The Shadow: The Creeper 05/29/1938

Summary

Podcast Summary: The Shadow – "The Creeper" (Aired 05/29/1938)

Podcast: Choice Classic Radio Detectives | Old Time Radio
Host: Choice Classic Radio
Episode Date: April 2, 2026 (original air date: May 29, 1938)
Featured Story: The Shadow: The Creeper

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Episode Overview

This episode of Choice Classic Radio Detectives presents a chilling adventure from the classic radio series The Shadow. The story, titled "The Creeper," revolves around a wave of disappearances and murders haunting New York's wealthy Mayfair district. The Shadow (Lamont Cranston) investigates after one of Margot Lane's close friends, Edith Day, vanishes mysteriously from her home. Cranston follows the trail below ground, uncovering a hidden horror beneath the city and facing one of the series' most memorable villains, "The Creeper."

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Key Discussion Points & Plot Breakdown

1. Mysterious Disappearances in Mayfair

• [03:03-04:46] Margot Lane urgently contacts Lamont Cranston after hearing about the disappearance of Edith Day, a dear friend. Discussion reveals that several similar cases have recently occurred under mysterious circumstances in the same district, with no ransom demands, no traces, and even private guards failing to prevent more abductions.
• Quote:
  • "Terrible people just disappearing into thin air… Something awful must have happened to Edith. No ransom notes, no nothing." – Margot ([04:35])

2. Investigative Breakthrough: Secret Tunnels

• [07:11-09:46] Lamont conducts research at the public library, discovering an abandoned underground water conduit running directly beneath the Mayfair district. By overlaying crime scenes on an old map, he realizes each affected house sits atop this forgotten tunnel—a likely route for the abductions.
• Quote:
  • "Every one of those houses is located directly over that old abandoned water main." – Margot ([08:30])
  • "Unless I’m badly mistaken, that is the answer to the disappearance of Edith Day." – Lamont ([08:35])

3. The Shadow Investigates

• [11:06-13:33] The Shadow explores the Day mansion’s basement and discovers a hollow-sounding stone slab—a concealed entrance to the tunnel below. He enlists Margot’s help to further the investigation while emphasizing the danger.
• Quote:
  • "This big stone slab has a hollow ring. This is it. This is the answer." – The Shadow ([11:06])

4. The Victims’ Plight Underground

• [15:31-16:43] Meanwhile, the audience hears the voices of chained, captured victims in the tunnels, bemoaning their hopelessness and fate at the hands of "The Creeper."
• Quote:
  • "Some of you have been here a day, a week, two weeks. I’ve been here two months. ...I know. We’ll die here. We’ll never get out." – Chained victim ([15:37])

5. The Creeper: Motivations & Madness

• [16:43-18:22] The Creeper boasts about abducting beautiful young women and furnishing his underground lair with stolen goods—cruelly rationalizing his crimes as a way to keep himself from loneliness. Margot is nearly captured while trying to reason with him.
• Quote:
  • "Nobody gets away. Nobody ever gets away." – The Creeper ([16:52])
  • "I killed him so he wouldn’t run away. But then there was no one to talk to. I got lonely." – The Creeper ([17:17])

6. The Showdown: The Shadow vs. The Creeper

• [18:22-24:01] The Shadow confronts the Creeper, taunting him with his unseen presence and psychological tactics. He manages to distract and disorient the villain, allowing Margot and the other captives a chance at rescue—but chaos ensues when the Creeper threatens to detonate stolen dynamite, intending to kill everyone in the tunnels.
• Quote:
  • "You’re hearing The Shadow." – The Shadow ([18:35])
  • "No, Creeper. I am not chained. I can get away from you. Why don’t you follow me? Follow my voice." – The Shadow ([24:29])

7. Climax & Resolution

• [24:01-26:04] The Shadow employs ventriloquism to fool the Creeper, luring him to the end of a tunnel. The Creeper, duped, throws the dynamite where he believes The Shadow’s voice to be, but the hero is safely behind him. The explosion kills the Creeper; meanwhile, police rescue the victims.
• Quote:
  • "The Shadow tricked the Creeper into following him down the tunnel... then there was an explosion. They said the Creeper and The Shadow were blown to pieces." – Margot ([26:15])

