Episode Transcript
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Speaker 1 (00:22):
Who knows what evil works in the hearts of men
a shadow Eus. Once again we bring you the thrilling
Adventures of the Shadow, the hard and relentless fight of
(00:45):
one man against the forces of evil. These dramatizations are
designed to demonstrate Forcibly too old and young alike, that
crime does not pay. When the mayor says Marillion as
warning tone, you know there's something brewing. And you can
bet too that when Marilli answers that call, she won't
(01:06):
bother to keep a civil tongue in her head. Butch
complicates things too, because he can make up his mind
whether to do the Mayor's betting or Morelli's. These lovable
characters are yours on your mutual don Lee Station every
Sunday night at seven with Lionel Barrymore as the Mayor,
Agnes Moorehead as Morelli, and Conrad Binyon as Butch. Tune
(01:30):
in Mayor of the Town tonight seven pm on your
don Lee Station and now back to the thrilling Adventures
of the Shadow. The Shadows who wigs the forces of
(01:50):
law and order is in reality Lamont Clanston, wealthy young
man about town years ago in the Orient Clanston learned
a strange and mysterious secret, the hypnotic power to cloud
men's minds or they cannot see him. Cranston's friend and companion,
the lovely Marble Lane, is the only person who knows
to whom the voice of the invisible Shadow belongs. Two
(02:13):
Day's drama, pree View of Terror. It is a wild
(02:34):
and stormy night. A driving rain slashes in the closed
windows of a late model coupe that rockets along a
deserted road miles out of town. Suddenly, there is a
blinding flash of lightning, and in its eerie light, a
strange figure stands, revealed at the side of the road.
As the car approaches him, he waves a lantern.
Speaker 2 (02:56):
Mar did you see that man apheaded the side of
the room.
Speaker 1 (02:59):
Yes, Mark. He seems to be waving a lesson. You
must need help apparently anyway he wants us to stop
flagging is down? What's wrong? Must have you better turn back?
You can't go through the monk.
Speaker 3 (03:14):
We've got to get through.
Speaker 1 (03:16):
What's wrong? Up ahead? Roads washed out? You can't get through?
Speaker 3 (03:20):
How bad?
Speaker 2 (03:20):
Is it too bad to get through?
Speaker 1 (03:23):
Much? Too bad? Much important? We get back to town
fast isn't there somewhere you might choose the detour? Detour?
What detour? Run up the road to spell? He ain't
very wide? Which is passable? I never knew of any
detour on this road. I ain't say how. It's good
riding for the police.
Speaker 2 (03:45):
You can get through.
Speaker 4 (03:46):
Let's take it. Then?
Speaker 1 (03:47):
Now where is this detour?
Speaker 2 (03:49):
First turn to your left up through the hill.
Speaker 4 (03:53):
Huh.
Speaker 1 (03:54):
Couldn't we make a mistake about that being a detour?
Speaker 2 (03:56):
Could you never make mistakes? Mister?
Speaker 1 (04:00):
And I still say you'd be better roll if you
turn around and go back the way. You came much
better off.
Speaker 4 (04:23):
Mont You think we're on the right road.
Speaker 1 (04:24):
It's so dark now. Road certainly doesn't look as though
it gets much use for them. That's funny what I
behead there? The road stops. Man, that's no road.
Speaker 5 (04:37):
It's just a driveway for.
Speaker 3 (04:38):
That old house.
Speaker 1 (04:39):
It's a weird looking place.
Speaker 4 (04:42):
Do you think we've gotten.
Speaker 5 (04:43):
Off the detour?
Speaker 1 (04:44):
I don't know, Margaret, Something is strange about all this.
Speaker 3 (04:47):
Look somebody send the front right on as though they
were expecting nonsense.
Speaker 1 (04:51):
Margo probably just heard the sound of our motor. What
are you going to do? I think this? Asked for
some directions and leaves. Come on, Frankenstein slept here all right,
it doesn't seem to be any bell.
Speaker 5 (05:09):
Come in, come in, wave then waited.
Speaker 1 (05:12):
I'm sorry, we're not the ones you're expecting. We just
lost our weight. We like you, we were expecting.
Speaker 5 (05:17):
Come in, come in.
Speaker 1 (05:19):
What you talking about? I don't know, but it might
be a good idea. The telephone and say we'll be delayed.
Speaker 6 (05:24):
Said, come right in and make yourselves at home.
Speaker 1 (05:26):
We should phone Marko. Come on, you were.
Speaker 6 (05:29):
Late, but I knew you wouldn't did to find that.
Speaker 4 (05:32):
Really, I think you should understand that we merely lost
our way.
Speaker 6 (05:35):
You are so pretty and yell so young.
Speaker 1 (05:38):
Oh where's the telephone?
Speaker 5 (05:40):
It took longer than most to arrive.
Speaker 4 (05:43):
Don't understand. An old man down at the road, slide
is down?
Speaker 2 (05:46):
He said this was a detour.
Speaker 5 (05:47):
Yeah, that would be Jebbies.
Speaker 1 (05:49):
Oh you know him? Then know him?
Speaker 6 (05:51):
Man and boy sixty years when he was alive, When
he was alive, Yeah.
Speaker 5 (05:57):
Went to his funeral ten years ago.
Speaker 6 (06:01):
I'm don know Jebbie.
Speaker 5 (06:03):
Like this, keeps talking about it.
Speaker 4 (06:05):
No, I know we'd better go there.
Speaker 6 (06:07):
I think you're right, you stay, you'll stay a long time.
Speaker 1 (06:13):
I'm sorry, but we're going now. Hey, hey, you care me?
But look he's a child. Why is that distributor? Where
did they come from? Heki likes to make sure people stay.
Speaker 6 (06:26):
He pulls their motor apart and show them their rooms.
Speaker 1 (06:32):
Stay back, you can't hury.
Speaker 6 (06:42):
Take the man up and take him to the.
Speaker 1 (06:43):
Room where they come to. Stay back, Stay back, calm to.
Speaker 4 (07:03):
The month the monk?
Speaker 1 (07:04):
Can you hear me? Oh my head?
Speaker 2 (07:08):
What happened the month?
Speaker 3 (07:09):
We've got to get out of those awful people?
Speaker 1 (07:12):
What's happened?
Speaker 3 (07:13):
A giant hit um?
Speaker 4 (07:15):
They tied us up and left.
Speaker 2 (07:16):
His ears and you get Louise Morgo.
Speaker 4 (07:18):
I don't think so.
Speaker 2 (07:19):
The rope is so tight, think mine giving us a
little girl? What's happening?
Speaker 1 (07:26):
Could be mice, but somehow I don't think it is
the section of the war secret panel of some sort.
Speaker 4 (07:32):
But what the mot is? A half a human hand
a somebody. Somebody's coming into the room.
Speaker 1 (07:41):
It's a girl, exceptionally beautiful girl. It's that over here
in the corner.
Speaker 3 (07:47):
See they've got you to have n't helped?
Speaker 1 (07:49):
Can you untie us? Please?
Speaker 3 (07:51):
Yet?
Speaker 1 (07:51):
Of course?
