The Shadow: The Tenor with the Broken Voice 06/05/1938

Summary

---

Podcast Summary: Choice Classic Radio Detectives

Episode: The Shadow: "The Tenor with the Broken Voice" (06/05/1938)

Original Air Date: June 5, 1938
Podcast Release Date: April 9, 2026
Host: Choice Classic Radio

---

Episode Overview

In this classic episode of The Shadow, titled "The Tenor with the Broken Voice," listeners are swept into a suspenseful tale set in an opera house plagued by tragedy. After a celebrated tenor’s voice mysteriously gives out on stage, a series of fatal events casts a shadow over the opera "Pagliacci." Lamont Cranston, known as The Shadow, must uncover a deadly pattern, unravel the motivation behind these disasters, and bring a cunning killer to justice. The episode explores obsession, revenge, and the lengths to which a person might go after losing everything.

---

Key Discussion Points & Story Progression

1. A Night at the Opera: The First Tragedy

• [02:46] The episode begins at the opera house. Excitement fills the air as Margot and Lamont discuss tenor Hagen Radkoff’s acclaimed voice, anticipating a great performance.
• Radkoff's Collapse:
  • As the aria commences, Radkoff’s voice cracks suddenly and dramatically.
  • Quotes:
    • Hagen Radkoff: "My beautiful voice is gone. Ten years of study in slavery. Now nothing. My life is end." [04:42]
• Sympathy and Shock: The audience and main characters react with horror and sadness. Margot notes how tragic the event is as Radkoff is led offstage.

2. A Death on Stage: The Second Tragedy

• [06:55] During the next performance, tragedy strikes again: a sandbag falls from the ceiling, killing the substitute tenor Harley Fisk live on air.
  • Quote:
    • Announcer: "There's been a tragedy at the opera. A sandbag fell from the ceiling hitting Harley Fisk the tenor, killing him instantly." [06:55]
  • Margot, horrified, wonders if it’s related to Radkoff’s misfortune; Lamont insists it’s the beginning of a darker pattern.

3. Public Panic & Media Sensationalism

• Press Reaction:
  • Reporters speculate about a "jinxed" aria and reach out to Commissioner Weston for statements.
  • Commissioner Weston dismisses the idea but faces increasing scrutiny as the tragedies attract public and press attention.
  • Quote:
    • Commissioner Weston: "Absurd. There's nothing to that tragedy nonsense. I'm here solely to listen to the music." [10:01]

4. Shadow Steps In: Warnings and Resistance

• [08:18, 22:04] The Shadow contacts Commissioner Weston and insists on heightened security for the next performance, warning that catastrophe is imminent. Weston, skeptical but pressured, reluctantly agrees.
  • Notable Exchange:
    • The Shadow: “There is catastrophe in the cards for tonight. You can prevent it if you follow my instructions.” [08:37]
    • Commissioner Weston: “I don't need you or any other man to tell me how to run this office.” [08:44]

5. Another Opera Performance: Attempted Sabotage

• [12:16] During another staging of "Pagliacci," The Shadow interrupts over the loudspeaker, ordering evacuation when he suspects another threat. His voice commands respect and calmly guides the audience to safety.
  • Quote:
    • The Shadow: “This is the voice of the Shadow. ... Clear the stage immediately and ring down the asbestos curtain.” [12:16]
    • “Obey the ushers and no one will be hurt. As regards these calamities, you have my word as the Shadow that I will not rest until I have solved this mystery of the opera.” [12:26]

6. The Board’s Dilemma: To Continue or Close?

• [15:09] The opera board meets to decide whether to cancel the remaining season. Closing the opera would devastate employees.
  • Radkoff’s View:
    • Radkoff suggests simply canceling "Pagliacci," claiming it is cursed.
      • Quote:
        • Radkoff: “It is only Pagliacci that must close. Because if Pagliacci is never given again, these terrible accidents will finish.” [16:15]
  • The Shadow objects, asserting foul play is afoot and the tragedies will continue unless the true culprit is found.
    • Quote:
      • The Shadow: "The person who started this reign of terror will never stop until he is brought to justice. ... The burning, blistering hate that motivates him would force him to strike again and again." [16:41]

7. A Final Trap Is Set

• [18:00] The Shadow asks the board to perform "Pagliacci" again, with box 7 reserved for him. He believes the murderer will strike during the aria once more, and sets an elaborate plan with Weston to catch the killer in the act.