8. Denouement & Memorable Final Moment

• [26:04-27:10] In the aftermath, Lamont reveals to Margot the trick he used to escape unharmed—a classic Shadow maneuver. The episode ends with The Shadow’s iconic sign-off about the wages of crime.
• Quote:
  • "The old, old trick of voice projection, Margot. Ventriloquism. Easy. ...All the time I was behind him, far enough behind him to be safe." – Lamont ([26:40])
  • "As Mark Twain once said, the report of my death has been grossly exaggerated. The Shadow is still alive. Very much alive. As the criminal world will discover. To its sorrow." – Lamont ([27:03])

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Notable Quotes & Moments with Timestamps

• "Without a trace... disappearing into thin air." – Margot ([04:35])
• "That is the answer to the disappearance of Edith Day." – Lamont ([08:35])
• "Your crimes have found you out, Creeper." – The Shadow ([18:54])
• "I make them afraid. I make them my slaves." – The Creeper ([18:22])
• "The weed of crime bears bitter fruit. Crime does not pay. The Shadow knows." – The Shadow ([27:10])

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Important Segments (Timestamps)

• [04:20-05:00] – Missing persons case established
• [08:13-09:46] – Discovery of the tunnel connection
• [11:06-13:33] – Underground entrance found
• [15:31-16:43] – Victims’ despair in captivity
• [18:22-19:54] – The Shadow confronts The Creeper
• [24:01-25:42] – Climax with dynamite confrontation
• [26:04-27:10] – Final revelation and The Shadow’s signature sign-off

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Tone & Atmosphere

The episode is imbued with suspense and dread, characteristic of The Shadow series. The interplay between Lamont Cranston's logic and The Creeper’s mania, combined with the atmospheric sound design and performances, creates a tense, claustrophobic atmosphere. The dialogue retains hardboiled, period-specific phrasing and dramatic flair.

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Summary

"The Creeper" is a quintessential Shadow story, blending mystery, psychological horror, and action. It stands out for its use of underground urban lore, an emotionally complex villain, and classic radio suspense. The Shadow's ingenuity—especially his use of ventriloquism for life-and-death trickery—wraps up a taut story about the darkness lurking beneath the city and the justice brought to those who exploit it.

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Recommended for fans of:

• Classic radio drama
• Detective fiction
• Gothic horror and psychological thrillers

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“The weed of crime bears bitter fruit. Crime does not pay. The Shadow knows.” – The Shadow ([27:10])

Transcript

[A]

Welcome to Choice Classic Radio where we bring to you the greatest old time radio shows like us on Facebook, subscribe to us on YouTube and thank you for [e-mail]. Who knows what evil lurks in the hearts of men? A shadow knows. Ladies and gentlemen, the Shadow's latest adventure starts in just a moment. Right now I want to tell you about a new kind of tire that will stop you quicker, safer on wet, slippery roads than you've ever stopped before. It's the new Goodrich Safety Silvertown with the amazing lifesaver tread that actually drives wet roofs. Impartial test made by the independent Pittsburgh Testing Laboratory proved this fact beyond dispute. Not one of the regular or premium priced tires of America's six largest tire manufacturers came up to the new Goodrich Silvertowne in resistance to skid. These exhaustive tests also proved that the New Silvertown averaged 19.1% more non skid mileage than any other tire tested in its own price range. Which means you get every 6th mile free. Equip your car with Goodrich Safety Silvertown. Then you'll know what it means to be saved by a Silvertown stock. The Shadow. Lamont Cranston, a man of wealth, a student of science and a master of other people's minds, devotes his life to righting wrongs, protecting the innocent and punishing the guilty. Using advanced methods that may ultimately become available to all law enforcement agencies. Cranston is known to the underworld as the Shadow. Never seen, only heard. As haunting to superstitious minds as a ghost, as inevitable as a guilty conscience. The Shadow's true identity is known only to his constant friend and aide, Margot Lane. Today's story, the Creeper.

[B]

Mother, is that you? Is the storm frightening you? Mother?

[A]

Be quiet.

[B]

I won't hurt you. I'm just going to take you away. Away where nobody will ever find you. Nobody will ever find you and you won't be lonely. There are other fine young ladies like

[A]

yourself where I'm taking you.

