Mr. District Attorney and Sam Spade

Summary

Case Closed! Podcast Summary

Episode: Mr. District Attorney and Sam Spade
Date: November 5, 2025
Theme:
A classic double-feature of radio crime stories from the golden age, featuring an episode of Mr. District Attorney ("The Case of the Dead Reporter," April 5, 1953) and The Adventures of Sam Spade ("The Insomnia Caper," October 24, 1948). Each story delves into noir investigations, featuring courageous but fallible heroes facing murder, organized crime, and deception.

---

Story #1: Mr. District Attorney – "The Case of the Dead Reporter"

(Starts ~00:24)

Main Theme

The district attorney, Paul Garrett, investigates the murder of an investigative reporter, Tom Carter, uncovering a tangled web of organized crime, deception, and betrayal within a city plagued by a crime wave.

Key Discussion Points & Plot Developments

• Opening Monologue (00:24-02:09)
  Mr. District Attorney (David Bryan as Paul Garrett) reflects on his duty "to defend with equal vigor the rights and privileges of all its citizens" and fight the "disease in the bloodstream of democracy"—crime.

• Inciting Call & Murder (02:11-03:29)
  Tom Carter, a reporter at the Daily Clarion, calls Garrett claiming to have discovered the identity of “Mr. Big,” the mob boss. The call ends abruptly as Carter is apparently attacked.

  • Quote:

    “Mr. Garrett, I'm sure glad I caught you in. This will knock you right out from under your hat. I'm just about certain I know who Mr. Big is.”
    (Carter, 02:42)

• Investigation at the Clarion (03:48-06:43)
  Garrett interviews Carter's colleagues (Harris and Walker) and discovers Carter has been killed. The clue "Venus” is mentioned—a possible witness or accomplice.

• Leads from the Expense Ledger & the Club (06:44-10:31)
  Carter’s expense records lead Garrett and his assistant Harrington to Club 711, owned by Harry Trigo. There, “Venus” is identified as Loretta Nelson, who had connections with both Carter and Trigo.

• The Threatening Note (10:03-10:43)
  Dippy, a pickpocket, produces a threatening note addressed to the newspaper—"Better lay off or the undertaker will lay you out"—which Garrett collects as evidence.

• Bombing Incident (12:23-13:19)
  At Walker’s apartment, Harris (the publisher) takes Walker’s car to the office—only for it to be destroyed by a car bomb, killing Harris.

  • Quote:

    “A bomb on the starter... For me? That bomb was meant for me. Now I've got two deaths to avenge.”
    (Garrett, 13:19)

• The Hunt for "Venus" and Dippy (15:00-16:51)
  Garrett and Ms. Miller follow leads to locate Venus. She is evasive but clearly anxious about her safety, revealing her relationship to both Carter and Trigo but denying deeper involvement.

  • “I'm so frightened. Take it easy.” (Venus, 17:39)

• Climactic Confrontations (18:01-24:59)
  Dippy is found mortally wounded and points towards George, Trigo’s henchman, as being involved before dying.
  The investigation leads to Trigo’s hideout at Lake Pinewood, where a shootout results in Trigo being killed. Venus tries to frame Walker, but Garrett reveals she was the true murderer, using the opportunity to cover for her and Walker’s criminal plans.

• Final Reveal & Arrest (24:59-25:26)
  Garrett unravels the scheme:

  • Walker—the city editor—was “Mr. Big,” using the newspaper as a front for crime.
  • Venus loved Trigo but helped set him up.
  • All are apprehended.
  • Quote:

    "The rats are leaving the ship, Chief. ... Oh, no, Harrington. They've gone down with it. ... I just wish one thing... that Tom Carter were alive to write this story."
    (Garrett & Harrington, 25:26)

Notable Moments & Quotes

• On Police Work:

  “It can be a very frightening thing to see the ruthless force of organized crime at work. As district attorney, it was my sworn duty to follow through on every lead, no matter how thin. To put a stop to the unleashed terror.”
  (Garrett, 14:19)

• On Justice:

  "The people heard the truth about Walker, about the Venus and about George. ... And as always, the people made their decision and ended the career of these hoodlums."
  (David Bryan epilogue, 26:14)

---

Story #2: The Adventures of Sam Spade – "The Insomnia Caper"

(Starts ~27:48)

Main Theme

A hard-boiled, sleep-deprived Sam Spade gets drawn into a convoluted case involving a neighbor in distress, a violent sailor, a murdered man, ship models hiding narcotics, and a cast of unreliable witnesses. The tone is lighter, with classic Spade wit and cynical humor.

Key Discussion Points & Plot Developments

• Spade’s Insomnia & Introduction (28:05-29:41)
  Suffering from sleeplessness, Spade encounters a woman (“Doreen Dubar”) from the building across the alley who claims to be afraid of her violent seaman boyfriend, Dan McCrae.

• Bedroom Confrontation & Brawl (31:31-34:37)
  Dan bursts in, accuses Spade of interference, and a fight ensues. Doreen disappears in the confusion.

• The Murder of Frank Shepherd (35:21-37:47)
  Dan calls Spade in the middle of the night—Shepherd has turned up dead on his ship. Dan, confused and fearful, asks Spade to clear him.

• The Belt Buckle Mystery (37:47-38:50)
  Spade inspects Shepherd’s body and finds an odd belt buckle with a steel prong—potentially the murder weapon.

• Kafkaesque Investigation (40:13-42:56)
  Police Lieutenant Dundee investigates, casting suspicion everywhere. Spade’s confusion mounts when the “Doreen” he meets is an elderly woman who claims residency for decades, with her brother Sven, who is crafting ship models.

• Revelations and Twists (44:03-47:46) Dan recalls that Shepherd was a federal agent investigating a narcotics ring. Shepherd’s role as an undercover narcotics cop is gradually revealed through dialogue and evidence.

• Climax at Balboa Apartments (46:59-48:42) Spade uncovers that Sven has died of natural causes (or possibly stress), and Mrs. Brownrigg, the elderly Doreen, is complicit. A hidden lock mechanism and narcotics are discovered in burned ship model remnants.

• Wrap-Up and Spade’s Signature Wit (49:42-51:15) Doreen clarifies the narcotics plot: she discovered drugs in the models, was used as an unwitting dupe, and tried to seek help. Mrs. Brownrigg is revealed as the mastermind, but Spade maintains his droll detachment.

