Sam Spade - Old Time Radio - The Hail and Farewell Caper

"Sam Spade" is a radio show character inspired by the fictional private detective of the same name created by American author Dashiell Hammett. Sam Spade first appeared in Hammett's 1930 novel "The Maltese Falcon." The character quickly became synonymous with the hard-boiled detective archetype: sharp-witted, morally ambiguous, and navigating the murky waters of crime and corruption.The "Adventures of Sam Spade" radio show aired from 1946 to 1951, primarily on the NBC network. It brought the character to life for listeners across the country and further cemented Sam Spade's place in detective lore.A few key features and details about the show:

1. Star Talent: Howard Duff was the most famous voice behind the character of Sam Spade for the majority of the series. Lurene Tuttle played his secretary, Effie Perrine, who often became involved in his cases and provided a touch of humor to the show.
2. Format: Each episode typically began with Spade recounting his latest case to Effie, who would then type up the report. This storytelling technique allowed for a mix of past-tense narration and present-tense dialogue, immersing listeners in Spade's world.
3. Tone and Style: The show adopted a somewhat lighter tone compared to the gritty realism of Hammett's novel. While there were still dangerous situations and moral dilemmas, the radio series often incorporated humor, especially in the interactions between Spade and Effie.
4. Popularity and Legacy: "The Adventures of Sam Spade" was popular during its run, receiving positive reviews and a strong listener base. The show's success is a testament to the lasting appeal of Hammett's character and the broader allure of detective stories during the golden age of radio.
5. End of the Series: The show faced challenges due to various factors, including political pressures during the early Cold War era. Howard Duff was blacklisted for a time, which contributed to the end of the series.

"Sam Spade" remains a defining character in detective fiction, and the radio show is an important part of his legacy. For fans of old-time radio and detective stories, "The Adventures of Sam Spade" offers a nostalgic trip back to a time when the lines between good and bad were blurred, and mystery lurked around every corner.


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Episode Transcript

(00:00):
The National Broadcasting Company presents the Adventuresof Sam Spade Detective Sam stan Detective Agency.
Me, sweetheart, stop take iteasy. The papers are on the
street. I saw the show,did I. There'll be some red faced

(00:23):
editors ducking behind their green eye shadestomorrow. What do you mean You don't
pint up the score until the returnsare all in f This applies to presidential
elections, boxing matches, and executionsat San Quentin Prison. You mean Willie,
I mean Willie. Batten down thehatches and turn over your poam rubber
cushion wonder girl for even now.I'm homeward bond with a stride by a
stratacon of a twelve hour marathon whichI shall call for obvious reasons. The

(00:47):
hail and farewell caper friendscribe for MBC, William Spear, Radio's outstanding producer director
of mystery and crime Drama, bringsyou the greatest Private Detective of Mall,
starring Stephen Dunn in the Adventures ofSam Spade. I've been ron heavy right

(01:15):
in here this minute. Have Idone some? That's what I was about
to ask. Have you been stickingyour delightful freckle cupboard upturned little nose into
my schnuff's bottle. Now answer me, girl, and you know I don't.
All right? Then, who thenervous of a man who was here
did open the door to find apencil and paper? And and even know?
Okay, you're clear? Dam Whatabout the little man? A good

(01:38):
and leading question, I f shallwe attempt answer? I'm not ready to
him? They fell it in toJustice Edward Benjamin, State Supreme Court,
from Samuel's Fade License number one,three seven, five, nine six,
subject the Hail and Farewell Caper.Dear Justice Benjamin. My relationship with the
spendled little man goes clear back toa week ago Thursday, possibly even before

(02:00):
that, but that was the dayI first noticed it. I remember it
was Thursday because I was having cornbeef and cabbage at Schroders with him.
It was a glass of water atthe next table. He was paying little
mind to the menu, having decidedto spend the lunch hour staring at me.
A couple of times, he putdown his glass of water and pushed
back his chairs. If he weregoing to come over and talk fucked,
he changed his mind. I putaway the corn beef and cabbage and was

(02:23):
halfway past the pie when he finallydid it. Excuse me, sir,
Hello you, sir, I'm misterSpeed. I am the Detective, Sam
Spade, Detective agenty at your service, sir. Now what can I I
I you see? I? Doyou have a match? I gave him

(02:47):
a match, and he thanked meand went out. On Friday, I
saw him in Ben's Grotto over aplate of wrecked soul. He got just
about his far. Then he returnedthe match. Heel over the following week.
I saw him four times, onceas I was going into a show,
once at the post office, andtwice as I was going into my
office building. Each was the same. We get up to the point where
he's about to tell me something.Then he backed down and asked me what