[B]

They were rich and beautiful too. One gent, one.

[A]

Yes, Margot? What do you want?

[B]

Lamont? Forgive me for making you rush over here to my apartment at this time in the morning. I've just learned that something's happened to one of my dearest friends. Edith Day.

[A]

Edith Day. I remember her. Margot came out two seasons ago. Isn't she that beautiful little dark haired girl I know? The Allen dude.

[B]

Yes, that's the one, Lamont. Her mother just phoned me. She's frantic, terrifying.

[A]

Now, Margot, supposing you compose Yourself. And tell me exactly what's wrong. This is Margot Lane, my assistant in Criminal Investigation would do. As it were someone who meant nothing to you.

[B]

This is such a shock, Lamont. Edith missing.

[A]

Missing?

[B]

Yes, she disappeared from her bedroom last night. There were signs of a struggle.

[A]

Where's the house located?

[B]

In the Mayfair District 5 block section.

[A]

Where all those recent robberies have occurred.

[B]

Yes, and two murders and five other disappearances.

[A]

That's right. But the paper said every block is a private guard and the finest burglar alarms have been installed in all the houses.

[B]

But, Lamont, terrible people just disappearing into thin air without. Without a trace. Without any clue as to what's happened to them. Something awful must have happened to Edith. No ransom notes, no nothing.

[A]

Police are there, of course.

[B]

Oh, yes, Swarming all over the house. Commissioner Weston himself is conducting the inquiry. Mrs. Day asked me to come over here and stay with her. But I want to talk to you first. Oh, poor Edith.

[A]

The police must have searched the house, I suppose.

[B]

Yes, from top to bottom.

[A]

He might have been carried across the rooftops.

[B]

No, the door to the roof was bolted and locked on the inside. It's equipped with a burglar alarm, too.

[A]

You go ahead and console Mrs. Day. Margot.

[B]

I was hoping you'd come with me.

[A]

Not at the moment, Margot.

[B]

But it's. It's a case for you as the shadow.

[A]

Yes, Margot, the Shadow will take a hand in this game of violence and death. Misses Day, are you absolutely certain your daughter did not leave the house after midnight?

[B]

Yes. Yes, Commissioner Weston, you asked me that before.

[A]

Yes, I know. I'm sorry, but. Come in, Callahan. The watchman's here, Commissioner. Have him come in. Morning, Commissioner. Callahan, your report shows you tried all the doors of this house every hour on the hour last night. That's right. They were okay. They were all locked. And nobody could have opened a door or a window in this house without setting off the burglar alarm in your agency's central office. Yeah. Yes, that's right, sir. Then Miss Day must still be in this house. Sergeant. Yes, sir. Have your men made a complete search all through the house? Oh, yes, Commissioner, from top to bottom. But ain't a place we haven't. Look what I bothered. I mean, where Ms. Day might be.

[B]

My poor baby. Oh, Edith. Edith. Hello. Hello. Century Moving company. This is Mrs. Claremont. I'm moving out of the Mayfair district. Yes, I want a band. Today. Yes, I'm moving to a hotel. I won't spend another night in this section.

[A]

I'm sorry, Mrs. Trent, but I'm giving notice. I've been your butler for 10 years. But after the things that have happened in this Mayfair. Jake, about that Mayfair crime wave story. Make it hot. Pour it into Commissioner Weston. List the unsolved crimes. Two known dead, six persons missing without a trace. Demand action results. Smear it all over the front page. Go to town on it. Oh, there you are, Margot.

[B]

Lamont. What on earth are you doing here in the public library?

[A]

I'm discovering things about this fair city of ours that I never knew before, Margot.

[B]

I don't understand, Lamont.

[A]

I'm trying to find Edith Day. Margot, it may seem a very roundabout way, but the police and the private detective agencies have proven a futility of direct methods.

[B]

Then you have discovered something. Oh, Lamont, what is it? Why did you come here to the public library?

[A]

Because I wanted to look up some old maps and records of the city.

[B]

But why? Why? What could that possibly have to do with Edith's disappearance?

[A]

I'm not sure, Margot, but it may have everything to do with it. I'll show you something that may surprise you, Lamont.

[B]

What are you driving at? That's just an old map.

