Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:24):
The Shadow nows.
Speaker 2 (00:35):
Once again, we bring you the thrilling adventures of the Shadow,
the hard and relentless fight of one man against the
forces of evil. These dramatizations are designed to demonstrate, forcibly
to old and young alife, that crime does not pay.
Last year, in nineteen forty eight, the American people order
(00:58):
nearly three million care packages to be delivered to needy
people overseas. Perhaps you were one of those who sent
care packages. At any rate, we all know the tremendous
need for food and clothing that still exists in boar
torn countries, and that means right now a child or
a family overseas needs Your health Care provides the maximum
(01:20):
amount of food for the cost in its twenty three
pound food package, and delivery is guaranteed. Total cost of care,
food or clothing texto package is ten dollars. You may
send your order to nonprofit Care fifty Broad Street, New
York City, New York. And now the Shadow, the Shadow
(01:48):
awaits the forces of law and order is in reality
amongst Clanston, wealthy young man about town. Years ago in
the Orient, Clanston learned a strange and mysterious secret, the
hypnotic power or to cloud men's minds so they cannot
see them. Lanson's friend and companion, the lovely Margot Lanes,
is the only person who knows to whom the voice
(02:09):
of the Invisible Shadow belongs. Today's drama, The Trail of
the Knifer?
Speaker 3 (02:35):
What is there? Who are there? Who is it?
Speaker 4 (02:45):
Someone in this room?
Speaker 3 (02:48):
Why don't you list to me? Who are you?
Speaker 2 (02:52):
Why don't you turn on the lightness Milton and see?
Are you so surprised to see? Didn't you know the
knife of was keeping the blade sharp?
Speaker 5 (03:07):
Razor shop for you?
Speaker 2 (03:10):
Miss Millicon?
Speaker 3 (03:12):
Nice?
Speaker 4 (03:13):
Nice, I have miss to day may come on you.
You're tough meet.
Speaker 2 (03:16):
Mister milliconluck never from you. I got a couple of suggestions, mccaskin,
break for the day, go a little lazy on the laugh.
Mister Pavillion, there's your stake and you can make more
(03:38):
of that last scream.
Speaker 5 (03:38):
Miss liked him.
Speaker 4 (03:39):
Thank you, mister King.
Speaker 5 (03:40):
You're a life with that thunder kill you know? Clarday, Yeah, goodnes.
They must have been world gathering. Okay, you and miss
Likening are dismissed. Arm Mister Pavillion, thanks you. A crow
stands by for a light rehearsal. And remember tomorrow night
we opened, and.
Speaker 2 (04:03):
That was the last rehearsal of the revival of Betrayal
of the Knifer, featuring the inimitable prevision aging star of
horror plays of yesteryear. In spite of a series of
mysterious mishaps during rehearsals, but U, Sir Edmund Gerard was
hoping desperately for a Broadway hit undel on opening night,
Richard Kirk, is brilliant young director, walked into his office.
(04:27):
Mis Gerard, I've asked, that's the provision, and it's like,
did to stop in here on our way to their
dressing romans case you have any last minute sugest it? Oh, well, thanks, Kurt. Well,
what do you think of the dress rehearsal yesterday?
Speaker 1 (04:38):
It was all right?
Speaker 5 (04:40):
All right, I thought.
Speaker 2 (04:41):
It was great. I'm sorry, Kirk, it was great. As
the director, you've done a magnificent job in the face
of all the bad luck we've.
Speaker 5 (04:48):
Hit with his for that's well, it'll be okay now, Kirk.
Speaker 2 (04:52):
I don't think so okay, okay, even if you don't,
opening night has no time to be depressed. Boy, I
know this will startle you, but I'm seriously thinking of
calling off the whole production. What I've got a feeling,
a feeling that we'll regret it to the end of
our days.
Speaker 5 (05:07):
If we don't nonsense.
Speaker 2 (05:08):
Look, I've sweated blood over this jail and we're going
throughard it.
Speaker 5 (05:12):
What in the world got into you? Look, lad?
Speaker 2 (05:15):
Last week at an option I bought the original copy
of this play of Eyes the Trail of the Night here,
so I haven't had time to glance at it. I
getn' wella men it. But last night I took time
and and I found this handwritten note attached to the
title page.
Speaker 5 (05:36):
Who wrote it?
Speaker 2 (05:37):
The author himself obviousness warning, It is my regrettable duty
to inform all future producers if this play is a
highly dangerous vehicle. Improbable as it may seem, the leading
character is likely to come to life and create habit
with with a weapon that has nothing to do with
the harmless make belief of the sin.
Speaker 5 (06:00):
What in the world does this mean?
Speaker 2 (06:01):
I don't know, and I don't like to guess, but
you're surely not going to let it upset you. It
already has. I don't know why, but it's it's kills
me with a sense of terror. Kurt unaccountable and uncontrollable terror.
Speaker 5 (06:14):
Who's in remember of the chance. Probably i'll mislead.
Speaker 2 (06:19):
Him to him.
Speaker 3 (06:22):
Mister Kirk, you might have some suggestions to make about
my performances as you are Why.
Speaker 2 (06:26):
Why no, No, I don't have I think your work
is excell him. However, I well miss like them. I'm
considering the possibility of canceling the tail of the knife.
Speaker 1 (06:37):
Did you really you're not canceling? And what about the
backer's money?
Speaker 2 (06:40):
The backers will understand. They know me as a dependable man.
We're going on with this play, Gerard, and that's all
there is to it. There have been some mishaps, okay,
so they have, but we beat them all, and now,
by Joe whatever, we're going to finish the job and
get all the fame and glory we can out of it. Rob,
that's about the such intelligent remark i've heard from your ruby.
Speaker 5 (07:00):
Since it's little opus got on the way.
Speaker 2 (07:02):
Thanks for the insult, I thought perhaps attroducing here my
kiptol tea right hasn't gotten him long ago, what with
one thing and another. But I have a taste for
the part time saying, and thought of a tornado hitting
the theater. I intend to execute it before an audience
of my peer, and I'll see here. What did I
(07:22):
think we shut up you in pediment?
Speaker 5 (07:24):
Squat davallion is not the curt of thing of the theater.
Speaker 2 (07:27):
This young female is a out of taste in the theater,
as I would be in a broad jump meeting.
Speaker 5 (07:31):
Just a minute.
Speaker 2 (07:32):
I happen to know a little something about Scow business.
Speaker 5 (07:34):
A very little something, mister Gerard.
Speaker 1 (07:37):
That's very little something.
Speaker 2 (07:38):
Indeed, if you think that a man of my talents
and integrity would give up this magnificent opportunity because of
a few strifling setback, a happy opening to you, mister Gerard,
and I will see you on see miss Lakey, I'm
(07:59):
very sorry. That's that's all right.
Speaker 1 (08:03):
Where are you going there?
Speaker 5 (08:05):
Don't let that old e get just upset you, miss Legs?
Speaker 4 (08:09):
Why not to.