8. Murderous Preparations & The Night Watchman

• [19:59] In a chilling interlude, the killer is heard preparing explosives to detonate the curtain at the Shadow’s signal—planning to frame the hero for disaster and destroy the opera house.
  • Quote from the killer:
    • “Tomorrow, let the Shadow call for them to lower the asbestos curtain and his own words will seal his doom. He will blow the opera house to pieces.” [20:00]

9. The Final Performance & Revelation

• [24:10] The aria begins. The Shadow detects the danger and prevents the asbestos curtain from being lowered—thwarting the killer's explosive trap. Tension rises as Weston and operatives move backstage.
• [25:37] The Shadow directly confronts Radkoff in box 7, exposing him as the murderer.
  • Dramatic Exchange:
    • The Shadow: “You didn’t want it lowered until you had a chance to escape out of the theater yourself.” [25:44]
    • The Shadow: “Because you know that if the curtain were lowered, it would operate a switch and explode the dynamite you planted in this box.” [25:52]
    • Radkoff accuses the Shadow in vain, but accidentally reveals his knowledge, sealing his guilt.
• [26:19] The emotionally charged confession:
  • Radkoff: “Yes. Yes. I did it. I lost my voice in this opera and with it my chance to be the greatest to ever sing Pagliacci. But I swore then I would be the last that nobody else would sing it. I would have been too, if it weren't for you. Curse your Shadow.” [26:19]

10. Resolution and The Shadow’s Moral

• [26:41] The Shadow assures the city that the threat is over and reflects on the end of the tragedy.
  • Notable Quote:
    • The Shadow: “The stone has sunk at last to the bottom of the pond. And the ripples are ended. The curse of this opera and the dangers attached to the performance have been removed. The people of this city may again enjoy the beauty of the music drama without fear…” [26:41]
• [27:50] Classic sign-off and lesson:
  • The Shadow: “The weed of crime bears bitter fruit. Crime does not pay. The Shadow knows!” [27:50]

---

Notable Quotes & Memorable Moments

• On loss and drive for revenge:
  • Radkoff: "Ten years of study in slavery. Now nothing. My life is end." [04:42]
• The Shadow’s motif:
  • The Shadow: "There is catastrophe in the cards for tonight. You can prevent it if you follow my instructions." [08:37]
  • The Shadow: "The person who started this reign of terror will never stop until he is brought to justice." [16:41]
  • The Shadow (on renewal): "The curse of this opera and the dangers attached to the performance have been removed." [26:41]
  • Signature ending: "The weed of crime bears bitter fruit. Crime does not pay. The Shadow knows!" [27:50]

---

Timestamps for Key Segments

| Segment | Timestamp | |---------------------------------------|-------------| | The Shadow’s iconic introduction | 00:27 | | Radkoff loses his voice | 03:39-04:42 | | Harley Fisk’s death | 06:55 | | Shadow warns Commissioner Weston | 08:18-09:04 | | Shadow halts the opera performance | 12:16 | | Opera board’s crisis meeting | 15:09 | | The Shadow reveals the true culprit | 25:15-26:41 | | Radkoff’s confession | 26:19 | | The Shadow’s closing moral | 27:50 |

---

Language & Tone

This episode features heightened drama, classic old-time radio urgency, and intense emotional stakes centered on the world of opera. The dialogue is theatrical, filled with gravitas and expressive exclamations. The Shadow’s calm, assured manner contrasts with the despair and outrage of Radkoff, adding suspense and gravitas throughout.

---

Summary

In "The Tenor with the Broken Voice," The Shadow’s detective prowess is challenged by a vengeful singer’s descent into murder. After losing his voice, Hagen Radkoff's obsession with preventing others from singing "Pagliacci" triggers a chain of mayhem, ending with his unmasking during a tense final performance. With atmospheric audio, memorable lines, and a dramatic showdown, the episode unfolds as a classic whodunit—reminding listeners that crime, driven by envy and despair, "bears bitter fruit."

---

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 he Evil lurks in

[A]

the hearts of men. The shadow knows.