Speaker 3 (07:52):
Will you help me help so badly? What's the matter
my husband. They've got even lost in me yet it
ere your arms are free.
Speaker 1 (07:58):
Thanks as man's got.
Speaker 4 (08:00):
To help me before they murdered my husband.
Speaker 1 (08:03):
What kind of a house is this?
Speaker 4 (08:04):
It's evil?
Speaker 2 (08:04):
Ho what are you doing here?
Speaker 3 (08:06):
It was the old man, the old man with the lantern.
Speaker 4 (08:09):
It must have been the same one.
Speaker 3 (08:10):
He said the road was washed out, that this was
a detour.
Speaker 5 (08:13):
We came to this awful house.
Speaker 1 (08:15):
The old lady got us to come in, and a
huge man distable. Do car your husband? He tried to fight,
but they now.
Speaker 3 (08:21):
They're gonna kill him. In the attic, I.
Speaker 5 (08:24):
Discovered the passage between the walls.
Speaker 3 (08:25):
I was going for help, will help?
Speaker 2 (08:26):
What was the man?
Speaker 1 (08:27):
Course markom This passage leads to the ict. I'll tell
you the right. They could be safe if you wait here.
We'll be back as soon as we can. A month.
(08:50):
This passage way between the walls couldn't have be news
for the year cover USh. That must be the door
of the attic. Now seem to be anyone in there,
Bring her something that moves that pan's known here Just
(09:15):
a lot of jok, probably tied up sometimes, I said, correct.
Speaker 4 (09:23):
Sign of anything?
Speaker 2 (09:26):
When would just doing it?
Speaker 1 (09:29):
Probably just a closet. It's a fun hanging, no doubt.
The rope around his neck round enough that dagger in
his heart would be got to notify the police. It's
really of the murder mansion, Marco. This voice it coming
(09:52):
from the room directly below.
Speaker 4 (09:53):
It sound like they're having a fine time talking and laughing.
Speaker 1 (09:56):
What's going on here? I don't know, Margo.
Speaker 2 (09:59):
Let you I joined this.
Speaker 1 (10:00):
Party and see if it strikes that that's funny, that's
striking them.
Speaker 2 (10:17):
No, no, I want to surprise this is let's go in.
Speaker 1 (10:27):
I gonna let him know how hard he got it.
I had to drop him before he dropped me.
Speaker 3 (10:30):
Did you see his eyes pop when he saw the size?
I almost my lines driving his face telling him about
my poor husband.
Speaker 5 (10:39):
Happy.
Speaker 1 (10:41):
Routine. We're onto it now.
Speaker 5 (10:44):
You mean to say that was on.
Speaker 4 (10:45):
A joke after almost turning my.
Speaker 1 (10:46):
Hair grass and speaking of hair.
Speaker 3 (10:49):
Because money, mister c Wig, I suppose you're on still.
Speaker 1 (10:53):
No, I don't get mad, miss Lane, like Cranston says,
it's all a gig. We were just playing our first
Whose idea was this elaborate, practical joke?
Speaker 3 (10:59):
We can't tell you.
Speaker 1 (10:59):
It's a oh yes, you Kennon what's more, you will
it's all.
Speaker 3 (11:01):
Over, King, We might just as well let him be
in honest.
Speaker 1 (11:04):
Sure the boss can tell him him. So that's a
good idea. Let's meet this boss.
Speaker 5 (11:08):
Okay, come along with your Cranston.
Speaker 3 (11:10):
I'm sure he's just as anxious to.
Speaker 5 (11:12):
See you as you are to see him.
Speaker 3 (11:23):
Ah.
Speaker 1 (11:24):
Well, it's your ghost breaker himself. Come in, Cranston, my boy,
come here, Come here, Google Bennett, the bad boy of
Hollywood I might have known in person, my good fellow interests.
You remember mister Bennett Margot, the Hollywood director. We met
him on the coast a few years. Oh, don't tell
me you've forgot the old king and comedy himself. Laye,
what are you doing here in the East? Bennett? Give
you the whole plot in the minute. Lamon right now.
(11:45):
I wants to meet the cast, said man. This is
the cast of Terror, the first the series, a super
duper Bennett mystery. We've just seen a preview of Terror,
isn't it what I tell you about? This guy? Sharp shaff?
And now the credits. This gorgeous little redheaded bundle of
puff is not other than Ginger Johnson, tire of stage
and screen and leading lady in all future Bennett mystery production.
Speaker 3 (12:07):
Ginger Johnson, Why I should have recognized you? I hope
I didn't give you too too much of a scam.
L You did pretty well, my character woman, Lulu Summers.
Speaker 1 (12:16):
How do you do, miss Lane? My character man? You
met down the road with the lantern, the heavy hercules,
the costa.
Speaker 3 (12:22):
You are the one who really scared me me too?
Speaker 1 (12:25):
How do I hit you? The less afficted here? Don't
you believe it? If you tap me once more? The
gun down? Well, I'm still waiting to hear what this
is all about. I'm about to tell you, my impatient friend.
As each and every one of you know, I Screwball
Bennett directed and created the greatest comedies known to Hollywood.
One of later OL's Screwball has shall we say, fallen
(12:48):
on hard times? So to a consummate a comeback, so
to speak. I had the inspiration to make a series
of super epics of suspense and terror. I wanted only
the best. Ginger Johnson, my leading lady.
Speaker 3 (13:01):
Right after fifteen years of cussed it, Fie Quickie, I
couldn't see screwp while doing Ah.
Speaker 1 (13:06):
They just can't seem to realize it because I made
my name in slapstick, then I also have an artistic
side to my nature. So I had to prove it
my own way that I could stage just set up
so realistic that even an expert criminologist would be duped.
Well how about it, Lamon, Well, it wasn't exactly a
routine police case. I'll admit I was fooled.
Speaker 4 (13:25):
The money and I.
Speaker 3 (13:26):
Were test cases for your mystery. Is that it?
Speaker 1 (13:29):
Guinea pigs? You might say, sweetheart, guinea pigs?
Speaker 3 (13:31):
I guess I owe you an apologies group up if
you perform, mister Cranston, that's good enough for me. And
I'm sure a Ward Hey, by.
Speaker 5 (13:38):
The way, where is Ward?
Speaker 2 (13:39):
He should be here by.
Speaker 1 (13:40):
Now Ward Warren, my leading man, young, good looking rang
and sweet Si.
Speaker 4 (13:46):
That's the man we saw hanged a.
Speaker 1 (13:51):
It's merely a the Lulian sugar pie, fairly an illusion.
There's a harness under Ward's arm of the rope attaches
to the hanging was saved just to give you an
ad threat. Gave me a thrill, all right, but it
wasn't any ellusion. Oh your nuts crants, and I ricked
up that hanging gimmick myself.
Speaker 2 (14:06):
Man wasn't hanged in it.