Speaker 2 (08:13):
How do you like that that vicious old hands? I'm
not sure he's vicious, Kirk, even an old time elected
a young can get upsessed with the sort of trouble
we'd had. Oh nuts, Just don't show on that note,
you poun I'd never do anything quite so foolish.
Speaker 5 (08:28):
Where is it?
Speaker 2 (08:29):
By the way, Oh, I've got it right here in
my podcast.
Speaker 5 (08:33):
Just a moment, Yes, party was it? There's a miss
Flynn here to see.
Speaker 2 (08:38):
Mister Gerard says he asked her and mister Crampston to
come backstage.
Speaker 1 (08:43):
Oh oh yes, clarity tender, I can am I lad, No,
not at all.
Speaker 2 (08:50):
Oh you know our director, mister Kirk, don't give us.
Speaker 1 (08:52):
Lane's glad to see you again, mis Lane.
Speaker 2 (08:54):
So where's Clemston?
Speaker 4 (08:55):
What you told me that he'd be detained, But he'll
be along in a few minutes.
Speaker 2 (08:58):
He is coming.
Speaker 5 (09:00):
Messits in the world.
Speaker 3 (09:01):
The man things to note me nighted about the most
exciting thing.
Speaker 5 (09:07):
Pavilion.
Speaker 2 (09:08):
What's it all about?
Speaker 5 (09:09):
Spite?
Speaker 2 (09:09):
I told him to take it easy on that laugh
during rehearsals. And now he saw and I going up
to the dressing room and talked to him right see
him is slaying.
Speaker 5 (09:27):
Come in.
Speaker 2 (09:29):
I look, Treve, and I told you yesterday to go
easy on your throat. Now I'm telling you a gammon
for the last time.
Speaker 5 (09:35):
Cut it out.
Speaker 2 (09:35):
Just who do you think you are talking? Who I
happened to be the director of this show?
Speaker 1 (09:39):
Do you know what I think of you?
Speaker 5 (09:41):
Let's changed the act first time. I'll tell you what
I think of you.
Speaker 2 (09:45):
You're an insufferable, broken down old hamdbold who could be
replaced by any cut right agent.
Speaker 5 (09:49):
And Tom like that, you.
Speaker 2 (09:50):
Unchallenged young swon. You snapped your fingers in my feet.
Thanks for telling me to and I thought it was
the ruins of POMPEII. So golly, now on your follow
waters or I'll bunch out on your barrecos.
Speaker 5 (10:03):
Here we'll hold him for a beef.
Speaker 2 (10:07):
That's put his next wind bag.
Speaker 5 (10:09):
Well I need is one more running with him?
Speaker 2 (10:10):
And then well, what do you want? Excuse me, excuse me, look,
get out of my way?
Speaker 5 (10:19):
Where do you I'm.
Speaker 2 (10:22):
You're not actually trying to scare me with that phony
pop eye here, That trick knife wouldn't cut hot butter.
It wouldn't cut hot h jo.
Speaker 4 (10:40):
Joo job.
Speaker 2 (10:58):
If you're watched right, ms Lane.
Speaker 5 (11:00):
Thanks so much.
Speaker 4 (11:00):
As gerrarded twenty nine.
Speaker 5 (11:04):
Whether should have.
Speaker 2 (11:05):
Been a stand by signal on the curtain ten minutes ago?
Speaker 3 (11:08):
Supposed to hear it?
Speaker 5 (11:09):
Kirk a director, The.
Speaker 2 (11:11):
Gentlemen went up to the versions room.
Speaker 4 (11:12):
It's been gone a long time.
Speaker 2 (11:14):
You don't suppose it's no good?
Speaker 5 (11:17):
I get that better press. He's trying to do what you're.
Speaker 2 (11:26):
Why it's hurt, said Electrician Foment at the bottom of
the stairs addressing rooms.
Speaker 5 (11:31):
Here he's hurt and dead long.
Speaker 1 (11:33):
The knife night a broad flat, double laid.
Speaker 2 (11:36):
Slave, a weapon that has nothing to do with the
handless makes believe that susy what No, hey, it was
in his pocket the footnotes was the warning I found
attached to the original manuscript of this play.
Speaker 5 (11:53):
No, it's gone.
Speaker 2 (11:55):
Where is it?
Speaker 1 (11:56):
Probably took it for a souvenir. Then it started.
Speaker 2 (11:58):
It's really happening.
Speaker 5 (11:59):
What is Alex or later? So we've got to be careful.
Speaker 2 (12:01):
The theater is beginning to fill up.
Speaker 1 (12:03):
It could cause the panics.
Speaker 5 (12:04):
I know I've already won.
Speaker 1 (12:04):
The electrician not to tell a soul. When did you
last see this man alive?
Speaker 5 (12:08):
Only a few minutes ago? Right here in the office
he left.
Speaker 2 (12:11):
The Velian was rehearsing a laugh, ruining his throat, and
Kirk was very angry to see where is prevenians one
light up, third door from the head of the fair.
Than just come along, Marco. Feel safe for having you
with me and drive yet I think it'll be just
as well if you sent to the police right now.
Speaker 4 (12:32):
Did you get then.
Speaker 2 (12:40):
It's pavelion me. Now I'm part of the seriens manager
and home. I ask her if you had the permission
to go crashing it on backstay, mister Gerard did. If
you have no objections, any more questions, Arthur, then I'll
ask a fore you what are you doing in.
Speaker 1 (12:55):
This bressing room?
Speaker 2 (12:56):
I just cheme up to check for value props props, yes, sir,
Fightey smokes in the first act.
Speaker 1 (13:03):
The knife he uses for the murdered nipe he uses
hurt sir.
Speaker 2 (13:07):
If you'd be in there, I would be had be
pretty careful design that thing. That wasn't a very realistic
actor when he stabbed, I'd renifed it up here. I
brought up myself in the puffle and after rehearsal yesterday.
Now you see how it works.
Speaker 5 (13:19):
The blade goes up to the hands and yes, sir,
look again, what do you mean? I mean?
Speaker 2 (13:28):
This is the real article.
Speaker 1 (13:30):
It's sort of a buffalo.
Speaker 2 (13:31):
And the way mind this and the world did it
come from?
Speaker 1 (13:34):
That's easy.
Speaker 2 (13:34):
You can find him about a dozen in any pawn shop.
The question is why did you bring it up here yesterday?
I didn't know it was nothing to a danger, sir,
I've been looking everything.
Speaker 4 (13:47):
I still lying on accounting mister Drew.
Speaker 2 (13:48):
I thought he was sleeping.
Speaker 4 (13:51):
I touched him before I.
Speaker 3 (13:52):
Realized him he was good.
Speaker 2 (13:54):
I foundered at the bottle of the stairs.
Speaker 1 (13:56):
Humans too stabbed to dead.
Speaker 2 (13:59):
What was supposed to be a off night with the
phony blade, the knife identical with the weapon Flaedy brought
up from the prop room.
Speaker 1 (14:04):
And I don't think even Clairy would write to night.
Speaker 5 (14:06):
Would you play worthy?
Speaker 1 (14:11):
He's had a curtesy to say goodbye.