(03:07):
time it was, or did Ihave a horse in the fifth at Golden
Gate, or would I lend hima cigarette? Then he'd bustle off as
fast as his Spenley little legs couldcarry it. And thus matters stood yesterday
place my office time one thirty sevenpm, Sam Spade, mister Speed,
is this this is a gentleman whois Yeah, don't tell me. I

(03:30):
know the voice? Now, whatis it? This time. I like
to see you, mister Speed thatmust see me. I know I'll save
us both the trip. The dayby is April twenty six. The time
is one thirty eight pm. Alltraining planes and street cars are leaving on
schedules and for the favorite a goldengate tomorrow consult youre near his book,
please, sir, Please, misterSpad, please do the jest. This

(03:50):
is a mater of life and death. I say fine, and I'll see
you tomorrow for lunch. Uh.I won't be here, mister Speed.
Oh where you be? Did look? Look? I'm tired of this,
mister Spinley. Give it to mestraight or sign off? Now? What
is it? Gotta listen to me, mister Spade. It's most important,
he said, life or desig life. Hello, mister Spinley. Hello.

(04:19):
It almost seemed as if he werein earnest this time, so I didn't
hang up. I hustled down thehall to the next office, found another
pole and sweet talked a supervisor intotracing down mister Spinley. It was a
paybook in a drug store. Iwas at the Park Emergency Hospital. The
clerk in the drug store was justgetting over it when I punched in Spindley
had collapsed in the booth and hadbeen hauled across the street to the hospital.

(04:41):
On the bed there. Oh thanksdoctor life and death. Mister Spade,
terrible. You gotta stop it.It's murdered. He's been muttering like
that ever since we brought him in. Hop hunh the legal kind you see
before you an overdose, the sleepingtablet. I mean he trying to kill
himself. I can't think of aneasy way. Anyone could feed him?
Two full bottles? Can you pullfor? Probably the game. I'm a
good pumping don't let don't do misterdo don't carry on? So but I

(05:06):
know you missed up, all right. I know who is to get easy.
He's got a lot of strength fora little guy. Mister Doe,
no name, nothing to identify him. Funny thing, man, what do
you mean? I almost guarantee theman's undernourished, hasn't eaten for days,
shabby clothes and so one. Lookat the roll I found in these pockets?

(05:28):
How much? Almost eight hundred dollars? You know? Do you find
anything else? Yeah? This?What do you make of it? Yeah?
Front page of the Star Times.It's a gally proof isn't it kind
of run off in the line oftype room before they start the presses.
Yeah, Chiller dies tonight, WillieJohnson hitchhike murderer to and her gas chamber
at midnight inosent in. You go, mister Doe. But I know who

(05:51):
did? I know everything everything.I know the frame. It's his skill
up a frame. You mean WillieJohnson, I know it was it was.
It was Hail farewell, sir farewell? Who was it? Come on,

(06:13):
mister, don't wake up. It'sto Doe. Yeah, I was
waiting for that. Hit him likea ton of bricks. He'll be in
communicat over the next twenty four hourslonger Hail and farewell, a broken down
actor h Only an actor would thinkmore of an exit line than an innocent
man's neck. You mean you believehe I don't know what I believe.
The guy's been trailing me for tendays, driving himself nuts, tries to

(06:36):
knock himself off. It's a sinch. He believes it. There's no chance
of bringing him around before tomorrow.As Willie Johnson dies tonight, So what
happens? So I'm stuck for taxi? Fair to San Quentin believe in him,

(07:00):
believe in Willie Johnson. Yeah,I know you're his lawyer, mister
Grayson. I'm his lawyer because Ivolunteered to sapia. Mister Spade, I've
been in the law a long longtime. I've defended a lot of phonies.
Sometimes you've got you if you wantto eat. They all sing the
same song I was framed. Oh, I know all eighty nine verses.
But Willie, Yeah, Willie's songis different because Willie Johnson's an innocent man.

