The Adventures of Sam Spade: The Denny Shane Caper 04/06/1951

Summary

Podcast Summary: The Adventures of Sam Spade – "The Denny Shane Caper" (April 6, 1951)

Episode Overview

In this gripping installment of "The Adventures of Sam Spade," Sam is drawn into a grim and ultimately tragic investigation involving a teen girl searching for her estranged brother, Denny Shane. What begins as a routine missing person case quickly peels back layers of lies, heartbreak, organized crime, and the seedy underbelly of postwar America—including a harrowing indictment of juvenile drug addiction. This is not a tale with a happy ending, as Sam himself warns: “The villains in this piece are for real… from one end of the country to the other.” (00:59)

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Key Discussion Points & Insights

1. Case Introduction: The Client and the Lies

• Sam’s Mood: The episode opens with a somber Sam warning Effie, his secretary, that this story isn’t for those seeking “bluebirds of happiness… try another detective.” (01:19)
• The Client Appears: A nervous teen, initially introducing herself as Mary Johnson from Denver, asks Sam to find Denny Shane. Sam’s natural skepticism leads him to quickly deduce her real identity—Sally Joan Michaels—and her San Francisco roots, thanks to her coat label and ID bracelet. (04:22)
• The Real Story Emerges: Sally admits her brother Denny has been sending her gifts and money, though they've never met. She says she needs to find him to ask for help with her stepmother's operation but is evasive about details—a warning sign for Sam. (05:36)
• Quote (Sally confesses):

  “Danny Shane is my brother, Mr. Spade. My mother died when I was born. I was adopted. But Danny went to an orphanage. And I guess he sort of ran wild after he got out.” (05:37)

2. The Search for Denny Shane

• Sam’s Investigation: The case brings Sam and Sally all over town—from an old hotel to South City gambling joints, a Mission saloon, to a woman's apartment on Turk Street, where Denny’s last known appearance was reported.
• Lead to Augie Dano’s Gym: A tip takes them to a "reducing studio" run by Augie Dano, whose vague denials and evasiveness raise Sam’s suspicions, especially after Denny was reportedly seen leaving there recently. (10:04)
• Quote (on Dano's evasion):

  “Got people in here all the time, you know—salesmen, agents, friends of clients—but no Shane. Not that I know of.” (10:52)

3. Sudden Tragedy: Sally Confronts Denny Shane

• The Encounter: Just as Sam orders a cab for Sally to go home, Denny Shane appears on the street. In a flash, Sally draws an automatic from her bag and fatally shoots Denny, calmly handing Sam the gun. (12:14)
• Quote (Sally, after shooting Denny):

  “There. It’s done. Now you can take me to the police.” (12:38)

4. Aftermath at Police HQ: Motive & Despair

• Police Interrogation: Sally coldly admits all previous statements were lies but refuses to explain her motive, insisting Sam tell the police: “I’ll never tell them why.” (15:01)
• Emotional Toll on Sam and Police: Both Sam and Lt. Dundee struggle with the gruesome reality of a 16-year-old committing murder.
• Quote (Dundee, shocked):

  “You know, Sam, it kind of scares you. What the Sam hell’s happening to our kids? A 16 year old girl… walking up to someone on the street…” (16:27)

5. Peeling Back the Layers: Eddie Tucker

• Eddie’s Visit to Sally: Eddie Tucker, fellow student, pleads to see Sally. Their brief conversation reveals a tormented, addicted youth, highlighting his broken promises and Sally’s despair.
• Quote (Sally to Eddie):

  “You’re a zombie, Eddie. You know what a zombie is? Someone who moves and walks around but who’s dead inside. Go away now. Go away.” (18:56)