Speaker 4 (14:13):
You could probably find him. If the barn girl up
the alley where the col congregations you thanks?
Speaker 5 (14:19):
Should I go along?
Speaker 2 (14:20):
I think you'll be safe. I hear them with me, Margaret,
stay with miss Naken. And when Jad comes back, find
out if he got that call through the police.
Speaker 1 (14:42):
Trying to get the idea of following you around?
Speaker 5 (14:45):
Clairdy, what's the matter? Man can't buy himself a drink?
Who said not? What do you have?
Speaker 1 (14:54):
What are you buying?
Speaker 5 (14:56):
I'll ring for the boy.
Speaker 1 (15:00):
Now, let's talk what about about you?
Speaker 5 (15:05):
About how you wouldn't.
Speaker 2 (15:06):
Like to see this play open, About how you're a
superstitious man by nature and figure. This production has been
jinxed from the stars you think, But it's a pretty
drastic way of plosing a show playa day.
Speaker 1 (15:18):
You've got any more questions? Yes, where did you buy
those nights?
Speaker 5 (15:22):
Now? Look here you will. I'll tell you there's a
young guy.
Speaker 2 (15:28):
Named Herman with no hair and only one eye.
Speaker 5 (15:33):
That would be telling.
Speaker 2 (15:34):
Now, this hermon you see is strictly topic the mean
hermonist for I. Then he'd break a bottle over the
back of your head as fast as you look at
you in this worthy aw o Herman. Yes, he's standing
right behind you with an empty fifth iness mittnefire, but
you muscle your dog.
Speaker 1 (15:51):
You're talking about just what I said?
Speaker 5 (15:54):
Why you just exactly good? He said, mister.
Speaker 1 (16:17):
We'll return to the shadow in just a minute.
Speaker 2 (16:21):
We Americans have a healthy attitude about our government.
Speaker 5 (16:24):
We are never.
Speaker 2 (16:25):
Satisfied with it. Our best minds spend a lot of
time figuring out how to improve our democracy, how to
strengthen it. And lately a lot of these smart people
agree that we've been overlooking one mighty important fact, and
that is that, like charity, democracy begins at home. Think
about that a minute and you'll see the wisdom of it.
(16:47):
Who is the biggest influence in a child's formative years
his parents, or does he get his training, ideas, values,
his prejudices from his parents. It's no exaggeration to say
that the future of America is in the hands of you,
mothers and fathers. It's up to you, parents to set
an example, to teach good citizenship, to make democracy live
(17:10):
right in the family. And here are just a few
ways to do it. Think of your children as individuals
and treat them that way. Respect their opinions, give them
responsibilities and duties within the family. Develop a team spirit.
Let the children help make minor family decisions. That's the
surest way to teach the democratic conception of the dignity
(17:34):
of the individual. Freedom is everybody's job. Back now to
the shadow. Death has struck down the director of the
old horror play The Trail of the Knifer, in order
to discover the identity of the real Knifer. Cranston was
(17:56):
not unconscious in a foreign grill next door to the theater.
Now Margaret leans over his prostrate form and in the
back room the month the month? Are you all right?
In more.
Speaker 5 (18:12):
Where?
Speaker 2 (18:14):
Yes?
Speaker 5 (18:16):
Don drill?
Speaker 2 (18:17):
Hey, look, I'm sorry he's had to happen. Less flattery, Laddy, Yes, Flattery,
the stage manager of the theater, the guy who just
try to crack my skull. Well, mister Flatty just left
the minute ago. When I saw him go out, I
came in the boots.
Speaker 5 (18:28):
He had fun.
Speaker 2 (18:29):
You get to a phone, Marco calls, Please tell them
to pick up on mister Flatty.
Speaker 1 (18:32):
Okay, anything else happened, I don't think so, Christmas.
Speaker 4 (18:35):
I left her in drug yeahs, yes, the phone.
Speaker 1 (18:38):
Call from the theater. I don't want to leave her
alone any longer than we can avoid.
Speaker 4 (18:50):
Like like, yes here, I am, you're all right?
Speaker 5 (18:53):
Oh am?
Speaker 4 (18:53):
I glad to see here. The audience is getting completely
out of hand. Mister Gerard is going out to try
to pacify this going on with the show. He doesn't
want to, but he said he will if we can
find mister.
Speaker 1 (19:03):
Trevillion rebellion Worth.
Speaker 4 (19:04):
I don't know. He's completely disappeared.
Speaker 1 (19:07):
Fish, Margo Grod's gonna have a show. You better find
the star to be very well taken care of by
the police.
Speaker 2 (19:13):
When they get here, Marco, which should be in the
very few minutes now, Miss Laketon, Yes, do what you
can to get the rest of the cast together while
we locate Prebellion Drod can't hold that audience out there forever.
Speaker 1 (19:30):
Grip you seen mister Prebellion.
Speaker 5 (19:32):
Pavilion knows where could he be? Did you look in
the old green room, Pribbean there?
Speaker 2 (19:36):
Well, he ducks in and them for a smoke door
there by the exit to my Margo is worth a chance.
Speaker 1 (19:44):
Kabelion, Kabelion, nobody here.
Speaker 4 (19:50):
He's covered the entire backstag.
Speaker 2 (19:52):
It what is it all? Play bills?
Speaker 4 (19:57):
Doesn't these must be sixty years all the month?
Speaker 5 (20:02):
Look this one, sir John Paul's rabitson a.
Speaker 2 (20:05):
Ham one even more intriguing, presenting a new murder drama.
The trail of the Knife round being the authentic account
of the career.
Speaker 5 (20:15):
Not what do you know? I'm close the door.
Speaker 1 (20:17):
I want to get this.
Speaker 2 (20:17):
Look at it, listen, mother.
Speaker 1 (20:22):
Being the authentic account of the career the condemned murderer
of Wilhelm Binstadt, whose crimes terrorized this city in the
past winter. That'll be the winter of nineteen twenty three.
Judging by the day, what does it mean?
Speaker 2 (20:32):
It means that this play was based on the real
life story of Wilhelm Binstadt, a killer of agone days
book my girl. Murderers in general, and I see no
reason to accept. Mister Binstaff show no particular desire to
have their stories revealed to the general pub.
Speaker 1 (20:46):
Yes, well, there's somebody to see you out back, see me?
Speaker 5 (20:49):
Who is it? Clarity flairity?
Speaker 1 (20:52):
Why didn't he come himself instead of sending you?
Speaker 5 (20:54):
He couldn't come himself. Mister Kreid, he's got a knife
in his back and he's dying.
Speaker 2 (21:10):
Why I gotta tell you this fast?
Speaker 1 (21:14):
Not much time to want?
Speaker 5 (21:15):
Laddy?
Speaker 2 (21:15):
What happened to me?
Speaker 5 (21:17):
He who was following me up the alley, trying to
make me go back to the theater, who was horrid?
Speaker 2 (21:25):
Middy was? There's no time let me talk.
Speaker 1 (21:28):
I I'll go ahead and play.
Speaker 5 (21:29):
We fought. He was trying to drag me back to
the theater. I hit him, and just then, yes, let me.