  • Quote:

    “Did it ever occur to you that some people, especially old feeble people, just die quietly sitting in a chair? ... The point is, Effie, it does happen. Never in detective stories. Only in real life.”
    (Sam Spade, 50:14)

Notable Quotes & Memorable Moments

• On fatigue:

  “Medical authorities agree that lost sleep can never be made up.”
  (Effie, Spade's secretary, 28:51)

• On the absurdity of nighttime cases:

  “I dreamed the whole thing. But those ship models, I didn't dream them. McCrae mentioned them. The girl mentioned them.”
  (Spade, 42:48)

• On Realism in Crime:

  "Never in detective stories. Only in real life."
  (Spade, 50:47)

---

Timestamps for Significant Segments

• Mr. District Attorney – Case Opening: 00:24

• Carter’s fatal phone call: 02:37

• Discovery of Carter’s body: 05:19

• Venus connection uncovered: 09:10

• Bomb kills publisher Harris: 13:15

• Showdown at Trigo’s cabin / Unmasking the criminal bosses: 22:00-25:13

• Sam Spade – Case Opening: 27:48

• Doreen’s appeal for help / Apartment skirmish: 31:33

• Discovery of Shepherd’s body: 37:19

• Police confusion with the "wrong Doreen": 41:04

• Discovery of drugs in ship models and case wrap-up: 48:11-50:14

---

Tone & Style

• Mr. District Attorney:
  Serious, earnest, invokes a sense of public duty, and features hard-hitting dialogue on justice and crime.
• Sam Spade:
  Irreverent, sardonic, and driven by Sam’s dry wit even as the case spirals into chaos and confusion.

---

Summary

This episode of Case Closed! presents two mystery classics, each showcasing the best of Old Time Radio’s blend of intrigue, deduction, and period character. In the first half, "Mr. District Attorney" delivers high-stakes investigative drama rooted in civic responsibility and the perils of organized crime. The second half, "The Adventures of Sam Spade," provides a tangled and playful noir romp through insomnia, mistaken identity, and a ship model drug ring—punctuated by Sam Spade’s legendary wisecracking. Both shine as icons of the genre, mixing suspense, surprise, and a touch of tongue-in-cheek commentary on the detective’s lot.

Transcript

[A]

Welcome back to Case Closed. One hour of mystery from the golden age of radio. Every Wednesday@ Relicradio.com. our first story comes from Mr. District Attorney. We'll hear the case of the dead reporter from April 5, 1953. After that, it's the Adventures of Sam Spade and the Insomnia Caper. His story from October 24, 1948.

[B]

Mr. District Attorney. Starring David Bryan. Mr. District Attorney, Champion of the people, defender of truth, guardian of our fundamental rights to life, liberty and the pursuit of happiness. And it shall be my duty as District Attorney not only to prosecute to the limit of the law all persons accused of crimes perpetrated within this county, but to defend with equal vigor the rights and privileges of all its citizens. This is David Bryan. In a moment, we'll bring you another case from the files of Mr. District Attorney. But first, a word from our sponsor. And now here is our star, David Bryan as Paul Garrett. Mr. District Attorney. It has long been recognized that crime constitutes a disease in the bloodstream of democracy. A disease so serious that it can even threaten the life of a nation unless it is fought fearlessly. At every turn, crime can build into itself an organization of such magnitude that it could conceivably put a stranglehold in.

[C]

Our very way of life.

[B]

On this particular morning, I was in my office carefully going over a series of reports. They all pointed in one direction. A serious crime wave was sweeping across our city. A crime wave that undoubtedly had behind it a well organized criminal group. What is it, Ms. Miller?

[D]

Phone call for you, Mr. Garrett.

[B]

Tom Carter, the Daily Clarion reporter.

[D]

Yes. He says it's extremely important that he talk to you.

[B]

I see. Put him on, please. Hello? This is the district attorney.

[C]

Mr. Garrett. I'm sure glad I cut you in. This will knock you right out from under your hat. I'm just about certain I know who Mr. Big is.

[B]

Mr. Big?

[C]

Yeah, Mr. Big, believe it or not, Mr. Garrett, the Big wheel of the mob.

[B]

Carter. Carter, what happened?

[C]

Venus. Venus.

[B]

Carter. Carter, can you hear me? Carter. It's no use, Ms. Miller.

[C]

Yes, Mr. Garrett.

[B]

Please have this call traced immediately and advise Homicide.

[D]

Homicide?

[B]

Oh, and Ms. Miller.

[D]

Yes, Mr. Garrett?

[B]

Get hold of Harrington and have him follow through on this. I'm going to the office of the Daily Clarion and see what I can find.

[D]

All right, Mr. Garrett.

[B]

Come right in, Mr. Garrett. The receptionist told me you were coming up.

[C]

We feel quite honored to have the.

[B]

District Attorney pay us a visit. Well, this isn't Exactly a visit, Mr. Harris. I'm after a little information I'LL be glad to help. Your newspaper has been conducting what you call a crime expose. I'd like some details as to the assignment of your reporter, Tom Carter. Afraid I can't help you much on that, Mr. Garrett. You see, my city editor handles all the actual assignments. I'll get Walker in here. Herb, could you come into my office for a minute? Good.

[C]

Walk will be right here.

[B]

He knows everything about our operation. I see. Mr. Harris, does the name Venus mean anything to you?

[C]

Venus? No, nothing more than the famous statue.

[B]

I'm afraid that's not the one. Oh, come on in, herb. You know Mr. Garrett, our district attorney.

[C]

How are you, Mr. Garrett?

[B]

Glad to meet you, Mr. Walker. Herb, the district attorney wants to know.

[C]

About Carter's work on the crime expose.

[B]

Well, Carter was put on roving assignment. We gave him a free hand. Tom wants it that way because of his underworld contacts. So you wouldn't know where Carter might be working right now? No, afraid not. Come in.

[C]

Harrington. Hiya, Chief.

[B]

Ms. Miller told me you were here, Mr. Harris. Mr. Walker, this is Len Harrington, my assistant.

[E]

Harrington.

[B]

Oh, Chief, I have some news that I. Well, that's all right, Harrington. You can talk. Hell. I found Carter's body.

[C]

He was shot in the back, dead. What come. Carter killed.

[B]

Where did it happen? A phone booth back of a service station uptown.