[C]

Ladies and gentlemen, before the Shadow begins his next adventure, I want to tell you that the big news going the rounds among motorists that these days is about the amazing Goodrich Silvertown tire with the lifesaver tread. It's the talk of the nation. Yes, this new kind of tire stops you quicker in any wet weather emergency than you've ever stopped before. And here's the secret, the reason why this tire resists getting on the slipperiest road. The tread is grooved with never ending spiral bars. Those spiral bars act like a battery of windshield wipers. They sweep water right and left, force it out through the deep drainage grooves, make a dry track for the rubber to grip. No wonder this new Silvertown is the talk of the nation. The safest thing on wheels. It costs no more to give your family this life saving protection. Equip your car with Goodrich safety Silvertowns. Now. 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 aide, Margo Lane. Today's story. The tenor with the broken voice.

[A]

I just adore hearing Paliati.

[D]

It seems to be the most.

[E]

This is delightful. I'm so glad we're going to hear Pagliarchi. It's my favorite opera.

[F]

This beautiful Marco. You know, they say this young tenor, Hagen Radkoff is a gorgeous voice.

[E]

He's marvelous. It should be magnificent in that closing area of the first act.

[G]

Lay on you Napladira.

[E]

In France. What happened?

[C]

I'm afraid Radco's voice is cracked.

[F]

My dear, this is tragic.

[G]

My beautiful voice is gone. 10 years of study in slavery. Now nothing. My life is end.

[E]

How sad. Lamont. They're leading him off the stage.

[F]

Good evening, Margot.

[E]

Good evening, Aman. What are you listening to on the radio?

[F]

Don't you recognize it, Margot? The opera Panati.

[E]

Oh yes. And it's being broadcast from that same opera house where Hagen Radkoff's voice cracked during the closing eye of the first act we heard last week.

[F]

Yes. Too bad. Just as Radkoff had reached the end of the long ladder that leads to fame. Boy should fail. But, Margot, I'm not quite sure that we've seen the end of that tragedy.

[E]

Why, what do you mean, Lamar?

[F]

Just that a great tragedy invariably has repercussions. You might like it to throwing a stone in a quiet pond. There's never just one ripple. There are waves of them. But I'm afraid I'm becoming morbid. Who's singing the Tenoro in Pariace tonight?

[E]

Harley Swift. He has quite a lovely voice too, hasn't he? This is that same aria that Hagen the Rutkus voice cracked.

[F]

Turn up the radio a bit, Margot.

[H]

Ladies and gentlemen, we regret that this brings the broadcast of Pagliacci to a close. There's been a tragedy at the opera. A sandbag fell from the ceiling hitting Harley. Fists the tenor, killing him instantly. We now return you to our studios.

[E]

Oh, Lamont, how ghastly.

[F]

You see, my dear, as I said, the ripples of the stone falling in the quiet pond starting to spread.

[E]

Then you think this has a connection with what happened to Radkoff last week?

[F]

This is no time to think, Margot. I'm going to investigate.

[E]

Oh, Lamont, can the shadow never rest?

[F]

Not as long as crime and outrage never rest.

[A]

Hello?

[I]

Hello, Commissioner Weston? Yes, this Clyde Berger.

[C]

The classic.

[I]

Say, Commissioner, what about the death of Harley Fisk at the opera house last night?

[A]

Well, what about it? A very regrettable accident.

[I]

Maybe. But listen, Commissioner, there's a story in here somewhere. Just the week before Hagen Ratkoff was singing that same song when he lost his voice for a good.

[A]

Yes, I know that.

[I]

Well, we figured on running a story on how maybe that song is jinxed. And we wanted a statement from you. You know they're planning to do the same opera again tomorrow night.

[A]

All the cheap sensationalism. You can't expect me to be a party to such a story.

[F]

Why not?

[A]

Good day, Mr. Burke. Commissioner Weston, you sign these orders for the traffic attempt?

[C]

Yes.

[G]

Hello?

[J]

Good morning, Commissioner Weston.

[A]

Oh, it's you, Shadow. What do you want now?

[J]

I have some suggestions for you. You know they are doing Fayachi again tonight.

[A]

So I've been told.

[J]

Weston, you must be sure. At least two squads of detectives cover every section of the opera house. Afraid there'll be trouble again during the singing of the closing aria?

[A]

No, I won't do that.

[J]

Shadow Weston, you're a very foolish man. There is catastrophe in the cards for tonight. You can prevent it if you follow my instructions.

[A]

General, I don't need you or any other man to Tell me how to run this office.

[J]

Commissioner Weston, didn't your grandmother ever tell you that old saying, There are none so blind as those who will not see? My grandmother did. And again, I say it is absolutely imperative that you have a detail guarding the operas tonight.