Speaker 1 (21:38):
Have it with the knife.
Speaker 2 (21:40):
Knife?
Speaker 5 (21:40):
Where's the now? I don't know, maybe.
Speaker 1 (21:45):
Down below down? What Laddy?
Speaker 2 (21:50):
Uh huh?
Speaker 5 (21:53):
In nineteen thirty nine, so we did oh and.
Speaker 1 (22:00):
Oh, well, what does you mean by pause?
Speaker 5 (22:09):
They're headed to the end.
Speaker 2 (22:12):
He was right. We did do Fast Year in thirty nine.
Speaker 1 (22:14):
Anything special about the production, no, nothing but hard work.
Speaker 2 (22:18):
Had to cut out a piece of stage, build a
room under it to make a trap door. Trap door?
Sure in this faust, you know the devil had disappeared
through a trap door?
Speaker 5 (22:43):
Who's that?
Speaker 2 (22:45):
Who's there? Miss?
Speaker 5 (22:48):
What are you doing down here?
Speaker 4 (22:50):
We've been looking everywhere for you, mister Pavilion. I had
heard about the trap door under the stage, so I
came down here, just on the channel.
Speaker 2 (22:57):
I hope you're satisfied now that you owe me, Miss Lincoln.
Speaker 3 (23:02):
What's the matter?
Speaker 4 (23:02):
Did something happen to you?
Speaker 2 (23:04):
Nothing more than a little couple with that pennegade clarity.
He struck me, the boar knocked me unconscious.
Speaker 5 (23:12):
But no matter.
Speaker 2 (23:13):
The play can go on very well without a stage manager. Listen,
it's the audience.
Speaker 1 (23:20):
Come on, miss Lincoln. You've let's go up there and
give a performance, the best performance we can.
Speaker 5 (23:24):
At a moment, wait, no time, the show must go on.
Speaker 3 (23:27):
You miss the point, Pavilion, The show must not go on.
Speaker 5 (23:31):
Hey, players, Clayton, what are you saying this time?
Speaker 3 (23:35):
I'm going to make sure of the cancelation of the
trail of the knife.
Speaker 4 (23:39):
What you're a complete igative Pavilion. You'd force this performance.
Speaker 3 (23:43):
To go on Overall, obstacles, force it for your own
petty personal game. But what you don't realize is it
a play cans go on with a dead star?
Speaker 2 (23:55):
What are you talking about? This nice exactly?
Speaker 4 (23:59):
And this one is no prop Sure you can't, that
is you can't.
Speaker 3 (24:05):
But I can and I will. Do you think i'd
let one more murder stand in my way now? You
spindle shanks, superannuated.
Speaker 2 (24:13):
Warhorse, Miss Lecton, you love.
Speaker 3 (24:15):
Good theater, Prevellian than revel in this This is the
high mount, the climax of the Knight, thrust in the dark,
when the earth flares in final flame and the devil
sits brimming on his throat.
Speaker 4 (24:27):
Please, no player, deathly you am this is your final curtain?
Speaker 1 (24:34):
Who are you sure it's not your final curtain? Miss Legton,
who are you the shadow invisible to you but near
that hand? In the name of justice, what do you
want here?
Speaker 5 (24:45):
Retribution?
Speaker 1 (24:47):
Retribution for the ruthless steps you took to stop the
production of this play. Not the small thing setting fire
to the dressing rooms, wrecking the electrical system, but the
steps you took when those things didn't work and the
opening night came you got this rip.
Speaker 4 (25:00):
I don't know what you're talking about.
Speaker 1 (25:01):
You knew Kirk was determined to proceed in spite of you,
so you killed him. Karelion here was to be next,
because he too was spent on producing the show at
all costs. But flat he got in the way. Didn't
he miss Laketon during had struggled in dark Alley? You
missed the knight that was meant for Dabellion landed in
Flatty's back, and you managed to track the unconscious star
down here where you were going to correct that little mistake.
Speaker 3 (25:23):
Why should I murder anyone.
Speaker 1 (25:25):
For a strange reason but a sound were Nevertheless, you
didn't want the life of one Wilhelm Binsta brought before
the public again. You wanted your father's story buried in
the past. I know that the pseudonym of lake Town
is nothing more than the English translation of the Germany Binstad.
Your father's crimes have been preying on your mind for years,
and a theatrical performance of them was more than you
(25:47):
could bear.
Speaker 4 (25:48):
Its true?
Speaker 3 (25:49):
What right do they have to wake all this up
from the grave to make me live it all over again?
And all it's uddly, miserable.
Speaker 1 (25:55):
Harm right did you have to take their lives day.
Speaker 3 (25:58):
My father had fun taking lies until his name is by.
Speaker 1 (26:08):
You haven't got an I warned you, Miss Legton. You
didn't have a chance.
Speaker 4 (26:30):
So does missus Legton. All along. He was trying to
stop the production.
Speaker 2 (26:33):
Miss Bines that Margaret the infamous daughter of an infamous murderer.
Speaker 3 (26:38):
Miss Bine that she couldn't stop the production of a
series of accidents, she got death exactly.
Speaker 2 (26:44):
Kirk and Pavalion were determined to go on with the show,
so in a crazy last ech effort, she killed Kirk
and tried the murder Pavilion. Poor Flattery, of course, who
actually didn't want the show to go on either, was
killed for his trouble.
Speaker 4 (26:56):
Not exactly a successful opening.
Speaker 5 (26:58):
It's pretty terrifying. Actually, too bad about the audience.
Speaker 1 (27:02):
They got their money back.
Speaker 4 (27:03):
They came to see a play and there wasn't.
Speaker 2 (27:05):
Yes, there was Margot not on the stage. But there
was a drama, powerful and tragic. Only like most real
life dramas, it was done without lives, without music, and
without benefit of audience. Everyone knows the sound of a
(27:34):
human heartbeat. It may be yours mine, anyone. Well, one
of the ways you can keep that heart beating is
to help fight heart disease. And we must fight heart
disease because, compared to other leading causes of death, heart
disease is America's leading cause of death. Our scientists and
doctors must find effective ways to combat it. They need
(27:55):
your help. Yes, your dimes and dollars can furnish the
necessary search, the education, and community effort in this all
out fight against heart diseases. So when you're asked to
give to the American Heart Association, give and give generously.
Open your heart, fight heart disease. Now once again, back
(28:19):
to the Shadow. This story is copyrighted by Street and
Smith Publications, Incorporated. All names and places are fictitious. Any
(28:43):
similarity to persons living or dead is purely coincidental. Listen
again next week, same time, same station, when the Shadow
will again demonstrate that the weed.
Speaker 1 (28:52):
Of crime, spitter frooit crime does not bear The Shadow nows.
Speaker 2 (29:12):
Next week, same time, same station, we bring you another
strange and thrilling adventure of the Shadows during battle against
the forces of Evil. The part of la Montcanston was
played by Brett Morrison, Margot by Grace Matthews. This program
came to you from New York. Stay tune now or
quick as a flash. This is the mutual God League
broadcasting system.