(07:24):
Willie was framed four appeals, fourappeals, four stays, and we've
had our last one. It's foldedup in our spade. I'm going to
take the walk with him at midnight, So do something for me, will
you sure? Sir? When whenyou've walked into a cell, Remember you're

(07:45):
talking to a man who's going todie in less than eight hours. We're
trying to we're trying to build hisspirit up so he can go out with
the pella is fine? You know? Yeah, don't give him a lot
of false hope, Spade, becausebecause there isn't any I don't quite understand,

(08:13):
mister Spath. So I told mystory so many times, I uh
I like to write something about youfor the papers, will he? Oh,
yes, sir, all the newspapers, gentlemen, didn't you? And
gong? Yeah? I know?Could you tell it? Just one smart
will I? Well, all right, sir, it's more than a year
ago. I guess you know that. Yeah. I was broke. You

(08:33):
know, things hadn't been going sowell, sir. I was down on
my last two bits. At night, I walked into Sherrif Dugin's. That's
a bar on my wonder front.Yes, sir, I got to talking
with a fella sitting at the barthere. He bought me beer. Who
is he? I never did findhis name. I ain't seen him since
that night. If I could findhim, I don't reckon I'd be where

(08:54):
I am, sir. He hada paper with him, was reading the
classified ad section, you know,the part about Otto's transportation so on.
You know, Well there was anad there. I'd say, we'll pay
five hundred dollars plus the expense todrive car to Mexico City with a phone
number. And the fella said thathe were in my shoes. He'd called
up and quiet, so I did. I'm quieter and I got the job.

(09:18):
Well, sir. About an hourlater, I met a man with
a cart, Southern Mason, bythe gas station there, and he'd give
me the five hundred and I startout for Mexico City. It wasn't really
never found his name either if wetried to, mister Grayson and me never
could find him. I see,well, it was raining that night,

(09:39):
sir, I remember raining, andI hadn't gotten Moan fifty miles south of
town, somewhere around Morgan Hill.It was when Sirene blew off behind me,
and the first thing I knew wherethey was asking the questions about a
girl, a girl named Georgia Lyon. It was her car, it seems,
and that the officer claim I stoleit. They they made me raise

(10:00):
my arms and they searched me,and there was a knife in my pocket.
You see what would blood on itthere and I don't know how it
got there, and the five hundreddollars that had blood on it too,
and there was blood on the seat. And when they opened the turtle back
there she was this joji a line. I told you all double up there
and dead, And they said I'ddone it for the money in the car,

(10:24):
and I guess I just went crazy, mister Spade, with her with
this whole coming at me at oncethat way, You see, I tried
to make a break for it,and I got away, and I knew
it was a terrible wrong thing todo. I know that. Yeah.
What about the trial, Well,so mister Grayson done everything in his powers,
and so did I told the truthas close as I could recollect it,

(10:46):
but it didn't make no sense.We never found a man in the
bar, or the man who droveup in the car. What about the
phone number there all that that turnedout to be a fancy dress that turned
out to be a fancy dress shopon Powell Street, color Mason Francine and
the classified ads that that was thequeerest thing of all. What do you

(11:09):
mean, Well, mister Grayson wentthrough every newspaper in the country for two
weeks either side of the night,and there wasn't any such add in any
of them. So they said Iwas lying. They said I was lying.
I made it all up in myhead, and now they're going to
kill me for it. Yeah.I don't know, mister Spade, I've
heard so long now. Maybe Idid kill her. Maybe they're right,

(11:31):
Maybe they're right. But there wassomething in the way. He said,
maybe they're right. I told youthey were wrong. I thanked him and
told him I had what I wantedfrom my story and said goodbye. There
was no hope in his face,but no despair either. He knew what
was coming and he was ready.And that's all. I hit the homeward

(11:54):
bound commuters on the wrong side ofthe Golden Gate Bridge. So it was
almost seven when I checked in aCherry Dugan bar on the waterfront. A
girl was sitting free stools down fromme, a class type dame and a
black file suit from Magnums and ahat that must have set some good time
Charlie back fifty bucks. That's thekind of a dame you'd expect to be
sitting in Sherry Dugan's, least ofall as drunk as she was telling her

(12:15):
yard Jack, thank you. Wait, wait a minute. This is a
one man operation, isn't it.O. Yes, Why well, then
you'd be Sherry Dugan. No.No, I brought the joint from Sherry
a few months back. Why well, I'm I'm doing a story for the
papers on Willie Johnson. Tell me, was Sherry here on the big ninth?
Oh? Yes, yes, yes, only Woodley Johnson wasn't you could
look it up? What Sherry?Just about? Where is he? Now?

