The Shadow: The Reincarnation of Michael 07/17/1938

Summary

Choice Classic Radio Detectives | Old Time Radio

Episode: The Shadow - "The Reincarnation of Michael" (Originally aired 07/17/1938)

Release Date: May 21, 2026

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Episode Overview

In this suspenseful episode of The Shadow, Lamont Cranston and Margo Lane become entangled in the deadly obsession of Michael Welch, a millionaire convinced he is the reincarnated Duke of Ancona. The episode interweaves themes of revenge, historical repetition, and the dangers of unchecked delusions. The story unfolds at a hilltop mansion, where a seemingly innocent gathering descends into a perilous plot to revisit a medieval tragedy—with modern scientific menace. The episode delivers not only a compelling detective story but also a chilling meditation on crime, vengeance, and justice.

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Key Discussion Points & Storyline Breakdown

1. Opening & Set-up (00:23 - 02:56)

• Introduction: The Shadow (Lamont Cranston), a master detective, and his companion Margo Lane are introduced as guests at Michael Welch’s mansion. Welch’s obsession with historical revenge becomes immediately apparent.
• Historical Parallels: Welch sees himself as a medieval noble, betrayed by associates, offering the first hints of reincarnation and fatalistic repetition.
  • Michael Welch: “Parasites hang around me because I’m Michael Welch, the millionaire. Every one of them is an enemy… They will pay for it.” (03:30)
  • Professor Charles: “I was a great scientist once… Now I work for revenge.” (03:56)

2. Unsettling Guests & The Ancient Pattern (05:53 - 13:05)

• Arrival: Margo and Lamont are invited by Mrs. Bell, unaware of the host’s dangerous intentions.
• Atmosphere: The mansion’s resemblance to a medieval castle unsettles the guests, particularly Margo:
  • Margo: “I don’t like this place. That old man in the window… There’s something evil about this house.” (07:10)
  • Lamont: “I feel there’s something evil about this house, too.” (07:20)
• Dinner Conversation: Discussion of reincarnation hints at Welch’s fixation.
  • Mrs. Bell: “Do you believe in the transmigration of souls?” (07:42)
  • Welch interrupts: “Mrs. Bell, you shouldn’t discuss things you don’t understand.” (08:15)
• Historical Discovery: Lamont and Margo realize both the portrait and Welch’s demeanor mimic Michael, Duke of Ancona—a figure infamous for murdering guests with plague after trapping them in a castle. Welch now seems intent on recreating this “pattern”. (10:52 - 12:52)
  • Lamont: “By a twist of fate, Michael Welch is a physical duplicate of Michael, Duke of Ancona, who lived in the 12th century. And Welch believes he is the Duke himself, reincarnated.” (12:04)
  • Margo: “We’re the two unexpected guests, man and woman… The same as the story.” (12:37)

3. The Danger Unfolds: Flood & Plague (15:27 - 22:28)

• Sabotage: Welch hires Tony to blow up the local dam, flooding the area and trapping everyone (15:27). This modernizes the Duke’s medieval isolation technique.
  • Welch: “It’s too bad that the noise will awaken my guests. But soon, soon nothing will disturb them.” (15:56)
• Margo and Lamont Investigate:
  • Lamont (as The Shadow): “I must get into Welch’s private study. I shall need your help.” (16:35)
• Guests’ Terror: Panic as guests realize the flood has left them stranded, with Mrs. Bell especially distraught:
  • Mrs. Bell: “Nothing to get excited about when we may all be drowned at any minute?” (17:28)
• The Real Threat: Mosquitoes infected with deadly germs are to be released, echoing the historical plague. Mrs. Bell is bitten, falls ill—a modern tragedy unfolding in real-time.
  • Professor Charles: “These boxes… Here. Come. I’ll show you who’s been at these boxes… They’re dead. Our messengers of death… Acid’s been poured over every box!” (22:41)

4. Showdown & Resolution (22:29 - 25:11)

• The Shadow’s Intervention: The Shadow destroys the deadly mosquitoes using acid, foiling the plot. Confronted, Professor Charles blames The Shadow; Welch, in a rage, murders the professor.
  • The Shadow: “I have destroyed your plague. Give up your mad dream. You are not the Duke of Ancona reincarnated…” (24:18)
• Tragic Denouement: Welch, faced with the impossibility of fulfilling his delusion, takes his own life—ending the murderous cycle.
  • The Shadow: “The pattern is broken… The Duke of Ancona is long dead.” (24:38)
  • Welch: “If I’m not the Duke, why, I’m nothing… No other than fail, I’ll die. I’ll die.” (25:04)

