim of the well
known blunt instrument, in this case a bronze bookend carrying
the base room of Abraham Lincoln. Much ado, much you do?
Headlines by the yard, a parade of witnesses, but no arrest. Spirit, Fine,
now what about me? Our show's stay is made up
of the simple, honest, spontaneous statements of the witnesses themselves.
(05:13):
We're set on this one except for one man, the
most important one in the case, of course, Jimmy Biddle,
the doorman at the Broadway Burlesque at the time the
Stephens Girls was killed. Oh knew her. Some say he
loved her. Top suspect until he came up with an alibi.
Our events men have combed the city for two weeks
trying to find him, but no luck. So he's born time.
That's what I thought until this morning. You mean you've
(05:36):
heard from him. I heard from someone who said he
was Biddle. He also said he knew who killed Carol
stevens Andy wanted the fifty thousands, right, I mean check
fair enough. Well, that's what you advertise, isn't it not?
Two people who hang up when you get curious. If
it was Biddle, I've got to record his story. I
want him here by eight tomorrow night. Check well, ell,
since you keep bringing it up, check yes, you can
(05:57):
make it out for a hundred bucks at homicide. I
cased the files on the Stephens sing San Francisco's answer
to the Black Dad, a cheek killing of a cheap
day and a chief apartment that used a lot of
expensive news trenks. She'd taken a last turn under the
blue spot around ten thirty, left the theater and hustled
straight home because at eleven sharp, according to the neighbor
(06:18):
across the hall, someone had tried the Abraham Lincoln bookend
on Carol Versides. She hit the floor just as the
eleven o'clock news came on. Biddle's alibi had to be good,
and it was. It came, as a matter of fact,
from the greatest little alibi factory in tom Biddle was
drinking old fashions with Joseph P. Norgard, the well known
criminal lawyer at the time of the killing. So I
(06:40):
trotted over to Norguard's office on Market Street. Boondom tied
up and settled down in the waiting room next to
a gimlet eyed youth and a neon striped suit who
looked like he made a living sticking up crap games.
He was smiling his nails. Buddy, yeah, buddy, you you
sure you're in your right of office? Buddy? Positive, Buddy,
(07:03):
I just stood I might save you some trouble. So
damn staate ain't it? Hey? You're a smart kid. I
try hard. I still think you'd be wise to blow now.
This is quite a turn you do, buddy, study nice
with Richard Woodmarke. Damn, I told you I want to
save you a bad time. You're a nice guy. Thank
(07:24):
you must be a lot of things you can do
around time to make a buck. Who coming in? I
whyn't you lift it on that chair? I'm not going
to do it, No Guard, and that's fine. I'll get
with you later. Bye, buddy. The guy who busts a
lot of nor Guard's office was flabby, florid, and flighting.
(07:44):
Penstride gave me a last veilful look and sidled out
into the hall after room which was nice because I
was running out a punchlineke I thought.
Speaker 2 (07:54):
I told you too.
Speaker 1 (07:55):
Oh, mister nor Garden, I'm sorry to barge in my state.
I'm a private the t of course you are, and
a hungry one. Well, we're polite in here too. Why
do you say that you're the fourth Today I'm about
to prefar a Mimiografs statement entitled what I know about
the Stephens case? Or you two can make fifty thousand
dollars like a copy. You know, I can't remember when
(08:16):
I've been treated so nice. What do you know about
the Stephens case, mister Longard, It's all in a homicide file.
On the Fateful Night, I ran into Jimmy Biddles. I
was coming out of a bar in Chinatown. He did
the kids, but he used to be a useful friend.
So I asked him up to my apartment for a
drink Cosin, sat him in a chair, made him an
old passion, loaned him five bucks, and hustled him out
(08:36):
fur a lapse time forty five minutes from ten forty
five to eleven thirty pm. And that is all I
have to say at this time. Have you seen Biddles since? Not?
Since the investigation. I don't know where he is now.
I don't know who killed Carol Stephens period paragraph. Do
you think Jimmy knows who killed him? Maybe he says
he does. Oh, where did you see him? He's hungry too.
(08:57):
We worked the same breadline. I'm sorry I said that speed.
Who are you working for? Olympic Radio Productions? Kill her
at large? Yes, they will become of the studio tonight,
record a statement for them. I wonder if I ought
to tell them what I really think. What's that about Biddle?
There's no point in talking around it anymore. I think
(09:20):
he killed her. Oh that's a kneat trick if he
was drinking your liquor at the time. Oh, I think
he did it after he left my place. Two things
place the time of death, the medical examiner's report, which
could be off as much as three hours, and the
neighbor who thinks he heard the girl fall as the
news came on. How reliable is that? Well? I usually
think of those things during an investigation, but they didn't
think hot enough. You say you talk to Biddle? He
(09:43):
called my client. Why he had fifty thousand good reasons,
according to him. You know funny things happen when the
dog gets into it. Bought people don't stay bought. Lost
people get found. Yeah, well I've told you, Orlino speed
if you have no more questions, just one more. Who's
a little weasel on the penstrike? You mean Luke? Yeah,
I like put him out there to scare off the
hungry ones. Nothing to do with you, and the fat
(10:07):
character he's sailing has nothing to do with me either. Huh,
you really want to know? Love to he's a pastry cook.
I'm representing his wife in a divorce section. Thinks she's
Casanova pressure cooker. Eh, shoving nor guard pin stripe on
the flabby pastry cook and I look up later section
of my hat band. I took off for Biddle's last
(10:29):
known address, a boarding house on Pacific Avenue. There I
held hands with a land lady long enough to learn
that A she hadn't seen Biddle since a few weeks
after the murder, but b when last heard A, Biddle
had gone on from the burlesque dame to something even
more extremely female. According to the landlady name Rosalie. Understand
she's boken on the line at the Pacific Ballroom. Red hair,
(10:52):
blue eyes, and boom booms, get me, I got you
Pacific Ballroom? Eh, would you do that last again? Yeah?