Speaker 1 (14:08):
He was stabbing it in attagger in his heart, and
he was dead. We'll return to the shadow in just
(14:32):
a moment. Can you remember your first American history book
and the exciting lives of the great pioneers. You recall
how Daniel Boone's father painstakingly taught him the lord of
the forest, how to recognize the tracks of each animal,
and how to use the long barreled squirrel gun to
see it and defend himself and his family. Life sounded
(14:54):
so exciting and important for the head of a pioneer
family on our young country frontiers. Unfortunately, what some parents
have lost sight of is the fact that our company
is still young and growing and pioneering, and the mothers
and fathers of to day have an even greater responsibility
to see to it that their children are properly trained
(15:16):
to meet the challenging problems they must face and solve.
To day, the almost limitless frontiers of science extend before us,
and proud pioneering parents are determined to equip their sons
and daughters to tackle this frontier, not with a squirrel gun,
but with a good solid education. Shouldn't that the your
(15:40):
objective due. Now, once again back to the shadow, ma
Mount and Margo are lured into an old house. While
they are all mat of weird things happen, Lamont finds
(16:02):
the whole adventure was a hoax manufactured by Screwball Bennett,
an eccentric Hollywood director. However, when Lamont mentions the body
in the attic, laughter turns to holla. The body runs
up the stairs to the body. There was no dagger
on the deal with Ward. You're sure you saw it.
Kramp's positive scow all was plast the hilt in his heart.
Speaker 3 (16:23):
Not that I blame you, returning the tables on us
because this is a gag.
Speaker 4 (16:26):
Isn't miss Johnson?
Speaker 1 (16:27):
I saw it too, unknown Warn wouldn't miss a curtain
call unless it was something like this. It was here
in the attic, that plaza over there. As it was
a gag. He should still be here. It's worried, all right,
not very pretty now? Is he get it to Costa?
(16:47):
Help you get him? John? Who would do?
Speaker 3 (16:50):
Hi?
Speaker 1 (16:51):
Would time the summers put him down here?
Speaker 3 (16:53):
You're sure he's dead.
Speaker 1 (16:55):
Mister krink positive Ginger whoever used that knfe knew exactly
what they were doing. But to be a gag. A
fake hanging doesn't scare you. Two. So you said, mister
what's so interesting Cranston? His knife? Our construction Oriental I'd
say forty First Street, I'd say, meaning theatrical prop used
in some stage show notes down maybe. So how did
(17:17):
this Ward warrant fit into this crazy scheme? Bennitt?
Speaker 3 (17:20):
He he was my leading man in the broadway show
we were in, mister Cranston. If I did this mystery
picture for scrup all, I wanted him to do it
with me.
Speaker 1 (17:28):
Anybody remember the last time they saw him?
Speaker 3 (17:30):
I guess I was the last one to see him alive.
Speaker 1 (17:34):
When was that?
Speaker 4 (17:35):
Just before I crawled into that secret passageway.
Speaker 3 (17:38):
He was going to the attic to make believe he
was hung, so that he could see your faces, to
see if you were really scared.
Speaker 1 (17:44):
Anybody see him after that?
Speaker 3 (17:45):
Only the murderer, mister Craston, Well, I think you ought
to know that. Ward and DaCosta had a fight a
couple of hours ago. Giant Ward loved to taunt DaCosta
because of his size, and he threatened to break wad.
Speaker 1 (17:58):
Across his knees if he didn't stop making cracks where
is the Costa. It can't when there was head just
a month ago. I'll try and find him. In the meantime, Mark,
you notify the police. The rest of you stay here
and watch the body. And you can't go after that
giant alone.
Speaker 2 (18:14):
You'll kill you.
Speaker 1 (18:16):
I don't think the giant's strength will have much effect
against the shadow. I gotta get out of here, gotta
go any somewhere to Costa who said that running away?
(18:38):
You won't help you to escape. You're too easy to recognize.
Speaker 2 (18:41):
Is it who's in the basement?
Speaker 1 (18:43):
This is the shadow? Casta. I didn't do it. Shadow,
I didn't kill Ward Wharton. You're running away. They'll try
to depend it on me. They'll try to make me
take the ref not if you're innocent. Looks bad. We
had a fight just before he was killed. Besides, yes,
I got a record. I got mixed up with the
(19:03):
cups when I was doing the Carnival Act a couple
of years ago. But I didn't kill war and I
swear it and hoard it. I don't know. It sound
as if you're shielding someone, Tacosta. If you didn't kill
a Hodd okay, I'll tell you.
Speaker 2 (19:18):
Why should I shield a murderer.
Speaker 1 (19:20):
I think I know who stab ward Listen, shadow, it was.
Speaker 2 (19:28):
Well a Costa?
Speaker 1 (19:29):
Can you hear me? Okay? Who did it? A Costa?
Who murder it? Won? It was Ginger?
Speaker 2 (19:39):
Ginger Johnson.
Speaker 1 (19:40):
How do you know the Knight knife didn't kill him?
Speaker 2 (19:44):
It was hers?
Speaker 1 (19:45):
How can you be sure?
Speaker 2 (19:46):
The play Ginger.
Speaker 1 (19:48):
Use the knife?
Speaker 2 (19:49):
Play? It's burned.
Speaker 1 (20:07):
Before he could tell me any more about the knife,
he died, what a shame? The knife that was used
in Ginger's Broadway play huh yeah? And the old lady
in the constable pulse in that play with Ginger, he said.
Speaker 4 (20:20):
Summer she was the one who tried to shift the
lange of the cost and effect, and.
Speaker 1 (20:25):
She was as a matter of fact, where is missus Summer?
She and Ginger stepped out of the room for a minute,
said they'd be right back now.
Speaker 4 (20:31):
Tell me they've disappeared too.
Speaker 1 (20:33):
This is getting to be like the ten little Indians. Listening,
somebody's having the garage.
Speaker 2 (20:39):
Maybe they're trying to get away.
Speaker 1 (20:40):
Maybe they are, but I don't think they will. You're
to stay here. I'll take care of our friends, whoever
it is. I don't think we're watching the leaf so soon, Ginger,
(21:00):
you get off the running boy first, we'll turn off
that motor. I'll take those keys. Give me those. Yeah,
thanks a lot, Ginger. Now we can talk more comfortably.
Speaker 5 (21:09):
You had no right to keep me here at least might.
Speaker 1 (21:10):
Be very disappointed not to find you here when they
are are.
Speaker 3 (21:12):
I don't know anything that will help the police.
Speaker 1 (21:14):
Why are you running away? Why?
Speaker 3 (21:16):
Because I'm going crazy. This whole waggy set up is
driving me insane.
Speaker 4 (21:19):
That's why I did have assessed him, not to get
mixed up again with school board swaggy squad.
Speaker 1 (21:23):
You're not running away because you killed Ward war And
then why should I kill Ward?
Speaker 3 (21:27):
He was my lady man, I was. I was very
fond of him.
Speaker 1 (21:31):
It was John knife that killed him. I don't know
what you're talking about. You brought it with you?
Speaker 3 (21:34):
I did not. I left it in my dressing room.
Speaker 1 (21:37):
My don't you How about the costa bonny? He says
you killed Warren?
Speaker 5 (21:41):
That's a lie.
Speaker 1 (21:42):
He couldn't say. Why didn't you finish? Why didn't you say?
You couldn't? Because he's dead? All right?
Speaker 3 (21:47):
I did know he was dead. I heard this shot.