5. Aftermath & Reflection (25:12 - 25:50)

• Reflection on Crime and Justice: Lamont summarizes the moral:
  • The Shadow: “The mad plot conceived by a man who thought he was the reincarnated soul of someone who died centuries before… The relentless hand of justice reaches out with the punishment all crime deserves. The punishment of death.” (25:22)

6. Interview with Commissioner John H. Morris (25:50 - 27:45)

• Commissioner's Mission: Commissioner Morris discusses the real work of the Juvenile Aid Bureau—rehabilitating young offenders and fostering respect for law.
  • Morris: “Crime prevention is the business of the Juvenile Aid Bureau of New York City.” (26:32)
  • Morris: “In brief, by putting into operation measures for the rehabilitation and adequate social treatment of juvenile delinquents and instilling in boys and girls a respect for law and appreciation of good citizenship.” (26:41)
  • Morris: “They love it. Our 120 Police Athletic League supervised Play Streets and Play centers boil with activity from morning till night.” (26:57)
• Closing Note: Affirms the show’s influence in promoting the message that “Crime Does Not Pay”.

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Notable Quotes & Memorable Moments

• Narrator: “The Shadow knows what evil lurks in the hearts of men.” (00:33)
• Margo’s premonition: “There’s something evil about this house.” (07:10)
• Welch, lost in delusion: “I must be the Duke come back to life. Didn’t I trap my friends here just as I did centuries ago?” (24:34)
• The Shadow's warning: “The pattern of the old tragedy you wanted to reenact is broken. There will be no plague…” (24:27)
• The Shadow's final moral: “Whether the criminal builds his crime on historic patterns or not, the relentless hand of justice reaches out…” (25:22)
• Welch’s despair: “If I’m not the Duke, why, I’m nothing.” (24:52)

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Important Segment Timestamps

• [03:30] – Welch’s declaration of hatred for his guests, setting the premise for revenge
• [07:10] – Margo senses the “evil” in the house
• [10:55] – Discovery of portrait and story paralleling their situation
• [12:04] – Lamont uncovers Welch’s obsession with the Duke’s legend
• [15:27] – Dam explosion arranged, trapping guests
• [17:17] – Mrs. Bell reacts to the flood, panic amongst guests
• [20:47] – The Shadow interrogates Professor Charles about the mosquitoes
• [21:07] – Lamont diagnoses Mrs. Bell with yellow fever; urgency to destroy the infected mosquitoes
• [22:41] – Professor Charles discovers the mosquitoes destroyed by The Shadow
• [24:18] – The Shadow confronts Welch, breaking the pattern
• [24:55] – Welch’s suicide
• [25:22] – The Shadow delivers the episode’s moral
• [26:41] – Commissioner Morris on juvenile crime prevention

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Tone and Style

The episode maintains a tense, gothic mood, with heightened melodrama and philosophical musings about identity, history, and the cyclical nature of crime. Dialogue remains crisp, theatrical, and heavily atmospheric—a hallmark of Old Time Radio. The Shadow’s voice is calm and omniscient, contrasting with Welch’s escalating mania.

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Summary

“The Reincarnation of Michael” stands as a masterful Shadow episode—melding mystery, horror, and historical allegory. As Michael Welch attempts to relive a centuries-old revenge, Lamont Cranston, as The Shadow, exposes the folly of seeking justice through repeating past evils. The story’s compelling blend of science (germ warfare), superstition (reincarnation), and detective work culminates in an unforgettable message: “Crime does not pay. The Shadow knows.” (27:45)

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].

[B]

Who knows what evil lurks in the hearts of men?

[A]

A shadow knows.