Just checking? Thanks, Smith's Lane right here. Hello, Hi, a
(11:20):
lot of lucky girls. You look like your name Onnevie
Rosaline for your side. He got your ticket. Hey, let
me let me know when I used up. Don't worry, way,
you know you're a pretty good dancer. Hiper Murray Class
of nineteen oh six. Only I didn't come here to dance.
(11:42):
Oh I'm looking for Jimmy Billy you know. Yeah, yeah,
I know you a cop, not exactly. Oh, it's a difference,
cop or no cop. You'll find him one of these
days where I'm Miday, maybe with the morgue. He knows
it's a funny pride. He knows it, and you can't
do anything about it. It's got him, Rosie baby. Look,
I know that's a nuts about Jimmy. Let's dance. That's
(12:05):
what you're paying for, isn't it? What? Come on? Where
is he? You're wasting your time. I won't sell him out.
He's through with him, but I won't sell him out.
Oh he he's the tickets. I sought it over to
the soft drink Bompain. Then mold the problem over a
coat for a minute or two. There are ways of
(12:26):
dealing with dames like Rosalie. Some of them are a
little cruel, as this one is going to have to be.
The time was of the essence. I kept out of
sight for twenty minutes or so, watching her dancing in
the arms of our moonstruck plumber, and sidle into a
phone booth. The Pacific Ballroom does not permit telephone conversations
while the girls are working. When I said it with
the police, the plumber was turned over to a new candidate,
and Rosalie came to the phone. Who it's the same Stade, Rosalie.
(12:49):
I was dancing with you a little while ago. What
is it? I found Jimmy Biddle's apartment. Well, what's the
matter with her? That's right, that's I'm afraid so to
see you. Okay, I'll be right over. He didn't stop
for a rap, just taught a zigzagg, follow through the
mob of the main door, and climbed into a cab
(13:11):
at the curve. The driver must have been an old
fan of hers, because they were almost out of fright
by the time my cab got rolling. And that's the
way it was across Market Street and all the way.
Our van asked the marina. Her cab was pulled up
in front of an apartment on Jefferson Street, and she
just gotten out when we slid in behind him. Aya,
you want to go up together, but you said you.
I'm sorry, honey, I know, with a dirty trick, but
(13:33):
now that's no way to do you shut up. A
gold card holder by the doorbell list of the tenants
as W. R. Smith. Mister Smith was evidently not home.
A lady manager in the apartment next to his was,
and after the usual license showing and more than the
usual sweet talk, she came up with the keys. Little
(13:57):
wasn't wealthy, but he wasn't hungry either. Place had the
well fixed man about Tom look right down to the
last crystal Martini glass in the portable bar in the
living room. Next to it was a mahogany desk, in
which were sundry check books and deposit slips, indicating Biddle
had found a phosphorous widow or had been doing rather
well at canasta. A cross shined four in the next room.
(14:18):
Since it was after ten, I wondered why when I
had to take a look. Maybe I was psychic, like
the girl said. There was a tape recorder against one wall,
the same kind I'd seen in your office, Tracy, with
a microphone and a roll of tape, and it half
used up. Holding the microphone of one hand was Jimmy
Biddle in the other hand, of thirty eights. He wasn't hurt,
(14:39):
as I'd told her, he was dead. You are listening
to the weekly adventure of radio's most famous detective, Sam Spade.
(15:04):
This Sunday, there's another outstanding production by Theatre Guild on
the Air. It's a one hour adaptation of the thrilling
Tale of Intrigue in post War Vienna. The Third Man,
Joseph Cotton and Senior Hasso star in this Theatre Guild
on the Air broadcast and Sunday over most of these
NBC stations also means The Big Show, an hour and
a half of the finest in comedy, music and drama.
Tilula will be your hostess, and just listen to a
(15:26):
few of the stars Fred Allen, MARLINI, Dietrich, Danny Thomas,
and Fran Warren. There will be many more too, So
tune in this Sunday and every Sunday for the Big show.
Now back to the Biddle Riddle Caper Tonight's adventure with
Sam Spade. In accordance with chapter five of the Private
(15:53):
Detective's Manual entitled How to Keep Your License, I called
homicide and gave him the facts and figures, then went
back to the study. Jimmy Biddle was surrounded by pops
like part one of the Quota Fine Puzzle. I carefully
reached over his shoulder and pressed the button on the
tape recorder. My name is Jimmy Biddle. The DA will
remember me. We saw a lot of each other during
the week after Carol Stevens hit the deck in her
(16:14):
apartment three years ago, at just about this time of night.
I fooled him. Then I could probably go on fooling him,
but I'm tired of it. I'm tired of living this way.
So here it is. I knew Carol Stevens well. I
was crazy about her, and I will tell us too.
That's why I killed her. Thought I could go on
and on playing Hide and go Seek for the rest
(16:35):
of my life. But sooner or later, this kind of
thing gets too heavy to back around it. You got
to get rid of it one way or another. Period
end of report. I roused the landlady again and we
went over the room together, a helpful type land lady,
and she contributed a thousand odd bits of gossip about
(16:57):
Jimmy Bddle, only one of which struck me as interesting.
She'd come in this morning, she said, to clean his apartment,
and among other things, had wound and set the eight
day clock on the mantels, the same clock which was
now exactly four hours fast. Looking closer at the paper coorder,
I saw a small label pasted above one of the
knobs reading Murgas and Reed recording technicians. Next scene, the
(17:18):
manufacturing section of Sanson Street, a five story building, all
dark at this hour except for a light in the
office on the second floor back, which happily turned out
to be the one Burgas three. Anybody, Oh, what do
you want? Well? A pastry cook? Ah, I'm sorry, we're clothes.