[A]

Exactly, Margot. An engineering map. A plan of the proposed water conduit surveyed and laid out in the year 1896. Wait, Margot, I'll explain. This plan calls for a 12 foot water main from the West Park Reservoir to the Central District. A distance of a mile and a half. Margot, one mile of that water conduit was built. Then the Spanish American War came along and the project was abandoned. It was sealed up. It's all here in the old city records. In some way, the whole project became lost in the tangles of official red tape and forgotten.

[B]

What are you driving at? I still can't see what this has to do with.

[A]

I'll show you in just a minute. Here. Here's a rough sketch of the Mayfair district, Margot. On tissue paper. I've marked the location of every house in that district where a murder, robbery or abduction has taken place in the last two months. Yes, place it over this old map. Now look. See what happens.

[B]

Why, Lamont, every one of those houses is located directly over that old abandoned water main.

[A]

Yes, Margot. And unless I'm badly mistaken, that is the answer to the disappearance of Edith Day. And it'll lead us to the solution of this crime wave in the Mayfair district.

[B]

Dumont, that water main must be way down underground. The police searched the basements of those houses. There'd have to be an entrance big enough for a man to get through.

[A]

I believe there Is Margot. It's the only possible answer. In every one of these crimes, the story's been the same. No one was seen going into the houses. No one was seen going out. The burglar alarms were intact, yet people vanished.

[B]

Lamont. Only you're right. If there's still some chance Edith and those other poor people are still alive down there in that abandoned hole in the earth. But who could do a thing like that? And why would they do it?

[A]

Must be the work of a monster. Margot, I checked up on the things that were stolen. The other crimes. Richly upholstered furniture, tapestries, paintings. Never any money or jewelry. Things you would ordinarily expect a thief to take.

[B]

Good heavens, Lamont. You think someone's taken those things down into that black hole?

[A]

Yes. And he's taken something else that is doubly significant. Food storerooms have been stripped. Case after case of canned goods has been carried away. Margot. Food enough for a dozen people. But more than anything else convinces me that the people who vanished are still alive somewhere down there. In a labyrinth of tunnels carved out of solid rock.

[B]

Oh, Mard, if only. You're right. There's only some way we can get down there.

[A]

I believe there is. I believe there is a way. A way the shadow can get down there. With your help.

[B]

I'll do anything. Anything. You know that.

[A]

Margot, I want you to go straight from here to Mrs. Day's. I want you to stay there tonight.

[B]

But what about you? Where will you be? Can't I do something to help?

[A]

Later, Margot. But don't worry. You walk through the door of the Day mansion, the shadow will be with you. For I'm sure that somewhere, the wall, the floor, the basement of that house will yield the answer to this ghastly riddle.

[B]

Mary.

[A]

Mary, I tell you, I heard something down there in the cellar. A sort of a tapping sound.

[B]

Oh, don't go down there, Henry. Don't do it. I tell you, Henry, this house has given me the paper. I won't work here another day. I'm giving orders to Mrs. Day in the morning. She'll have to get another maid.

[A]

Yes, you're right. I don't hear nothing now. Maybe it was just imagining things after what happened last night. I'm a butler, not a detective. If Mrs. Day insists on staying in this house, I'm leaving her service too.

[B]

Oh, shut the door, Henry. I can't stand the looks of that door. Still, it just hit me dizzy.

[A]

Yes. Yes. You have good reason to be afraid to stay in this house. Unless I find what I'M looking for. This big stone slab has a hollow ring. This is it. This is the answer.

[B]

Oh, Margot, you don't know how much it means to me to have you stay here. All my friends want me to leave this house, but I can't. I can't. And the servants, they're afraid. Oh, sure. They'll leave tomorrow. Glad I could be with you, Mrs. Day. But now, don't think any more about it. Please try to get some rest. You're exhausted. I'll try, Margot, but I'm afraid I can't rest. All I can do is think. Oh, think of what's happened and what may be happening to Edith. Oh, my poor darling. Oh, so awful, Margo, not to know. What's that, Mrs. Day? Oh, the house phone in the hall, Margot, would you answer? Yes. Yes, I'll answer it right away. Try to get some rest, Mrs. Day, please. Hello? Hello, Margot?

[A]

Margot.