[C]

No witnesses. Oh, Tom Carter killed. I can't believe it.

[B]

I was afraid this had happened. That's why I came here. We've got to put a stop to this terror, gentlemen, and soon. Mr. Walker, perhaps Carter's last expense account could give us a lead as to where he was working. Well, that's very possible. I can let you see the records.

[C]

Come with me, gentlemen.

[B]

Mr. Harris is very upset. This is an awful blow. Carter was our top reporter. Now, here's the accounting officer.

[E]

Come right in.

[B]

This is the current expense ledger.

[C]

See, there it is.

[B]

Here's Connor's account. Thanks. Oh, Harrington. Write down some of these places. Yeah, sure, Chief. Hey, Club 711 seems to be a favorite hangout of Carter's. He was certainly there often enough in the past two weeks.

[C]

That's Harry.

[B]

Harry Tringo's joint, isn't it? Yes. I'll drop down to the club 7 11. Okay, Chief. Thanks for your cooperation, Mr. Walker. Plenty of help. Any help I can. Hey, you. You Tippy?

[C]

Hi, George.

[E]

How are you?

[B]

Get going. We don't want no cheap dips grabbing a customer's wallet.

[C]

Not George. I ain't working tonight.

[B]

Ouch. I bust your hat. Listen, George, I don't mean to Interrupt this party. But. Are you George? Yeah, that's me.

[C]

What are you after?

[B]

The man up front told me you'd take me to Mr. Trigo's office. Yes.

[C]

Who are you?

[B]

I'm the district attorney. Would you show me to Mr. Trigo's office? Yeah, Father.

[C]

Who's there?

[B]

It's me, boss. Da's here, wants to talk to you. Da?

[E]

I'll be right there.

[B]

Well, Mr. Garrett, this is a real occasion. Well, hardly that. Can we talk inside? Sure, why not?

[E]

Okay.

[B]

George, wait outside. What's on your mind, Da? Some information. What can you tell me about Tom Carter? Carter? What am I supposed to know about him? You spent a lot of time around here the past week. So what? Can't help who comes into my place. I see this picture. Very attractive girl, huh? Just one of the dolls who worked.

[E]

In the club a while back.

[B]

Loretta Nelson bills herself as the blonde Venus. Why so interested in her? Because Tom Carter knew of Venus too. Where can I find her? Oh, last I heard, she was staying at the Stanley Hotel. That's all I know. In that case, that's all for now. I hope you find it, Da. Come on in, George. So long, Da. Goodbye. Everything all right, boys?

[E]

Yeah, sure. Everything's just jim dandy.

[B]

You can come out of the closet now, Venus. Harry.

[D]

Harry, believe me, I didn't tell that reporter anything.

[C]

I swear it.

[B]

I know, George.

[C]

Yeah?

[B]

Make a talk. Some truth.

[D]

Please, Harry. Keep him away. You gotta believe me.

[B]

You heard the boss. That'll be enough of that, George. DA again, huh? I didn't go very far, Trigo. You see, there was a strong smell of perfume in here. And my hunch was you had a hidden visitor. Now, young lady, she's gone. Took off like a scared rabbit. I couldn't stop her. I'll talk to you.

[C]

Can I talk to you a minute, Da?

[B]

Oh, Dippy. Say, did you see a girl run out of here?

[C]

Divina? Sure. She was in a big hurry. Grabbed a taxi and scrammed.

[B]

Thanks.

[C]

But, Da, I gotta tell you something.

[B]

Later, dipi.

[D]

No, this can't wait.

[C]

I. I found a wallet. I happened to find this wallet, see?

[B]

All right, all right. So you found a wallet.

[C]

Honest, it's. In truth, I found it. And it was his note. And I didn't know what to do.

[B]

Let me see that. Your newspaper. Better lay off or the undertaker will lay you out. Signature, of course. What else, Dippy?

[C]

It was in his envelope. It wasn't even open when I. When I read it, I felt pretty bad. I figured the guy didn't even have a chance.

[B]

Give me the envelope. Addressed to Herbert Walker, City editor, Daley Clarion.

[C]

You gotta believe me, Da. I thought the wallet.

[B]

For your sake, I hope so, Dippy.

[D]

Wow.

[B]

Mr. Garrett. Come in. Sorry to disturb you at home, Mr. Walker. It's perfectly all right. Oh, Mr. Harris is in the next room. Good. I want to talk to him.

[E]

Also, we were working late at the office.

[B]

Special edition on Tom's murder. I got a bit of a migraine headache, so Mr. Harris drove me home in my car. We figured we could finish up here. I hate to bother you, but this may be important. Ever seen this letter before? Let's see. Yes, it's lying on my desk. You didn't read it? No, I got busy, stuck it in my wallet.

[C]

Why?

[B]

Please read it now. Of course. Your newspaper.

[C]

Better lay off. Hello, Mr. Garrett.

[B]

Good evening, Mr. Harris. I didn't hear you come in. Say, Herb, what happened? You're so pale. Just another touch of migraine I saw.

[C]

He's always getting it.

[B]

I've told you, Herb, you're working too hard. We've got more important things than my.

[E]

Headache to worry about.

[B]

Can we help you in any way, Mr. Garrett? Well, it would be a big help if I could see the last stories Carter wrote on the crime expose. Would you have them in this case? Yes, they're on my desk at the office. Well, I'd like to see them.

[C]

All right.

[B]

I'll go down and get them. Oh, that headache again?

[C]

Yeah, come up rather sharp.

[B]

This tragic business with Tom hasn't helped it any either. Look, you just stay put her. I'll take your car and get those.

[C]

Stories for the district attorney.

[B]

I can drive you down.

[C]

No, no.

[B]

You stay with Herb.

[C]

Make him relax. Well, Herb, give me the keys to your car.

[E]

Here they are.

[B]

I'm sorry about this.

[C]

Just take it easy. I'll be right back.

[B]

How's the head, Mr. Walker? Anything I can get you? It's easing up. Comes and goes. I'm afraid these hoodlums mean business. So do I, Mr. Garrett. That's why I carry this gun. That sounded like an explosion. Explosion? Mr. Garrett, look out the window.

[C]

The car blowing to bits.