That's why I wanted to go out.
Speaker 1 (21:51):
If you're honest, that's the only reason.
Speaker 3 (21:52):
Of course, it probably the old lady.
Speaker 5 (21:54):
She was in the play.
Speaker 4 (21:55):
He had access to that knight.
Speaker 1 (21:56):
But you had the motive. You have reason to kill
them both, didn't you, Ginger? Didn't you?
Speaker 4 (22:11):
I wonder what's keeping them all?
Speaker 1 (22:13):
Yeah? She has been gone, Well hasn't he? I think
we ought to go look for him.
Speaker 4 (22:18):
The man said to wait here for the police.
Speaker 1 (22:20):
Yeah, well, here's old Screwball right in the middle of
trouble again. I pull an innocent little gang on what happens?
Two down? And wonder girl want to go Summers? The
old lady shall let the pay for those two murders. No,
certainly give her the full treatment.
Speaker 4 (22:35):
I don't think missus Summers committed to murders, mister Bennett.
Speaker 1 (22:38):
Why I think Ginger did Ginger on a love bit.
Speaker 4 (22:43):
It was her knife we found in Warren's body.
Speaker 1 (22:45):
How can you be sure the costa told him.
Speaker 5 (22:48):
A while he was dying.
Speaker 1 (22:49):
He was killed because he recognized the knife. But it
doesn't make sense. She was crazy about war. He was
a leading man.
Speaker 3 (22:56):
That Ward got in her way.
Speaker 4 (22:57):
Oh romantically, Perhaps you tired of him, board with him.
Speaker 3 (23:01):
He wouldn't leave her alone.
Speaker 1 (23:03):
Look, Connorie, you sound as if you knew a lot
more than you would tell her.
Speaker 4 (23:07):
I do, And I got the clipping to prove him.
Speaker 1 (23:09):
Clipping what clipping?
Speaker 4 (23:11):
Founded on the outic floor right near the body.
Speaker 2 (23:13):
Let me see that.
Speaker 1 (23:16):
Ginger Johnson Hollywood had turned. But just telling friends and
having the same torch bearer haunting of for a decade
is tough on the nerves.
Speaker 4 (23:26):
You see, she had tired of them, but he wouldn't go.
I see for ten years he's been dogging her footsteps.
And ten years how old would you say Ward Warren.
Speaker 1 (23:39):
Was twenty eight and ten years ago?
Speaker 6 (23:43):
What ten years ago?
Speaker 2 (23:45):
He was only eighteen years old.
Speaker 1 (23:47):
I'd be young to be so irresistible. I sugar him thin.
Speaker 4 (23:53):
And it wasn't Ward war.
Speaker 1 (23:56):
What do you think.
Speaker 3 (23:59):
I?
Speaker 4 (24:00):
I think it was you, mister Bennett.
Speaker 1 (24:01):
You're the one that could referred to Ginger left me
ten years ago in Hollywood. I wanted a back. I
had to have a back. He didn't kill one, and
you did. Jillum exterminated him. You mean that cheap little tongue.
Speaker 4 (24:12):
Why did you kill the cost? And he never did
anything too?
Speaker 1 (24:14):
You might remember too much, sweetheart, He might remember that
it was I who had the prop knife, not Ginger.
I borrowed it from a dressing room backstage after the
show last night. And now, baby for the unhappy ending
to our little grade, b oprah, what are you going
to do? Take care of you? Baby? What else you know?
The whole plant? It wouldn't kill me. You can't figure
old screwball as a killer? Is that it? Changel? I'm
(24:36):
and there's too deep to get soft now. Like the
man said, they can only hang you white, would't Baby?
Make it easy on yourself? Somebody laughed, somebody laughed at me?
Where is the killer? You used to like? Lots of laughs? Bennett? Shadow,
Thank Heaven's you got shadow? Yes, the shadow, and soon
(24:58):
the police. Benett, stay away from the shadow. This knife
work once on one and will work again on her
on that knife minute. I used to be a stunt
man Shadow. One of my specialties was throwing a knife.
I never miss. Yeah, yeah, that's being smart. Nobody moved.
I'll drop you a post at let me out here,
(25:23):
let me out. I don't think so. The police will
want to talk to you, Bennett. I'm going to keep
you here until they arrive.
Speaker 4 (25:45):
Well, lamon, missus Summers, who seemed most guilty, was really
the only.
Speaker 2 (25:50):
Innocent one of the plot.
Speaker 1 (25:51):
It's Margaret. The police exonerated her.
Speaker 4 (25:54):
Was it all a fake lament? The wild mister joy
Pott and everything.
Speaker 6 (25:58):
Just to cover up the murder?
Speaker 1 (26:00):
A mystery movie was on the level, as I get
at Marco. Bennett planned to star Ginger in the film
that way to get her back, But.
Speaker 3 (26:06):
She wouldn't go back, not as long as young Warren
was around.
Speaker 1 (26:09):
Is at it?
Speaker 4 (26:10):
No?
Speaker 1 (26:11):
So Bennett went completely off his rock. What a madman
he was.
Speaker 3 (26:15):
A Martin.
Speaker 4 (26:16):
I was never so frightened as when I saw his
real character.
Speaker 1 (26:19):
Yes, almost like seeing a clown turn into a boogey
manning Marco. He had planned all along to kill Warren,
No Margot, not until last night when he tried to
affect a reconciliation of Ginger. Apparently he talked to both
her and Ward. They both laughed at him, called him
an old fool. Decided then that Warren had to die.
(26:42):
But why was Ginger's dagger?
Speaker 2 (26:44):
Is he trying to throw suspicion on her?
Speaker 1 (26:47):
On his crazed mind, his lover turned to hate. He's
going to have his revenge on her by letting her
pay forwards dead. What a horrible old man, Margot? What
is it a road waving? A land of course, Marco,
it's a train crossing. For your Sunday night listening, stay
(27:27):
on the mutual Don Lee party line for twenty questions
at eight, followed by Waller win Jill at eight thirty
and Luella Parson's at eight forty five. On twenty questions,
all the world and people, places and things are either animal,
vegetable or mineral. A gold mile of subjects to stump
the expert questioners. The regular twenty questions panel, Bill Slater Launch,
(27:50):
Bernard Bobby McGuire, Fred Bandabatter and her Plaizy will be
on hand for the fun. Immediately following twenty Questions at
eight thirty, there's Waller Winchell with his newsplashes and stories
from the Broadway scene. Then at eight forty five the
wall of Parsons with their scoops from among the Hollywood
film world. So stay on the party line for twenty
(28:12):
questions to eight, followed by Waller Wintle at eight thirty
and the Walla Parsons at eight forty five. And by
the way, that's tonight this story is copyrighted by Street
(28:41):
and Smith Publications, Incorporated. All names and places are fictitious.
Any similarity to persons living or dead is purely coincidental.
The weed of crime, there's spitter fruit. Crime does not
pay the Shadow. Now, next week, same time, same station,
(29:28):
we bring you another strange and thrilling adventure in the Shadows,
daring battle against the forces of Eople. The part of
Monkamston was played by Brett Morrison, Margot by Grace Matthew.