(17:42):
You see office hours nine to five. Now wait a minute,
just a minute, pastry cook. I'm not a pastry cook
sor my name is Murgus. I am one of the
proprietor this year. Just a moment, all right, Sorry, it
was getting cold out in the hall. Oh so you're
Murgers I am, and I don't care who you are.
I know all about it, sir. I know it's into
practical joke. What wasn't a practical joke that tape? You
(18:03):
can march right back to the man you're working for
and tell him he can't buy me off? Is that clear? Not? Very?
There's no use denying it. I saw you in his
office this afternoon.
Speaker 2 (18:12):
When he when he frightened me.
Speaker 1 (18:16):
What is it all all? I pulled out on a
fire escape. I'm trying to see my buddy in the pinstripe.
Sue hit the bottom the alley crazedy. He was blind
at one end, so Luke took off toward the street.
I caught him in one leg. He stumbled, fell, smacked
his head against the brick wall of the alley, and
took the comp I was frisking him when a fowl
(18:36):
cock who heard the shots moved up. I convinced him
I wasn't rolling a drunk and let him to run
back upstairs. Fergus, Fergus, I'm going to get you to
a hospital. Who's Sam Spade? I don't work for no
guide right now, I'm trying to hang a murder rap
on him, told me. It was practical joke. A gage tape.
(19:05):
Jimmy bag the tape. Jimmy rented the machine from you
and made the tape himself.
Speaker 2 (19:10):
Right, yes kee, nor God, what about? Nor God tried
to beat me into it, beat beat me, wouldn't give
it to him.
Speaker 1 (19:25):
Give way tape. He tried the point to the desk
as he passed out, and so this already bubbling stew
We had a crucial typewriter while waiting for the ambulance.
I tasted it and found nothing, and stuck a piece
(19:46):
of paper into it and began to type four quick
drownd foxes that jumped over four lazy dogs. When a
sound changed, I looked closer and tackled a messy job.
I always leave to my secretary. I hate to play
with typewriter ribbons, but this wasn't a typewriter rhythm. Since
said ribbon had come to an end and I was
pecking away at a piece of sound tape. Come on, Rosie, Yeah,
(20:09):
I don't want to, but come on, my Peter read
more tired than they were an hour ago. Okay you first,
all right, now, I'm sorry to say it. I thought
you were lying when you said Jimmy was hurt. Look,
let's not going to that now. He was blackmailing nor Guard, right.
I don't even know who Norguide is. You know Jimmy
was shaking someone down. Didn't you never know where he
got his money? I just knew it was dirty money.
(20:31):
He'd laughed and said he was living high. But it's
not the moment. He never mentioned nor Guard. No. I
just said he was going to make fifty thousand dollars
in a radio program. Did he say how sing? I
thought he was kidding when he showed up with a
tape of and he wasn't kidding then what he wanted
to be alone? He said he was going to make
an audition instead of you was sponsor. That's where he
made the mistake. He sent it to the wrong sponsor.
(20:54):
He figured the hit nor Guard for the biggest touch
of all, thought hearing it might make him dig deeper.
So we recorded his statements to nor Guide for a sample.
But there was something he didn't think of. What do
you mean? He should have studied up on his tape recorders.
Baby with a pair of scissors and a good technician,
Jimmy's eyewitness account turned into a first class confession. The
(21:16):
final phase of the Biddle ddle was, as you will recall,
Tracy enacted on one of the sound stages of a
nation's leading network. Whereas you will also recall, you were
busily transcribing the testimony of various witnesses on the Carol
Stephens case. All you got him there? I'll never know,
but there he was, as big and legal looking as ever,
perjuring himself once more into one of your microphones. I
walked out of the Twins Dragon on Grand Avenue as
(21:38):
I remember it now, Biddle was across the street. He
apparently recognized me, though, excuse me, will you fellas? What slade?
You idiots? You're ruined. I'm sorry, Tracy. Oh, we'll have
to start it over again. Mister Norga, would you mind
if I record a few remarks? Spade, please understand my position.
Biddle's confession has changed everything. The killer is not at law. Yeah, yeah,
(21:58):
twenty four hours I spent recording the show. Now it'll
all have to be done over again. These people at
this hot lissen Tracy. All right, Spade, what is it?
I'm only trying to help. Now, where's Biddle's confession on
the machine. There, we're going to double onto the main tape.
Good now, be a good lad and show me where
your sign is. Stop it? Huh right there? Okay, what
is this space? This is going to interest you, mister Norguard.
(22:20):
Now let us turn to the tape, keeping our eyes
on the spool as it slowly feeds. Jimmy Biddle's last state.
My name is Jimmy Biddle. The DA will remember me.
We saw a lot of each other during the week
after Carol Stephens hit the deck in her apartment three
years ago at just about this time of night. I
pulled him. Then I could probably go on fooling him,
but I'm tired of it. I'm tired of living this way.
(22:42):
So here it is. I knew Carol Stephens. Well, I
was crazy about it, and I will tell us two.
That's why, Ike, there's a riddle for you, nor Guard.
He said, the girl died quote at just about this
time of night, unquote. But the clock struck three times.
We know she died at eleven, And what happened to
the other eight chimes? Patient with me, Tracy, what about it?
(23:05):
Nor Guarden? Well, how do I know the man was crazy? Maybe? No, no, no, No,
he wasn't crazy. Stupid, but not crazy. So we take
this spool of pape off and what's this one? What's that?
This is the part that was cut off. Got it
from the guy who did the spicing job for you,
thinking it was a practical joke or something, And do
you know what you're saying? Yeah, but Biddle says it better.