(12:39):
There? He'll say? You knowwhy why Cherry has brains for a
man in his shoes. There's nobetter place right now in South America?
Oh, tell me more. Heneeded to rest the worst way Sherry did.
Joe's been true. Tending bar canbe difficult at times, right,

(13:03):
Tim, Yes? And do youshow me a good bott and I'll show
you a bard diplomatic I'm more.Besides, Oh, here's the Sherry wherever
he is, Keep running, Sherry, keep running. You know, Sherry
is like a dog running away froma can tied to his tail. We

(13:24):
all are? Who's we? Allof us? All of us the world?
Give me another drink? Tim,don't you give me any lip?
This is a first class week.Isn't it a send off for Willie?
Isn't it? What are you doinghere? Just sometimes? George said,

(13:46):
ask come on, we're going home. Take your time, George, two
of the members present, one more, we'll have a quorum. Pour him
a drink, Tim, do youwant me to carry out of here?
Might be fun? Daddy facing thefloor? Now, come on, you
know something. George, you've gota can tied to your tale. Two.

(14:07):
No use running, George, You'reright at your head? Whatever made
you come here? Kind of appropriate, don't you think? Special? Night?
Tonight? What glass? You'll fixit us a week? Not here
we are? Are you coming?All right? Where we go? Ye?

(14:30):
Silly you? How about hold it? How much to show you?
That's three forty five? Here?Worthy? I tell me who is she?
H? Model? Some shop uptown? Oh, like the Maison Francine
for instance. Oh do you knowthat's the hunch? What's your name?

(14:52):
Well, Marlyn Hale? Her oldman runs the Star Times. You know
the publisher. The guy is hispartner, George Farewell. I started the
firm a l and Farewell I had, but it was a slightly different reading
from the one mister Spinley gave meat the hospital. I looked at my
watch. Willie was four and ahalf hours from the end of the line.

(15:15):
When I took off of the pressroom at the Star Times. You
are listening to the weekly adventure ofradio's most famous detective, Sam Spade three

(15:41):
times being Good Times on NBC.There's fun and music for you tomorrow Evening
with the Dennist day show, There'llbe songs by Dennis and another typical tangled
comedy situation, the kind of hilariousmix up that could happen only to dennist
Day. And now back to thehail in farewell cap for tonight's adventure with

(16:03):
Sam Spade. Time eight eleven.I got out of the elevator in the
basement of the Star Times building onMission Street and started looking for the press
room foreman, somebody named Joe Fordesque. I finally found his feet sticking out
from under a sick linux. Ipulled him out and tried to make him

(16:25):
understand what I wanted. Yeah,I know, I know. You mean
an old little baby like this guy. I can't hear you, I tell
you, little baby like you guy. Yeah that's the guy. What about
come on? Go ahead? Youfirst? Ah? How who is he?
Charlie Forest? I know, butthat's not what I trimed off his
rocker for a year? Look yousee that picture on the wall over your

(16:45):
head. Yeah that's mister Hale theiron fist won't teller, ain't no inefficiency,
you understand. But this scroup,all this Charlie Forrest, I personally
can him twice and both times ironFist sends it back. Tom Ye,
So don't make no never mind tobe brother, leave him come to work,
stude all the time, leave himlay off of two straight weeks like

(17:06):
this time. Don't make no nevermind? Yeah, yeah, no,
Look, I'm up with you now. How long has Charlie been this way?
A year or so? I knowjust when it started, when Willie
Johnson was hauled in on the hitchhikingkilling. Right, Oh, you've been
talking to Charlie. Huh yeah,a funny thing. How that hit him.
You'd find him sitting in a cornerby himself, mumbling all the time
about the guy being innocent. Whatdo you suppose Charlie had to do with

(17:27):
that? I don't know, gotreal crazy, told the end, you
know, said he was killing WillieJohnson. And you'd ask him with what
he'd say, a liner type machinein a hunker newsprint. One day,
he even offered to prove it,you know how, I don't know.
He said he had proof. Hesaid he had the evidence. It would
say Willie's neck in his room wasthe office trolley. I've gotta find out

(17:47):
where he lives. They don't knowupstairs. I don't know we don't know
downstairs neither. He moved out ofhis apartment three weeks back, and don't
nobody know where he went. Lookhe was in this morning. Picked up
a Gallley proof of page one.That's right. Yeah, I'll tell you
who might know where to find him. Come on, come on about tennith
Parky leave here. I said hewas gonna look him up. Somebody is
somebody named Spade. Thanks same Spaine. He's a detective that remains to be