6. The Drug Racket Exposed

• Sam Investigates: Following clues from Eddie’s locker and an address book retrieved from Denny's apartment, Sam discovers Denny’s numbers racket and its dark underbelly—the distribution of heroin among local high schoolers. Key names and lockers are found in Denny’s book. (21:49)
• Confronting Augie Dano: Sam forces a confession from Augie, revealing a sophisticated pipeline: young addicts roped into the scheme, heroin distributed discreetly via envelopes in lockers and post office boxes, and Sally caught in the crossfire. (25:37)
• Quote (Sam, confronting Augie):

  “About the kids he smeared with his filthy hands. High school kids from Balboa High and Lowell, and George Washington. Good kids, straight kids… your roper [was] turning up in drugstores and jive joints with those dirty little packets of heroin he passed out as headache powders…” (24:38)

7. Resolution: No Happy Ending

• Sally Faces Justice: Sally is charged, but a sympathetic lawyer volunteers for her defense. The case ends on a somber note about the mounting peril of drugs among youth and the personal cost to the innocent.
• Eddie Gets Help: Eddie, described as a "zombie," prepares to enter a sanitarium, his future uncertain but with a small sliver of hope.
• Sam’s Reflective Final Report: Sam’s last words underscore the harsh, unresolved nature of this case:

  “Like I said, this one doesn't have bluebirds at the end. Not yet anyway.” (26:35)

8. Notable Closing Banter

• Effie and Sam Lighten the Mood: After the dark tale, there’s a brief, bantering coda between Sam and his secretary Effie about her typing prowess and a dinner date—just enough to bring the show back to earth.
• Quote (Effie):

  "In just the time it took that man to read a short announcement, you type out five copies of a 28 page report. In my book, that is amazing!" (29:01)

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Notable Quotes

• Sam Spade, Intro Warning:

  “If they seek bluebirds of happiness, sweetness and light, and love conquers all… try another detective.” (01:19)

• Sally’s Cold Admission:

  “Everything I told you was a lie. I had to make it take me to him… I didn’t know what he looked like.” (14:43)

• Dundee, Shaken:

  “It kind of scares you. What the Sam hell's happening to our kids?” (16:35)

• Sam, Final Reflection:

  “Like I said, this one doesn't have bluebirds at the end. Not yet anyway.” (26:35)

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Timestamps for Key Segments

• [02:36] — Sally’s real identity and motive revealed
• [07:14] — Sam questions sources about Denny’s whereabouts
• [10:04] — Augie Dano’s evasive answers at his exercise studio
• [12:14] — Sally kills Denny Shane in the street
• [14:37] — Sally refuses to explain her actions to the police
• [17:20] — Eddie Tucker’s visit and their haunted conversation
• [21:49] — Sam finds Denny’s black book; heroin racket uncovered
• [25:37] — Augie Dano confesses the details of the operation
• [26:35] — Sam’s somber conclusion

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Summary & Tone

This episode is a gritty, hardboiled dive into the painful realities of postwar America’s youth—addiction, manipulation, and fractured families. The tone is somber, reflective, and charged with a sense of moral injury. The episode’s structure mirrors Sam’s emotional descent as the facts come clear: not every case ends with justice or hope.

The 1951 radio drama’s stark take on the social issues of its day feels shockingly modern. The characters’ slang and sharp wit provide brief relief, but the show’s real punch comes from its unflinching look at what can happen to good kids in a bad world.

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For listeners:
If you’re seeking a classic detective yarn with a strong dose of social commentary and noir moodiness, “The Denny Shane Caper” is a haunting showcase of Sam Spade at his most human—and most haunted.

Transcript

[A]

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Welcome to Choice Classic Radio where we bring to you the greatest old time radio shows like us on Facebook. Subscribe to us on YouTube and thank you for [e-mail] the National Broadcasting Company presents the Adventures of Sam Spade Detective.

[A]

Sam Spade Detective Agency. Hi, Sam. Who else did you wind it up, Sam? Is it all over?

[B]

If you're talking about the usual happy ending with the villains dead and buried and the lovers joining hands while the camera does a slow fade, it is not all over, sweetheart.