[A]

It's absolutely ridiculous, and I'm too busy to discuss it any further.

[E]

Isn't it exciting? Did you read that story in the classic about the opera Cogniaci? Yes, I did. You know, my husband usually goes to sleep every time we come here to the opera house. But tonight, my dear, he's positively sitting on the edge of his chair. Oh, can you blame him?

[C]

Well, Henry, do you think the tragedies will repeat themselves?

[F]

Well, no.

[C]

In a few minutes, curtain's just about to go up on the first act. Yes, yes, so I understand. Oh, say, isn't that Commissioner Weston coming in, George? It is.

[A]

Say, maybe there is something in this after all.

[C]

Oh, good evening, Commissioner.

[A]

Good evening.

[C]

Good evening. You're here to try and stop another tragedy, Commissioner?

[A]

Absurd. There's nothing to that tragedy. Nonsense. I'm here solely to listen to the music. And I wouldn't have even done that if my wife hadn't insisted.

[D]

Did you hear what he said?

[C]

Well, I guess there's nothing to it. Then.

[E]

We could have stayed home and played bridge, too.

[A]

Yeah.

[C]

Well, I wonder if it'll happen tonight.

[A]

Here's the fatal area. Now, dear.

[G]

Let. La.

[D]

And ring down the asbestos.

[G]

Could pay no attention to that man. I warned you today, Shadow.

[D]

Yes, what is this?

[G]

What is this?

[D]

This is the voice of the Shadow. And possibly the citizens of this city have more faith in me than the commissioner has. Clear the stage immediately and ring down the asbestos curtain. Yes, do what he says in the Shadow. Bring down the curtain. Well, there goes the curtain down. I wonder what next. Listen to me. Listen to me once again, ladies and gentlemen. Don't be afraid. There will not be another explosion. And the fire will be kept backstage by the asbestos curtain. Begin leaving in orderly fashion. Obey the ushers and no one will be hurt. As regards these calamities, you have my word as a Shadow that I will not rest until I have solved this mystery of the opera.

[C]

Ladies and gentlemen, if the Shadow makes a fourth step now, he'll be playing right into the hands of his enemies. And remember, every time you drive in the rain on worn, smooth tires, you may be playing into the hands of a dangerous skit. Who knows what may happen? The shot.

[A]

Shadow knows. Beware.

[J]

Thousands killed or injured, cars wrecked. That's the price. American motorists Pay every year when tires lose their grip and skid on wet, slippery pavements.

[C]

Yes, motorists, don't risk that sickening pit of the stomach feeling that comes when your car suddenly swerves out of control. For remember, this new Goodrich Silvertown is the only tire with a lifesaver tread. The amazing skid protection that will stop you quicker, safer in a wet road emergency than you've ever stopped before. The nation's largest independent testing laboratory proved this by testing this new Silvertown against both regular and premium priced tires of the five other leading tire manufacturers. The engineers of the impartial Pittsburgh Testing Laboratory found that no tire tested regardless of price came up to the Goodrich Silvertown in skid resistance. And when you know that Silvertowns also give you the famous golden ply blowout protection, is it any wonder that it's called the safest thing on wheels? Put Goodrich safety Silvertowns on your car now and play safe.

[H]

Gentlemen, we have called this meeting of the board of Directors of the Opera company because we feel that there now exists a crisis and we directors must come to an immediate decision. You are all aware, you're all aware of the regrettable events of the past week. And, gentlemen, we must decide whether or not to suspend opera for the balance of the season. I call on Commissioner Weston who has kindly considered to come here this evening and advise me. Commissioner Weston.

[A]

Gentlemen, I'm placed in an awkward position. I realize that to close the Opera House for the balance of the season will mean that a number of people will lose their jobs. Not only the stars, but many who can ill afford it. Stagehands, ushers, porters, extras and many others who are necessary to an institution of this size. But, gentlemen, the question is. Dare you continue?

[H]

That is indeed the question, Commissioner. Gentlemen, Mr. Hagen Radkoff has also considered to appear before us this evening and give his opinion. Mr. Radkoff.

[B]

Gentlemen, my heart is very sad.

[G]

Not only because I lose my beautiful

[B]

voice but also these tragedies that happen when the opera Pagliaccia is sung.

[G]

But I do not think you have

[B]

to close the Opera House.

[G]

It is only Pagliacci that must close. Because if Pagliacci is never given again

[B]

these terrible accidents will finish.