This program gave you from New York
Who knows what evil works in the hearts of men
a shadow Eus. Once again we bring you the thrilling
Adventures of the Shadow, the hard and relentless fight of
(00:45):
one man against the forces of evil. These dramatizations are
designed to demonstrate Forcibly too old and young alike, that
crime does not pay. When the mayor says Marillion as
warning tone, you know there's something brewing. And you can
bet too that when Marilli answers that call, she won't
(01:06):
bother to keep a civil tongue in her head. Butch
complicates things too, because he can make up his mind
whether to do the Mayor's betting or Morelli's. These lovable
characters are yours on your mutual don Lee Station every
Sunday night at seven with Lionel Barrymore as the Mayor,
Agnes Moorehead as Morelli, and Conrad Binyon as Butch. Tune
(01:30):
in Mayor of the Town tonight seven pm on your
don Lee Station and now back to the thrilling Adventures
of the Shadow. The Shadows who wigs the forces of
(01:50):
law and order is in reality Lamont Clanston, wealthy young
man about town years ago in the Orient Clanston learned
a strange and mysterious secret, the hypnotic power to cloud
men's minds or they cannot see him. Cranston's friend and companion,
the lovely Marble Lane, is the only person who knows
to whom the voice of the invisible Shadow belongs. Two
(02:13):
Day's drama, pree View of Terror. It is a wild
(02:34):
and stormy night. A driving rain slashes in the closed
windows of a late model coupe that rockets along a
deserted road miles out of town. Suddenly, there is a
blinding flash of lightning, and in its eerie light, a
strange figure stands, revealed at the side of the road.
As the car approaches him, he waves a lantern.
Speaker 2 (02:56):
Mar did you see that man apheaded the side of
the room.
Speaker 1 (02:59):
Yes, Mark. He seems to be waving a lesson. You
must need help apparently anyway he wants us to stop
flagging is down? What's wrong? Must have you better turn back?
You can't go through the monk.
Speaker 3 (03:14):
We've got to get through.
Speaker 1 (03:16):
What's wrong? Up ahead? Roads washed out? You can't get through?
Speaker 3 (03:20):
How bad?
Speaker 2 (03:20):
Is it too bad to get through?
Speaker 1 (03:23):
Much? Too bad? Much important? We get back to town
fast isn't there somewhere you might choose the detour? Detour?
What detour? Run up the road to spell? He ain't
very wide? Which is passable? I never knew of any
detour on this road. I ain't say how. It's good
riding for the police.
Speaker 2 (03:45):
You can get through.
Speaker 4 (03:46):
Let's take it. Then?
Speaker 1 (03:47):
Now where is this detour?
Speaker 2 (03:49):
First turn to your left up through the hill.
Speaker 4 (03:53):
Huh.
Speaker 1 (03:54):
Couldn't we make a mistake about that being a detour?
Speaker 2 (03:56):
Could you never make mistakes? Mister?
Speaker 1 (04:00):
And I still say you'd be better roll if you
turn around and go back the way. You came much
better off.
Speaker 4 (04:23):
Mont You think we're on the right road.
Speaker 1 (04:24):
It's so dark now. Road certainly doesn't look as though
it gets much use for them. That's funny what I
behead there? The road stops. Man, that's no road.
Speaker 5 (04:37):
It's just a driveway for.
Speaker 3 (04:38):
That old house.
Speaker 1 (04:39):
It's a weird looking place.
Speaker 4 (04:42):
Do you think we've gotten.
Speaker 5 (04:43):
Off the detour?
Speaker 1 (04:44):
I don't know, Margaret, Something is strange about all this.
Speaker 3 (04:47):
Look somebody send the front right on as though they
were expecting nonsense.
Speaker 1 (04:51):
Margo probably just heard the sound of our motor. What
are you going to do? I think this? Asked for
some directions and leaves. Come on, Frankenstein slept here all right,
it doesn't seem to be any bell.
Speaker 5 (05:09):
Come in, come in, wave then waited.
Speaker 1 (05:12):
I'm sorry, we're not the ones you're expecting. We just
lost our weight. We like you, we were expecting.
Speaker 5 (05:17):
Come in, come in.
Speaker 1 (05:19):
What you talking about? I don't know, but it might
be a good idea. The telephone and say we'll be delayed.
Speaker 6 (05:24):
Said, come right in and make yourselves at home.
Speaker 1 (05:26):
We should phone Marko. Come on, you were.
Speaker 6 (05:29):
Late, but I knew you wouldn't did to find that.
Speaker 4 (05:32):
Really, I think you should understand that we merely lost
our way.
Speaker 6 (05:35):
You are so pretty and yell so young.
Speaker 1 (05:38):
Oh where's the telephone?
Speaker 5 (05:40):
It took longer than most to arrive.
Speaker 4 (05:43):
Don't understand. An old man down at the road, slide
is down?
Speaker 2 (05:46):
He said this was a detour.
Speaker 5 (05:47):
Yeah, that would be Jebbies.
Speaker 1 (05:49):
Oh you know him? Then know him?
Speaker 6 (05:51):
Man and boy sixty years when he was alive, When
he was alive, Yeah.
Speaker 5 (05:57):
Went to his funeral ten years ago.
Speaker 6 (06:01):
I'm don know Jebbie.
Speaker 5 (06:03):
Like this, keeps talking about it.
Speaker 4 (06:05):
No, I know we'd better go there.
Speaker 6 (06:07):
I think you're right, you stay, you'll stay a long time.
Speaker 1 (06:13):
I'm sorry, but we're going now. Hey, hey, you care me?
But look he's a child. Why is that distributor? Where
did they come from? Heki likes to make sure people stay.
Speaker 6 (06:26):
He pulls their motor apart and show them their rooms.
Speaker 1 (06:32):
Stay back, you can't hury.
Speaker 6 (06:42):
Take the man up and take him to the.
Speaker 1 (06:43):
Room where they come to. Stay back, Stay back, calm to.
Speaker 4 (07:03):
The month the monk?
Speaker 1 (07:04):
Can you hear me? Oh my head?
Speaker 2 (07:08):
What happened the month?
Speaker 3 (07:09):
We've got to get out of those awful people?
Speaker 1 (07:12):
What's happened?
Speaker 3 (07:13):
A giant hit um?
Speaker 4 (07:15):
They tied us up and left.
Speaker 2 (07:16):
His ears and you get Louise Morgo.
Speaker 4 (07:18):
I don't think so.
Speaker 2 (07:19):
The rope is so tight, think mine giving us a
little girl? What's happening?
Speaker 1 (07:26):
Could be mice, but somehow I don't think it is
the section of the war secret panel of some sort.
Speaker 4 (07:32):
But what the mot is? A half a human hand
a somebody. Somebody's coming into the room.
Speaker 1 (07:41):
It's a girl, exceptionally beautiful girl. It's that over here
in the corner.
Speaker 3 (07:47):
See they've got you to have n't helped?
Speaker 1 (07:49):
Can you untie us? Please?
Speaker 3 (07:51):
Yet?
Speaker 1 (07:51):
Of course?