[C]

Ladies and gentlemen, today the Shadow program has the honor to present a distinguished guest whom all of you will want to hear. Commissioner John H. Morris, in charge of the juvenile aid bureau of the New York City Police department. Commissioner Morris will be interviewed at the close of today's adventure with the Shadow. First, a few cold hard facts about your everyday driving safety. Every year thousands of motorists are killed or injured through skid and blowout accidents. And right now, unless your tires are safe, you too may be headed for a dangerous skid. A costly blowout before it's too late. Before you're caught in a car spinning skid. Before you hear the dreaded bang of a high speed blowout. Equip your car with the new Goodrich safety Silvertowns. They're the only tires in the world that have the lifesaver tread to give you the quickest non skid stops you've ever had and the golden ply to protect you against high speed blowouts. And think of it, when you invest in this sensational new kind of tire safety, you get both of these great life saving features at no extra cost. 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. Cranston is known to the underworld as the Shadow. Never seen, only heard, his true identity is known only to his constant friend and Aiden Margo Lane. Today's story, the reincarnation of Michael.

[B]

Well, how's our experiment coming, Professor Charles?

[D]

Oh, very well, Michael. Almost all our flying messengers of death are ready. See these cages filled with mosquitoes.

[B]

Good. I've taken pains that my guests won't disturb you.

[D]

Yeah, well, they do. Can't open the window for a breath of air, but there they are, chattering like monkeys.

[B]

I wish you'd stay away from that window. Someone might see you.

[D]

Do let them. You'll never have a chance to tell anyone what they've seen. These friends of yours?

[B]

Friends? I have no friends. I hate my guests.

[D]

I will make them suffer, Michael. Suffer as I have suffered.

[B]

Parasites hang around me because I'm Michael Welch, the millionaire. Every one of them is an enemy. One sold me faulty stock. Mrs. Bell borrows money and fails to pay it back. The third, a girl. Might have been my wife, but she wouldn't listen to me.

[D]

Never put faith in human nature. That was my mistake.

[B]

I don't. Every one of those people has done me wrong. They will pay for it.

[D]

Fine. I will enjoy that. I was a great scientist once, working to save humanity. When the fever struck me down, humanity shrugged its shoulders. Now I work for revenge.

[B]

Professor Charles. In another age, they wouldn't have dared treat me with such insolence.

[D]

Another age?

[E]

Yes.

[B]

The 12th century knew how to deal with those who are insulting. In those days, I had much less trouble.

[D]

You had much less trouble.

[B]

That is, men in my position had much less trouble repaying a false friend. There were no police then.

[D]

There are none here. On your estate, in this house, you are the law.

[B]

Yes, I'm aware of that.

[D]

Don't let anyone in here.

[B]

Don't worry.

[F]

Michael Bell. Michael, are you in there?

[B]

It's Mrs. Bell.

[D]

Well, whoever she is, keep her out of here.

[B]

All right, Professor. Coming, Mrs. Bell.

[F]

Oh, there you are, Michael.

[B]

Yes, Mrs. Bell?

[F]

Oh, I've never been in this room. Is anyone in there?

[B]

No, no one.

[F]

Oh, well, can't I go in?

[B]

There's nothing for you to see. You wanted me?

[G]

Oh, yes.

[F]

Yes, indeed. I nearly forgot. Guess who just arrived.

[B]

Why, I don't know. All my guests are here already.

[F]

But these two are friends of mine. They heard I was staying here and dropped over for a chat. Oh, I knew you'd enjoy meeting them. Margo Lane. Such a lovely girl. And young Mr. Cranston knows all about art and old things. Just like you, Michael.

[B]

What a learned man and a young girl. The same two who came before. The pattern never changes.

[F]

I beg your pardon?

[B]

Oh, nothing.

[F]

They're out on the terrace.

[B]

What? What did you say their names were?

[F]

Margo Lane and Mr. Cranston. Lamont Cranston.

[B]

Let us go and meet them. I think I'm going to enjoy entertaining these two friends of your.

[G]

Beautiful spot, isn't it, Lamont?

[E]

Lovely, Margot. Michael Wilchess taste building his home right on the crest of this hill. You can see the whole valley from here.

[G]

But the house, it's so big. More like a castle than a home.

[E]

Yes, almost a medieval castle.

[G]

Lamont, look. There's an old man peering out of the window.

[E]

Where?

[G]

Up there. Oh, yes, Lamont. He's staring at us so strangely.

[E]

I wonder who it would be. Probably find out when. Margot. Here comes Mrs. Bell now.

[G]

Oh, yes. I suppose that's Michael Welsh weather. Hello, Myra.

[F]

Margot darling. And Mr. Cranston. I've been wanting you two to meet Michael for ages. He knows all about you.

[B]

Still, you might introduce me, Mrs. Baron.

