The Phantom - Death is an Art

0:15Speaker 1:Who knows what evil lurks in the hearts of men?

0:23Speaker 2:The shadow knows.

0:36Speaker 3:The Shadow, a mysterious character who aids the forces of law and order, is in reality Lamont Cranston, wealthy young man about town. The Shadow uses his hypnotic power to cloud men's minds so that they cannot see him. Cranston's friend and companion, the lovely Margot Lane, is the only person who knows to whom the voice of the Shadow belongs. Today's story, Death is an Art.

1:00Speaker 2:Death is an Art Hey.

1:10Speaker 4:Hey, you.

1:12Speaker 2:Hold on there, my lad. I want to talk to you. Now, I suppose you're going to be telling me it's out for a stroll, yeah? And I'll be remarking that this is the devil's own night and the devil's own time to be taking a walk. And what will you be saying to that? Good evening, officer. Ah, sure, just pleasant as if you are with your greeting. But I want to know what takes you down here to the docks at this hour of the night. I'm to meet somebody here. Oh, that I wouldn't be doubting. But who and for what reason?

1:37Speaker 2:I don't know, officer. I don't know who I'm to meet, nor for what reason. Now, hear me, man. I don't get anything out of that at all.

1:44Speaker 1:Well, let me explain.

1:45Speaker 2:Look, I got this note a couple of days ago. Read it. A man who prefers death to failure deserves success. That is a gift which is mine to bestow. If you wish further details, meet me in the vicinity of Pier 12, Wednesday, around midnight. And he didn't sign his name. No. No. So you understand now what I mean when I say I don't know who I'm to meet. Oh-ho! A poor complexion, this puts on things so it does. Now, what's your name? Harper, Graham Harper. Harper. Now, that name. Oh, sure, I know you.

2:24Speaker 2:You were in the papers a while back. Feed the living. Say, you're the sculptor that tried to do away with yourself. Well, that's about the size of things. but I couldn't even make a success of suicide. You're not down here to pitch yourself overboard, are you? It's too cold a night for me to be diving in after you. No, no, officer. Once was enough. I don't think I'll have the courage to try it again. Besides, you see, this note offers me some hope.

2:51Speaker 4:Well, all right.

2:53Speaker 2:I'm a fool to do it, but I'll take your word for it. I hope this fellow has a job for you, too. If you have any trouble with him, just shout and I'll be somewhere about. Oh, thank you, officer. Oh, don't thank me. That's what I'm paid me good money for. Well, good night to you, me son-in-law. Good night, officer. I beg your pardon. Are you Graham Harper? I am. Who are you? May I first confirm your identity? You have a note directing you to meet someone here. I have a note, yes. Is it from you? May I see that? Sure, here it is. Yes, so it is. Now we can talk without restraint. May I introduce myself? I am Professor Scurto Tasso.

3:46Speaker 3:Professor Scurto, the famous scientist?

3:48Speaker 2:Yes. Well, this is an honor, Professor. But what could you want with me? I read all about you in the newspapers. Your attempted suicide. Oh. I want to assure you I am deeply sympathetic. Because you see, I too am a failure. What? You a failure? Oh. I have been blessed with a goodly share of success in science. But like yourself, I too have ambition to become a great sculptor. Had? Still have. But I know it is too late now to realize my ambition. I am so firmly established in science that my efforts in an artistic endeavor might be regarded as simply the hobby of a successful man. Oh, I see. Your note says you have the power to bestow the gift of success. I have. How?

4:30Speaker 2:I have made a great scientific discovery. It is not of a character I can release to the world. But what has a scientific discovery to do with the art of sculpture? More than you can realize now. I have looked for someone who would value success in art above life itself. I believe you are the one through whom I can express the desire to create. I don't know what you mean. You are ready to throw your life away because you are a failure in your chosen field.

4:54Speaker 2:What would you do for success? Anything. Anything in this world. Graham Harper, I can make you the greatest sculptor of all time.