[A]

Yes, yes, that makes sense. Why couldn't we just eliminate Pagliacci?

[J]

Because, gentlemen, these tragic events are not accidents.

[A]

Who said that? I know that voice. The shadow is here. The shadow. Here.

[J]

Yes, gentlemen, here in the shadows.

[A]

Shadow. What do you know about these tragedies in the opera?

[J]

Enough, Commissioner Weston, to realize the person who started this reign of terror will never stop until he is brought to justice. You would be content for a time if you discontinued Pagliace. But the burning, blistering hate that motivates him would force him to strike again and again.

[A]

Look here, Shadow. If you have any information you're obstructing justice in not turning it over to me.

[J]

At present commission, I have only a theory. I will solve these tragedies for you within the next 48 hours.

[G]

Commissioner Weston, I do not agree with the Shadow. I believe Pagliacci is cursed and that it is only that aria that will bring tragedies.

[A]

Mr. Radkoff, although many times I don't agree with the Shadow I must admit he has helped me solve many tough cases.

[J]

Thank you, Commissioner Weston. I will trap this killer for you if you'll do exactly as I say. Tomorrow night you must once again give the Opera Pagliacci.

[G]

Gentlemen, have there not been tragedies enough?

[A]

Shadow, what do you intend to do if Pagliacci is sung again?

[J]

I cannot tell you my plans, Commissioner, but you must trust me. Remember, the Shadow has never failed you yet.

[A]

Well, gentlemen, though I hesitate to advise you to do this nevertheless, in my opinion, this is a case for the Shadow.

[J]

Thank you again, Commissioner.

[A]

But, Shadow, if there are any tricks.

[J]

There will be none. Gentlemen, will you do as I ask? Will you give Pagliacci again a week from tonight? If you do so, arrange to keep box 7 vacant for box 7 will be occupied by the Shadow.

[C]

We.

[H]

We had best take a vote. All in favor?

[C]

Aye.

[H]

Opposed?

[D]

No. No, never.

[H]

I beg your pardon, Mr. Radkoff. You have no vote. Only the directors are entitled to vote.

[G]

But you cannot do this. Baggy is cursed. It started by breaking my voice. Death will follow it every time.

[H]

Mr. Radkoff, we know how you feel. Understand the strain you're under as a result of the recent events but try to calm yourself, sir.

[G]

I am sorry, gentlemen. I am sorry.

[H]

Will one of you gentlemen assist Mr. Radkoff to his home base?

[A]

I'll be glad to.

[D]

Calling Margo Lane. Calling Margo Lane. We have important work to be done tonight. Meet me in front of the Opera House at 12:30.

[J]

That is all.

[C]

Good evening, Mike. Kind of nice tonight. How tis that? Sure hate to go inside and make me rounds. Well, Mike, aren't you a little scared having to guard the Opera House at night after all them killings? Should have been night watchman here at the Opera House for going on eight years now. I ain't going to start trembling at this late date. Well, I Guess you're safe as long as you don't start singing that mystery song. Ah, never a bit of fear of that. The Wearing of the Green is the only tune I ever sing. Well, good night, my lad. I must make another inspection tour of the opera house.

[F]

Have a saint preserve us. This year, Apple Horse is the darkest

[C]

spot in the world. Who's that? I see you over there.

[G]

All right, Mike?

[C]

Oh, I. I didn't know it was you, sir.

[G]

Come here a minute, Mike. I want to show you something.

[C]

Yes, sir. I will.

[G]

Oh, don't do that, sir. Not to me. Oh, the knight, sir.

[B]

No one will stand in my path now. I will complete my work in box. So the electric cord runs from the asbestos curtain and I connect it here to the powder. Tomorrow, let the shadow call for them to lower the asbestos curtain and his own words will seal his doom. He will blow the opera house to pieces.

[F]

Well, Margot, your cross isn't quite so glittering at this hour.

[E]

So dark it almost seems haunted.

[F]

It's haunted in a sense, Margot. Haunted. Perhaps by the ghost of the immortal Caruso come to sing at last duet with his great friend, shall Yapin.

[E]

Lamont. Look over there. There's a body on the floor.

[F]

The night watchman has been stabbed. Killer has struck again.

[E]

Lamont, when will this end?

[F]

My plans work. Tomorrow we'll see this atrocious murderer brought to justice.

[E]

Why? Why did he kill the watchman?