[A]

What do you mean, Sam?

[B]

The villains in this piece are for real. Still doing business at the same old stand from one end of the country to the other.

[A]

Oh, Sam, you sound so grim.

[B]

Only because I have a grim tale to tell, little one. So warn all within earshot that if they seek bluebirds of happiness, sweetness and light, and love conquers all to try another detective. Because even now I am on my way with something that might butt into your sleep for the next few days. To wit, my report on the Denny Shane Caper for NBC. William Spear Radio's Outstanding Producer Director of Mystery and crime Drama, brings you the greatest private detective of them all, starring Steven Dunn in the Adventures of Sam Spade. Effie.

[A]

Sam? Oh, I'm sorry, Sam. I didn't hear you come in. Oh, tired, Sam?

[B]

Yeah. Yeah.

[A]

You look pale.

[B]

I guess maybe I'm a little sick, too.

[A]

Now, Sam, I warned you about heavy lunches when you're on a cage.

[B]

Not that kind of sick, angel. This kind starts at your shoe tops, runs up your backbone and kicks around in your head till you're. Where's the book?

[A]

Right here, Sam. Okay, date. Fill it in. 2.

[B]

John Q. Public from Samuel Spade, license number 137596. Subject, the Denny Shane Caper. Dear John Q. She was sprawled in the corner chair when I got back from lunch. A kid of 16 or so, complete with bobby socks, hair ribbons and shoulder bag, the kind you see every afternoon in the drugstore near the high school making jive talk over a soda. But she looked up as I walked in and the eyes didn't look like jive talk at all. There was trouble in them.

[A]

You're Mr. Spade?

[B]

Yep.

[A]

The detective?

[B]

Well, according to some people.

[A]

Fine. I need a detective.

[B]

You're sure now?

[A]

Mm, positive.

[B]

What would you be doing with a detective?

[A]

Your ad in the classified section said you find people.

[B]

Well, sometimes they're not too badly lost. That is. Who do you want to find?

[A]

Did you ever hear of Denny Shane?

[B]

You don't really want to find Denny Shane, do you?

[A]

Why not?

[B]

Most people want to lose him.

[A]

Then you do know him. I'm glad. Here's $20.

[B]

Now, wait a minute. Hold it, Honey, don't get anxious.

[A]

What's the matter? Don't you want to be paid for this?

[B]

Not if I don't do it.

[A]

What do you mean?

[B]

Let's talk about you. What's your name?

[A]

Mary Johnson. Does it make any difference?

[B]

Mary Johnson. Where do you live, Mary?

[A]

Well, I've never been in San Francisco before. I just got in yesterday. Staying with a friend out in the marina. My home's in Denver.

[B]

Denver, Colorado.

[A]

2028 14th Street.

[B]

Okay. Here you are. You want to sign the contract?

[A]

Oh, all right. Where do I sign?

[B]

On the line here. No, no, no, no. The right name. Sally Joan Michaels.

[A]

How did you know that?

[B]

Next time you use an alias, leave the identification bracelet home. Don't tell people you're fresh out of Denver when your coat label says it's fresh out of Roos Brothers, San Francisco. Now, let's try it again, huh? What about Denny Shane?

[A]

Well, I. I want to find him, that's all.

[B]

Well, that's a lot. Why?

[A]

I'd rather not say.

[B]

Well, in that case, Sally, I recommend another detective. You'll find there's an ad in the classifying section just below mine.

[A]

You mean you won't do it?

[B]

Sally, if I may get pontifical for just a moment. Denny Shane is not the kind of character I would pick out for a kid like you. He has a reputation for booking horses, which is illegal, and welching his bets, which is worse. He is associated at one time or another with almost everyone in the files of the Kefauver Committee. And as for the girls he runs around.

[A]

Stop it, will you?

[B]

Oh. Oh, so that's it.

[A]

No, that isn't it. I've never seen Daddy Shane in my life. If we do find him, you'll have to point him out to me.