The last thing we heard was I was crazy about her,
(23:26):
and I was jealous too. That's why I killed her.
Only he didn't say killed her, just that's why. I
was standing outside in the hall way of her apartment
to night she died. I'd seen her leave the theater
with a guy I recognized her, and I followed them
home to her place, heard the argument everything, But I
had no idea kill her until I heard her hit
the floor. Door busted open then, and he came up
(23:48):
looking like a crazy man. They didn't even see me,
just ran down the backstairs as fast as he could go,
and I went in and saw her lying on the
floor dead. And I could have killed him then, but
I thought of something. He's good pay the cash comes
right on time. But I'm tired of living this way.
So there's the story. The man who killed Carol's steeping,
(24:20):
which is as far as fiddles got. Then Norguard had
glad to stand mike and slanted it into the recording
machine and the rubab which followed. He also slanted into
my face, which is why I carry the implant of
the nation's number one network just below my right eye.
So that's about the clock. Tracy, nor Guard and Pinstrid
now lie cheek by jowel and the jail hospitals trying
to think of an honest lawyer will defendant. Why are you, Tracy,
(24:41):
with a third round of interviews before you are considering
pausing out Carol Stephens and doing the shooting of Dan
McGrew period and of report fortu unfortunate you got an
explain about the clock. It was for our song, My Sweetheart.
That's self explanatory. The clock said four, you see, but
it was twelve. It will have been dead an hour,
which makes it eleven carry one once attracting four from
(25:04):
at least seven, and assuming he've been there and now before,
that makes six. Daven what relentless logic? Can't I tell
a re crease Effie on this program, we do not
plug rival products. I'll go and type that up while
I figure this out. Three chimes mean good Times On NBC.
(25:28):
There's mystery and music every Saturday on NBC. For Mystery Tomorrow,
Herbert Marshall stars as the Man Called X. The Man
Called X, There's a man without a name who travels
the world over combating the forces of international espionage and intrigue.
For Music Tomorrow, your Hit Parade brings you the top
tunes in the land, played by Raymond Scott's Orchestra and
with vocals by Snooky Lanson and Eileen Wilson. Thank you,
(26:00):
dear one, I see you by the pearls and your
brow that you have not as yet solved the matter
of the missing chime. Oh why nor God set the
clock ahead when he shot Jimmy Biddles? How to approach this?
Do you realize Norguard cut a hunk out of the tape,
removing Biddle's eye witness account, setting them up as a suicide. Right,
don't make me change my low. Biddle, by his own statement,
(26:23):
made the recording at the time of the murder of
Carol Stevens to win eleven o'clock now. In cutting out
the crucial words, nor Guard also had to cut out
eight chimes. This, he realized would be noticed, so he
set the clock ahead to make the number of chimes
gibe chime's gibe chime. Jibe Nice Wing, Sam, We'll be
(26:46):
all right with you if I just say I understand
what I really don't sure, sweetheart, I'll just type an
answer the phone, and you use your seat and your
and together we'll end up, I know, with good night,
good night, sweet Yes. The Adventures of Sam Spade are produced, edited,
(27:14):
and directed by William Spear. Sam'spaide was played by Stephen Dunn.
Loreen title is Effie. Script for Tonight's adventure by Harold Swanton,
Musical scoring by lud Gluskin, conducted by Robert Armbrister. Join
(27:41):
us again next week, same time for another adventure with
Sam Spade. Enjoy the Magnificent Montague then Duffy Savern on
MVCO
The National Broadcasting Company presents the adventures of Sam's Fade
Detective Sam's Say Detective Agency Me Sweethearts? Yeah, where have
you been? I don't know what to tell them? Tell who,
the reporters, everybody. They also use the first comed detective
(00:23):
in the history of samentist go to get rich? Honestly,
Oh it's Sam. When I think of all the back salary,
I'll be getting the first cult easy girl, easy preparing yourself.
Dam Yeah. The fifty thousand dollars is not available to
employees of a network or sponsor, which, unfortunately I happen
to be. Yeah, what cheer up, girl? Think of the taxes?
(00:44):
We'll say, Now, make everything fast, time on my way. Meanwhile,
puzzle me this. You're ready? All right? Whine is a
man who was going to blow his brains out, set
his mantle clock. I had four hours? Can It does mix, Sam,
but it does Marlon Ponder's Sweetheart. I'll be down in
a Trice nineteen fifty one model with an intellectual type
report to challenge serious thinkers everywhere to it the Biddle
(01:06):
Riddle Caper.
Speaker 2 (01:12):
For NDC.
Speaker 1 (01:13):
William Spear Radio's Outstanding Producer Director of History and Crime
drama brings you the greatest private detective of them all.
In the Adventures of Sam's Faith microphone, Iffy, damn, I
(01:37):
get anywhere with it? Never kick on the third down, chirup,
give it another trial. I'm mentally through. Well, you know
that I just give up. Sam, funny little bronze on
your cheek. Go ahead, Yes, Kate, you get warm. That's
what happens when somebody hits you with a microphone. Sleet. Now,
(02:00):
if you look closer, just above the marks under my eyes,
clearly and distinctly in reverse, of course, the three letters
of a network known far and wide for its hospitality
to unemployed private detective sh not here girl, pow. He's
a pencil who knows a sponsor may be listening, Ready
to mister Tracy Abbott. Drake Corton Hotel copied of Dundeet
Homicide from Samuel Spade, licensed number one three seven, five
(02:21):
nine six, subject the Biddle Riddle kper Dear Tracy. It
had a nice conventional start, this one, A nice conventional
phone call telling me to drop up to room four
oh two of the Drake Carpner around three in the afternoon.