[B]

A bomb on the starter. A bomb, Mr. Harris. He didn't have a chance. Operator, this is the district attorney. Get me the police immediately. For me? That bomb was meant for me. Now I've got two deaths to avenge. This is David Bryan. Before we continue with Mr. District Attorney, in the case of the dead reporter, here is an important message from our sponsor. And now back to David Bryan starring as Paul Paul Garrett. Mr. District Attorney. It can be a very frightening thing to see the ruthless force of organized crime at work. As district attorney, it was my sworn duty. To follow through on every lead, no matter how thin. To put a stop to the unleashed terror. I had to find the Mr. Big of the criminal gang and find him quickly. I assigned Harrington to do a must job of locating the whereabouts of Dippy, the pickpocket, who might have information I needed. And I desperately wanted to talk to the Venus, but she had moved away from her apartment without notice. This is the district attorney, Mr. Garrett.

[D]

I know where the Venus is.

[B]

Good. Great work.

[D]

A hairdresser she goes to gave me the information. The Venus moved in with a girlfriend. The Lido Arms Apartments on Sylvania Street.

[B]

Fine. I'll meet you there in front of the apartment, Ms. Miller. Wait for me there.

[D]

I'm on my way. You got here in a hurry, Mr. Garrett.

[B]

Time's not on our side in this case, Ms. Miller. Which apartment is the Venus in?

[D]

I'm sure it's 1:26 on the ground floor.

[B]

Let's go.

[D]

She may not be here.

[B]

We'll hope for the best. Well, this is it. 1 26.

[D]

It's open, dear.

[C]

Come in.

[D]

I'm on the phone. Be right with you. Oh. Oh, it's you, Mr. Garrett. Um, honey, I have visitors. I'll call you back.

[B]

Very neat, Venus. I'm sure the person you were talking to on the phone got the idea.

[D]

Huh? What idea?

[B]

He or she is now well aware that Ms. Miller and I just entered your room.

[D]

Oh, it was nothing like that. I was just talking to a girlfriend, that's all.

[B]

If you say so. I have a compact here. It's engraved with the words To My Venus with Love. It's yours, isn't it?

[D]

What? Well, yeah, it looks like mine. Where'd you find it?

[B]

Where did you lose it?

[D]

Well, you know how it is. A girl leaves these things in lots of places. You understand, don't you, Ms. Miller? Yes, I certainly know how compacts can be misplaced.

[B]

Ordinarily, yes, but it might be very awkward to explain how a compact came to be found in the wreckage of a bomb car in which a newspaper publisher was murdered.

[D]

What? You found my compact in a bomb car?

[B]

Exactly. How did it get there, Ms. Nelson?

[D]

I don't know. I don't know.

[B]

I think you know a lot more than you're telling. I want some answers about Tom Carter.

[D]

Poor Tom.

[C]

He was.

[D]

He was so nice, so friendly. I liked him very much. But I told him he was going to get in trouble.

[B]

And what about the name of the man behind the crime syndicate? Who is it?

[D]

I don't know. I tell you. Tom asked me to keep an eye on Trigo at the club. Trigo and I have been going together for almost a year.

[B]

I'm sorry, but I have to know what happened to them.

[D]

Well, I was sure Trigo was mixed up with his crime syndicate. One day I saw he had a letter. It was addressed to someone at the Daily Clarion. I told Tom.

[B]

Well?

[D]

Well, that's all. That's all I know. Please, please, no more questions. I'm so frightened. Take it easy.

[B]

I'll answer that. Hello, Chief. So you're still there, huh? Seems that way, Harrington. What's up? I finally located Dippy's hideout.

[C]

You still want him?

[B]

Yes, but I think I'd better get over there and talk to him. Where's the place? It's a shack down on Front street, just off Terminal. Should I wait for you? I'll meet you there.

[D]

Harrington, Any news?

[B]

Harrington's located Dippy. I'm going there.

[D]

Me too.

[B]

No, you stay with her. I'll check with you the first chance I get.

[D]

All right, Mr. Garrett.

[B]

See you soon. Hey, Chief. Right over there. That's the shack tip he uses to hold up in. There's no light inside. He might be asleep. Door's open. What? What's that? Sounds like a moan. Come on. You got your flash? Yeah. Add wicks, too. Over there behind the bed. It's Dippy. Shot bad.

[C]

Dippy.

[B]

Dippy, can you hear me?

[C]

Who did it?

[B]

Who shot you?

[C]

I didn't see no light. Cough, Dippy.

[B]

You heard a cough. Cough. That's that, Chief. Poor Dipper. You got caught in somebody else's dirty game. All right, Harrington. Let's go. I think we are very close to finishing up the job Tom Carter started. I want to get to Trigo's private office without being announced. Hank. How, Chief? The guy with the fishtails is already looking at us. Talk to him about anything. Table, reservation, inspect the kitchen, anything. I'll slide around you. Come on back to Trigo's office as soon as you can work it. Shall do. Here I go. Mr. Garrett, the district attorney. What are you doing back here again? You mind if I step inside? What for? Trigo ain't here, and you and I will talk inside. Look, Da, you better go. I don't want no trouble. It's too late for that. You've already got trouble. The kind of trouble that ends up in the Electric chair. Electric chair.

[C]

What are you talking about?

[B]

Who are you trying to scare?

[C]

Dippy's dead.

[B]

Shot to death in the dark. But he lived long enough to point the finger right at you, George.

[C]

At me?

[B]

Come on, talk. No, I ain't talking. This gun. It'll do the talking right now. I almost got here too late, Chief. Just in time, Harrington. Shut the door. How is he? He'll be all right. I aim for the shoulder. Obviously, we're not going to get any information out of George for some time. Here he goes, our man. Now, where is he? That's a good question, Harrington. You better call the ambulance for George. Right. Oh, Mr. Garrett. I'm glad you're here, Mr. Walker. I've been looking all over for you.

[E]

Here, take a look at this.