[B]

Really?

[A]

He's. He's been good to me, you see. All my life, he's been good to me.

[B]

Mm. And you've never seen him?

[A]

No. Danny Shane is my brother, Mr. Spade. My mother died when I was born. I was adopted. But Danny went To an orphanage. And I guess he sort of ran wild after he got out.

[B]

Yeah. Yeah. What do you mean? He's been good to you.

[A]

Sent me money on birthdays and Christmases, sometimes in between. He always said if I needed help to tell him, but I never knew where to find him. We need help right now, Mr. Spade. My stepmother has to have an operation. And I know Denny will give me the money if I can find him.

[B]

Why did you tell me all those black lies?

[A]

I was afraid you'd call my folks. They'd be horrified if they found out.

[B]

This is the truth. Now, Girl scouts Honor.

[A]

Yes, Mr. Spade.

[B]

Okay, you run home and study your algebra and I'll look up Shane and Court.

[A]

No, no, I've got to talk to Denny myself.

[B]

You're sure you want to come along?

[A]

Oh, yes.

[B]

Okay. But I'm going to have to leave you outside while I talk to his friends. Let's go. I hadn't seen Shane since three years ago when he conned a client of mine out of $3,000 on a phony mining stock deal. I knew it was waste motion, but I checked the hotel where he was living then and found he was long gone. Came next, in the following order. One gambling joint in South City, one saloon in the Mission, and one very dubious apartment on Turk street run by a charming wench wearing wedgies, culottes and peach brandy. She gave me a peachy smile.

[A]

Oh, Denny.

[B]

Shane, don't step on your laughs. You've seen them lately.

[A]

Funny, you asking about Denny. I saw him yesterday. First time in two years coming out of Augie Dano's.

[B]

Oh. Who's Augie Dano?

[A]

Run to the gym. Exercise studio. Reducing setup on Sutter Street. You know, work a little, lose the middle. Give us.

[B]

Yeah, I got it. But anyway, thanks. So we took off for Augie Donald. We've been together two and a half hours so far and exchanged maybe two and a half sentences. She just said quietly in her corner of the cab with her hands folded on her lap, looking straight ahead. Sally. Hey. What's the matter, honey?

[A]

Nothing.

[B]

Oh, now, come on. Come on. You can tell your Uncle Sammy something's eating you. Now, what is it?

[A]

I told you.

[B]

You're sure it has nothing to do with Denny and you?

[A]

We settled that.

[B]

I don't know. Did we? You know, I. I got an ache in my bad knee.

[A]

Is that good?

[B]

Nope. I only get it when things are going sour on me. Well, here's Ogie Donno's. Come on, you can go in, too. This. This place Looks respectable for a change. The gold lettering on the door said Augustine Dano, Masseur Scientific Reducing. And inside, an expensive looking reception room with birch paneling, potted palms and antique leather chairs. Into one of which I stored, Sally, while I made bold, went to a door at the rear marked Private.

[A]

Oh, now there. Look what you made me do.

[B]

I am sorry.

[A]

Oh, dear me, you should be my best perfume.

[B]

I'm sorry. I didn't mean to slam the door. Lady, the draft.

[A]

This is a private office. There is a button outside clearly marked.

[B]

Ring and weight that I did not see. And once again, I am so sorry about spilling the purple. Oh, my.

[A]

To my regret TV, $12 an ounce.

[B]

Well, I regret TV too. Now, look, how about announcing me to the professor?

[A]

Well, now, if you mean Mr. Dano, he's quite busy with another Rudnick, if.

[B]

The envelopes are ready. Oh, who's this?

[A]

You've got me.

[B]

My name's Spade. Spade? Spade, the detective. Yeah, detective.

[A]

Oh, what about.

[B]

Just a minute, Ms. Rudnick.

[A]

Would you have your nerve barging in like that? I thought you were a client.