5:02Speaker 4:If you're joking with me, I.

5:03Speaker 2:No, no, I am not joking. I am ready to prove it to you. What are your conditions? You must place yourself under my complete and absolute domination. If what you say is true, you could be the very devil himself and I'd gladly embrace you.

5:24Speaker 4:Say, Shrevie. Yeah, Mr. Cranston? Something the matter, something?

5:27Speaker 5:Well, nothing except that Miss Lane and I'd be just as well pleased if you didn't try to make this old hack fly.

5:32Speaker 4:Oh, I get it. I'm going too fast. I'm going.

5:34Speaker 6:Is that it?

5:35Speaker 7:Oh, no, Shrevie.

5:36Speaker 8:It's just that all the others are going so slowly.

5:39Speaker 4:Miss Lane, you're a genus. I never thought of it like that. Hey, Shrevie.

5:46Speaker 2:Just because I criticized you for going so fast... There's no reason why you should stop on a dime.

5:50Speaker 4:No, Mr.

5:51Speaker 6:Cranston, that ain't why I stopped. I've just seen a pal I see.

5:54Speaker 8:Well, I hope you don't see any relatives.

5:55Speaker 4:There he is, right over there. I want you should meet him.

5:57Speaker 7:Oh, that's fine. We're always bad to meet a pal of yours, Shrevie, but do you think we're presentable?

6:03Speaker 6:Ah, don't worry about that, Miss Lane. My pal's broad-minded.

6:06Speaker 2:Hey, John!

6:08Speaker 4:John! Hey, John! He's a little hard of hearing, he's a little.

6:13Speaker 2:Yes, a little. And maybe he's just indifferent.

6:16Speaker 4:No, he's a fire-eating Democrat.

6:18Speaker 6:Hey, John!

6:19Speaker 8:Let me help you, Shrevie.

6:21Speaker 2:Hey, John!

6:22Speaker 4:Gosh, Miss Lane, that did it.

6:24Speaker 2:Here he comes. Margo, I'm going to enter you in a hog-calling contest.

6:28Speaker 6:Oh, fine, Lamont.

6:29Speaker 7:Might open up an entirely new world for me.

6:31Speaker 2:Hiya, John.

6:32Speaker 6:Old pal, old pal, hiya.

6:33Speaker 4:Oh, it's you, Shrevie.

6:34Speaker 2:Well, well.

6:35Speaker 4:I want you should meet a couple of friends of mine, I want. This here's Miss Lane.

6:38Speaker 8:And this here's Mr.

6:39Speaker 2:Cranston. Well, any friend of Shrevie can be a friend of mine.

6:42Speaker 4:You hear that, folks? That's how I stand with my pals, that's how.

6:45Speaker 2:Well, but, Shrevie, you... You haven't told us the gentleman's name.

6:48Speaker 4:How do you like that? Oh, I'm such a dope. This here is Pencil John.

6:52Speaker 8:Pencil John?

6:53Speaker 4:Yeah, he's been selling pencils on this here corner for... How long is it, John, huh?

6:57Speaker 2:32 years. Yes, I've seen the city grow since I first came out here with my first pencil. 32 years? My, that's a long time.

7:06Speaker 4:And a lot of pencils a lot.

7:07Speaker 2:Yes, indeed it is. But I won't be here much longer.

7:10Speaker 4:What do you mean? You're going to retire? You're going to.

7:11Speaker 2:Oh, no, no. I'm embarking on a new career. Yes? Well, what's the new career, John? Well, it's not exactly set yet, but the man promised me the job this morning.

7:21Speaker 6:A job? Oh, Pencil, you ain't going to work after all these years.

7:25Speaker 2:Yes, Shreevy, I am.

7:26Speaker 4:What kind of a job you got?

7:27Speaker 2:Well, I'm going to be a model.

7:29Speaker 6:A model? You mean you're going to pose for them collars?