[B]

Tom Carter's last story. A million dollar question. Who is the brains behind the unholy gang of mobsters trying to run our city? A million dollar answer. Perhaps a certain nightclub operator would come up with it. If he could be persuaded to give an interview at his cabin. Hideaway at North Cove on Lake Pinewood. Yes, this is something, Walker. Where did you get it? I played a hunch. Practically tore Carter's desk apart. This was hidden under a drawer. I'm gonna get that interview, Mr. Garrett, if I have to ram this gun of mine right down Trico's throat. That won't be necessary, Mr. Walker. Put it away, Harrington. Walker and I will start out. You get hold of an officer to take charge of George. And then meet us up at the edge of North Cove. We'll go to Trigo's cabin together. Okay, Chief. But be sure to wait for. Hey, that's a pretty fancy cabin Trigo's got. The head man of the crime gang can afford a hundred like that. Hold up. The light just went on. Why are we stopping? Just taking it easy, Walker. This Trigo can be dangerous. So can I with this gun. Somebody's on the porch, Chief. Watch out. Don't shoot, Walker.

[C]

I see the flash.

[B]

Walker. Stop it.

[C]

Hey, Chief, you all right?

[D]

You killed him. Not you. You killed him.

[B]

It's the Venus. Come on.

[D]

You killed him. You killed Harry.

[B]

You murderers in Strigo. All right. How is he, Hinton? Pretty dead cheap, Mr. Garrett. I lost my head, but I never dreamed it. That range I. I just shot in self defense. Sure, Mr. Walker.

[D]

You killed the one man I loved. My sweetheart. He's dead. And all we wanted was to get away together.

[B]

All right, Venus. You can turn it off now.

[D]

Haven't you got any hearts?

[B]

Yes, and eyes too. You shot Trigo yourself, Ms. Nelson.

[D]

I. I shot him.

[B]

I saw the angle of the first flash. And Walker could never in the world have shot him from there. Chief, Trigo was her sweetheart. Oh, no, Harrington. Mr. Walker, he's her man.

[C]

Me?

[E]

This is utterly ridiculous.

[B]

I was pretty certain when we found Ms. Nelson's compact in your blown up car. It had probably slipped behind the seat long before the bombing.

[C]

You're crazy.

[B]

I led you up here to get Trego. A neat double cross. Ms. Nelson waits here with Trigo. You bring me here with a phony story supposedly from Carter. They're shooting in the dark while the Venus kills Trigo so we can have our patsy and set you up with a case of self defense.

[D]

It's a lie. It's all lies.

[B]

Look, Garrett, you can't make that story stick. I think I can. Mr. Big of the crime syndicate. You grab his gun, Harrington.

[C]

It's grab, chief.

[B]

So is Mr. Big. You too, Venus. Just stay where you are.

[D]

Oh, I should never have listened to him. He said Trigger was just. In a way, he'd be our fall guy. We'd have it all to us.

[C]

Shut up.

[B]

The rats are leaving the ship, Chief. Oh, no, Harrington. They've gone down with it. I just wish one thing. Watch that, Chief. That Tom Carter were alive to write this story. This is David Bryan again. I hope you've enjoyed this case. From the file of Mr. District Attorney. I'll be back in just a moment after this message from our sponsor. Now here is the star of Mr. District Attorney David Bryan with a word about the program you have just heard. Every case of crime that comes to my office is important, but this one had special significance. Here was a vicious group of criminals masterminded by a man in a position of great influence, Herbert Walker. Mr. Big planned to use a newspaper as a force for evil. Well, the people heard the truth about Walker, about the Venus and about George. And as always, the people made their decision and ended the career of these hoodlums. Now, this is David Bryan inviting you to join us when we present our next case based on the facts of crime. From the file of Mr. District Attorney. Mr. District Attorney was originated by Phillips H. Lord.

[C]

Sam.

[E]

The Adventures of Sam Spade. Detective.

[D]

I just talked to Mabel on phone. She works in the sneak shop, you know, next to the knobby knit. Yeah, and she says they advise their nightmare customers to put a heating pad under the kidney. And instead of milk toast, just a little beef, raw in some warm wine and pine oil.

[E]

In the wine?

[D]

No, in the Broth. I mean the brass bath.

[C]

Oh.

[D]

Saying, look at you. Black eyes and scratches your lips.

[C]

Cough.

[D]

You didn't go home at all. I did so when you promised me you were going straight home for that much needed rest. And all the time you knew you were going straight to some herded barn get into a brawl. I even bought these things from the.

[C]

Sleep shop next door to the knobby net.

[E]

To Detective Lieutenant Dundee, homicide details San.

[D]

Francisco police medical authorities agree that lost sleep can never be made up.

[E]

From Samuel Spade, license number 127596.

[D]

Fatigue is humiliated subject.

[E]

The insomnia caper. Dear Dundee. Honest, Lieutenant, this is how I got into that mess last night.

[C]

Honest.

[E]

I've been feeling a little rocky for.

[B]

Two or three days.

[E]

There was nothing much wrong with me, but as my secretary, the ineffable Ms.

[C]

Corrine, said, Sam, what you need is.

[D]

A good night, please.

[E]

Which, Lieutenant, is how I happen to be at home in bed at 10:30 in the p.m. wearing a sleep shade, earplugs and quiet pajamas. At 10:45, my right arm went to sleep. I turned over. That's when one of the earplugs fell. I tore off the sleep shade, dug the plug out of my other ear, stuck my head onto the pillow and was just beginning to drowse off.

[C]

But.

[E]

I sat up and lit a cigarette. The city plunged again into the silences of the night. The fog was creeping in on little cat's feet.

[D]

I'll put an end to your romantic and fight.

[E]

Then all was peace and quiet again in Post Street. Nothing but the sound of fog horns way out in the bay and the rhythmic prob of the cable car mechanism under the California straight incline. This time I almost made it. And then I went over to the window and peered out. The room was on a level with mine in a building just across the alley. I had had occasion to scrutinize said room and its occupant on happier occasions. He was young, red haired and also had a nice profile which I had observed in silhouette against a window blind when she did her nightly setting up exercises. I now observed that she had a boyfriend and he seemed to be angry. Not wishing to pry into her affairs, I closed my window, drew the blind, went back to bed. It was stuffy with the window down, but quieter. I actually fell asleep. I dreamed I was home in bed and somebody was knocking on my door.

[C]

How tr.

[D]

Please open the door. Let me in.

[E]

Who is it?

[C]

Evie?

[D]

Yes.

[E]

Okay.

[C]

Okay what?

[D]

Please don't be angry. May I come in for a minute?

[E]

You're in.

[D]

Oh, thank you. I know this seems peculiar. A perfect stranger saw you in the window.

[E]

That makes us even.

[D]

I have the apartment across the alley.

[E]

Yeah, I know.

[D]

And you saw him? You saw him striking?