[B]

All right, Ms. Rudnick. All right. Here. Four bits. Now buy yourself another quart.

[A]

Well, I never.

[B]

This I can believe. Well, what do you want, Spade? I'm looking for Denny Shane. Someone saw him walk out of here yesterday. Shane? That's right. Well, what's the matter? Some trouble or something? No, no, his kid's sister's trying to look him up. Oh, that's funny. What? Well, that someone saw him coming out of here. I never heard of the guy. Of course, we got people in here all the time, you know, salesmen, agents, friends of clients, you know. But no shame. Not that I know of. What's he look like? Oh, about my height, blue eyes, pale complexion, too thin to be coming here as a customer. Well, I wish I could help you, pal, but like I say, so many people come in and out of here, you know. Sure, sure. Thanks anyway. Bye. Bye.

[A]

Any luck?

[B]

No, never heard of him. Come on.

[A]

Too bad. Where to now?

[B]

Well, there are a couple of more places after you.

[A]

Cab's gone.

[B]

When I told him not to wait, I thought we might have something to eat across the street.

[A]

I'm not hungry, thanks.

[B]

Look, you better call your parents.

[A]

No, no, don't. I. I told him I was spending the night with a girlfriend so they wouldn't worry.

[B]

That's another big black lie. Look, I'm tired of playing this way. I want it all. I told you, you're eating your heart out over something, and it's not Mama's operation. It's something bigger and it hurts worse. And don't tell me any different because it's written all over your face.

[A]

Please don't ask me anymore. Please.

[B]

Skip it. Where's the cab?

[A]

Don't take me home.

[B]

That's just where you're going. Honey, I'm.

[A]

Well, what's the matter?

[B]

Look, coming up the street.

[A]

Is that.

[B]

Yeah. Denny Shane.

[A]

You're sure?

[B]

Of course I'm sure.

[A]

I've got to be positive.

[B]

I'll prove it to you, Denny. See?

[A]

Yes.

[B]

Denny, come here a minute. Oh, Sam Spade, isn't it? Yeah. Yeah. Well, you recognize the kid? No. He's your little sister.

[A]

Sister?

[B]

What are you talking about? I haven't. It all happened in less than a second. So hard, so fast, so horrible, it froze me in my tracks. The shoulder bag flew off. There was an automatic in her hand. And then Denny Shane was dead on the pavement. And she was turning toward me, her face a sick gray color, handing me the gun handle first.

[A]

There. There. It's done. Now you can take me to the police.

[B]

You are listening to the weekly adventure of radio's most famous detective, Sam Spade. Three chimes mean good times on NBC. Whether it's comedy, music or drama you're after, you'll find it on the big show this Sunday. The dynamic Tallulah is your hostess and her guests include Fred Allen, Jimmy Durante, Vivian Blaine, Jane Morgan and Rudy Valli. You're invited every Sunday to the big show and this Sunday also brings you a one hour adaptation of F. Scott Fitzgerald's exciting novel, this side of paradise, presented by Theater Guild on the air and starring Richard Widmark and Nina Fosh. And now back to the Denny Shane Caper, Tonight's adventure with Sam Spade. I won't try to give you the play by play for the hour following the shots on Sutter street, because I was in no shape to remember things in sequence. In less than a minute, we were in the center of a milling crowd. Cars jammed up, horns began to blow. Then the morgue wagon and a squad of homicide dicks and flashbulbs going off like firecrackers. And Sally standing them all off with a frozen gray expression on her face that never changed while I stood at her elbow. Me, Sam Spade, who'd seen Lord knows how many murders with rubber in my knees and a feeling in my stomach like I was gonna be sick. Finally, the squad car picked us up and headed for Dundee's office.

[A]

Mr. Spade?

[B]

Yeah.

[A]

I been waiting for you to ask Me why I did it.

[B]

I thought I'd leave that for the professionals.