[F]

Oh, of course. How silly of me. This is Michael Welch, our charming host. Ms. Lane and Mr. Cranston.

[E]

How do you do, sir?

[B]

I'm glad you stopped to call.

[G]

Thank you. We can't stay very long.

[F]

Oh, but, my dear, you must. We're having such a wonderful, wonderful time. You love it. Make them stay, Michael.

[B]

Well, you'll stay until after dinner anyway, won't you?

[F]

Yes. And Michael must show Mr. Cranston his remarkable collection. Mr. Cranston's always interested in that sort of thing.

[E]

Are you a collector, Mr. Welsh?

[B]

Yes. Medieval art.

[G]

You know, Lamont, we really haven't time. Come along.

[E]

Thank you. I'd enjoy seeing your collection, Mr. Welch.

[F]

I knew you would, Mr. Cranston. Oh, you must meet everyone. Come, Michael. We'll go and get the others.

[E]

Hi, Margaret. What's the matter?

[G]

I don't like this place. That old man in the window, he had hate in his eyes. There's something evil about this house.

[E]

You really feel that, Margot?

[G]

Oh, I know it's silly. Go ahead and laugh at me.

[E]

I'm not laughing, Margo. I'm interested. You see, I feel there's something evil about this house too.

[F]

Isn't it the funniest story you ever heard, Mr. Crass?

[E]

Very amusing.

[B]

More wine, anyone?

[D]

No.

[B]

No, thanks, Michael.

[F]

Nothing less. Oh, Mr. Cranston, I want to ask you something.

[E]

Yes, Mrs. Bell?

[F]

Do you believe in the transmigration of souls?

[B]

What was that?

[E]

Oh, Mrs. Bell just asked if I believed in the theory of soul transmigration.

[G]

Well, what in the world is that?

[E]

Reincarnation.

[F]

Yes. And, oh, I do think it's ever so interesting. All about how the great minds of past ages came back and, well, great minds in the present.

[E]

I know that some ancient people rarely were convinced that a man returned to Earth after death. Another person.

[G]

You mean we all were someone else long ago?

[E]

That's the general idea.

[F]

I hope.

[G]

I was queen in Babylon.

[B]

Come, let's. Let's drop the topic.

[G]

Why, Michael?

[B]

Mrs. Bell, you shouldn't discuss things you don't understand.

[F]

I know all about reincarnation.

[C]

No, you don't.

[B]

Every week you have a new religion. To you, the theory of reincarnation is not an established fact. It's just a passing fancy.

[E]

How do you feel about it, Welsh?

[B]

I Never discuss religion, Mr. Cranston. Shall we. Shall we have our coffee in the living room?

[G]

Oh, there you are, Lamont. Have you seen Our host. We really ought to be going.

[E]

I think Michael Welch went into the library a while ago.

[G]

By the way, have you been. Where have you been since we had our coffee?

[E]

I was just wandering around looking for the old gentleman we saw peering out the window.

[G]

Did you find him?

[B]

No.

[E]

He's certainly not one of the guests. Here's the library.

[G]

Oh, Mr. Welch.

[B]

What's that?

[E]

Look out. You wrecked the book, slamming it shut like that.

[B]

Oh, it's you.

[E]

I'm sorry we disturbed you while you were reading.

[B]

Oh, it's nothing important. I'll just put this back on its shelf.

[G]

Oh, we won't keep you a minute. Please don't stop.

[B]

You see, Ms. Lena, I like to leave my books in their proper places.

[E]

He acts as if he was ashamed of what he was reading.

[G]

Yes, he's certainly tucking it out aside quickly.

[B]

There, that's better.

[E]

Lovely room you have here, Mr. Welsh.

[B]

I'm glad you like it. Well, I suppose you two will be leaving very shortly.

[G]

Yes, you see, we.

[E]

As a matter of fact, I think we'll accept your invitation and stay the night.

[G]

What?

[E]

Oh, I see.

[B]

All right, if you want to, I'll go and tell them to get your rooms ready.

[G]

Lamont, what on earth do you think you're doing?

[E]

For one thing, I'm going to find out why friend Welch hid that book. I watched where he put it.

[G]

Lamont.

[E]

Just a minute. Margot.

[F]

Huh?

[E]

It is.

[G]

Lamont, come here a minute. I want you to see this portrait.

[E]

Portrait? Oh, you mean the gentleman over the fireplace?