The Shadow nows.
Speaker 2 (00:35):
Once again, we bring you the thrilling adventures of the Shadow,
the hard and relentless fight of one man against the
forces of evil. These dramatizations are designed to demonstrate, forcibly
to old and young alife, that crime does not pay.
Last year, in nineteen forty eight, the American people order
(00:58):
nearly three million care packages to be delivered to needy
people overseas. Perhaps you were one of those who sent
care packages. At any rate, we all know the tremendous
need for food and clothing that still exists in boar
torn countries, and that means right now a child or
a family overseas needs Your health Care provides the maximum
(01:20):
amount of food for the cost in its twenty three
pound food package, and delivery is guaranteed. Total cost of care,
food or clothing texto package is ten dollars. You may
send your order to nonprofit Care fifty Broad Street, New
York City, New York. And now the Shadow, the Shadow
(01:48):
awaits the forces of law and order is in reality
amongst Clanston, wealthy young man about town. Years ago in
the Orient, Clanston learned a strange and mysterious secret, the
hypnotic power or to cloud men's minds so they cannot
see them. Lanson's friend and companion, the lovely Margot Lanes,
is the only person who knows to whom the voice
(02:09):
of the Invisible Shadow belongs. Today's drama, The Trail of
the Knifer?
Speaker 3 (02:35):
What is there? Who are there? Who is it?
Speaker 4 (02:45):
Someone in this room?
Speaker 3 (02:48):
Why don't you list to me? Who are you?
Speaker 2 (02:52):
Why don't you turn on the lightness Milton and see?
Are you so surprised to see? Didn't you know the
knife of was keeping the blade sharp?
Speaker 5 (03:07):
Razor shop for you?
Speaker 2 (03:10):
Miss Millicon?
Speaker 3 (03:12):
Nice?
Speaker 4 (03:13):
Nice, I have miss to day may come on you.
You're tough meet.
Speaker 2 (03:16):
Mister milliconluck never from you. I got a couple of suggestions, mccaskin,
break for the day, go a little lazy on the laugh.
Mister Pavillion, there's your stake and you can make more
(03:38):
of that last scream.
Speaker 5 (03:38):
Miss liked him.
Speaker 4 (03:39):
Thank you, mister King.
Speaker 5 (03:40):
You're a life with that thunder kill you know? Clarday, Yeah, goodnes.
They must have been world gathering. Okay, you and miss
Likening are dismissed. Arm Mister Pavillion, thanks you. A crow
stands by for a light rehearsal. And remember tomorrow night
we opened, and.
Speaker 2 (04:03):
That was the last rehearsal of the revival of Betrayal
of the Knifer, featuring the inimitable prevision aging star of
horror plays of yesteryear. In spite of a series of
mysterious mishaps during rehearsals, but U, Sir Edmund Gerard was
hoping desperately for a Broadway hit undel on opening night,
Richard Kirk, is brilliant young director, walked into his office.
(04:27):
Mis Gerard, I've asked, that's the provision, and it's like,
did to stop in here on our way to their
dressing romans case you have any last minute sugest it? Oh, well, thanks, Kurt. Well,
what do you think of the dress rehearsal yesterday?
Speaker 1 (04:38):
It was all right?
Speaker 5 (04:40):
All right, I thought.
Speaker 2 (04:41):
It was great. I'm sorry, Kirk, it was great. As
the director, you've done a magnificent job in the face
of all the bad luck we've.
Speaker 5 (04:48):
Hit with his for that's well, it'll be okay now, Kirk.
Speaker 2 (04:52):
I don't think so okay, okay, even if you don't,
opening night has no time to be depressed. Boy, I
know this will startle you, but I'm seriously thinking of
calling off the whole production. What I've got a feeling,
a feeling that we'll regret it to the end of
our days.
Speaker 5 (05:07):
If we don't nonsense.
Speaker 2 (05:08):
Look, I've sweated blood over this jail and we're going
throughard it.
Speaker 5 (05:12):
What in the world got into you? Look, lad?
Speaker 2 (05:15):
Last week at an option I bought the original copy
of this play of Eyes the Trail of the Night here,
so I haven't had time to glance at it. I
getn' wella men it. But last night I took time
and and I found this handwritten note attached to the
title page.
Speaker 5 (05:36):
Who wrote it?
Speaker 2 (05:37):
The author himself obviousness warning, It is my regrettable duty
to inform all future producers if this play is a
highly dangerous vehicle. Improbable as it may seem, the leading
character is likely to come to life and create habit
with with a weapon that has nothing to do with
the harmless make belief of the sin.
Speaker 5 (06:00):
What in the world does this mean?
Speaker 2 (06:01):
I don't know, and I don't like to guess, but
you're surely not going to let it upset you. It
already has. I don't know why, but it's it's kills
me with a sense of terror. Kurt unaccountable and uncontrollable terror.
Speaker 5 (06:14):
Who's in remember of the chance. Probably i'll mislead.
Speaker 2 (06:19):
Him to him.
Speaker 3 (06:22):
Mister Kirk, you might have some suggestions to make about
my performances as you are Why.
Speaker 2 (06:26):
Why no, No, I don't have I think your work
is excell him. However, I well miss like them. I'm
considering the possibility of canceling the tail of the knife.
Speaker 1 (06:37):
Did you really you're not canceling? And what about the
backer's money?
Speaker 2 (06:40):
The backers will understand. They know me as a dependable man.
We're going on with this play, Gerard, and that's all
there is to it. There have been some mishaps, okay,
so they have, but we beat them all, and now,
by Joe whatever, we're going to finish the job and
get all the fame and glory we can out of it. Rob,
that's about the such intelligent remark i've heard from your ruby.
Speaker 5 (07:00):
Since it's little opus got on the way.
Speaker 2 (07:02):
Thanks for the insult, I thought perhaps attroducing here my
kiptol tea right hasn't gotten him long ago, what with
one thing and another. But I have a taste for
the part time saying, and thought of a tornado hitting
the theater. I intend to execute it before an audience
of my peer, and I'll see here. What did I
(07:22):
think we shut up you in pediment?
Speaker 5 (07:24):
Squat davallion is not the curt of thing of the theater.
Speaker 2 (07:27):
This young female is a out of taste in the theater,
as I would be in a broad jump meeting.
Speaker 5 (07:31):
Just a minute.
Speaker 2 (07:32):
I happen to know a little something about Scow business.
Speaker 5 (07:34):
A very little something, mister Gerard.
Speaker 1 (07:37):
That's very little something.
Speaker 2 (07:38):
Indeed, if you think that a man of my talents
and integrity would give up this magnificent opportunity because of
a few strifling setback, a happy opening to you, mister Gerard,
and I will see you on see miss Lakey, I'm
(07:59):
very sorry. That's that's all right.
Speaker 1 (08:03):
Where are you going there?
Speaker 5 (08:05):
Don't let that old e get just upset you, miss Legs?
Speaker 4 (08:09):
Why not to.