[B]

Yes, Lamont.

[A]

You come down to the basement immediately. Try to get here without being seen. The servants have gone to bed. Hurry. Hurry. Margot.

[B]

Lamont, it's Margot. Where are you?

[A]

Right here, Margot. As quiet as you can. I'll turn on my flashlight.

[B]

What have you found?

[A]

Come over here a minute. Look. That stone slab.

[B]

Then you were right, Lamont. This is how Edith was carried away down through that hole. But how in the world did you get the slab up?

[A]

For quite a while. I found an iron bar. Be careful. Don't get too close to that hole, Margot. There's no telling how deep it is.

[B]

Come on. Now. Now what are we going to do? Hadn't we better notify the police?

[A]

No, Margot. Calling the police now might mean the death of every one of his victims. If they're still alive.

[B]

But suppose whoever's doing this heard you tapping down here. Heard you lifting the stone. Suppose he's waiting for you down there in the dark somewhere.

[A]

I've got to risk that.

[B]

How will you get down? There's no ladder.

[A]

There's a heavy clothesline in the laundry room at the other end of the cell. I noticed it. And I got examining the walls in there.

[B]

I'll get it all right, but I wish you let off.

[A]

All right. Ladies and gentlemen, before the Shadow's exciting adventure continues, I have a word about auto trips. Because there are so many motorists who risk life and limb without knowing it. Yes, the Shadow knows many a motorist rushes through the rain. Puts himself in real danger of skidding, spinning, swerving on wet roads. Can't stop quick, can't stop short. Can't control his car. And many a motorist faces a debt dealing accident. Dealing blowout. Why should you risk your life through skid or blowout when today without paying a cent extra. You can get life saving protection against both of these hazards. Yes, motorists, a new kind of tire. The new Goodrich Safety Silvertown. With its lifesaver tread grips dry roads, dries wet roads. Overcomes the hazard zone of motoring. Where a slippery film of water on the road may make complete control of your car almost impossible. This means that you stop quicker, safer than you've ever stopped before. And the exclusive golden ply gives you real protection against dangerous high speed blowouts. The new Goodrich Silvertown is the safest thing on wheels. It's here to save your life. Yes, save your life at no extra cost. Don't forget your car and everyone in it will be safer if you ride on Goodrich Safety SILVER Town. Did you hear that? Yes. Yes. Do you know what it means? The Creeper is bringing you another victim to keep us company. In this living tomb. There was only something we could do. We could only get these chains off. No. No. It's no use. We're helpless.

[B]

Dr. Conrad, do you think there's any chance, any hope?

[A]

We mustn't Give up hope, Ms. Day. Sooner or later the police will trap the Creeper. Find the tunnel. The police. Listen, all of you. Some of you have been here a day, a week, two weeks. I've been here two months. Nothing but that Creeper and rats for company. Chained like an animal, half starved. I thought the police would find me. I had hoped too. But now I know. We'll die here. We'll never get out.

[B]

Never. Never, never get out. The police. He'll come. Use that weapon. I can't stand anymore. I will.

[A]

What difference does it make? Sooner or later the Creeper will kill us all. We'll never see the light of day again.

[B]

Never. Never see those. Oh. Why did you hit him? He didn't know what he was saying.

[A]

I had to. He's unconscious now and it's better that way. Can't stand much more. Heaven help us if someone doesn't get us out of here soon. Now.

[B]

So you'll find out how I catch all the fine beautiful ladies and bring them down here. Wait. You don't have to put those chains on me. I won't try to get away. Nobody gets away.

[A]

Nobody ever gets away.

[B]

Nobody knows about this old tunnel. I found it long ago. How. How long have you lived down here? Who are you? And why have you crawled up into people's homes and dragged them down here. What have you done with him? You haven't killed him, have you? No. Only one. And because he wouldn't talk to me. Always kept trying to get away. I killed him so he wouldn't run away. But then there was no one to talk to. I got lonely. That was long, long ago. But the others and Edith Day, the girl you carried away last night, were they? You'll see them real soon. It's not far from here.

[A]

Down the tunnel.