Speaker 3 (07:52):
Will you help me help so badly? What's the matter
my husband. They've got even lost in me yet it
ere your arms are free.
Speaker 1 (07:58):
Thanks as man's got.
Speaker 4 (08:00):
To help me before they murdered my husband.
Speaker 1 (08:03):
What kind of a house is this?
Speaker 4 (08:04):
It's evil?
Speaker 2 (08:04):
Ho what are you doing here?
Speaker 3 (08:06):
It was the old man, the old man with the lantern.
Speaker 4 (08:09):
It must have been the same one.
Speaker 3 (08:10):
He said the road was washed out, that this was
a detour.
Speaker 5 (08:13):
We came to this awful house.
Speaker 1 (08:15):
The old lady got us to come in, and a
huge man distable. Do car your husband? He tried to fight,
but they now.
Speaker 3 (08:21):
They're gonna kill him. In the attic, I.
Speaker 5 (08:24):
Discovered the passage between the walls.
Speaker 3 (08:25):
I was going for help, will help?
Speaker 2 (08:26):
What was the man?
Speaker 1 (08:27):
Course markom This passage leads to the ict. I'll tell
you the right. They could be safe if you wait here.
We'll be back as soon as we can. A month.
(08:50):
This passage way between the walls couldn't have be news
for the year cover USh. That must be the door
of the attic. Now seem to be anyone in there,
Bring her something that moves that pan's known here Just
(09:15):
a lot of jok, probably tied up sometimes, I said, correct.
Speaker 4 (09:23):
Sign of anything?
Speaker 2 (09:26):
When would just doing it?
Speaker 1 (09:29):
Probably just a closet. It's a fun hanging, no doubt.
The rope around his neck round enough that dagger in
his heart would be got to notify the police. It's
really of the murder mansion, Marco. This voice it coming
(09:52):
from the room directly below.
Speaker 4 (09:53):
It sound like they're having a fine time talking and laughing.
Speaker 1 (09:56):
What's going on here? I don't know, Margo.
Speaker 2 (09:59):
Let you I joined this.
Speaker 1 (10:00):
Party and see if it strikes that that's funny, that's
striking them.
Speaker 2 (10:17):
No, no, I want to surprise this is let's go in.
Speaker 1 (10:27):
I gonna let him know how hard he got it.
I had to drop him before he dropped me.
Speaker 3 (10:30):
Did you see his eyes pop when he saw the size?
I almost my lines driving his face telling him about
my poor husband.
Speaker 5 (10:39):
Happy.
Speaker 1 (10:41):
Routine. We're onto it now.
Speaker 5 (10:44):
You mean to say that was on.
Speaker 4 (10:45):
A joke after almost turning my.
Speaker 1 (10:46):
Hair grass and speaking of hair.
Speaker 3 (10:49):
Because money, mister c Wig, I suppose you're on still.
Speaker 1 (10:53):
No, I don't get mad, miss Lane, like Cranston says,
it's all a gig. We were just playing our first
Whose idea was this elaborate, practical joke?
Speaker 3 (10:59):
We can't tell you.
Speaker 1 (10:59):
It's a oh yes, you Kennon what's more, you will
it's all.
Speaker 3 (11:01):
Over, King, We might just as well let him be
in honest.
Speaker 1 (11:04):
Sure the boss can tell him him. So that's a
good idea. Let's meet this boss.
Speaker 5 (11:08):
Okay, come along with your Cranston.
Speaker 3 (11:10):
I'm sure he's just as anxious to.
Speaker 5 (11:12):
See you as you are to see him.
Speaker 3 (11:23):
Ah.
Speaker 1 (11:24):
Well, it's your ghost breaker himself. Come in, Cranston, my boy,
come here, Come here, Google Bennett, the bad boy of
Hollywood I might have known in person, my good fellow interests.
You remember mister Bennett Margot, the Hollywood director. We met
him on the coast a few years. Oh, don't tell
me you've forgot the old king and comedy himself. Laye,
what are you doing here in the East? Bennett? Give
you the whole plot in the minute. Lamon right now.
(11:45):
I wants to meet the cast, said man. This is
the cast of Terror, the first the series, a super
duper Bennett mystery. We've just seen a preview of Terror,
isn't it what I tell you about? This guy? Sharp shaff?
And now the credits. This gorgeous little redheaded bundle of
puff is not other than Ginger Johnson, tire of stage
and screen and leading lady in all future Bennett mystery production.
Speaker 3 (12:07):
Ginger Johnson, Why I should have recognized you? I hope
I didn't give you too too much of a scam.
L You did pretty well, my character woman, Lulu Summers.
Speaker 1 (12:16):
How do you do, miss Lane? My character man? You
met down the road with the lantern, the heavy hercules,
the costa.
Speaker 3 (12:22):
You are the one who really scared me me too?
Speaker 1 (12:25):
How do I hit you? The less afficted here? Don't
you believe it? If you tap me once more? The
gun down? Well, I'm still waiting to hear what this
is all about. I'm about to tell you, my impatient friend.
As each and every one of you know, I Screwball
Bennett directed and created the greatest comedies known to Hollywood.
One of later OL's Screwball has shall we say, fallen
(12:48):
on hard times? So to a consummate a comeback, so
to speak. I had the inspiration to make a series
of super epics of suspense and terror. I wanted only
the best. Ginger Johnson, my leading lady.
Speaker 3 (13:01):
Right after fifteen years of cussed it, Fie Quickie, I
couldn't see screwp while doing Ah.
Speaker 1 (13:06):
They just can't seem to realize it because I made
my name in slapstick, then I also have an artistic
side to my nature. So I had to prove it
my own way that I could stage just set up
so realistic that even an expert criminologist would be duped.
Well how about it, Lamon, Well, it wasn't exactly a
routine police case. I'll admit I was fooled.
Speaker 4 (13:25):
The money and I.
Speaker 3 (13:26):
Were test cases for your mystery. Is that it?
Speaker 1 (13:29):
Guinea pigs? You might say, sweetheart, guinea pigs?
Speaker 3 (13:31):
I guess I owe you an apologies group up if
you perform, mister Cranston, that's good enough for me. And
I'm sure a Ward Hey, by.
Speaker 5 (13:38):
The way, where is Ward?
Speaker 2 (13:39):
He should be here by.
Speaker 1 (13:40):
Now Ward Warren, my leading man, young, good looking rang
and sweet Si.
Speaker 4 (13:46):
That's the man we saw hanged a.
Speaker 1 (13:51):
It's merely a the Lulian sugar pie, fairly an illusion.
There's a harness under Ward's arm of the rope attaches
to the hanging was saved just to give you an
ad threat. Gave me a thrill, all right, but it
wasn't any ellusion. Oh your nuts crants, and I ricked
up that hanging gimmick myself.
Speaker 2 (14:06):
Man wasn't hanged in it.