7:31Speaker 2:Oh, no, no, no. I'm going to model characters in stone. That's what the man said. And my statue's going to be exhibited in the famous Gaylord Gallery. Well, that's fine, John. The Gaylord Galleries are the best in the country.

7:43Speaker 6:So I hear. Ain't that something.

7:45Speaker 4:Hey, Mr.

7:45Speaker 6:Cranston, you think a mug like me could get in a C.

7:47Speaker 4:John statue, you think?

7:48Speaker 2:Well, I think it can be arranged, Shrevie. Perhaps we'll all go. Oh, well, that would be fine, Mr. Cranston. I'd consider it a great honor. Not at all. And, uh, now, Shrevie, I'm afraid we'll have to be moving along.

8:00Speaker 6:Oh, okay, boss, okay.

8:01Speaker 2:Well, this has been a pleasure, Miss Lane and Mr. Cranston. It's always nice to meet friends of Shrevie's.

8:06Speaker 4:You hear that?

8:07Speaker 6:Don't he talk nice, boss?

8:08Speaker 4:Pencil John's got culture he's got.

8:10Speaker 2:Well, so long, John.

8:12Speaker 4:See you in the art gallery.

8:13Speaker 2:Goodbye, 3B.

8:14Speaker 4:Hey, how do they pay off on that modeling racket?

8:16Speaker 2:Oh, I'm getting $ 5 an hour.

8:18Speaker 4:Well, that's $ 5 an hour.

8:19Speaker 6:Goodbye, John. Goodbye, John.

8:22Speaker 8:Goodbye.

8:22Speaker 5:Thank you.

8:25Speaker 6:How do you like that? Five pieces of folded money every hour.

8:29Speaker 2:Wow.

8:30Speaker 4:Hey, Miss Lane. Miss Lane, look, get this. How's my profile from this angle?

8:34Speaker 8:Oh, it's fine, Shrevie, but I think I like the back of your head better.

8:37Speaker 4:You do, Miss Lane?

8:38Speaker 2:You do?

8:38Speaker 8:Yes, I know you've got your eyes on the road.

8:41Speaker 4:Oh, I get it.

8:43Speaker 6:Five bucks an hour.

8:53Speaker 2:They're without doubt the most magnificent studies in stone I've ever seen. Skin texture, line, general composition.

9:01Speaker 4:Splendid.

9:02Speaker 6:I just can't imagine Graham Harper turning out such great work. It's positively astounding.

9:07Speaker 2:What happened to Shrevely, Margo?

9:08Speaker 7:Oh, he's somewhere around looking for the statue of Pencil John, I suppose.

9:13Speaker 5:Say, Margo, have you ever seen such lifelike statues?

9:17Speaker 8:No, never, Lamont. And the expressions on the faces.

9:21Speaker 7:I half expect to see them get down from the pedestals and walk away. But they all look as though they were about to be frightened to death.

9:29Speaker 2:That's the modern touch, Margo.

9:30Speaker 4:Hey, Mr.

9:31Speaker 6:Cranston, Miss Lane, get a load of this.

9:34Speaker 2:Let him in. Come on, Margo. Our friend Shreve is getting hysterical.

9:37Speaker 4:Hey, look, here he is, boss. Here's John's statue. Don't he look swell, Tony?

9:41Speaker 2:Yes, yes, Shreve, but not so loud, please.

9:43Speaker 4:Pencil John.

9:45Speaker 6:All he needs is a street corner, he'd be perfect.

9:47Speaker 4:Perfect, he'd be.

9:48Speaker 2:He's Mr. Cranston. I'm so glad you've come to our exhibit. How do you do, Mr. Pontesay? Miss Lane, may I present the director of the Gaylord Galleries, Mr. Pontesay.

9:56Speaker 8:How do you do, Mr.

9:57Speaker 2:Pontesay?

9:57Speaker 5:A pleasure, Miss Lane.