[G]

Yes, that dark man in medieval dress.

[E]

Not a pleasant face.

[G]

No, but there's something very familiar about it.

[E]

Familiar?

[G]

Oh, it seems to me I've seen that face before.

[E]

Probably in a museum. It's an old painting.

[G]

Oh, wait. Here's a plate on the frame.

[E]

I read it. I looked through this book of Welch's.

[G]

Duke of ancona. Italian, noble, 12th century. I don't recall the name.

[E]

Nobody ever remembers history lessons.

[G]

I'd swear I'd seen those eyes on a living person.

[E]

It's been pretty old. About 800 years.

[G]

No, it. It looks like someone I know, but I just can't place the man.

[E]

Speaking of age. It's a rare old volume.

[G]

The book Mr. Welsh was ashamed of. What is it?

[E]

An old Italian history. Very interesting. Let's see. It's about the place where Welch had the book open. Right here. Yes, somebody's. This page. Well.

[D]

Hmm.

[E]

This is strange.

[G]

What?

[E]

It's a story about your boyfriend over the fireplace.

[G]

The man in the portrait?

[E]

Yes. Michael. Duke of Ancona Bloodthirsty gentleman, the Duke.

[G]

Even from the Middle Ages, those medieval soldiers were butchers.

[E]

Duke of Ancona was more subtle than that. Margot. This tells how he invited a party of friends to his castle, locked them in and introduced the plague among them.

[B]

Could not.

[F]

But why?

[E]

The writer says the Duke was avenging an insult.

[G]

Did he get his revenge?

[E]

Yes, with two more deaths than he expected.

[G]

Two extra victims?

[E]

Yes. Yes. He hadn't planned on those two. Had nothing against them. A learned man and a young girl. Fortunately, they sought refuge in the Duke's castle from a storm.

[G]

And ran into a murder party.

[E]

Exactly. The Duke tried to get them to leave, but when they wouldn't, their host went ahead with his plan. Two hopeless victims perished with the others.

[G]

I'm glad it was a long time ago, Lamont.

[E]

12th century.

[G]

What's this in a leather folder?

[F]

Lemond?

[E]

Yes.

[G]

Look. A photo of Michael Welch in his youth.

[E]

Why, it's exactly like.

[G]

Like the portrait of the Duke of Ancona. I knew I'd seen that face. Michael Welch looks like the Duke.

[E]

We have it. Yes, they're very much alike.

[G]

Welsh is older now. And grayer. That's why I didn't see the likeness before.

[E]

Do you see what this means?

[G]

What? Why, no.

[E]

By a twist of feet, although they're not related, Michael Welch is a physical duplicate of Michael, Duke of Ancona, who lived in the 12th century.

[G]

You mean.

[E]

And Welch believes he is the Duke himself. Reincarnated. He's made a study of it in the Duke's history until he believes it in his manner. When we're discussing reincarnation at the dinner table, I'm. I'm sure he really believes it. You see, the present circumstances here are parallel to those at the time of the historic tragedy. This is a party. The guests are all his friends except two. You and me.

[G]

The same as the story.

[E]

So similar isn't amusing, Margot? We're the two unexpected guests, man and woman. Welch tried to get us to leave. Yes, but we stayed. We followed the pattern of the tale of the duke in the 12th century.

[G]

Same situation eight centuries later.

[E]

The question is, how far does Michael Welch mean to imitate the Duke of Ancona?

[C]

Are we all in danger?

[G]

But Lamont, that sentence.

[E]

I've got to find out, Margot.

[G]

But how?

[E]

By watching Michael Welch tonight as the shadow going to investigate this house and find out exactly how Michael Welch intends to reenact the old tragedy. His belief that he is the reincarnated soul of the Duke of Ancona.

[C]

Ladies and gentlemen, we'll be back with The Shadow in just a moment. And later we'll meet our guest, Commissioner John H. Morris. But first, I want to say something to every motorist listening in. Remember, when you're driving in your car, the road may be perfectly dry one minute, and then down comes the rain. The road that was safe a minute ago may become a dangerous skid track.