[A]

It won't do any good to ask me, Mr. Spade. Please tell him that, will you? It'll save all of us a lot of trouble. Everything I told you was a lie. I had to make it take me to in some way cause I didn't know what he looked like.

[B]

I hope you know what kind of a stew you jumped into, Sally. Cause from here on it's gonna be pretty tough.

[A]

I don't care what they do to me. I've had nothing to live for for a long time, Mal.

[B]

What do you mean?

[A]

Sounds stupid, doesn't it? 16 years old and nothing to live for. Ah, Sally, tell him not to ask me any questions. Tell them I'm guilty, sentence me or do whatever they do. I'll never tell them why. I'll never tell him why.

[B]

Give me a cigarette. Sam. Yeah. Why did I have to grow up to be a homicide dick? No dice, Lieutenant. No dice. It's her old man's gun. Hooked it out of his drawer this morning before she left for school. I still think she's mixed up with Shane somewhere, Dundee. Believe me, that's one thing I can guarantee. She didn't know Shane from Hopalo and Cassidy. Well, I'm only falling back on the standard answer to this kind of a clam bake, Sam. This is not a standard clown deck. You're telling me. You know Sam, it kind of scares you. What the Sam hell's happening to our kids? A 16 year old girl still in high school walking up to someone on the street. Shut up, Dundee. Oh, I'm sorry. It's got me too. She's resting on the couch in there. Stick around till I get back. I got to go down and wait for her. Folks.

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[B]

Oh, excuse me. I saw the lieutenant go out and. Come on in. Sit down. I, I'm a friend of Sally's. Do you think I could talk to her for a minute? Well, I don't think she feels like talking. Look, I, I got to Mr. I, I, I gotta talk to her. What's your name? Eddie Tucker. I go to school with Sally. I've been waiting for three hours outside for a chance to talk to her. Can I please? What's it about? It's kind of personal. Okay. Through the door there.

[A]

Thanks.

[B]

And leave it open. Yes, sir. The minute he went in, I slid along the wall into a corner between the door jamb and a file case. And through the doorway I could see them both in a mirror on the far wall of the inner office. Sally.

[A]

What are you doing here?

[B]

I. I had to see you, Sally. I heard about it and I had to see you, that's all.

[A]

You're wasting your time, Eddie. It's all over and you know it.

[B]

You shouldn't have done it, Sally. You know what I promised you?

[A]

I know what you promised me all the other times too.

[B]

This was for keeps. Honest.

[A]

So are the other times.

[B]

All right, look. Look at this. See? Out the window.

[A]

Watch.

[B]

Now. Now do you believe me, Eddie?

[A]

It's not your fault anymore. I don't blame you. Honest. All those promises.

[B]

I'll keep this one, Sally. Honest, I will.

[A]

No. You're a zombie, Eddie. You know what a zombie is? Someone who moves and walks around, but who's dead inside. Go away now. Go away.

[B]

He got up slowly and walked past me out the door. Rosy cheeked, 17 with a tired old man look in his eyes. A few minutes later the matron came by and I left her with Sally. The window in Dundee's office opened onto a second floor roof below. And directly beneath it I picked up what Eddie had tossed out. A set of car keys and a leather case plus a third one that looked like it belonged to a school locker with a number 339 on it. And written in ink on the leather inside like a memo, was Denny Shane. 778 Turk Street Apartment Park 4.

[A]

Hello kids. Oh, well, it's you again.

[B]

Yeah.

[A]

Wow. Hold on. Hold it, Jack. Aren't you gonna wait for an invitation?

[B]

You done me wrong this morning, honey.

[A]

About Denny.

[B]

Yeah? Said you hadn't seen him in two years.

[A]

I told you about AGI, dad.

[B]

Anyone told you about Denny Shane?

[A]

Ah, no. Great loss. Packs for biscuit. Would you like a drink?

[B]

Thank you, no. Now what about I had it coming.

[A]

To him sooner or later. Never made it on his bucket in his life.