Speaker 2 (08:13):
How do you like that that vicious old hands? I'm
not sure he's vicious, Kirk, even an old time elected
a young can get upsessed with the sort of trouble
we'd had. Oh nuts, Just don't show on that note,
you poun I'd never do anything quite so foolish.
Speaker 5 (08:28):
Where is it?
Speaker 2 (08:29):
By the way, Oh, I've got it right here in
my podcast.
Speaker 5 (08:33):
Just a moment, Yes, party was it? There's a miss
Flynn here to see.
Speaker 2 (08:38):
Mister Gerard says he asked her and mister Crampston to
come backstage.
Speaker 1 (08:43):
Oh oh yes, clarity tender, I can am I lad, No,
not at all.
Speaker 2 (08:50):
Oh you know our director, mister Kirk, don't give us.
Speaker 1 (08:52):
Lane's glad to see you again, mis Lane.
Speaker 2 (08:54):
So where's Clemston?
Speaker 4 (08:55):
What you told me that he'd be detained, But he'll
be along in a few minutes.
Speaker 2 (08:58):
He is coming.
Speaker 5 (09:00):
Messits in the world.
Speaker 3 (09:01):
The man things to note me nighted about the most
exciting thing.
Speaker 5 (09:07):
Pavilion.
Speaker 2 (09:08):
What's it all about?
Speaker 5 (09:09):
Spite?
Speaker 2 (09:09):
I told him to take it easy on that laugh
during rehearsals. And now he saw and I going up
to the dressing room and talked to him right see
him is slaying.
Speaker 5 (09:27):
Come in.
Speaker 2 (09:29):
I look, Treve, and I told you yesterday to go
easy on your throat. Now I'm telling you a gammon
for the last time.
Speaker 5 (09:35):
Cut it out.
Speaker 2 (09:35):
Just who do you think you are talking? Who I
happened to be the director of this show?
Speaker 1 (09:39):
Do you know what I think of you?
Speaker 5 (09:41):
Let's changed the act first time. I'll tell you what
I think of you.
Speaker 2 (09:45):
You're an insufferable, broken down old hamdbold who could be
replaced by any cut right agent.
Speaker 5 (09:49):
And Tom like that, you.
Speaker 2 (09:50):
Unchallenged young swon. You snapped your fingers in my feet.
Thanks for telling me to and I thought it was
the ruins of POMPEII. So golly, now on your follow
waters or I'll bunch out on your barrecos.
Speaker 5 (10:03):
Here we'll hold him for a beef.
Speaker 2 (10:07):
That's put his next wind bag.
Speaker 5 (10:09):
Well I need is one more running with him?
Speaker 2 (10:10):
And then well, what do you want? Excuse me, excuse me, look,
get out of my way?
Speaker 5 (10:19):
Where do you I'm.
Speaker 2 (10:22):
You're not actually trying to scare me with that phony
pop eye here, That trick knife wouldn't cut hot butter.
It wouldn't cut hot h jo.
Speaker 4 (10:40):
Joo job.
Speaker 2 (10:58):
If you're watched right, ms Lane.
Speaker 5 (11:00):
Thanks so much.
Speaker 4 (11:00):
As gerrarded twenty nine.
Speaker 5 (11:04):
Whether should have.
Speaker 2 (11:05):
Been a stand by signal on the curtain ten minutes ago?
Speaker 3 (11:08):
Supposed to hear it?
Speaker 5 (11:09):
Kirk a director, The.
Speaker 2 (11:11):
Gentlemen went up to the versions room.
Speaker 4 (11:12):
It's been gone a long time.
Speaker 2 (11:14):
You don't suppose it's no good?
Speaker 5 (11:17):
I get that better press. He's trying to do what you're.
Speaker 2 (11:26):
Why it's hurt, said Electrician Foment at the bottom of
the stairs addressing rooms.
Speaker 5 (11:31):
Here he's hurt and dead long.
Speaker 1 (11:33):
The knife night a broad flat, double laid.
Speaker 2 (11:36):
Slave, a weapon that has nothing to do with the
handless makes believe that susy what No, hey, it was
in his pocket the footnotes was the warning I found
attached to the original manuscript of this play.
Speaker 5 (11:53):
No, it's gone.
Speaker 2 (11:55):
Where is it?
Speaker 1 (11:56):
Probably took it for a souvenir. Then it started.
Speaker 2 (11:58):
It's really happening.
Speaker 5 (11:59):
What is Alex or later? So we've got to be careful.
Speaker 2 (12:01):
The theater is beginning to fill up.
Speaker 1 (12:03):
It could cause the panics.
Speaker 5 (12:04):
I know I've already won.
Speaker 1 (12:04):
The electrician not to tell a soul. When did you
last see this man alive?
Speaker 5 (12:08):
Only a few minutes ago? Right here in the office
he left.
Speaker 2 (12:11):
The Velian was rehearsing a laugh, ruining his throat, and
Kirk was very angry to see where is prevenians one
light up, third door from the head of the fair.
Than just come along, Marco. Feel safe for having you
with me and drive yet I think it'll be just
as well if you sent to the police right now.
Speaker 4 (12:32):
Did you get then.
Speaker 2 (12:40):
It's pavelion me. Now I'm part of the seriens manager
and home. I ask her if you had the permission
to go crashing it on backstay, mister Gerard did. If
you have no objections, any more questions, Arthur, then I'll
ask a fore you what are you doing in.
Speaker 1 (12:55):
This bressing room?
Speaker 2 (12:56):
I just cheme up to check for value props props, yes, sir,
Fightey smokes in the first act.
Speaker 1 (13:03):
The knife he uses for the murdered nipe he uses
hurt sir.
Speaker 2 (13:07):
If you'd be in there, I would be had be
pretty careful design that thing. That wasn't a very realistic
actor when he stabbed, I'd renifed it up here. I
brought up myself in the puffle and after rehearsal yesterday.
Now you see how it works.
Speaker 5 (13:19):
The blade goes up to the hands and yes, sir,
look again, what do you mean? I mean?
Speaker 2 (13:28):
This is the real article.
Speaker 1 (13:30):
It's sort of a buffalo.
Speaker 2 (13:31):
And the way mind this and the world did it
come from?
Speaker 1 (13:34):
That's easy.
Speaker 2 (13:34):
You can find him about a dozen in any pawn shop.
The question is why did you bring it up here yesterday?
I didn't know it was nothing to a danger, sir,
I've been looking everything.
Speaker 4 (13:47):
I still lying on accounting mister Drew.
Speaker 2 (13:48):
I thought he was sleeping.
Speaker 4 (13:51):
I touched him before I.
Speaker 3 (13:52):
Realized him he was good.
Speaker 2 (13:54):
I foundered at the bottle of the stairs.
Speaker 1 (13:56):
Humans too stabbed to dead.
Speaker 2 (13:59):
What was supposed to be a off night with the
phony blade, the knife identical with the weapon Flaedy brought
up from the prop room.
Speaker 1 (14:04):
And I don't think even Clairy would write to night.
Speaker 5 (14:06):
Would you play worthy?
Speaker 1 (14:11):
He's had a curtesy to say goodbye.