[B]

No.

[D]

You must have heard.

[E]

I heard a lot of stuff breaking.

[D]

Well, my ship models. He threw them all over the room, broke them to bits. They weren't especially valuable. And besides, they were presents from him.

[E]

Ah, now I get it now. You came here to tell me all about your collection of ship models. I think that that's real neighborly of you, Miss.

[D]

Dubar. Doreen Dubar.

[C]

Yeah.

[E]

Well, it was nice meeting you. Drop in again sometime and I'll show you my collection of crop flies.

[D]

Please don't send me away. I'm deathly afraid of him. His name's Dan McCrae. He's a merchant seaman. His boat just got in today.

[C]

Yeah, but why me?

[D]

I've seen you in the window so many times, I somehow felt I knew you. That's foolish, I suppose. I don't even know your name.

[E]

Look, sweetheart, if you think you're gonna rope me in as a witness to that lover's quarrel.

[D]

Oh, please. No, it's more than that. Believe me. I can't tell you everything.

[E]

But why tell me anything?

[D]

Okay, I'm sorry. Pardon me for living. I know it's wrong of me to want to stay alive.

[E]

I don't want to be hard hearted about it, but if you're really afraid of the guy, you ought to go to the cop.

[D]

But you don't understand it. Are you in there?

[E]

Dan Badger, no doubt from the game of the trailer.

[D]

Open the door.

[E]

Look, chum, before you say anything, let me put you straight. You picked the wrong sucker.

[C]

So you're the guy, huh? The old lady said you was good looking in a cheap sort of way. Well, I think I'll fix that part of it right now.

[E]

Hey, wait a minute.

[C]

Oh, so you're gonna make it easy for me, huh?

[B]

Hey.

[C]

Ok, Dan.

[D]

What have you done to him?

[E]

He'll be all right. Loosen this pie.

[C]

I'll go get some water.

[D]

All right.

[E]

Is he coming around? Where'd she go? Hey. Hey, Dan, wake up. Come on.

[C]

Swallow it. Good. What'd you hit me with? Where's Doreen?

[E]

She dissolved. Come on, get up.

[C]

Okay, okay, Shepard, this is your round. Who?

[E]

Not that it matters, Danny boy, but who?

[C]

You're Frank Shepard, ain't you?

[E]

You stoop. Can't you read? The name's on the door.

[B]

Spade.

[C]

Here's my card. Huh? A detective. What was she doing here?

[E]

Her story was that she was running away from you. Now beat it, will ya?

[C]

Can't be too fast for me. I'm sorry, Spade. I've been at sea too long, I guess. The old lady over there told me Doreen was seeing the sky every night. Channel fever or something. I blew my top. Yeah, no heart feeling Spade. Now forget it.

[E]

When you do catch up with that guy shepherd, watch your left.

[C]

You telegraph it.

[E]

On the side.

[C]

Shepherd's palm reach cut shape the halls of my. Oh, boy. Look at me. I'm Dojing.

[E]

Don't answer that, baby. Let it ring, huh?

[C]

Spade, this is Dan Lecrae. Who? The guy you. You beat up one. Look, look, I just got to sleep.

[E]

Call back tomorrow.

[C]

Better yet, don't call. Listen. You gotta listen to me. I found Shepard. Not much of a fighter. I marked him up a little anyhow, just to scare him.

[E]

Go on back to the bar. Have one for me.

[C]

Listen, I'm okay now. I sobered up like a shot. I only came back here to phone. Makes sense. Will you? When I got back to the ship, he was there in my cabin.

[E]

What?

[C]

He's dead.

[E]

Who?

[C]

Shepherd? Yeah, he's dead.

[E]

Hit him too hard?

[C]

I don't think so, but I've got to know. You're a detective now. Look, I haven't got much money, but.

[E]

Then start earning some. This is gonna cost. Hello, Sam.

[C]

Thought you got here quick.

[E]

I'm a real fast sleepwalker.

[C]

This the ship?

[D]

Yeah, yeah.

[C]

Come on, I'll take you aboard.

[E]

Give me the rundown. Shepard took your girl while you're away at sea. You slapped her around a little. Broker toy boats. And generally behaved like a bad boy. We'll skip that little exhibition match in my apartment. Then what?

[C]

Come on up this ladder. About those ship models. One was missing. She acted funny about it. And guess where it was. In Shepard's hotel room. The Boston Hotel up on Broadway. Crumb dump. I shook the address out of that old lady.

[E]

Never mind that now. So you went there? Went up to his room, worked him over.

[C]

But he was alive when I left there.

[E]

That's clear.

[C]

Then I had drinks in a lot of different places. I think I was in some other fight. Yeah, you lucky I don't know who with. Just faces, a lot of blurs. I don't even know where all I went then. I don't remember anything till I'm in an all night beanery down here on the Embarcadero and a cab driver's holding me up on the stool, pouring copy to me. Then I came aboard.

[E]

Yeah.

[B]

Come on.

[C]

Come on in my cabin. I'll show you.

[E]

There are a few bruises and ring marks on the face, but they've been cleaned up and smeared with material violate. I know you're not supposed to touch anything until homicide gets there, Lieutenant, but this one had obviously already been tampered with, so I didn't think you'd mind if I rolled him over just enough to peek at the back of his head. There was a tiny cut on his scalp near the base of the skull. Not more than a quarter of an inch long. It hardly bled.

[C]

I pushed the pocket and his wallet.

[E]

$38 identification card. Frank R. Shepherd, Boston Hotel, San Francisco. And a snapshot of Doreen sailing a model Chinese junk in a pond someplace. In his cigar case, cigars around his middle, a tool leather belt with hammered silver buckle. It was a popular type Hickok belt, but something about the buckle didn't quite figure. The prong of the silver buckle wasn't silver. It was tempered steel. And instead of being pointed, the end was flattened out and ground to a sharp cutting edge. There were two notches on either side of it. It didn't look like they'd been put there for decoration. I took the belt off, rolled it up, and put it in my coat pocket.

[C]

Well, what do you make of it? You touch it?

[E]

No. Why? The man falls forward, not back. The cops will say he was killed someplace else and brought here.

[C]

Then I'm in the clear.

[E]

Yeah. Unless they form a theory that you brought the body down here to dispose of it. Then why didn't I? Maybe you lost your nerve. Maybe you sobered up. How?