9:58Speaker 2:I'm Shravey. Oh, yes, this is Shravey, Mr. Pontesay. How do you do? And now may I present the gentleman who has the art world at his feet, Miss Lane, Mr. Cranston, Graham Harper, creator of these magnificent statues. How do you do?

10:12Speaker 8:Oh, how do you do, Mr. Harper? We've been admiring your work.

10:15Speaker 2:Thank you, Miss Lane. Your model for this statue here, Mr. Harper, is... Well, a friend of a friend of ours.

10:21Speaker 6:He's a friend of mine.

10:22Speaker 2:Yes, that's right. A friend of Shreve's. You mean Pencil John? Yes. We haven't seen him at his accustomed haunts lately.

10:28Speaker 5:Has he forsaken business entirely for the more aesthetic field of art?

10:33Speaker 1:Oh, I don't know.

10:35Speaker 2:I've lost track of him. You see, I only use a model once. Oh?

10:40Speaker 4:Oh, I see.

10:41Speaker 2:Hey, Mr.

10:41Speaker 4:Cranston, this is some hunk of stone.

10:43Speaker 2:Hey, Shrevie, put that statue down.

10:45Speaker 4:I just want to see if I can lift it.

10:47Speaker 6:Shrevie, please.

10:48Speaker 5:Look out.

10:48Speaker 4:I guess you thought I was going to drop.

10:50Speaker 2:It, baby. You fool. And now your statue is not harmed, Mr. Hoffman.

10:53Speaker 4:Oh, no, thanks to that idiot that it isn't. All right, Shrevie, all right.

10:57Speaker 2:Come on, come on now. We're getting out of here. I'm sorry, Mr. Harper.

10:59Speaker 4:I don't blame you, Mr.

11:00Speaker 2:Cranston. Margo, I think we'd better be going.

11:02Speaker 8:Yes, I think so, too.

11:03Speaker 4:Shreevy, come on. Okay, okay. But as for you, Mr.

11:06Speaker 6:Harper, if I wasn't a gentleman and in the presence of a lady, I'd clip.

11:10Speaker 4:You right in the kisser.

11:11Speaker 2:Cheerio.

11:20Speaker 4:You know something, boss?

11:21Speaker 6:That Harper guy oinked me. If you know what I mean, he oinked me.

11:24Speaker 2:Yes, sir. I think I know what you mean, Trevi.

11:27Speaker 8:Well, if we never see Mr. Harper again, it'll be soon enough for me.

11:30Speaker 2:But I think we will be seeing Mr. Harper again, Margo. Why? Oh, for a closer inspection of his works of art, perhaps. Well, he is a great sculptor at that.

11:40Speaker 7:So thorough.

11:42Speaker 8:Lamont, did you notice the fingers on that statue pencil, John?

11:44Speaker 2:Such detail.

11:46Speaker 7:Every bone and muscle and sinew was there.

11:48Speaker 1:Yes, Margo.

11:50Speaker 2:And I have an idea that if the statue were broken open.

11:53Speaker 5:You'd probably find the heart, lungs, and all the other organs, too.

11:58Speaker 8:What do you mean?

11:59Speaker 5:Well, you see, Margot, I have a strong suspicion that's not merely a statue of Pencil John.

12:06Speaker 2:I believe that is Pencil John. Hello? Gaylord Gallery. Yeah, this is Horton, the watchman. I've got the okay to release the statue as soon as you come for it. All right. Good night.

13:05Speaker 1:Just a moment, Horton.

13:07Speaker 2:Who's that?

13:08Speaker 1:I'm the Shadow.

13:10Speaker 2:Well, I... I don't see you where. I've clouded your mind so you can't see me. But don't be afraid.

13:17Speaker 5:I'll not harm you or anything in your charge.

13:19Speaker 2:Well, what do you want?

13:20Speaker 5:For the present, just a little information. Who was that called on the phone?

13:26Speaker 2:An expressman. There's a statue going out of the galleries tonight. Which one? Pencil John. I see.