But when I got there, I found that over the
nice conventional number on the door was hung a temporary
sign reading Olympic Radio Productions. Tracy Abbott, editor, director and producer,
(02:45):
fitting farewells to a nice conventional part I made bold
end of the door Abbot five fourty eight of Solid
Hollywood was waltzing. Was what I took to be a musician,
composer or some such. We opened coal Bunny like this
now killer large, bang in with the thing see bombump
(03:06):
bump bump bump bump bump bum form a great, big,
wonderful cord there bunny, check check, and then the teaser quote,
don't go away you out there, stick right close to
that radio set of yours, because the next half hour
might put fifty thousand dollars in your pocket. Yes, fifty
thousand dollars will be paid by the sponsors of this
program or information leading to the arrest and conviction of
(03:28):
a killer at large bat tonight. That said, sustain the cord.
Yeah tonight, the murder Tremlo tremlo tonight, the murder of
Carold Stephens. Then got any boo boom bum bom bump
bum form checksh what's that several crash do it again?
(03:50):
Don't need it. Check check big, wonderful lush. That's the
word lush, with scope and sweep and power. I got it. Well,
I'll get as lush as I can with eight piece
of scopes. Importance, got a sound important check check and
boom oh oh, I'm Sam Spade, mister rabbit. Ah, yes, yes, Spade,
glad to see you. Please it on and no. On
the other hand, you'd better stand up. No time to lose.
(04:11):
You have twenty four hours to find a man farming.
Well that's pretty short notice. Howlets a spade killer at large?
Is real? We keep a sensitive finger on the pulse
of the people. Well, that's nice. We deal in real facts,
real people, real crimes, and real criminals. Check. Just how
do you do this? How do you accomplish all this
on the radio budget of today? Now you see before
you stay the mechanical marble which makes this possible. The
(04:33):
tape recorder. You're familiar with the tape recorder. Oh moral
Check tomorrow night at nine pm PSD. With the aid
of the tape recorder, we shall reconstruct one of San
Francisco's more sensational unsolid crimes, the murder of Carol Stephens.
You mean the burless dag three years ago, two years,
eight months and twenty nine days. You remember much about it?
Let me see, she turned up dead on the floor
(04:53):
of her apartment, didn't she check? Victim of the well
known blunt instrument, in this case a bronze bookend carrying
the base room of Abraham Lincoln. Much ado, much you do?
Headlines by the yard, a parade of witnesses, but no arrest. Spirit, Fine,
now what about me? Our show's stay is made up
of the simple, honest, spontaneous statements of the witnesses themselves.
(05:13):
We're set on this one except for one man, the
most important one in the case, of course, Jimmy Biddle,
the doorman at the Broadway Burlesque at the time the
Stephens Girls was killed. Oh knew her. Some say he
loved her. Top suspect until he came up with an alibi.
Our events men have combed the city for two weeks
trying to find him, but no luck. So he's born time.
That's what I thought until this morning. You mean you've
(05:36):
heard from him. I heard from someone who said he
was Biddle. He also said he knew who killed Carol
stevens Andy wanted the fifty thousands, right, I mean check
fair enough. Well, that's what you advertise, isn't it not?
Two people who hang up when you get curious. If
it was Biddle, I've got to record his story. I
want him here by eight tomorrow night. Check well, ell,
since you keep bringing it up, check yes, you can
(05:57):
make it out for a hundred bucks at homicide. I
cased the files on the Stephens sing San Francisco's answer
to the Black Dad, a cheek killing of a cheap
day and a chief apartment that used a lot of
expensive news trenks. She'd taken a last turn under the
blue spot around ten thirty, left the theater and hustled
straight home because at eleven sharp, according to the neighbor
(06:18):
across the hall, someone had tried the Abraham Lincoln bookend
on Carol Versides. She hit the floor just as the
eleven o'clock news came on. Biddle's alibi had to be good,
and it was. It came, as a matter of fact,
from the greatest little alibi factory in tom Biddle was
drinking old fashions with Joseph P. Norgard, the well known
criminal lawyer at the time of the killing. So I
(06:40):
trotted over to Norguard's office on Market Street. Boondom tied
up and settled down in the waiting room next to
a gimlet eyed youth and a neon striped suit who
looked like he made a living sticking up crap games.
He was smiling his nails. Buddy, yeah, buddy, you you
sure you're in your right of office? Buddy? Positive, Buddy,
(07:03):
I just stood I might save you some trouble. So
damn staate ain't it? Hey? You're a smart kid. I
try hard. I still think you'd be wise to blow now.
This is quite a turn you do, buddy, study nice
with Richard Woodmarke. Damn, I told you I want to
save you a bad time. You're a nice guy. Thank
(07:24):
you must be a lot of things you can do
around time to make a buck. Who coming in? I
whyn't you lift it on that chair? I'm not going
to do it, No Guard, and that's fine. I'll get
with you later. Bye, buddy. The guy who busts a
lot of nor Guard's office was flabby, florid, and flighting.
(07:44):
Penstride gave me a last veilful look and sidled out
into the hall after room which was nice because I
was running out a punchlineke I thought.
Speaker 2 (07:54):
I told you too.
Speaker 1 (07:55):
Oh, mister nor Garden, I'm sorry to barge in my state.
I'm a private the t of course you are, and
a hungry one. Well, we're polite in here too. Why
do you say that you're the fourth Today I'm about
to prefar a Mimiografs statement entitled what I know about
the Stephens case? Or you two can make fifty thousand
dollars like a copy. You know, I can't remember when
(08:16):
I've been treated so nice. What do you know about
the Stephens case, mister Longard, It's all in a homicide file.
On the Fateful Night, I ran into Jimmy Biddles. I
was coming out of a bar in Chinatown. He did
the kids, but he used to be a useful friend.