[C]

What killed him?

[E]

I don't know. Maybe internal injuries. Maybe a head injury or both from.

[C]

That beating you gave.

[E]

Maybe just drop dead, heart attack. That's for the police medical examiner to find out.

[C]

You mean you're gonna call the police?

[E]

I have to.

[C]

But I called you to. I. I thought you could clean me before.

[E]

Wait a minute. You told me yourself you drew a blank. You don't know where you were or what you were doing.

[C]

What are you gonna do, call the police? No. Wait. Ah, yeah, I suppose you have to.

[E]

I do.

[C]

You first.

[B]

Yeah.

[E]

I say you're taking it pretty well. I had a small dream. Abstractions, you know.

[C]

Cubes and circles.

[E]

Nothing worth describing. But after I'd given homicide the rumble and crawled home to my own trundle, I did better. I dreamed I was Wild Bill Hickok, the belt tycoon. I was working on a promotion scheme for a new Combination belt buckle, toothpick and murder weapon. Sam Spade, sleepyhead. The United States Armed Forces Radio Service is presenting the weekly adventure of Dashiell.

[B]

Hammett's famous private detective, Sam Spade.

[C]

Nuts, Sam.

[E]

Unique Garage, Harry speaking.

[C]

Yeah, this is Dundee, Sam.

[E]

Okay, Lieutenant, you got me.

[C]

What time is it? Wait a minute. Ten after three.

[E]

Any sign of Dangerous Dan McRae? That rat?

[C]

My client. Another whiff. How about that girl, Sam Dubar, do Renal Balbo apartment, Center Street. Can you give me that description again?

[E]

Go over and take a look at her.

[C]

I'm in her apartment now. She says she never heard of you and she doesn't know anybody named Dan McCrae. And she says she only went out once tonight to a drugstore to get some batteries for her hearing aid and some elastic stocking.

[E]

All right, Dundee, if you want to.

[C]

Swallow a pack of lies, all right, check that drugstore. And she's wearing them now. I bring her over there, Sam, but she's a little feeble.

[E]

Okay, Dundy, I'll be right over. Hello, Dundy. Come in, Sam.

[C]

I want you to make sure. Sam, this is the apartment.

[E]

Yeah, that's my window, just opposite. You can see the bed that I just got out of to come over here in response to your untimely call.

[B]

Will you come in here, Ms. Dubar?

[D]

Certainly, Lieutenant. I'm very anxious to make that man's acquaintance.

[E]

He was about 65 years old with a pleasant motherly face, gold rimmed bifocals, hearing aid and snow white hair. Over his shoulder, I could see into the kitchen. Sitting at a table facing away from me was an old man. In front of him on the bench were three ship models in various stages of disrepair. Broken masts, rudders, and with a mallet and a tiny chisel, he was shaping a piece of wood. I guess that it was a broken spar from one of the hulls.

[B]

Well, Sam still say this is the same apartment?

[E]

Yeah, same apartment, different people.

[D]

But you must be mistaken, young man. My brother and I have lived in this same apartment for nearly 20 years.

[E]

He's lying, Dundee. Have you checked the janitor, the building manager, anybody?

[C]

Janitor says he's been living here since he took the job in 41. We're trying to locate the building manager. Now, according to your story, Sam, the.

[E]

Girl in McCrae had a big row.

[C]

In here, busted up a lot of furniture stuff.

[E]

I don't see any sign of it.

[C]

They could have cleaned it up okay.

[E]

I dreamed the whole thing. But those ship models, I didn't dream them. McCrae mentioned them. The girl mentioned them.

[C]

Busted ship models.

[E]

There they are on the table in the kitchen.

[C]

Thank goodness. What seems to be the trouble now, Dory? Just why is this young man so excited about my model?

[D]

I declare, Sven, I can't make head or tail of it. Something about a girl with the same name as mine and a young man up to forget his name, who seems to have killed somebody named Shepherd.

[C]

I believe it is your. What was it about the ship motto, young man? Dory, could it be the girl who brought these over to me to repair? What was her name?

[D]

It's just on the tip of my tongue. Who did she say sent her? Slim, wasn't that Shepherd?

[E]

They're not, with all due respect, your age.

[B]

Nuts.

[E]

I'm getting out of here, Dundee, while I can still remember my own name. I gotta get some sleep. Hey, wake up.

[C]

Oh.

[E]

Oh, Sam. Get out of my bed.

[C]

I'm sorry I was beak. I didn't know where else to go.

[E]

You can go to jail. Their beds don't have inner springs, but.

[C]

It'S a free fly. Listen, I had to make that break. It would have been a murder rap for sure.

[E]

You mean your memory came back?

[C]

I had a funny feeling I'd seen that guy shepherd somewhere before. And just before I slugged you while we were standing there in the companionway, it came back to me. That guy Shepard. He came aboard ship yesterday. When we docked, he flashed a badge on the gangway watch and asked to see the ship's carpenter.

[E]

The one that made those ship models for you.

[C]

Yeah, yeah, but don't you see? Manslaughter is one thing, cop killing is another.

[E]

This ship's carpenter, what's he look like?

[C]

Oh, thin. Around 65, lame. Talks like a Swede. City morgue.

[E]

Maxie. Sam Spade. That stiff tagged Shepherd.

[C]

Shepherd? Yes, Sam just got him back. I think it's all there. Those ought to sick boys. Careless.

[E]

What killed him, Maxie?

[C]

Puncture wound, base of the skull. Small, sharp instrument.

[E]

Anything new in his id?

[C]

Well, shepherd seems to be a phony handle, Sam, but it'll have to do till the reveal comes along. Sergeant Polehouse let it drop that the boys at his hotel thought he was a detective. Funny thing about Sheppy Boy, Sam. No belt, no suspenders, very loose trousers. How do you keep them up?

[E]

By the time I got to him, it didn't matter.

[C]

I figured he wore a belt and somebody swiped it off him.