(18:11):
seen a message day, A bandylike a little guy named Charlie Firestaff.
He must have been in around tenten thirty this morning. I didn't get
here till eleven. They're still clearingstuff off the tracks from the Macarthury set.
Yeah, never mind that. Nowlisten write this down. Oh we're

(18:33):
left on a piece of paper.Hurry up, Yes, here, out
of the ash tray. Go ahead. There called Jeremy Grayson. He's a
lawyer and he's with Willie Johnson anda death row at Quentin. Tell him
to get hold of a justice onthe State Supreme Court and hold the line
open. I get him. Yougot that, yes, sir? Is
there anything else? Oh, I'llget back to you A little while.
We got to go hang up,what's the matter paper, I'm riding on
him the ashtray. It's a nose. Go ahead, mister stay. Please

(18:56):
contact me at once Charles W.Foster Flour Hotel three three eight Falcon Street.
It took twenty more minutes to crosstown and ten on top of that
to convince the clerk at the BellflowerI had a right to the key to
Charlie's room, which I had not. I tossed the room from the light
fixture to the floorboards, covered everythingfrom the window shades to the bathroom plumbing.

(19:18):
Result one batch of dirty laundry,six soggy cigarettes, and two empty
bottles of sleeping pills. I wason my way out when I remembered one
more thing. It wasn't an accidentlike in the movies. It was on
purpose. I unscrewed the tops ofthe iron bedposts inside Number three. I
found it. There was a payphoneat the end of the dark hallway.
Sam, I warned you about this. We've had four stage. They won't

(19:41):
come through with a fifth. I'vegot a fair hole card, Grayson.
Did you get the judge? Yeah, Benjamin State Supreme Court. What do
he say what I knew. He'dsay, no evidence, no stage,
how him, I got evidence?It better be good, said it is
a phony newspaper, a copy ofthe Star Times for the night of the
murder, with a special page inthe classified section carrying the ad that Willie
answered, does that sound You've gotit? Now? Yeah? For fore

(20:02):
sake, hang on to it.I'll get back to the judge. Say
wait, a who's behind It's along story. I'll tell you when I
see you. Hang up? Whenyou what? Spade? Spade? Hang
up, brod kidd you Hey,that's it. You can turn around now.
Well, iron Fist, we've met. I've seen your picture, mister
Hale. It flattered me, nodoubt. Give it to me. What

(20:25):
the paper is stupid? I haven'tread the Funnies, all right, mister
Spade, if you'd read it,Iron Fist knew other games besides publishing.
He moved up. I went forthe gun, which suddenly wasn't there,
and he was giving me a fastdemonstration of judo for a beginning. First
thing, you know, I wassprawling on the floor and he was looking

(20:47):
down at me along the barrel ofhis thirty eighth I could kill you.
I suppose, But why why?He backed off toward the windows, spread
out the paper and crumbled it up. Now you know what you're doing with
that match, Hale, You're burningWillie Johnson at the stake. He touched

(21:11):
the match to the pile of papers, watched them players suddenly lighting up the
entire hallway. He looked like amedieval devil. I'm sorry about Willie's spade,
but it has to be, That'sall it has to be. What
did you have to do with GeorgiaLyon? Nothing? Nothing at all.
And her name wasn't Georgia Lyon,really, it was a stage name.
Her real name was Farewell, yourpartner his way by Spade. Didn't you

(21:33):
read the testimony at the trial.He was leaving George that night. She'd
made a noble decision to walk outof his life and leave him free for
your daughter. I'm Maryland, that'sright. And it was such a tragedy.
Georgia had to run into Willie Johnsonthe very night she left. Wasn't
it, Spade, wasn't it?He bent over the fire, watched it

(21:56):
die down into a pile of ashes. I was looking at something else.
A draft from the stairwell behind me. Had picked up a glowing scrap and
set it down at the foot ofa sleezy window curtain behind him. M
m hell, that's it's made.The last of Woodie Jones, the last
of what. I hit him atthe knees as the curtain went up in

(22:18):
a blinding flash. No judo thistime, just an old fashioned hammer.
Lit here we go. Come on, give me that gun. No break
your arm, your heart? Yeah, that's better. Now get up,
Get up, hell stop hell,carton in my Legas he hit the top

(22:42):
of the stairway, he took offlike an eagle, lit on his neck
halfway down and top of the restof the way like a loose packed sack
of laundry. He was dead whenI got to him. Score. With
an hour and five minutes to play, no evidence, one dead witness,
one unconscious, one, one killer, and a pump was at large.
There was only one way left togo, and I took it. Lark