[B]

How did he have it coming to him?

[A]

Like he got it. Like they all get it.

[B]

What was his racket?

[A]

Numbers. You know how it works. You buy a number.

[B]

Yeah, yeah, yeah. How do you know all this?

[A]

Curiosity. Intellectual curiosity. I Want to know things all the time. I want to know things.

[B]

Follow.

[A]

So one day, when Denny leaves his suit to be cleaned and I find a book in his pocket, I ask the questions.

[B]

In what book?

[A]

His numbers book, stupid.

[B]

What's that?

[A]

Oh, you know. With the names and numbers of all his customers.

[B]

You wouldn't know where it is, would you?

[A]

Perhaps. Perhaps.

[B]

Oh, yes, yes. How does five bucks look?

[A]

Bourbon is awful high.

[B]

Yeah. He'll probably drink it straight. Ten.

[A]

Better. Come on. I think it's. I think it's in his top drawer. Let me see now. Hi. There you are. The little black book. See all the names, all the numbers.

[B]

All the names, all the numbers. And one other feature. It was divided into sections labeled Galileo, Balboa, Lowell, George Washington and a couple of more fellows who passed on long before the numbers racket was invented. Under each was a list of names. Eddie Tucker's was on the page headed Thomas Jefferson. And after it was number three, 397 Street. At this point, several bells rang. The odd key in Eddie's case didn't belong to a locker. It went with a box in the main post office on 7th Street. Hey, now, look, fella. It's 11 o'.

[A]

Clock.

[B]

My name's Spade clerk. Look. See the license? I don't care about the license. The rules and regulations of the United States Postal Service. I know, through rain and sleet and snow and hail. But there's been a murder, you see. Murder? Yeah. Oh, well, in that case, I. I suppose we. Great. Great. Where's the mail for the box? On the table over there. But it isn't distributed. If you'll wait a shake, I'll wait a shake. It took more than a shake, but we got to it just before midnight. A scented envelope. It was addressed simply to Eddie Tucker, box 339. And in it was the answer to everything. The tired old man, eyes on the kid, Eddie the zombie. And Sally, who figured her life was over at 16 because Eddie was through. But who had sent it to him was something else again. Just a plain white envelope, the kind you get for a nickel a pack in the dime store. I looked at it a little closer, wondering what manner of stationer would deem it fitting to sprinkle perfume on a kind of envelope most people may lay bills in. Finally, a possible explanation took shape in my mind. You don't have to hit Spade on the head with a baseball bat. Any large sized mallet will do not. Just a minute, Spade. I deserve an explanation. You'll get it. You'll get it. Auggie, I'm in bed, asleep. What do you get off buzzing my bell this time of night? Patience. Patience. But look, you're alone. Yeah. Good, Good. Well, what are you taking your coat off for? Just relax, Augie. There's the coat tie, and now the shoulder holster. Shoulder holster. We are. Wait a minute now. What is all this? Well, you know the old saw, Augie. Work a little, lose the middle. What I need is exercise. Great. All right. You come around to the studio sometime. What's the matter with you? Are you crazy? Yeah, get up. I want to try it with a right hand. Look, Spade, they got ground rules over at headquarters. Now, Augie. No white lights, no rubber hoses. But they don't apply to private dicks. Get up. Listen, if you're looking for trouble, the right's even better. Okay, up you go now. Come on. Up against the wall, now. Hey, let go me space. Let's talk, huh, Doc? Yeah. About Danny Shane. About the kids he smeared with his filthy hands. High school kids from Balboa High and Lowell. And George Washington. Good kids, straight kids. I don't know nothing about your outside man, wasn't it? Your roper turning up in drugstores and jive joints with those dirty little packets of heroin he passed out as headache powders? I don't know nothing. Totally got them hooked hard, huh? There was no more. And then they got a mailbox number and a key. Then they raised money any way they could. I have nothing to do with it. My studio. Yeah, your studio's up front. Does a dame down there know what's in those envelopes she mails every day? Or does she think they're statements? Come on, talk, Donald. Okay, okay, I'll talk. Which he did. A full hour's worth in Dundee's office. And a harrowing tale it was. I felt like printing up a million copies and mailing it out to every father and mother in the country. They'd taken him downstairs when I happened to glance out of Dundee's window and down on the second floor roof, a point of light was moving back and forth slowly from one end to the other. Eddie, where are they? Where are those keys? I've got to have them. Here. Oh, thanks.