[F]

Probably the watchman discovered before we arrive. But you'd better go home now. I'll send for an ambulance.

[E]

Holderman, please be careful.

[A]

Don't worry, Margot.

[F]

The killer will not return tonight. She'll be here for tomorrow's opera. I have a ticket for you in box six. I will be in box seven, in the shadows.

[A]

Hello?

[J]

Hello, Commissioner Weston.

[A]

Well, Shadow, you don't seem to be able to do much about this opera. Killer. Thanks to my trust in you, the night watchman was almost killed last night. If someone hadn't given him first aid before the ambulance arrived, he'd surely have died. As it is, he'll only be well. He'll be unconscious for three days.

[J]

Weston, I gave that watchman the necessary treatment that saved his life. I will unmask the killer tonight's performance of Pagliacci.

[A]

There isn't going to be any performance of Pagliacci tonight. I'm going to force them to cancel it and close the opera house for the balance of the season.

[J]

Weston, you can't do that. You only turn this atrocious killer into other channels. He's at the breaking Point now. Unless he is captured, he will soon terrorize every place of entertainment. The whole entertainment world. You must do as I say. I will see that no harm comes to anyone at tonight's performance. But only if you follow my instructions.

[A]

Well, I'm a fool to trust you, Shadow. What do you want me to do?

[J]

Arrange to have everyone connected with the opera company present at tonight's concert. All singers, even the members of the board. You personally assign their seats to them. And station a plain clothes man on each side of every one of them.

[A]

Well, all right, Shadow, I'll do it. But this is your last chance.

[J]

Unless I underestimate this murderous madman. It is indeed my last chance, Commissioner.

[C]

Goodbye.

[G]

Well, well, my dear.

[E]

I didn't expect to find you here. Cogliacci. Aren't you terrified? No, I think the whole thing was only a series of unfortunate coincidences. After all, if there were any danger, they would hardly repeat the opera tonight. I heard a rumor that they were doing it at the request of the Shadow. He guaranteed to catch the murderer tonight. Oh, isn't it thrilling? I can hardly wait until the fatal aria's son.

[A]

Is everything all set, Cardona?

[I]

Everyone connected with the opera company is present in the carofa, Commissioner. I got two men detailed, each one of them. Don't seem to be no trouble so far.

[A]

No, but the trouble never started until the closing area of the first act. Be on your toll.

[H]

Yes, sir.

[C]

This is the fatal area. Now.

[E]

Stop the performance.

[D]

Stop the performance instantly.

[G]

Bring down the asbestos curtain. This is Commissioner Weston. Bring down the asbestos curtains.

[D]

Under no circumstances is that asbestos curtain to be lowered.

[G]

Why not?

[D]

For reasons you will discover in a moment, Commissioner. Send some men to prevent anyone lowering that. Couldn't you value your lives and the lives of everyone present?

[G]

Yes, Commissioner.

[A]

Takes him in immediately. Get backstage and guard the ropes. The control the asbestos curtains.

[G]

Yes, sir.

[I]

Come along.

[G]

You.

[J]

Get back there and see no one

[G]

touches that curtain

[J]

now. Mr. Radcliffe, I. Yes, you. You look relieved. You didn't expect Commissioner Weston to order the asbestos curtain lowered, did you?

[G]

What do you mean?

[J]

You didn't want it lowered until you had a chance to explain escape out

[D]

of the theater yourself.

[G]

Why should I want to leave the theater?

[J]

Because you know that if the curtain were lowered, it would operate a switch and explode the dynamite you planted in this box.

[G]

He lies. The Shadow himself planted the gunpowder in that box. He is the guilty one.

[J]

Very clever, Ratkoff. But how did you know there was gunpowder? I said there was dynamite. Radkov.

[D]

You were the killer who has been terrorizing the opera house. It's a lie. A lie. You were also one of the few who knew that the Shadow would be in box.

[J]

Ratkoff.

[D]

You're guilty.

[G]

Yes. Yes. I did it. I did it. I lost my voice in this opera and with it my chance to be the greatest to ever sing Pagliacci. But I swore then I would be the last that nobody else would sing it. I would have been too, if it weren't for you. Curse your Shadow.

[J]

Ladies and gentlemen, this is the last of the opera murders. The stone has sunk at last to the bottom of the pond. And the ripples are ended. The curse of this opera and the dangers attached to the performance have been removed. The people of this city may again enjoy the beauty of the music drama without fear of.

[C]

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.

[C]

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