So I asked him up to my apartment for a
drink Cosin, sat him in a chair, made him an
old passion, loaned him five bucks, and hustled him out
(08:36):
fur a lapse time forty five minutes from ten forty
five to eleven thirty pm. And that is all I
have to say at this time. Have you seen Biddles since? Not?
Since the investigation. I don't know where he is now.
I don't know who killed Carol Stephens period paragraph. Do
you think Jimmy knows who killed him? Maybe he says
he does. Oh, where did you see him? He's hungry too.
(08:57):
We worked the same breadline. I'm sorry I said that speed.
Who are you working for? Olympic Radio Productions? Kill her
at large? Yes, they will become of the studio tonight,
record a statement for them. I wonder if I ought
to tell them what I really think. What's that about Biddle?
There's no point in talking around it anymore. I think
(09:20):
he killed her. Oh that's a kneat trick if he
was drinking your liquor at the time. Oh, I think
he did it after he left my place. Two things
place the time of death, the medical examiner's report, which
could be off as much as three hours, and the
neighbor who thinks he heard the girl fall as the
news came on. How reliable is that? Well? I usually
think of those things during an investigation, but they didn't
think hot enough. You say you talk to Biddle? He
(09:43):
called my client. Why he had fifty thousand good reasons,
according to him. You know funny things happen when the
dog gets into it. Bought people don't stay bought. Lost
people get found. Yeah, well I've told you, Orlino speed
if you have no more questions, just one more. Who's
a little weasel on the penstrike? You mean Luke? Yeah,
I like put him out there to scare off the
hungry ones. Nothing to do with you, and the fat
(10:07):
character he's sailing has nothing to do with me either. Huh,
you really want to know? Love to he's a pastry cook.
I'm representing his wife in a divorce section. Thinks she's
Casanova pressure cooker. Eh, shoving nor guard pin stripe on
the flabby pastry cook and I look up later section
of my hat band. I took off for Biddle's last
(10:29):
known address, a boarding house on Pacific Avenue. There I
held hands with a land lady long enough to learn
that A she hadn't seen Biddle since a few weeks
after the murder, but b when last heard A, Biddle
had gone on from the burlesque dame to something even
more extremely female. According to the landlady name Rosalie. Understand
she's boken on the line at the Pacific Ballroom. Red hair,
(10:52):
blue eyes, and boom booms, get me, I got you
Pacific Ballroom? Eh, would you do that last again? Yeah?
Just checking? Thanks, Smith's Lane right here. Hello, Hi, a
(11:20):
lot of lucky girls. You look like your name Onnevie
Rosaline for your side. He got your ticket. Hey, let
me let me know when I used up. Don't worry, way,
you know you're a pretty good dancer. Hiper Murray Class
of nineteen oh six. Only I didn't come here to dance.
(11:42):
Oh I'm looking for Jimmy Billy you know. Yeah, yeah,
I know you a cop, not exactly. Oh, it's a difference,
cop or no cop. You'll find him one of these
days where I'm Miday, maybe with the morgue. He knows
it's a funny pride. He knows it, and you can't
do anything about it. It's got him, Rosie baby. Look,
I know that's a nuts about Jimmy. Let's dance. That's
(12:05):
what you're paying for, isn't it? What? Come on? Where
is he? You're wasting your time. I won't sell him out.
He's through with him, but I won't sell him out.
Oh he he's the tickets. I sought it over to
the soft drink Bompain. Then mold the problem over a
coat for a minute or two. There are ways of
(12:26):
dealing with dames like Rosalie. Some of them are a
little cruel, as this one is going to have to be.
The time was of the essence. I kept out of
sight for twenty minutes or so, watching her dancing in
the arms of our moonstruck plumber, and sidle into a
phone booth. The Pacific Ballroom does not permit telephone conversations
while the girls are working. When I said it with
the police, the plumber was turned over to a new candidate,
and Rosalie came to the phone. Who it's the same Stade, Rosalie.
(12:49):
I was dancing with you a little while ago. What
is it? I found Jimmy Biddle's apartment. Well, what's the
matter with her? That's right, that's I'm afraid so to
see you. Okay, I'll be right over. He didn't stop
for a rap, just taught a zigzagg, follow through the
mob of the main door, and climbed into a cab
(13:11):
at the curve. The driver must have been an old
fan of hers, because they were almost out of fright
by the time my cab got rolling. And that's the
way it was across Market Street and all the way.
Our van asked the marina. Her cab was pulled up
in front of an apartment on Jefferson Street, and she
just gotten out when we slid in behind him. Aya,
you want to go up together, but you said you.
I'm sorry, honey, I know, with a dirty trick, but
(13:33):
now that's no way to do you shut up. A
gold card holder by the doorbell list of the tenants
as W. R. Smith. Mister Smith was evidently not home.
A lady manager in the apartment next to his was,
and after the usual license showing and more than the
usual sweet talk, she came up with the keys. Little
(13:57):
wasn't wealthy, but he wasn't hungry either. Place had the
well fixed man about Tom look right down to the
last crystal Martini glass in the portable bar in the
living room. Next to it was a mahogany desk, in
which were sundry check books and deposit slips, indicating Biddle
had found a phosphorous widow or had been doing rather
well at canasta. A cross shined four in the next room.
(14:18):
Since it was after ten, I wondered why when I
had to take a look. Maybe I was psychic, like
the girl said. There was a tape recorder against one wall,
the same kind I'd seen in your office, Tracy, with
a microphone and a roll of tape, and it half
used up. Holding the microphone of one hand was Jimmy
Biddle in the other hand, of thirty eights. He wasn't hurt,
(14:39):
as I'd told her, he was dead. You are listening
to the weekly adventure of radio's most famous detective, Sam Spade.