Speaker 1 (14:08):
He was stabbing it in attagger in his heart, and
he was dead. We'll return to the shadow in just
(14:32):
a moment. Can you remember your first American history book
and the exciting lives of the great pioneers. You recall
how Daniel Boone's father painstakingly taught him the lord of
the forest, how to recognize the tracks of each animal,
and how to use the long barreled squirrel gun to
see it and defend himself and his family. Life sounded
(14:54):
so exciting and important for the head of a pioneer
family on our young country frontiers. Unfortunately, what some parents
have lost sight of is the fact that our company
is still young and growing and pioneering, and the mothers
and fathers of to day have an even greater responsibility
to see to it that their children are properly trained
(15:16):
to meet the challenging problems they must face and solve.
To day, the almost limitless frontiers of science extend before us,
and proud pioneering parents are determined to equip their sons
and daughters to tackle this frontier, not with a squirrel gun,
but with a good solid education. Shouldn't that the your
(15:40):
objective due. Now, once again back to the shadow, ma
Mount and Margo are lured into an old house. While
they are all mat of weird things happen, Lamont finds
(16:02):
the whole adventure was a hoax manufactured by Screwball Bennett,
an eccentric Hollywood director. However, when Lamont mentions the body
in the attic, laughter turns to holla. The body runs
up the stairs to the body. There was no dagger
on the deal with Ward. You're sure you saw it.
Kramp's positive scow all was plast the hilt in his heart.
Speaker 3 (16:23):
Not that I blame you, returning the tables on us
because this is a gag.
Speaker 4 (16:26):
Isn't miss Johnson?
Speaker 1 (16:27):
I saw it too, unknown Warn wouldn't miss a curtain
call unless it was something like this. It was here
in the attic, that plaza over there. As it was
a gag. He should still be here. It's worried, all right,
not very pretty now? Is he get it to Costa?
(16:47):
Help you get him? John? Who would do?
Speaker 3 (16:50):
Hi?
Speaker 1 (16:51):
Would time the summers put him down here?
Speaker 3 (16:53):
You're sure he's dead.
Speaker 1 (16:55):
Mister krink positive Ginger whoever used that knfe knew exactly
what they were doing. But to be a gag. A
fake hanging doesn't scare you. Two. So you said, mister
what's so interesting Cranston? His knife? Our construction Oriental I'd
say forty First Street, I'd say, meaning theatrical prop used
in some stage show notes down maybe. So how did
(17:17):
this Ward warrant fit into this crazy scheme? Bennitt?
Speaker 3 (17:20):
He he was my leading man in the broadway show
we were in, mister Cranston. If I did this mystery
picture for scrup all, I wanted him to do it
with me.
Speaker 1 (17:28):
Anybody remember the last time they saw him?
Speaker 3 (17:30):
I guess I was the last one to see him alive.
Speaker 1 (17:34):
When was that?
Speaker 4 (17:35):
Just before I crawled into that secret passageway.
Speaker 3 (17:38):
He was going to the attic to make believe he
was hung, so that he could see your faces, to
see if you were really scared.
Speaker 1 (17:44):
Anybody see him after that?
Speaker 3 (17:45):
Only the murderer, mister Craston, Well, I think you ought
to know that. Ward and DaCosta had a fight a
couple of hours ago. Giant Ward loved to taunt DaCosta
because of his size, and he threatened to break wad.
Speaker 1 (17:58):
Across his knees if he didn't stop making cracks where
is the Costa. It can't when there was head just
a month ago. I'll try and find him. In the meantime, Mark,
you notify the police. The rest of you stay here
and watch the body. And you can't go after that
giant alone.
Speaker 2 (18:14):
You'll kill you.
Speaker 1 (18:16):
I don't think the giant's strength will have much effect
against the shadow. I gotta get out of here, gotta
go any somewhere to Costa who said that running away?
(18:38):
You won't help you to escape. You're too easy to recognize.
Speaker 2 (18:41):
Is it who's in the basement?
Speaker 1 (18:43):
This is the shadow? Casta. I didn't do it. Shadow,
I didn't kill Ward Wharton. You're running away. They'll try
to depend it on me. They'll try to make me
take the ref not if you're innocent. Looks bad. We
had a fight just before he was killed. Besides, yes,
I got a record. I got mixed up with the
(19:03):
cups when I was doing the Carnival Act a couple
of years ago. But I didn't kill war and I
swear it and hoard it. I don't know. It sound
as if you're shielding someone, Tacosta. If you didn't kill
a Hodd okay, I'll tell you.
Speaker 2 (19:18):
Why should I shield a murderer.
Speaker 1 (19:20):
I think I know who stab ward Listen, shadow, it was.
Speaker 2 (19:28):
Well a Costa?
Speaker 1 (19:29):
Can you hear me? Okay? Who did it? A Costa?
Who murder it? Won? It was Ginger?
Speaker 2 (19:39):
Ginger Johnson.
Speaker 1 (19:40):
How do you know the Knight knife didn't kill him?
Speaker 2 (19:44):
It was hers?
Speaker 1 (19:45):
How can you be sure?
Speaker 2 (19:46):
The play Ginger.
Speaker 1 (19:48):
Use the knife?
Speaker 2 (19:49):
Play? It's burned.
Speaker 1 (20:07):
Before he could tell me any more about the knife,
he died, what a shame? The knife that was used
in Ginger's Broadway play huh yeah? And the old lady
in the constable pulse in that play with Ginger, he said.
Speaker 4 (20:20):
Summer she was the one who tried to shift the
lange of the cost and effect, and.
Speaker 1 (20:25):
She was as a matter of fact, where is missus Summer?
She and Ginger stepped out of the room for a minute,
said they'd be right back now.
Speaker 4 (20:31):
Tell me they've disappeared too.
Speaker 1 (20:33):
This is getting to be like the ten little Indians. Listening,
somebody's having the garage.
Speaker 2 (20:39):
Maybe they're trying to get away.
Speaker 1 (20:40):
Maybe they are, but I don't think they will. You're
to stay here. I'll take care of our friends, whoever
it is. I don't think we're watching the leaf so soon, Ginger,
(21:00):
you get off the running boy first, we'll turn off
that motor. I'll take those keys. Give me those. Yeah,
thanks a lot, Ginger. Now we can talk more comfortably.
Speaker 5 (21:09):
You had no right to keep me here at least might.
Speaker 1 (21:10):
Be very disappointed not to find you here when they
are are.
Speaker 3 (21:12):
I don't know anything that will help the police.
Speaker 1 (21:14):
Why are you running away? Why?
Speaker 3 (21:16):
Because I'm going crazy. This whole waggy set up is
driving me insane.
Speaker 4 (21:19):
That's why I did have assessed him, not to get
mixed up again with school board swaggy squad.
Speaker 1 (21:23):
You're not running away because you killed Ward war And
then why should I kill Ward?
Speaker 3 (21:27):
He was my lady man, I was. I was very
fond of him.
Speaker 1 (21:31):
It was John knife that killed him. I don't know
what you're talking about. You brought it with you?
Speaker 3 (21:34):
I did not. I left it in my dressing room.
Speaker 1 (21:37):
My don't you How about the costa bonny? He says
you killed Warren?
Speaker 5 (21:41):
That's a lie.
Speaker 1 (21:42):
He couldn't say. Why didn't you finish? Why didn't you say?
You couldn't? Because he's dead? All right?
Speaker 3 (21:47):
I did know he was dead. I heard this shot.
That's why I wanted to go out.