(23:11):
Place, George Farewells apartment. That'sthe pentoff yeh, see home. I
don't know what's the matter up there, sir. I think something's wrong,
awfully wrong. He went up thereearly this evening with the young lady,
and the door to the roof islocked at the eighth floor. That's never
happened before any other way up.Or you might try the fire escape if
it's urgent. It is so Iclimbed the fire escape at the eighth floor

(23:36):
and went up onto the roof,or rather into George Farewells patio. I
worked my way through a maze ofpotted shrubbery around a fish pond with a
fountain in the middle. Piano musicwas coming through a pair of French doors.
But before I saw where the musicwas coming from, I knew it
was the radio and not the piano, because the piano of fourteen foot grand

(23:56):
that George Farewells sprawled across the keyboardwith a bullet threw his head. I
crossed to the set of French doorson the other side of the house.
There I saw her standing up onthe three foot parapet surrounding the roof,
looking eight floors down into the street. Don't come any cooks, You're not

(24:18):
really gonna jump maryln. He didit his way, I'm gonna do it
mine. Don't come any closer,don't I won't. So George shot himself.
Huh, why not? Can't gothrough lices. It can tie to
your tail. No running away fromthat, No, there isn't. Well,
you're gonna jump give me time.Oh you want to do it the

(24:40):
dramatic way, don't you, Marilyn. Only thirty five minutes left until Willie
checks out over the ship, andto make it really ironic, you'll want
to take off before he does.Right, the one person left who can
say them. I talked to Willie, Marilyn. He must hate the world.
He doesn't hate anybody, poor jerk. I think he'd feel even sorrier
for you throwing your your own lifeaway while you can still save his.

(25:02):
You can't run away from this tencan, but you can untie it.
You can climb down off that walland right over to Quenton with me.
You can tell him George Farewell killedhis wife. Be the three of you
and the little lioner Typer made apigeon out of Willie. Huh, oh
my breath. She swayed, lookeddown into the street, poising herself.
Then she turned round and stepped ontothe roof again. Let's go. Congratulations.

(25:32):
Yeah, oh my, George Farewelldidn't stab his wife that night?
I did. We pulled up atQuentin with six minutes to spare the foregoing
Justice Benjamin has submitted and supported thestay of execution granted Willie Johnson and will

(25:57):
be set forth into tail in misterGrayson's but for a new trial period and
of report. She really considers,what can I say? Well, I
have one constructive suggestion. I couldsay you're the greatest, finest, most
wondering. Yes, but you'd onlybe repeating yourself, Jaron. The proper
line at this moment is I shallhave the report ready for you immediately following

(26:21):
the next announcement. Right scoot threetimes mean good times on NBC Listen to
the stars on This Sunday's Big Show, Jimmy Duranty, Effe Mermann, Milton
Berle, and Gordon McGray, plusMeredith Wilson and his orchestra. You're MC
on the Big Show, of course, is the Glamorous Toulula. You're invited,

(26:53):
Sam, here's the report? Ohyeah, yeah, what are you
writing? Sam? Alec has thisman of the World dashing Debonair Cosmopolitan temporarily
at Liberty desires employment. Sounds wonderful, Thank you? What does it mean?
All right, we'll drop it downa few notches. Private investigator,

(27:14):
accomplished raconteur, will tell troubles tolistening public. Nice telephone voice contact Sam
Spade, One East forty eighth Street, New York. One East forty eighth
Street, my address during the summermonths. Charr have you got it?
One East forty eighth Street, NewYork City. Maybe a lot of people

(27:34):
will write Sam. I'm sure theywill. Thanks, so they're always be
a Samuel Stade Incorporated. Will therelook smile through the tears saying I am
the day will come soon again.When when the phone will ring, and
you will say Sam Spade Detective agencyesand I will say me sweetheart, walk

(27:59):
up, old girls, Southfella,stiff upper lip, good show, revol
hale and farewell, good night.Sweet to Night's Transcribed Adventure of Sam Spade

(28:26):
was produced, entited, and directedby William Spear. Sam Spade was played
by Stephen dun Loreen Tuttle as Effie. Also on the cast for Junius Matthews,
Oland Souleet, Wally Mayer, SidneyMiller, Kathy Lewis, Paul Freeset,
Max and lou Merrow script Fortnight's Adventureby Harold Swanton. Musical scoring by
lud Gluskin, conducted by Robert Armbruster. This is MBC, the national broadcasting company.