13:34Speaker 5:Well, I want to get a good look at that statue before it goes. You just stay here in this little office until the expressman come for that statue.

13:42Speaker 2:Don't worry. I won't move. I want you to act as if nothing's happened.

13:47Speaker 4:I understand.

13:49Speaker 2:Very well. I'll leave you now.

13:53Speaker 1:But don't forget.

13:55Speaker 2:Stay where you are. I'll do everything just like you told me. All right, Margo. Come in. That was fast work, Lamont.

14:13Speaker 5:Watchman's in that little office back there, scared speechless.

14:16Speaker 2:Then he won't disturb us. Not a chance. Come on. We'll have to work fast. They're going to take Pencil John out tonight.

14:21Speaker 8:Did you find out why?

14:22Speaker 2:No.

14:23Speaker 5:But my guess is that Harper's afraid to have it around since it was recognized today.

14:27Speaker 8:What'll they do with him, Lamont?

14:29Speaker 2:Destroy him, I suppose. Oh, how horrible. Horrible's hardly the word. You cold, Margot? No, just nervous, I guess.

14:38Speaker 8:An art gallery's certainly a spooky place at night.

14:42Speaker 2:Here we are, Margot. Lamont, there's Pencil John. Yes.

14:46Speaker 5:Be interesting to see if Harper even worked out the fingerprints.

14:49Speaker 2:Too, eh, Margot? That certainly would clinch your theory. Well, let's see if he... Here you are, Marco. Look, the fingerprints are perfect.

15:00Speaker 5:Have you got that pencil John's fingerprints?

15:03Speaker 2:Yes, right here, Lamont. Good. Now we'll make a little comparison. Here. Take a look, Marco. The fingerprints match up perfectly.

15:13Speaker 8:Perfectly? But how could they do this, Lamont?

15:25Speaker 5:That I don't know yet, Margot. But I hope to soon.

15:29Speaker 8:Lamont, do you.

15:30Speaker 7:Notice one feature that's characteristic of all these statues?

15:33Speaker 2:I noticed it when I first saw them. Yes. The look of horror on their faces. Is that what you mean?

15:38Speaker 7:Yes.

15:39Speaker 5:Ghastly.

15:41Speaker 2:Listen, Margot. Somebody's coming.

15:43Speaker 5:Most likely the expressman to take Pencil John away.

15:46Speaker 2:Come on.

15:46Speaker 5:Let's hide behind these tapestries over here.

15:49Speaker 2:I don't care whether you do or not. Did you notice the manner of that watchman? Yes, yes. He seemed frightened. Yes. You suppose anything's gone wrong? Don't be such a coward, Harper. You're always afraid something is going to go wrong. Well, look what happened to Pencil John. He was recognized today. It may start a search for the man. All right. We'll get him out of here and nobody will know the difference. Come on. Give me a hand here. Stop worrying.

16:11Speaker 1:Martha.

16:12Speaker 2:Yes. Look who's dressed as an expressman. Who is it, Lamont? Professor Scurtataso. What?

16:20Speaker 8:Why, it is Lamont.

16:21Speaker 2:What interest is he in Harper's affairs?

16:24Speaker 8:Why the disguise?

16:25Speaker 5:Those are questions I'm going to find out tonight.

16:34Speaker 2:We could have kept this in my studio tonight. It would have saved us the trouble of coming out here to the seacoast. I feel more comfortable here in my laboratory. Besides, this statue will have to be destroyed at once. Destroyed?

16:43Speaker 1:How?

16:44Speaker 2:Broken up and thrown into the sea. Take that sledgehammer there. What?

16:48Speaker 5:Oh, no.

16:49Speaker 2:I couldn't do that. I couldn't.

16:50Speaker 1:All right, then.

16:51Speaker 2:I will do it myself. First, we'll have to get the work on a replacement for the exhibit. All right.

16:57Speaker 4:Have you a subject?

16:57Speaker 1:Yes.

16:58Speaker 2:He is here in this room.