[A]

Yes, the Shadow knows that a skid strikes like lightning. Don't take unnecessary chances on wet, slippery roads, it pays to play safe before

[C]

you experience that pit of the stomach feeling when the car you're driving skids wildly over a wet, slippery road. Equip your car with new Goodrich Safety Silvertowns with the Lifesaver tread. That's the way to get the quickest, safest stops you've ever had in wet weather. And here's why. The Lifesaver tread of the new Silvertown has a truly amazing action on wet pavements. For as the spiral bars of the tread roll over the pavement, they act like a battery of windshield wipers. Sweep the water right and left from under the tire, force it out through the deep grooves, make a dry track for the rubber to grip. You will never know what the word stop really means until you felt the grip of the Lifesaver tread on wet pavements. Protect your family against dangerous skids before it's too late. Put Goodrich Safety Silvertowns on your car. Tomorrow. Two o', clock, Mr. Welch. Time for me to get going.

[B]

Good. Now, you understand what you're to do, Tony? Yes, sir. The dynamite's already planted enough to do the job. Easy. Here's the money I promised you. Oh, yeah?

[C]

Okay.

[B]

It'll be a bonus if the explosion goes up exactly as we planned. Oh, don't worry none, Mr. Welch.

[H]

It will.

[B]

All I gotta do now is throw the switch. All right, get in the car and be on your way. Yeah. Hey, there's a light in the house, sir. Won't someone hear me drive off? That's my private room. Don't worry about that. Okay. Luck, Tony. Thanks.

[C]

Listen for the blow off.

[B]

I shall listen, all right. It's too bad that the noise will awaken my guests. But soon, soon nothing will disturb them. Now to get back to the labor.

[A]

So you are planning something, Michael Welch. Still following the pattern set by the Duke of Ancona, the Shadow must visit that private room. But first I must warn Margot on the shortwave radio.

[E]

Margo Mago.

[A]

Shadow calling Margo Lane. I'm in the garden. Fifteen minutes ago, Michael Welch sent a servant to set off an explosion. I must get into Welch's private study. I shall need your help. There's the explosion. Welch's men has carried out his orders. Now I must wait and see why the explosion was planned and what it blew up.

[C]

Look at all that water there.

[B]

Oh, my goodness.

[F]

Swept away.

[D]

We know this.

[F]

Drown. Can you Hear that explosion, Mr. Cranston? Mr. Cranston. Mrs. Bell, do you think there's any danger? I can't swim a stroke. I'd perish in that rushing water.

[G]

Calm yourself, Myra. I'm ashamed of you.

[F]

Well, that's all right for you, Margot. You can swim like a fish.

[E]

I doubt if the house will be

[A]

swept away, Mrs. Bell.

[F]

Where's Michael?

[B]

Yes, has anyone seen.

[G]

Well, here he comes now.

[F]

Oh, Michael, isn't this the most terrible thing?

[B]

Telly, everybody quiet. There's nothing to get excited about.

[F]

Nothing to get excited about when we may all be drowned at any minute.

[B]

There's no danger. The house is safe up here on the hill. We're out of reach of the waters.

[E]

We can't get out of the house.

[B]

No, no. We're all stuck here for at least three days, Mr. Cranston, until the water subsides.

[C]

Well, let's phone for help.

[B]

The wires are down. The flood carried the poles away.

[E]

Margot Welsh's man blew up the dam and flooded the whole countryside. The old plot is still working out. Now we're all prisoners in the Duke's

[G]

castle with no hope of escaping.

[E]

Next. Next should come the plague.

[F]

Oh, well, that's just the limit. Mosquitoes.

[G]

What's the matter, Myra?

[F]

A mosquito bit me. That's the last straw.

[E]

Margot, I think Welch is going back to his private room. Yes, Lamont, stay with the guests. The shadow must follow.

[B]

Still working hard, Professor Charles?

[D]

Yes. Oh, yes, Michael. I. I'm feeding the serum to the last batch of mosquitoes. What was that, sir?

[B]

Door stuck for a second. There it is. The deadly mosquito I let loose in the hall just bit one of my guests. A lady.

[D]

The lady will be sick very shortly.

[B]

Yes, and then when the time is ripe, we'll let loose all the mosquitoes in the laboratory and add a new game to our weekend party.

[D]

There are over 10 screen boxes of mosquitoes all filled with germs, ready for your guests.

[E]

Good.

[B]

Now they're trapped by the flood outside. They can't run away now.

[D]

We'll have our revenge, my dear Professor

[B]

Charles, my revenge is written in history. No one can change the course of events. It was all predestined centuries ago. You can let loose the other mosquitoes as soon as it's light, I want to see them swarming through the house.