Speaker 4 (14:13):
You could probably find him. If the barn girl up
the alley where the col congregations you thanks?
Speaker 5 (14:19):
Should I go along?
Speaker 2 (14:20):
I think you'll be safe. I hear them with me, Margaret,
stay with miss Naken. And when Jad comes back, find
out if he got that call through the police.
Speaker 1 (14:42):
Trying to get the idea of following you around?
Speaker 5 (14:45):
Clairdy, what's the matter? Man can't buy himself a drink?
Who said not? What do you have?
Speaker 1 (14:54):
What are you buying?
Speaker 5 (14:56):
I'll ring for the boy.
Speaker 1 (15:00):
Now, let's talk what about about you?
Speaker 5 (15:05):
About how you wouldn't.
Speaker 2 (15:06):
Like to see this play open, About how you're a
superstitious man by nature and figure. This production has been
jinxed from the stars you think, But it's a pretty
drastic way of plosing a show playa day.
Speaker 1 (15:18):
You've got any more questions? Yes, where did you buy
those nights?
Speaker 5 (15:22):
Now? Look here you will. I'll tell you there's a
young guy.
Speaker 2 (15:28):
Named Herman with no hair and only one eye.
Speaker 5 (15:33):
That would be telling.
Speaker 2 (15:34):
Now, this hermon you see is strictly topic the mean
hermonist for I. Then he'd break a bottle over the
back of your head as fast as you look at
you in this worthy aw o Herman. Yes, he's standing
right behind you with an empty fifth iness mittnefire, but
you muscle your dog.
Speaker 1 (15:51):
You're talking about just what I said?
Speaker 5 (15:54):
Why you just exactly good? He said, mister.
Speaker 1 (16:17):
We'll return to the shadow in just a minute.
Speaker 2 (16:21):
We Americans have a healthy attitude about our government.
Speaker 5 (16:24):
We are never.
Speaker 2 (16:25):
Satisfied with it. Our best minds spend a lot of
time figuring out how to improve our democracy, how to
strengthen it. And lately a lot of these smart people
agree that we've been overlooking one mighty important fact, and
that is that, like charity, democracy begins at home. Think
about that a minute and you'll see the wisdom of it.
(16:47):
Who is the biggest influence in a child's formative years
his parents, or does he get his training, ideas, values,
his prejudices from his parents. It's no exaggeration to say
that the future of America is in the hands of you,
mothers and fathers. It's up to you, parents to set
an example, to teach good citizenship, to make democracy live
(17:10):
right in the family. And here are just a few
ways to do it. Think of your children as individuals
and treat them that way. Respect their opinions, give them
responsibilities and duties within the family. Develop a team spirit.
Let the children help make minor family decisions. That's the
surest way to teach the democratic conception of the dignity
(17:34):
of the individual. Freedom is everybody's job. Back now to
the shadow. Death has struck down the director of the
old horror play The Trail of the Knifer, in order
to discover the identity of the real Knifer. Cranston was
(17:56):
not unconscious in a foreign grill next door to the theater.
Now Margaret leans over his prostrate form and in the
back room the month the month? Are you all right?
In more.
Speaker 5 (18:12):
Where?
Speaker 2 (18:14):
Yes?
Speaker 5 (18:16):
Don drill?
Speaker 2 (18:17):
Hey, look, I'm sorry he's had to happen. Less flattery, Laddy, Yes, Flattery,
the stage manager of the theater, the guy who just
try to crack my skull. Well, mister Flatty just left
the minute ago. When I saw him go out, I
came in the boots.
Speaker 5 (18:28):
He had fun.
Speaker 2 (18:29):
You get to a phone, Marco calls, Please tell them
to pick up on mister Flatty.
Speaker 1 (18:32):
Okay, anything else happened, I don't think so, Christmas.
Speaker 4 (18:35):
I left her in drug yeahs, yes, the phone.
Speaker 1 (18:38):
Call from the theater. I don't want to leave her
alone any longer than we can avoid.
Speaker 4 (18:50):
Like like, yes here, I am, you're all right?
Speaker 5 (18:53):
Oh am?
Speaker 4 (18:53):
I glad to see here. The audience is getting completely
out of hand. Mister Gerard is going out to try
to pacify this going on with the show. He doesn't
want to, but he said he will if we can
find mister.
Speaker 1 (19:03):
Trevillion rebellion Worth.
Speaker 4 (19:04):
I don't know. He's completely disappeared.
Speaker 1 (19:07):
Fish, Margo Grod's gonna have a show. You better find
the star to be very well taken care of by
the police.
Speaker 2 (19:13):
When they get here, Marco, which should be in the
very few minutes now, Miss Laketon, Yes, do what you
can to get the rest of the cast together while
we locate Prebellion Drod can't hold that audience out there forever.
Speaker 1 (19:30):
Grip you seen mister Prebellion.
Speaker 5 (19:32):
Pavilion knows where could he be? Did you look in
the old green room, Pribbean there?
Speaker 2 (19:36):
Well, he ducks in and them for a smoke door
there by the exit to my Margo is worth a chance.
Speaker 1 (19:44):
Kabelion, Kabelion, nobody here.
Speaker 4 (19:50):
He's covered the entire backstag.
Speaker 2 (19:52):
It what is it all? Play bills?
Speaker 4 (19:57):
Doesn't these must be sixty years all the month?
Speaker 5 (20:02):
Look this one, sir John Paul's rabitson a.
Speaker 2 (20:05):
Ham one even more intriguing, presenting a new murder drama.
The trail of the Knife round being the authentic account
of the career.
Speaker 5 (20:15):
Not what do you know? I'm close the door.
Speaker 1 (20:17):
I want to get this.
Speaker 2 (20:17):
Look at it, listen, mother.
Speaker 1 (20:22):
Being the authentic account of the career the condemned murderer
of Wilhelm Binstadt, whose crimes terrorized this city in the
past winter. That'll be the winter of nineteen twenty three.
Judging by the day, what does it mean?
Speaker 2 (20:32):
It means that this play was based on the real
life story of Wilhelm Binstadt, a killer of agone days
book my girl. Murderers in general, and I see no
reason to accept. Mister Binstaff show no particular desire to
have their stories revealed to the general pub.
Speaker 1 (20:46):
Yes, well, there's somebody to see you out back, see me?
Speaker 5 (20:49):
Who is it? Clarity flairity?
Speaker 1 (20:52):
Why didn't he come himself instead of sending you?
Speaker 5 (20:54):
He couldn't come himself. Mister Kreid, he's got a knife
in his back and he's dying.
Speaker 2 (21:10):
Why I gotta tell you this fast?
Speaker 1 (21:14):
Not much time to want?
Speaker 5 (21:15):
Laddy?
Speaker 2 (21:15):
What happened to me?
Speaker 5 (21:17):
He who was following me up the alley, trying to
make me go back to the theater, who was horrid?
Speaker 2 (21:25):
Middy was? There's no time let me talk.
Speaker 1 (21:28):
I I'll go ahead and play.
Speaker 5 (21:29):
We fought. He was trying to drag me back to
the theater. I hit him, and just then, yes, let me.