17:02Speaker 4:Come out, old fellow. You're going to let me get out of here, Mr. Aryan?

17:06Speaker 2:Yes. Yes, yes, old fellow. You will be out of here in a very short time.

17:10Speaker 5:What was the idea of bringing me here in the first place?

17:14Speaker 2:What do you think of him, Harper? Raise your head a bit. Yes.

17:17Speaker 4:Excellent subject.

17:18Speaker 5:Well, can I go now?

17:19Speaker 1:In a little while.

17:21Speaker 2:Sit down here in this chair a minute. I want to get out of here. Sit down. Well, only a minute.

17:28Speaker 4:Now.

17:29Speaker 2:Shut up.

17:33Speaker 4:Shut up. Take these crabs from around me.

17:36Speaker 2:Hand me the hypo.

17:37Speaker 4:I'll quiet this old fool. No, listen, mister. What do you want to hurt me for? I ain't never done nothing.

17:42Speaker 2:I won't hurt you not a bit. Roll up your sleeve, Harper.

17:45Speaker 4:All right, quiet.

17:46Speaker 2:What are you going to do? Prepare you for a greater destiny than perhaps you deserve. No.

17:51Speaker 1:No.

17:52Speaker 4:No, no.

17:53Speaker 2:Go away from me.

17:54Speaker 3:Go away.

17:55Speaker 6:Come over here, Harper.

17:57Speaker 2:No. No. Strange how even the most disreputable will cling to life. In just a few hours now, Hopper, you will have a statue every bit as fine as Pencil John. Hand me my case. Yes, Professor. This is the most amazing process imaginable. No, it is a simple thing. Nature gave me the clue. Calcification of the human body is a device of nature. I just intensify the disease until the body attains the consistency of granite.

18:22Speaker 6:Professor!

18:22Speaker 2:Yes, what is the matter? I heard a noise outside. There ain't no doubt. No, no, somebody's out there. Well, let's put your mind at rest before you get hysterical. Come on. Now... See anyone?

18:34Speaker 4:No, there's nobody there. I show it to you, all right? There is somebody.

18:38Speaker 5:Huh?

18:38Speaker 4:Come on. Hey, hey, you.

18:40Speaker 6:Come back here. It's a man and a woman. They got into that car.

18:43Speaker 4:We've got to hand them off.

18:44Speaker 6:Hey, hey, come back.

18:45Speaker 2:There goes the car. Come on. Come on. Hurry, hurry, hurry. Oh. Oh.

18:57Speaker 6:It's Miss Lane and Mr.

18:58Speaker 2:Cranston. Lane, Cranston. Yes, those are the people who recognize that statue.

19:01Speaker 8:Help me get Mr. Cranston out of here. He's hurt. He's unconscious.

19:04Speaker 2:We will fix Mr. Cranston, all right. Grab a hobbit. Get out of there.

19:09Speaker 8:Can't you see I've got to get Mr. Cranston to a doctor?

19:11Speaker 2:Don't worry, my dear. I will take good care of your friend. I've got just the right prescription for snoopers. The End All right, Harper. You can put Mr. Cranston in that room with the old derelict. They will be good company for each other when they regain consciousness.

19:34Speaker 8:I can tell you now, Tassel. You'll never harm Mr. Cranston. You'll never get the chance.

19:38Speaker 2:For the moment, I am interested only in you, Miss Lane. All right, Professor. I'm taken care of. Good. Now, Miss Lane, for the last time, are you ready to tell us why you and Mr. Cranston were snooping about here?

19:51Speaker 8:For the last time, Tatho, no. I'll tell you nothing.

19:54Speaker 2:Very well, then. I can only conclude that your visit here is an aftermath of your interest in Pencil John.

19:59Speaker 8:You can think as you please.

20:00Speaker 2:Since you won't talk to me, then I shall see to it that you will not talk to anyone else.

20:04Speaker 8:What do you mean?

20:05Speaker 2:You will make a very lovely statue, Miss Lane.