[D]

Yes, yes, all will be ready.

[B]

Take good care of our wing pets.

[A]

What are you feeding those mosquitoes, Professor Charles?

[D]

What?

[A]

What is it that will be let loose on the guests in this house?

[D]

Who talked? Where are you?

[A]

I am here, Professor Charles. I am the shadow.

[D]

But where? Just a voice. I. I can't see.

[A]

I am here, even if you can't see me. And I warn you, the mad plot of Michael Welch cannot succeed you. And he will be punished for your crime.

[D]

Rye, I. I don't know what you're talking about.

[A]

Don't lie. What germs you feeding all those mosquitoes?

[D]

Go away. Go away. I'm an old man. For a moment you frighten me with your strange voice. But I'm too old for fear, too old for everything but revenge. No one shall rob me of that.

[A]

Yes, old man. Someone will. The shadow.

[B]

Margot.

[G]

Yes, Lamond.

[E]

Margot, the Duke of Anconis plot is being followed to the very letter. Welsh's private room is a chemical laboratory. He and the old man we saw at the window have figured out some modern form of plague.

[G]

Plague? I wonder if that's what's wrong with Mrs. Bell.

[E]

She ill?

[F]

Yes.

[G]

I was hurrying to her with this medicine. I wish you'd take a look at her.

[E]

I will. What seems to be the matter?

[G]

I don't know. She's running a fearfully high fever. And she's such a strange color.

[E]

Strange color? Quick, I'm see her.

[G]

Well, her room's right down here.

[E]

Sorry, Margot. If my guess is right, Welsh's form of plague is as deadly as the Duke of Ancona's.

[G]

Wait. I'll open the door.

[F]

Is that you, Margot? Oh, I'm so sick.

[G]

It's all right, Mrs. Bell.

[E]

Shut the door. I've seen enough.

[G]

Lamont. What is it?

[E]

Yellow fever. Margot, we must destroy those mosquitoes in the laboratory. Michael Welch thinks that he is the Duke of Ancona reincarnated. He plans to repeat the tragedy of centuries ago and infect every guest in this house with the disease. Come, Margot. We must hurry. Yeah. Marco, here's the laboratory.

[G]

Door's locked.

[E]

Wait. I stole the key.

[G]

What are you gonna do when we get inside?

[E]

Listen. The row of screen boxes on the table. Get the old man away from them. Over by the window. I'll be with you as the shadow.

[G]

All right.

[E]

Don't speak to me until I speak. Here's the key. Lock the door behind us.

[B]

Quietly, Marco. Quietly.

[E]

Step in.

[F]

Yes?

[C]

Who.

[D]

Who is that? Who's there?

[G]

Why, hello. You must be Professor Charles.

[D]

Oh, you. You can't come in here, young lady. This room is private. Get out. Get out. Here, here. Where are you going?

[F]

I want to see how the flood

[G]

looks from this window.

[D]

Come away from there. You must leave this room at once.

[G]

Look, professor, you get a wonderful view of the water from here.

[D]

Will I have to put you out that door by force?

[G]

Professor, please. Don't cry violence. I'm strong. You're old and weak.

[D]

Yes, you're right. I. I can't fight you, young woman. I am too weak. But Michael and I have a few tricks left.

[G]

What do you mean?

[D]

You say in the morning when I release my mosquitoes from their boxes.

[G]

Are you sure you will release them?

[D]

Yes, yes, yes. These boxes. Here. Come. I'll show you who's been at these boxes.

[G]

Is something wrong?

[D]

They're dead. They're dead. Our messengers of death. What's this? Acid's been poured over every box. Yes. You. You did this. You wrecked my life's work.

[A]

No, professor, she didn't do it. I did. The Shadow poured acid over your little pets. Professor. Charles.

[D]

The Shadow again.

[C]

Open this door.

[F]

Open it.

[D]

It's Michael. Michael. Michael. They've been destroyed. Breaking the door.

[F]

Open the door.

[G]

Shadow. It's Michael Welsh.

[A]

Yes, Margot. Quickly. Hide behind that cabinet. Stay there, Margot.

[G]

Yes, Shadow.

[D]

Break it in, Michael. Break it in. Bring it out. Oh, Michael. Michael, our plan has failed.

[B]

Lie. Can't fail.