Speaker 1 (21:38):
Have it with the knife.
Speaker 2 (21:40):
Knife?
Speaker 5 (21:40):
Where's the now? I don't know, maybe.
Speaker 1 (21:45):
Down below down? What Laddy?
Speaker 2 (21:50):
Uh huh?
Speaker 5 (21:53):
In nineteen thirty nine, so we did oh and.
Speaker 1 (22:00):
Oh, well, what does you mean by pause?
Speaker 5 (22:09):
They're headed to the end.
Speaker 2 (22:12):
He was right. We did do Fast Year in thirty nine.
Speaker 1 (22:14):
Anything special about the production, no, nothing but hard work.
Speaker 2 (22:18):
Had to cut out a piece of stage, build a
room under it to make a trap door. Trap door?
Sure in this faust, you know the devil had disappeared
through a trap door?
Speaker 5 (22:43):
Who's that?
Speaker 2 (22:45):
Who's there? Miss?
Speaker 5 (22:48):
What are you doing down here?
Speaker 4 (22:50):
We've been looking everywhere for you, mister Pavilion. I had
heard about the trap door under the stage, so I
came down here, just on the channel.
Speaker 2 (22:57):
I hope you're satisfied now that you owe me, Miss Lincoln.
Speaker 3 (23:02):
What's the matter?
Speaker 4 (23:02):
Did something happen to you?
Speaker 2 (23:04):
Nothing more than a little couple with that pennegade clarity.
He struck me, the boar knocked me unconscious.
Speaker 5 (23:12):
But no matter.
Speaker 2 (23:13):
The play can go on very well without a stage manager. Listen,
it's the audience.
Speaker 1 (23:20):
Come on, miss Lincoln. You've let's go up there and
give a performance, the best performance we can.
Speaker 5 (23:24):
At a moment, wait, no time, the show must go on.
Speaker 3 (23:27):
You miss the point, Pavilion, The show must not go on.
Speaker 5 (23:31):
Hey, players, Clayton, what are you saying this time?
Speaker 3 (23:35):
I'm going to make sure of the cancelation of the
trail of the knife.
Speaker 4 (23:39):
What you're a complete igative Pavilion. You'd force this performance.
Speaker 3 (23:43):
To go on Overall, obstacles, force it for your own
petty personal game. But what you don't realize is it
a play cans go on with a dead star?
Speaker 2 (23:55):
What are you talking about? This nice exactly?
Speaker 4 (23:59):
And this one is no prop Sure you can't, that
is you can't.
Speaker 3 (24:05):
But I can and I will. Do you think i'd
let one more murder stand in my way now? You
spindle shanks, superannuated.
Speaker 2 (24:13):
Warhorse, Miss Lecton, you love.
Speaker 3 (24:15):
Good theater, Prevellian than revel in this This is the
high mount, the climax of the Knight, thrust in the dark,
when the earth flares in final flame and the devil
sits brimming on his throat.
Speaker 4 (24:27):
Please, no player, deathly you am this is your final curtain?
Speaker 1 (24:34):
Who are you sure it's not your final curtain? Miss Legton,
who are you the shadow invisible to you but near
that hand? In the name of justice, what do you
want here?
Speaker 5 (24:45):
Retribution?
Speaker 1 (24:47):
Retribution for the ruthless steps you took to stop the
production of this play. Not the small thing setting fire
to the dressing rooms, wrecking the electrical system, but the
steps you took when those things didn't work and the
opening night came you got this rip.
Speaker 4 (25:00):
I don't know what you're talking about.
Speaker 1 (25:01):
You knew Kirk was determined to proceed in spite of you,
so you killed him. Karelion here was to be next,
because he too was spent on producing the show at
all costs. But flat he got in the way. Didn't
he miss Laketon during had struggled in dark Alley? You
missed the knight that was meant for Dabellion landed in
Flatty's back, and you managed to track the unconscious star
down here where you were going to correct that little mistake.
Speaker 3 (25:23):
Why should I murder anyone.
Speaker 1 (25:25):
For a strange reason but a sound were Nevertheless, you
didn't want the life of one Wilhelm Binsta brought before
the public again. You wanted your father's story buried in
the past. I know that the pseudonym of lake Town
is nothing more than the English translation of the Germany Binstad.
Your father's crimes have been preying on your mind for years,
and a theatrical performance of them was more than you
(25:47):
could bear.
Speaker 4 (25:48):
Its true?
Speaker 3 (25:49):
What right do they have to wake all this up
from the grave to make me live it all over again?
And all it's uddly, miserable.
Speaker 1 (25:55):
Harm right did you have to take their lives day.
Speaker 3 (25:58):
My father had fun taking lies until his name is by.
Speaker 1 (26:08):
You haven't got an I warned you, Miss Legton. You
didn't have a chance.
Speaker 4 (26:30):
So does missus Legton. All along. He was trying to
stop the production.
Speaker 2 (26:33):
Miss Bines that Margaret the infamous daughter of an infamous murderer.
Speaker 3 (26:38):
Miss Bine that she couldn't stop the production of a
series of accidents, she got death exactly.
Speaker 2 (26:44):
Kirk and Pavalion were determined to go on with the show,
so in a crazy last ech effort, she killed Kirk
and tried the murder Pavilion. Poor Flattery, of course, who
actually didn't want the show to go on either, was
killed for his trouble.
Speaker 4 (26:56):
Not exactly a successful opening.
Speaker 5 (26:58):
It's pretty terrifying. Actually, too bad about the audience.
Speaker 1 (27:02):
They got their money back.
Speaker 4 (27:03):
They came to see a play and there wasn't.
Speaker 2 (27:05):
Yes, there was Margot not on the stage. But there
was a drama, powerful and tragic. Only like most real
life dramas, it was done without lives, without music, and
without benefit of audience. Everyone knows the sound of a
(27:34):
human heartbeat. It may be yours mine, anyone. Well, one
of the ways you can keep that heart beating is
to help fight heart disease. And we must fight heart
disease because, compared to other leading causes of death, heart
disease is America's leading cause of death. Our scientists and
doctors must find effective ways to combat it. They need
(27:55):
your help. Yes, your dimes and dollars can furnish the
necessary search, the education, and community effort in this all
out fight against heart diseases. So when you're asked to
give to the American Heart Association, give and give generously.
Open your heart, fight heart disease. Now once again, back
(28:19):
to the Shadow. This story is copyrighted by Street and
Smith Publications, Incorporated. All names and places are fictitious. Any
(28:43):
similarity to persons living or dead is purely coincidental. Listen
again next week, same time, same station, when the Shadow
will again demonstrate that the weed.
Speaker 1 (28:52):
Of crime, spitter frooit crime does not bear The Shadow nows.
Speaker 2 (29:12):
Next week, same time, same station, we bring you another
strange and thrilling adventure of the Shadows during battle against
the forces of Evil. The part of la Montcanston was
played by Brett Morrison, Margot by Grace Matthews. This program
came to you from New York. Stay tune now or
quick as a flash. This is the mutual God League
broadcasting system.
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