(15:04):
This Sunday, there's another outstanding production by Theatre Guild on
the Air. It's a one hour adaptation of the thrilling
Tale of Intrigue in post War Vienna. The Third Man,
Joseph Cotton and Senior Hasso star in this Theatre Guild
on the Air broadcast and Sunday over most of these
NBC stations also means The Big Show, an hour and
a half of the finest in comedy, music and drama.
Tilula will be your hostess, and just listen to a
(15:26):
few of the stars Fred Allen, MARLINI, Dietrich, Danny Thomas,
and Fran Warren. There will be many more too, So
tune in this Sunday and every Sunday for the Big show.
Now back to the Biddle Riddle Caper Tonight's adventure with
Sam Spade. In accordance with chapter five of the Private
(15:53):
Detective's Manual entitled How to Keep Your License, I called
homicide and gave him the facts and figures, then went
back to the study. Jimmy Biddle was surrounded by pops
like part one of the Quota Fine Puzzle. I carefully
reached over his shoulder and pressed the button on the
tape recorder. My name is Jimmy Biddle. The DA will
remember me. We saw a lot of each other during
the week after Carol Stevens hit the deck in her
(16:14):
apartment three years ago, at just about this time of night.
I fooled him. Then I could probably go on fooling him,
but I'm tired of it. I'm tired of living this way.
So here it is. I knew Carol Stevens well. I
was crazy about her, and I will tell us too.
That's why I killed her. Thought I could go on
and on playing Hide and go Seek for the rest
(16:35):
of my life. But sooner or later, this kind of
thing gets too heavy to back around it. You got
to get rid of it one way or another. Period
end of report. I roused the landlady again and we
went over the room together, a helpful type land lady,
and she contributed a thousand odd bits of gossip about
(16:57):
Jimmy Bddle, only one of which struck me as interesting.
She'd come in this morning, she said, to clean his apartment,
and among other things, had wound and set the eight
day clock on the mantels, the same clock which was
now exactly four hours fast. Looking closer at the paper coorder,
I saw a small label pasted above one of the
knobs reading Murgas and Reed recording technicians. Next scene, the
(17:18):
manufacturing section of Sanson Street, a five story building, all
dark at this hour except for a light in the
office on the second floor back, which happily turned out
to be the one Burgas three. Anybody, Oh, what do
you want? Well? A pastry cook? Ah, I'm sorry, we're clothes.
(17:42):
You see office hours nine to five. Now wait a minute,
just a minute, pastry cook. I'm not a pastry cook
sor my name is Murgus. I am one of the
proprietor this year. Just a moment, all right, Sorry, it
was getting cold out in the hall. Oh so you're
Murgers I am, and I don't care who you are.
I know all about it, sir. I know it's into
practical joke. What wasn't a practical joke that tape? You
(18:03):
can march right back to the man you're working for
and tell him he can't buy me off? Is that clear? Not? Very?
There's no use denying it. I saw you in his
office this afternoon.
Speaker 2 (18:12):
When he when he frightened me.
Speaker 1 (18:16):
What is it all all? I pulled out on a
fire escape. I'm trying to see my buddy in the pinstripe.
Sue hit the bottom the alley crazedy. He was blind
at one end, so Luke took off toward the street.
I caught him in one leg. He stumbled, fell, smacked
his head against the brick wall of the alley, and
took the comp I was frisking him when a fowl
(18:36):
cock who heard the shots moved up. I convinced him
I wasn't rolling a drunk and let him to run
back upstairs. Fergus, Fergus, I'm going to get you to
a hospital. Who's Sam Spade? I don't work for no
guide right now, I'm trying to hang a murder rap
on him, told me. It was practical joke. A gage tape.
(19:05):
Jimmy bag the tape. Jimmy rented the machine from you
and made the tape himself.
Speaker 2 (19:10):
Right, yes kee, nor God, what about? Nor God tried
to beat me into it, beat beat me, wouldn't give
it to him.
Speaker 1 (19:25):
Give way tape. He tried the point to the desk
as he passed out, and so this already bubbling stew
We had a crucial typewriter while waiting for the ambulance.
I tasted it and found nothing, and stuck a piece
(19:46):
of paper into it and began to type four quick
drownd foxes that jumped over four lazy dogs. When a
sound changed, I looked closer and tackled a messy job.
I always leave to my secretary. I hate to play
with typewriter ribbons, but this wasn't a typewriter rhythm. Since
said ribbon had come to an end and I was
pecking away at a piece of sound tape. Come on, Rosie, Yeah,
(20:09):
I don't want to, but come on, my Peter read
more tired than they were an hour ago. Okay you first,
all right, now, I'm sorry to say it. I thought
you were lying when you said Jimmy was hurt. Look,
let's not going to that now. He was blackmailing nor Guard, right.
I don't even know who Norguide is. You know Jimmy
was shaking someone down. Didn't you never know where he
got his money? I just knew it was dirty money.
(20:31):
He'd laughed and said he was living high. But it's
not the moment. He never mentioned nor Guard. No. I
just said he was going to make fifty thousand dollars
in a radio program. Did he say how sing? I
thought he was kidding when he showed up with a
tape of and he wasn't kidding then what he wanted
to be alone? He said he was going to make
an audition instead of you was sponsor. That's where he
made the mistake. He sent it to the wrong sponsor.
(20:54):
He figured the hit nor Guard for the biggest touch
of all, thought hearing it might make him dig deeper.
So we recorded his statements to nor Guide for a sample.
But there was something he didn't think of. What do
you mean? He should have studied up on his tape recorders.