[D]

But it has. Look. All our mosquitoes. Dead. The dead. Dead, Michael.

[B]

Dead. Who poured acid on those boxes? It was you, Professor.

[D]

No, no, no, no, Michael.

[F]

No.

[D]

It was the Shadow.

[B]

Shadow? What are you talking about? Who is the Shadow?

[D]

A voice, Michael. A man you can't see, but he talks to you. He discovered all about our plan and. And he killed the mosquito.

[B]

Lying, Professor. You with your crazy story of the Shadow. You did it yourself. No.

[D]

No, no, Michael.

[B]

No, Charles. You betrayed me. You've robbed me, the reincarnated Duke of Ancona, of his revenge. You've ruined the plot, you traitor.

[D]

Michael. Michael, put down that gun.

[B]

You won't live to laugh at me, you treacherous old devil.

[A]

The pattern is broken. Michael Welch.

[E]

Who's welcome?

[B]

Where are you?

[A]

I am here, Welch. I am the Shadow.

[B]

Shadow? And he thought it was true. You are the one who.

[A]

Yes, Michael Welch, the Shadow does exist. I have destroyed your plague. Give up your mad dream. You are not the Duke of Ancona reincarnated into the body of Michael Welch.

[B]

That's a lie.

[A]

I am the pattern of the old tragedy. You wanted to reenact is broken. There will be no plague. Welch.

[B]

I must be the Duke come back to life. Didn't I trap my friends here just as I did centuries ago?

[A]

There is no plague to inflict upon them. Welsh. The story is not the same. The Duke of Ancona is long dead.

[B]

No, no, I. I'm the Duke reincarnated.

[A]

You cannot be. There is no plague. The story will not end as the Duke's ended.

[B]

If I'm not the Duke, why, I'm nothing.

[A]

Forget this insane theory. Welch. Drop your gun.

[B]

No, no. The patina is. It's not the same. I'm not the Duke, you hear? I'm not the Duke.

[A]

Welch, drop that gun.

[B]

No other than fail. I'll die. I'll die.

[F]

Lamont.

[G]

Lamont.

[E]

Yes, Margot, Yes. Don't look.

[G]

But Professor Charles.

[A]

He too is dead.

[G]

Oh, how horrible.

[A]

No, Margot.

[E]

This is a fitting conclusion for the

[A]

mad plot conceived by a man who thought he was the reincarnated soul of someone who died centuries before. Whether the criminal builds his crime on historic patterns or not, the relentless hand of justice reaches out with a punishment all crime deserves. The punishment of death.

[C]

And now, ladies and gentlemen, the Shadow Program has the honor and privilege of presenting to you today's distinction distinguished guest. He is Commissioner John H. Morris, in charge of the Juvenile Aid Bureau of the New York City Police Department. Commissioner Morris, thank you.

[H]

First, Mr. Roberts, tell me, how does the Shadow do it?

[C]

I'm sorry, Commissioner Morris, but that's the Shadow's secret.

[H]

All right, Mr. Roberts. But now, seriously, I'm grateful for this opportunity to congratulate the sponsors of the Shadow for putting on such a fine program. It's not only mighty entertaining, but it's also doing an excellent job of showing young Americans the folly and futility of lawlessness.

[C]

And that's what your job is too, isn't it?

[H]

That's right. Crime prevention is the business of the Juvenile Aid Bureau of New York City.

[C]

That's a pretty big order. Tell us, Commissioner, how do you do it?

[H]

In brief, by putting into operation measures for the rehabilitation and adequate social treatment of juvenile delinquents and instilling in boys and girls a respect for law and appreciation of good citizenship.

[C]

Well, tell us, Commissioner, how do the children react to this plan?

[H]

They Love it. Our 120 Police Athletic League supervised Play Streets and Play centers boil with activity from morning till night. And that's not all. In addition, the League has made the Police Department uniform a symbol of friendship between those men who wear it and every member of the pal.

[C]

Thank you very much, Commissioner Morris. I'm sure everyone listening enjoyed hearing your opinion on this topic of such vital interest to us all. You have been listening to a dramatized version of one of the many copyrighted stories which appear in the Shadow magazine now on sale at your local newsstand.

[B]

The weed of crime bears bitter fruit. Crime does not pay. The Shadow knows.

[C]

All the characters and all the places named are fictitious. Any similarity to persons living or dead is purely coincidental.

[G]

Sa.