[A]

My car.

[B]

I couldn't get home in my car. You see? You don't need a kidney, Eddie. I know all about it.

[A]

Oh.

[B]

I. I can't do anything about myself, Mr. Spade. I'm helpless. I. What she said, zombie. You're not helpless. You can't handle it alone, maybe, but you're not helpless. Other guys have licked it and you can too. You want it bad enough. I. I want you. God, that's all you need. We'll take care of the rest. Let's go, huh? Like I said, this one doesn't have bluebirds at the end. Not yet anyway. The ball fact is that Sally Joan Michaels is facing the juvenile version of a murder rap. However, the best criminal lawyer in town has volunteered to defend her and the state will be represented by the most half hearted prosecution that ever set foot in the courtroom. Eddie Tucker's entering a sanitarium tomorrow, making him luckier than some of the other kids in that little black book. What about yours, John Q. Period, end of report.

[A]

Well, I don't know what to say, Sam. I feel so awful. I guess I better not make any comments.

[B]

Me too, sweetheart. Let us lose ourselves in our work. Me and this cheap novel you were reading and you in the merry chatter of that 1906 model, Oliver Scoot. Three chimes mean good times on NBC this Sunday. There's fun for you with two delightful families, the Blandings and the Harrises. Mr. And Mrs. Blanding stars Cary Grant and Betsy Drake as the troubled but proud owners of the famous Dream House. And the Phil Harris Alice Fay show brings you Phil and Alice plus brother William, darling child Julius and the ever present Frankie Remley. Amazing.

[A]

Oh, not really, Sam. There's nothing amazing.

[B]

Don't sell yourself short now.

[A]

I'm just a plain garden variety secretary. Sam.

[B]

Look at that. Immaculate. Not a mistake.

[A]

Oh, Sam.

[B]

And in 26 seconds flat, in just the time it took that man to read a short announcement, you type out five copies of a 28 page report in my book. That is amazing.

[A]

All right, I admit it, Sam. I'm amazing.

[B]

Good, good.

[A]

And another thing.

[B]

What's that?

[A]

I'm hungry. Oh, and tonight is sour brought night at Schroeder's and Max Nishi is letting girls in.

[B]

Now, cherub, as you may have gathered, I didn't collect a fee off this one.

[A]

Oh, but Sam, I still have $10 you gave me last week to cover my back salary from six weeks before that. So we Schroeders it is.

[B]

Yes. Let me go home and put on.

[A]

My other shirt and I'll get my sorry rotten hat. Good night.

[B]

Good night, sweetheart. She is amazing. The Adventures of Sam Spade are produced, edited and directed by William Spear. Sam Spade is played by Stephen Dunn. Loreen Tuttle as Effie. Also in the cast where Kathy Lewis, Paul Freeze, Kathleen Freeman, Lou Merrill, Bill Tracy and Jerry Hausner. Script for tonight's adventure by Harold Swanton, musical scoring by Lud Gluskin conducted by Robert Armbruster. Join us again next week, same time for another adventure with Sam Spade. You can help in the fight to conquer cancer. Strike back at cancer by joining the 1951 cancer crusade of the American Cancer Society. Help science help you give generously to your local unit by mailing your contribution to cancer care of your local post office. Cancer is a major problem, and the fight against it deserves major support. Laugh with the Magnificent Montague and Duffy's Tavern each Friday on NBC.