[B]

A great wide place in the tunnel. It's like a big room. You. You shall see. Wait. Let me rest here a minute, morn. Then I'll go with you. No, no, no. No, you don't. You come now. Quickly. Please don't. Let go of me. Let me tell you something. How do you know someone else won't find your hiding place just as I did? Hadn't you better go up? And the shaft and lower that stone tree?

[A]

No.

[B]

No, no. No. You come now. You tried to trick me. I'll come back and fix that when I change you up with the rest of them. Maybe too late. Someone knows I'm here. He was in the basement when you pulled me down here. Well, let him come. I'm not afraid of any man. All men are afraid of me. I make them afraid. I make them my slaves. They call me the Creeper. Creeper?

[A]

So you are the Creeper. And all men fear you.

[B]

What was that? What was that? I heard laughter.

[A]

A voice. Yes. The laughter and voice of the shadow.

[B]

But there's no one here. I see no one, and yet I. Someone is here. Someone you can't see. Someone who's not afraid of you. You're hearing the shadow. Shadow?

[A]

But shadows do not laugh. They do not speak.

[B]

For years, I have lived among shadows in the darkness.

[A]

Your crimes have found you out, Creeper.

[B]

The voice of a man. Why can't I see him? There's no place he can hide. Not here.

[A]

I am here. Close to you, Creeper. Even by the yellow light of your lantern, you cannot see me. Because I have the power to cast a shadow across your mind. A veil across your eyes. No.

[B]

No,

[A]

it's like a dream.

[B]

Like the dreams I used to have when I lived down here alone. I. I used to pretend. I used to talk to people.

[A]

Pretend?

[B]

They talk to me.

[A]

No, Creeper. Those others who spoke to you were fantastic creatures of your imagination. I am here. Watch. I'll prove it to you. See? I was close enough to snatch that chain from your hand. Throw it away. And now. Now you are going to lead me to your other victims. Margot. Get back. Get away from me.

[B]

No.

[A]

No.

[B]

Keep away from me. Keep away or I'll kill you.

[A]

Is that the gun you used to kill Haggerty? The night watchman? Creeper?

[B]

Yes, yes. He almost caught me.

[A]

Yes.

[B]

Yes, I killed him. I killed him. And I'll kill you.

[A]

Why don't you try? Why don't you shoot, Creeper? If I could only see you, I.

[B]

No, no, no, no. That doesn't matter. There' I can see the girl. Keep away from me, Shadow. You keep away or I'll shoot her.

[A]

Never have the chance.

[B]

Just that for me. You'll never thank me.

[A]

Never. Devil.

[B]

I told you. I told you I'd kill her.

[A]

I told you. Shadow. Come on.

[B]

Come on.

[A]

Margo. Margot. Fool I was to expose you to this.

[B]

Did he get away? No.

[A]

I knocked him out, but not quite soon enough. Did he shoot your.

[B]

Nothing, Lamont. Nothing. Bullet hit my shoulder. Only a flesh wound. I'll be all right. Find me to stay in the others. Lamont. Get them out of here.

[A]

No, Margot, that can wait. I got to stop this flow of blood.

[B]

I'm all right. Let me get up.

[A]

No, no. Don't try to get up. Hold still. Don't I get this handkerchief? Steady, Margot, steady. That's tight as tight. It's the best we can do. When I get you to the doctor there. I've got to find some way of getting you back up that shaft.

[B]

No, please, Lamont. It's only a flesh wound, I tell you. The bleeding's almost stopped. I'll be all right. Just leave me here and go help the others. Lamont.

[A]

What?

[B]

The Creeper. The man's still there.

[A]

Yes.

[B]

He's gone, you said?

[A]

Good heavens, I. I thought I'd knocked him out.

[B]

You gotta go after him. Now that he knows someone found his hiding place, he'll kill Edith. He'll kill all the people he's got down here.

[A]

You're right, Margot. I hate to leave you here like this.

[B]

Go on, please. I'm all right. I'll try to find a way to get up the shaft and notify the police.

[A]

All right, Margot, you think you can? There's a ladder, but be careful. It's old and rotten and some of the rungs are gone.

[B]

I'll get out. I'll get help. But it may be too late. Unless you can find the Creeper and stop him from murdering those poor people he's dragged down into this awful feet.

[A]

I could only be sure which way he went.