[E]

That's an interesting theory, Maxie. I'll see what I can do with it. I tucked Danny Boy back into my Bed, locked them in and gum shoot around the plot to the Balboa apartment just to be mean. I woke up the janitor and checked his statement on the old couple in Doreen's apartment. He worked three buildings, was sure of the old woman that backed down a little on the man, which is what I expected. Was sure of the floor, but not of the apartment number. Didn't know any tenants by name, which goes to show, Lieutenant, what police statements are sometimes worth. I thanked him, stole his pass key and went upstairs. I didn't expect to find anybody home in Doreen's apartment. I was half right. Sven, the old carpenter, was sitting in a chair staring straight ahead of me. He looked as though he were in a daze. I walked over to him. Even close up, he didn't look dead, but he was. Body still warm. No visible wounds, but he was wearing a tool leather belt with a hammered silver buckle. The prong of the buckle was tempered steel and had the same peculiar shape as the one in my pocket. The one I had taken off a shepherd's body. The ship models were gone. What was left of them I found in the fireplace. And in the charred remnants of what had once been the hull of the toy Chinese junk, I found something that hadn't burned. It was a small metal cylinder with two pins projecting from it on either side. About the middle of it. It looked like a miniature lock mechanism, which it was exactly the key, you guessed it was the prong of that belt buckle. The cylinder was empty except for a few white grains that looked like sugar. I tasted them. It was not sugar, but in the dope traffic they sometimes call it that. About then I heard footsteps outside in the hall. I ducked into the closet, leaving the door cracked enough to see out.

[D]

Stand over there, Doreen. Don't try anything. I won't shoot you unless I'm forced to. No. You didn't shoot Fr. Thank Shepard, did you? Don't ever mention that name again. All right? Well, Sven, don't just sit there staring. We've just time to catch the boat. Sven, Answer me. I don't think he can answer you, Mrs. Brownlee. Oh, what are you talking about? Sven? Sven. He's dead. He's dead. Oh, Grandpa, she's got a gun.

[B]

Hand it over.

[E]

Hand it over, Grandma. You won't need it anymore.

[D]

You killed him.

[E]

Yes, I'm a desperate character. Hand it over.

[D]

Come and get it. It should be easy for you. Such a strong young man. And I'm such a weak old woman.

[E]

Now, look, you don't have your glasses on. And this.45 is too heavy for an elderly type criminal. Now sit down and keep quiet.

[D]

Oh, Sam. I thought you'd forgotten all about me.

[E]

I've been trying to all night.

[C]

Where were you?

[D]

They locked me in a closet in.

[C]

Her apartment next door.

[D]

They were going to take me with them, get rid of me on the boat. After what they did to Frank, they had to get out fast.

[B]

Shepard.

[E]

Who was Shepard anyway?

[D]

I can't tell you that.

[E]

He was a federal narcotics agent, wasn't he?

[D]

How did you know?

[C]

You just told me.

[E]

Now tell me the rest of it.

[D]

Well, honestly, I didn't know anything about it till about a month ago. I was dusting the ship models and knocked one off the shelf. It broke and something spilled out of it. Mrs. Bronwig was here when it happened. She rushed for it and ran out of the room with it. She said she'd take it and get it repaired for me. And then this girlfriend of mine came by while I was sweeping the white powder up. She's a nurse. She tasted it, told me it was dope. Well, I didn't want to do anything until I talked to Danny, but she reported it. And that's when Frank Shepard came to see me. From the narcotics squad.

[E]

He told you to play along with them?

[C]

Yes.

[D]

They arrested the man Mrs. Brownrigg was selling it to. And Shepard told her he was taking the man's place so he could find get Evans. She believed him because of the belt.

[C]

This.

[E]

The belt?

[D]

Yes. That thing on the belt, it's really a little key that sits on a little.

[E]

Yeah, yeah, that fits in a little lock that releases the little mechanism that makes the false bottom fall out of a little boat. When did she find out that Sheppard was a narcotics agent?

[D]

I didn't. I saw them together so much that I began to think they might double cross you. Then I thought about that sailor, Dan, that rough neck boyfriend of hers. So I went to Dan and told him I thought his girl had taken up with Shepard while he was away at sea. And I had to let Dan think the worst because I was sworn to secrecy. But Dan's so violent and jealous he said he'd kill Shepard. So I came to you. You were a witness that Dan hit me and I thought we might have him arrested so nobody else would get hurt. But I guess you were too sleepy to care.

[B]

What?

[E]

Sorry. Sorry. I must have dropped off asleep.

[B]

Period.

[E]

End of report.

[D]

Look, Sam.

[E]

Yes, angel?

[D]

Didn't you arrest that terrible old Mrs. Earwig?

[E]

Brown wig Effie, wasn't it?

[D]

Brown wig, sir.

[E]

One of her aliases, no doubt. In reply to your previous question.

[C]

Yes.

[D]

Who killed Mr. Shepherd, Sam? And. And how?

[E]

Look, if you'll recall that Sven was shaping a piece of wood with a.

[C]

Small chisel and a mallet.

[E]

The fatal wound, you recall.

[D]

Oh. And who killed Sven?

[E]

Sit down. I want to have a serious talk with you. Now, over here. Stop twisting your handkerchief.

[D]

Yes, Sam?

[E]

Evie, sometimes I think you've been a detective secretary too long. Warps the outlook, Sam.

[D]

Are you trying to tell me that my services are no longer required?

[E]

See, that's what I mean. You jumped the conclusion. As in the instance of the death of friends.

[D]

I only asked who killed him, Sam.

[E]

Exactly. Did it ever occur to you that some people, especially old feeble people, just die quietly sitting in a chair? Sometimes. Sometimes in bed and asleep?

[D]

Never happened to you, Sam.

[C]

Dick.

[E]

But it did happen to Sven. Perhaps the excitement of his criminous activities, fear of discovery, his impending flight, were too much for his heart. On the other hand, it might have just been old age. The point is, Effie, it does happen. Never in detective stories. Only in real life. Well, I guess that's all.

[C]

Good night, Sam.

[D]

You're not sleepy?

[E]

Nevertheless, I'm going home to bed.

[D]

Well, good night, Sam.

[C]

Good night, sweetheart.

[E]

This is the United States Armed Forces Radio Service, the voice of information and education.

[D]

Foreign.

[A]

Radio.Com to hear more from the adventures of Sam Spade, Mr. District Attorney, case Closed, and all of the other Relic Radio shows. Our shoutcast stream is there as well with even more old time radio. And if you'd like to help support this and all of that, visit donate. Relicradio.com or click on one of the support links. You make it all possible. Thanks to those who have. Thanks for joining me this week. I'll be back next Wednesday with another hour of mystery on Case Closed.