Baby with a pair of scissors and a good technician,
Jimmy's eyewitness account turned into a first class confession. The
(21:16):
final phase of the Biddle ddle was, as you will recall,
Tracy enacted on one of the sound stages of a
nation's leading network. Whereas you will also recall, you were
busily transcribing the testimony of various witnesses on the Carol
Stephens case. All you got him there? I'll never know,
but there he was, as big and legal looking as ever,
perjuring himself once more into one of your microphones. I
walked out of the Twins Dragon on Grand Avenue as
(21:38):
I remember it now, Biddle was across the street. He
apparently recognized me, though, excuse me, will you fellas? What slade?
You idiots? You're ruined. I'm sorry, Tracy. Oh, we'll have
to start it over again. Mister Norga, would you mind
if I record a few remarks? Spade, please understand my position.
Biddle's confession has changed everything. The killer is not at law. Yeah, yeah,
(21:58):
twenty four hours I spent recording the show. Now it'll
all have to be done over again. These people at
this hot lissen Tracy. All right, Spade, what is it?
I'm only trying to help. Now, where's Biddle's confession on
the machine. There, we're going to double onto the main tape.
Good now, be a good lad and show me where
your sign is. Stop it? Huh right there? Okay, what
is this space? This is going to interest you, mister Norguard.
(22:20):
Now let us turn to the tape, keeping our eyes
on the spool as it slowly feeds. Jimmy Biddle's last state.
My name is Jimmy Biddle. The DA will remember me.
We saw a lot of each other during the week
after Carol Stephens hit the deck in her apartment three
years ago at just about this time of night. I
pulled him. Then I could probably go on fooling him,
but I'm tired of it. I'm tired of living this way.
(22:42):
So here it is. I knew Carol Stephens. Well, I
was crazy about it, and I will tell us two.
That's why, Ike, there's a riddle for you, nor Guard.
He said, the girl died quote at just about this
time of night, unquote. But the clock struck three times.
We know she died at eleven, And what happened to
the other eight chimes? Patient with me, Tracy, what about it?
(23:05):
Nor Guarden? Well, how do I know the man was crazy? Maybe? No, no, no, No,
he wasn't crazy. Stupid, but not crazy. So we take
this spool of pape off and what's this one? What's that?
This is the part that was cut off. Got it
from the guy who did the spicing job for you,
thinking it was a practical joke or something, And do
you know what you're saying? Yeah, but Biddle says it better.
The last thing we heard was I was crazy about her,
(23:26):
and I was jealous too. That's why I killed her.
Only he didn't say killed her, just that's why. I
was standing outside in the hall way of her apartment
to night she died. I'd seen her leave the theater
with a guy I recognized her, and I followed them
home to her place, heard the argument everything, But I
had no idea kill her until I heard her hit
the floor. Door busted open then, and he came up
(23:48):
looking like a crazy man. They didn't even see me,
just ran down the backstairs as fast as he could go,
and I went in and saw her lying on the
floor dead. And I could have killed him then, but
I thought of something. He's good pay the cash comes
right on time. But I'm tired of living this way.
So there's the story. The man who killed Carol's steeping,
(24:20):
which is as far as fiddles got. Then Norguard had
glad to stand mike and slanted it into the recording
machine and the rubab which followed. He also slanted into
my face, which is why I carry the implant of
the nation's number one network just below my right eye.
So that's about the clock. Tracy, nor Guard and Pinstrid
now lie cheek by jowel and the jail hospitals trying
to think of an honest lawyer will defendant. Why are you, Tracy,
(24:41):
with a third round of interviews before you are considering
pausing out Carol Stephens and doing the shooting of Dan
McGrew period and of report fortu unfortunate you got an
explain about the clock. It was for our song, My Sweetheart.
That's self explanatory. The clock said four, you see, but
it was twelve. It will have been dead an hour,
which makes it eleven carry one once attracting four from
(25:04):
at least seven, and assuming he've been there and now before,
that makes six. Daven what relentless logic? Can't I tell
a re crease Effie on this program, we do not
plug rival products. I'll go and type that up while
I figure this out. Three chimes mean good Times On NBC.
(25:28):
There's mystery and music every Saturday on NBC. For Mystery Tomorrow,
Herbert Marshall stars as the Man Called X. The Man
Called X, There's a man without a name who travels
the world over combating the forces of international espionage and intrigue.
For Music Tomorrow, your Hit Parade brings you the top
tunes in the land, played by Raymond Scott's Orchestra and
with vocals by Snooky Lanson and Eileen Wilson. Thank you,
(26:00):
dear one, I see you by the pearls and your
brow that you have not as yet solved the matter
of the missing chime. Oh why nor God set the
clock ahead when he shot Jimmy Biddles? How to approach this?
Do you realize Norguard cut a hunk out of the tape,
removing Biddle's eye witness account, setting them up as a suicide. Right,
don't make me change my low. Biddle, by his own statement,
(26:23):
made the recording at the time of the murder of
Carol Stevens to win eleven o'clock now. In cutting out
the crucial words, nor Guard also had to cut out
eight chimes. This, he realized would be noticed, so he
set the clock ahead to make the number of chimes
gibe chime's gibe chime. Jibe Nice Wing, Sam, We'll be
(26:46):
all right with you if I just say I understand
what I really don't sure, sweetheart, I'll just type an
answer the phone, and you use your seat and your
and together we'll end up, I know, with good night,
good night, sweet Yes. The Adventures of Sam Spade are produced, edited,
(27:14):
and directed by William Spear. Sam'spaide was played by Stephen Dunn.
Loreen title is Effie. Script for Tonight's adventure by Harold Swanton,
Musical scoring by lud Gluskin, conducted by Robert Armbrister. Join
(27:41):
us again next week, same time for another adventure with
Sam Spade. Enjoy the Magnificent Montague then Duffy Savern on
MVCO
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