[B]

He's going to take me that way. Down the panel. Hurry, Lamar, hurry. Take the land.

[A]

All right, Margot, but get out of here. If you can notify the police, tell them the Creeper shot you. Tell them you saw him escape down here through the cellar. But don't come back down here, Margot. There's no telling what may happen, what this fiend may do.

[B]

The Cretan's come back.

[A]

Something's happened this day. Maybe the police have found this horrible place at last.

[B]

His face is bleeding. His eyes. Horrible being chained up like this like animals.

[A]

We're helpless if the police are coming. He'll kill us. I know he will. Wait. Wait. Going to that chair he calls the throne.

[B]

Why doesn't he say something? Do something. Why is he standing there?

[A]

He's turning this way. Something's happened, all right. I'm afraid something worse is going to happen.

[B]

Oh, nothing could be worse than this. Nothing.

[A]

Why don't you get it over with?

[B]

Why don't you kill us and be done with it? Yes, why don't I? Why don't I kill all of you? That's it. That's it. Then he won't be able to take me away from my castle in the earth. And it's so easy. I have the dynamite and it's all ready. All I have to do is light the fuse. That's it. That's it. That'll seal the tunnel. And we'll all die. But we'll all be together. I won't be lonely.

[A]

It's too late for that, Creeper. Shadow.

[B]

So you followed me here?

[A]

Yes, Creeper. Did you hear that? It's the Shadow.

[B]

Shadow. Shadow.

[A]

Listen to me, all of you. You have nothing to fear from me. Nothing to fear from the Shadow. I've come to help you. Get you out of this desert.

[B]

But you won't, Shadow. You'll never take them away from me. Look. Look what I have in my hand, See? Dynamite. Dynamite. I stole that too. I knew that someday I might need it. Someday someone would come.

[A]

But it'll kill us all.

[B]

And it will kill you too, Shadow.

[A]

No, Creeper. I am not chained. I can get away from you. Why don't you follow me? Follow my voice.

[B]

You're afraid, Shadow. You're running away, but you won't get far. You don't know this tunnel like I do.

[A]

Then follow me. Follow my voice, Creeper. Follow my voice.

[B]

I'm following you. You can't go much further. You've come the wrong way. Behind you is the end of the tunnel. The end of the tunnel. And the end of this is the

[A]

end of the tunnel. What are you waiting for, Creeper? Light the fuse. Now is your chance.

[B]

Yes. Yes, you're right. Now. Now is my chance.

[A]

Now.

[B]

You can't get away.

[A]

Throw the dynamite. Throw it. Creeper. Can't you get where I am by the sound of my voice?

[B]

Yes.

[A]

Yes.

[B]

You're caught. You're caught. Shadow. With you out of the way, no one else knows except that girl. And I killed her. She can't tell. And I'll be safe.

[A]

I'll be safe.

[B]

Come here, Lamont. Oh, Lamont, I thought.

[A]

Yes, Margot, I know. I read the papers. They gave the Shadow a very fine obituary, don't you think?

[B]

But, Lamont, what really happened? When the police got there, Edith Day and Mr. Conrad and the others told them the Shadow arrived just as the Creeper was going to dynamite the place and kill them all. They said the Shadow tricked the Creeper into following him down the tunnel away from the others so they wouldn't be killed. And then there was an explosion. They said the Creeper and the Shadow were blown to pieces.

[A]

Do I look blown to pieces, Margot?

[B]

But, Lamont, how did you escape?

[A]

The old, old trick of voice projection, Margot. Ventriloquism. Easy. In that tunnel, a Creeper followed my voice. Hurled the dynamite where he thought my voice was coming from ahead of him. But all the time I was behind him. Far enough behind him to be safe.

[B]

Oh, I'm glad. Oh, I'm so glad, Lamont. I was afraid that this time it was true. That the Shadow was dead.

[A]

No, Margot. As Mark Twain once said, the report of my death has been grossly exaggerated. The Shadow is still alive. Very much alive. As the criminal world will discover. To its sorrow. You have been listening to a dramatized version of one of the many copyrighted stories which appear in the Shadow magazine. The weed of crime bears bitter fruit. Crime does not pay. The Shadow knows. All the characters and all the places named are fictitious. Any similarity to persons living or dead is purely coincidental.