Speaker 1 (21:51):
If you're honest, that's the only reason.
Speaker 3 (21:52):
Of course, it probably the old lady.
Speaker 5 (21:54):
She was in the play.
Speaker 4 (21:55):
He had access to that knight.
Speaker 1 (21:56):
But you had the motive. You have reason to kill
them both, didn't you, Ginger? Didn't you?
Speaker 4 (22:11):
I wonder what's keeping them all?
Speaker 1 (22:13):
Yeah? She has been gone, Well hasn't he? I think
we ought to go look for him.
Speaker 4 (22:18):
The man said to wait here for the police.
Speaker 1 (22:20):
Yeah, well, here's old Screwball right in the middle of
trouble again. I pull an innocent little gang on what happens?
Two down? And wonder girl want to go Summers? The
old lady shall let the pay for those two murders. No,
certainly give her the full treatment.
Speaker 4 (22:35):
I don't think missus Summers committed to murders, mister Bennett.
Speaker 1 (22:38):
Why I think Ginger did Ginger on a love bit.
Speaker 4 (22:43):
It was her knife we found in Warren's body.
Speaker 1 (22:45):
How can you be sure the costa told him.
Speaker 5 (22:48):
A while he was dying.
Speaker 1 (22:49):
He was killed because he recognized the knife. But it
doesn't make sense. She was crazy about war. He was
a leading man.
Speaker 3 (22:56):
That Ward got in her way.
Speaker 4 (22:57):
Oh romantically, Perhaps you tired of him, board with him.
Speaker 3 (23:01):
He wouldn't leave her alone.
Speaker 1 (23:03):
Look, Connorie, you sound as if you knew a lot
more than you would tell her.
Speaker 4 (23:07):
I do, And I got the clipping to prove him.
Speaker 1 (23:09):
Clipping what clipping?
Speaker 4 (23:11):
Founded on the outic floor right near the body.
Speaker 2 (23:13):
Let me see that.
Speaker 1 (23:16):
Ginger Johnson Hollywood had turned. But just telling friends and
having the same torch bearer haunting of for a decade
is tough on the nerves.
Speaker 4 (23:26):
You see, she had tired of them, but he wouldn't go.
I see for ten years he's been dogging her footsteps.
And ten years how old would you say Ward Warren.
Speaker 1 (23:39):
Was twenty eight and ten years ago?
Speaker 6 (23:43):
What ten years ago?
Speaker 2 (23:45):
He was only eighteen years old.
Speaker 1 (23:47):
I'd be young to be so irresistible. I sugar him thin.
Speaker 4 (23:53):
And it wasn't Ward war.
Speaker 1 (23:56):
What do you think.
Speaker 3 (23:59):
I?
Speaker 4 (24:00):
I think it was you, mister Bennett.
Speaker 1 (24:01):
You're the one that could referred to Ginger left me
ten years ago in Hollywood. I wanted a back. I
had to have a back. He didn't kill one, and
you did. Jillum exterminated him. You mean that cheap little tongue.
Speaker 4 (24:12):
Why did you kill the cost? And he never did
anything too?
Speaker 1 (24:14):
You might remember too much, sweetheart, He might remember that
it was I who had the prop knife, not Ginger.
I borrowed it from a dressing room backstage after the
show last night. And now, baby for the unhappy ending
to our little grade, b oprah, what are you going
to do? Take care of you? Baby? What else you know?
The whole plant? It wouldn't kill me. You can't figure
old screwball as a killer? Is that it? Changel? I'm
(24:36):
and there's too deep to get soft now. Like the
man said, they can only hang you white, would't Baby?
Make it easy on yourself? Somebody laughed, somebody laughed at me?
Where is the killer? You used to like? Lots of laughs? Bennett? Shadow,
Thank Heaven's you got shadow? Yes, the shadow, and soon
(24:58):
the police. Benett, stay away from the shadow. This knife
work once on one and will work again on her
on that knife minute. I used to be a stunt
man Shadow. One of my specialties was throwing a knife.
I never miss. Yeah, yeah, that's being smart. Nobody moved.
I'll drop you a post at let me out here,
(25:23):
let me out. I don't think so. The police will
want to talk to you, Bennett. I'm going to keep
you here until they arrive.
Speaker 4 (25:45):
Well, lamon, missus Summers, who seemed most guilty, was really
the only.
Speaker 2 (25:50):
Innocent one of the plot.
Speaker 1 (25:51):
It's Margaret. The police exonerated her.
Speaker 4 (25:54):
Was it all a fake lament? The wild mister joy
Pott and everything.
Speaker 6 (25:58):
Just to cover up the murder?
Speaker 1 (26:00):
A mystery movie was on the level, as I get
at Marco. Bennett planned to star Ginger in the film
that way to get her back, But.
Speaker 3 (26:06):
She wouldn't go back, not as long as young Warren
was around.
Speaker 1 (26:09):
Is at it?
Speaker 4 (26:10):
No?
Speaker 1 (26:11):
So Bennett went completely off his rock. What a madman
he was.
Speaker 3 (26:15):
A Martin.
Speaker 4 (26:16):
I was never so frightened as when I saw his
real character.
Speaker 1 (26:19):
Yes, almost like seeing a clown turn into a boogey
manning Marco. He had planned all along to kill Warren,
No Margot, not until last night when he tried to
affect a reconciliation of Ginger. Apparently he talked to both
her and Ward. They both laughed at him, called him
an old fool. Decided then that Warren had to die.
(26:42):
But why was Ginger's dagger?
Speaker 2 (26:44):
Is he trying to throw suspicion on her?
Speaker 1 (26:47):
On his crazed mind, his lover turned to hate. He's
going to have his revenge on her by letting her
pay forwards dead. What a horrible old man, Margot? What
is it a road waving? A land of course, Marco,
it's a train crossing. For your Sunday night listening, stay
(27:27):
on the mutual Don Lee party line for twenty questions
at eight, followed by Waller win Jill at eight thirty
and Luella Parson's at eight forty five. On twenty questions,
all the world and people, places and things are either animal,
vegetable or mineral. A gold mile of subjects to stump
the expert questioners. The regular twenty questions panel, Bill Slater Launch,
(27:50):
Bernard Bobby McGuire, Fred Bandabatter and her Plaizy will be
on hand for the fun. Immediately following twenty Questions at
eight thirty, there's Waller Winchell with his newsplashes and stories
from the Broadway scene. Then at eight forty five the
wall of Parsons with their scoops from among the Hollywood
film world. So stay on the party line for twenty
(28:12):
questions to eight, followed by Waller Wintle at eight thirty
and the Walla Parsons at eight forty five. And by
the way, that's tonight this story is copyrighted by Street
(28:41):
and Smith Publications, Incorporated. All names and places are fictitious.
Any similarity to persons living or dead is purely coincidental.
The weed of crime, there's spitter fruit. Crime does not
pay the Shadow. Now, next week, same time, same station,
(29:28):
we bring you another strange and thrilling adventure in the Shadows,
daring battle against the forces of Eople. The part of
Monkamston was played by Brett Morrison, Margot by Grace Matthew.
This program gave you from New York
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