20:07Speaker 8:Oh, no, you.

20:08Speaker 2:There is no use. No use trying to get out of the chair, Miss Lane. Those steel clamps have held stronger people than you. You ready, Harper? Hand me the kit.

20:16Speaker 8:You'll never get by with this, Tasso. My features will be wrecking you.

20:18Speaker 2:Oh, we can make slight adjustments. Not enough to mar your essential beauty, of course. Come now, Miss Lane. I have wasted enough time on you. The arm, Harper.

20:26Speaker 8:Oh, go away and let me out of here.

20:29Speaker 2:What was that? Not so fast, Professor Tasso.

20:32Speaker 1:Not so fast.

20:32Speaker 6:Tasso, what is it?

20:34Speaker 4:Who are you?

20:34Speaker 2:Where are you?

20:35Speaker 1:I am beyond the reach of your calcification formulas, Tasso. I am the shadow.

20:40Speaker 6:The shadow?

20:41Speaker 4:Did you hear that, Tasso? The shadow.

20:42Speaker 1:Put away your drugs, Tasso. You'll no longer make an art of death.

20:46Speaker 2:Tasso, let's get out of here. Hopper, you miserable coward. Afraid of a voice. Here, hold the girl's arm. We'll finish our job.

20:51Speaker 1:I'm the one that's finishing a job here now, Tasso. Let go of her arm.

20:54Speaker 2:Don't listen to him, Hopper. Proceed with the treatment.

20:55Speaker 8:You're hurting me.

20:56Speaker 2:Let go of her.

20:58Speaker 4:Tasso, what happened to you?

20:59Speaker 2:It hit me. It is not just a voice. Come on, Hopper.

21:02Speaker 4:Run for it.

21:03Speaker 6:To the cow.

21:03Speaker 2:Oh, the monster.

21:08Speaker 8:I thought you were badly hurt.

21:09Speaker 1:Not even scratched, Margo. Let me get you out of that chair. We've got to get those two men.

21:22Speaker 4:Good driving, Margo.

21:23Speaker 2:We're gaining on them.

21:24Speaker 8:Tasso and Hopper are certainly giving their car all it can take.

21:26Speaker 2:Yeah. Look, Margo.

21:28Speaker 4:The railroad crossing.

21:30Speaker 8:Oh, Lamont, they're going to try and beat that train.

21:31Speaker 4:They're insane.

21:32Speaker 2:Oh, no, no. Lamont.

21:39Speaker 8:Oh, Lamont, look.

21:41Speaker 1:Turn around, Margot.

21:43Speaker 2:Let's go back.

21:44Speaker 5:Professor Tasso and Graham Harper will never bother anyone again.

21:58Speaker 7:Lamont, why do you suppose that Tasso, an eminent and respected scientist, committed such a mad crime?

22:06Speaker 6:Well.

22:07Speaker 5:His love of sculpture and his overpowering desire to show off his new process to the world could explain it. Plus a distorted mentality.

22:14Speaker 8:Do you realize how close I came to being one of his prize collections?

22:19Speaker 6:Yes.

22:20Speaker 5:You'd have made a lovely statue, too, Margo. I'd undoubtedly have bought you for my mantelpiece.

22:25Speaker 2:Oh, I see.

22:25Speaker 8:Just another ornament in your vast collection.

22:28Speaker 2:No, no. You'd have been quite useful.

22:30Speaker 8:Useful as a statue.

22:31Speaker 3:On a mantelpiece?

22:32Speaker 2:Yes. I would have put an electric clock in your mouth. Oh, cute.

22:52Speaker 3:Today's program is based on a story copyrighted by the Shadow Magazine. The characters, names, places, and plot are fictitious. Any similarity to persons living or dead is purely coincidental. The Shadow Magazine is on sale at your local newsstand.

23:14Speaker 5:The weed of crime bears bitter fruit.

23:19Speaker 1:Crime does not pay. The shadow knows.