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Inner Sanctum, is a popular old-time radio program that aired from January 7, 1941, to October 5, 1952. It was created by producer Himan Brown and was based on the imprint given to the mystery novels of Simon & Schuster.
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00:07Good evening, friends. This is your host to welcome you through the creaking door into
00:14the inner sanctum for another quiet, restful evening on the homie's side.
00:23Oh, what's that, madam? Oh, the humidity. You feel that? Well, right this way into the morgue,
00:31this cold slab will straighten your arms. Oh, too cold. Well, how about a nice hot poker
00:39game? Cutthroat. Well, how about a nice sociable game of bridge? Oh, I see. Yeah, it's a friend
00:50of the stiff competition. Huh? Oh, you play? Well, remember, you've got to pay up if you
00:57lose. We've got enough deadheads here.
01:07Tonight's inner sanctum mystery, Deadly Fair, was written by Henry Warner and stars Larry
01:13Haynes in the role of Angelo with Everett Sloan as Philip.
01:20Dr. Mama, don't settle back in your chair. You're going for a ride. Ready? It's the
01:29dark hour before dawn. Along the three-lined suburban highway, the headlights of the speeding sedan
01:35poke two long yellow fingers through the swirling view. Behind the wheel of the sedan, a local
01:41taxi. It's Angelo Manetti, the care driver. The cold nose of a madman's gun pressed against
01:47the back of the back of his neck, wondering by what fate a man like himself will live through
01:53the beachheads of Philano and Angelo, only to come home to die. Like this. Wondering how
02:00long before the madman's trigger finger bends in a nervous twitch and makes a widow out of
02:05his wife, Josie, and the fatherless boy of a seven-year-old son, Johnny.
02:12Sorry I healed that, Johnny. Sorry I made you cry, but if I ever get out of this, you can
02:19have all the crayons you want. A hundred boxes of crayons, and you can mark up all the walls.
02:26Pray for me, Johnny. I can't die like this. What a break. Just because I was a good guy
02:37has changed ships with Connelly. I guess it was just in the cards for me instead of Connelly.
02:44Just in the cards to be working nights, and he's a 225 when it's holding the last way.
02:51Taxi? Here you are, man. Are you going to the manor? Yes, ma'am. I took a quick look up
02:57and
02:57down the station platform to watch Mr. Franklin. Brad Pitt was leaving a local citizen stranded in
03:02the middle of the night. Then I saw him coming towards me carrying a suitcase. He must have got
03:08off from the first card. Is this the taxi? Yes, sir. I can't tell. These suburban taxis look like
03:13private cars. Where's this? You go to New Rochelle? I slept past my station. Well, good thing you only
03:18is. It's not by one station. Sure, I'll take it. If you don't mind writing while I stop
03:22this lady. Thanks. I took the mic off the dashboard. Call me on. 64 calling radio taxi. 64 calling
03:34radio taxi. Come in, 64. Station the manor then Rochelle. Shake. I put the mic back on the
03:40dashboard hook. Settle down to the run. Are you boys doing things to install the two-way radio
03:45service? Oh, fine, fine. Must say it's improved the service. Is it accountable? Oh, yes, ma'am.
03:50No trouble at all. Circuit's always open for us to receive messages. Well, when it falls back,
03:54I just press the button on the hand mic. It's very simple. Uh, what's his address? 76 manor
03:59land. Calling 64. Radio taxi calling 64. Hey, Angelo, listen to me. What's eating you,
04:06Louis? Place on fire? Hey, Angelo, I just got a police call. Don't pick up a guy with a
04:11tan raincoat. The cops are looking for him. He's a killer. Uh, take it easy, Louis. Now,
04:16what's this you're saying about a killer? What do you say? The cops say he got on at Grand
04:20Central with a ticket to New Rochelle. But for what? But listen, Angelo, the guy didn't
04:25get off at New Rochelle. Did you pick up someone with a tan raincoat? I just dare turn around
04:31to look. To see if the man in the back seat had a raincoat. You could almost hear the
04:39woman sitting beside him holding a brand. And then I recalled the guy as he walked down
04:45on the station 5-4. I recalled the plane that he did not have a raincoat. Only a suitcase.
04:54Will you pipe down, Louis? You'd better get some coffee at the diner. If you fall asleep,
04:57you'll be having nightmares. Roger. Good thing I have no raincoat, madam. But, uh, yes,
05:05but... Strange that all that should stand in the way is a raincoat. Uh, how's that?
05:10Uh, travel right there, please. Travel next streetlight. How much is it? Uh, 35, sir.
05:17Thanks. Uh, you changed. She just waved her hand as it's telling me to keep it. Change from
05:23the dot. She, uh, seems kind of scared, if you ask me. Are you, uh, scared? What for?
05:31The killer. Ah, that's Louis. He gets excited about everything. Always adding a little out
05:36of its own head. Uh, what's the address in a nutshell? Bayside Lane, 36.
05:42Uh, 36 Bayside Lane? Yes. Know the place? Uh, off Hillside Road? Long driveway? That's it.
05:49I drove a party up there from the manor tonight. What did he look like?
05:54If I didn't say it was a hint, did I? Well, wasn't it? Yeah, I was. Tall chap? Flick-looking?
06:01Mustangs? Well, look, I didn't talk at a turn, did I, mister? Not at all. I rather expect
06:05I'll find him still there. What's your name? Angelo Minetti. Mine's Baker. Well, don't let
06:12me embarrass you, Angelo. It's quite all right. That party you drove to my house is seeing my
06:17wife. Isn't that what you think? Now, you got me wrong, mister. I don't think nothing.
06:21Don't you really? Lots of others think so. Rather common gossip, as they say. But I'm not
06:28angry. Not at all. I'll take care of everything. Once I get home. Calling 64. Radio taxi calling
06:3764. Hey, Minetti. Come in, Louie. Got some more talk on that killer. He got in the Grand
06:44Central on the train from Albany. Order in the club car, told the cops the guy was making
06:48cracks about having a gun and taking care of the wife and the boyfriend. Well, so what?
06:52What are you bothering me with it for? Go call the Daily Nose of the Mirror. Oh, wait a minute.
06:55Now, here's what I want to tell you. The cops at Mamaroneck got on the train and found
06:59a ring called to hang on a hook in the first car. Conduct your knees and we left by a
07:03guy
07:03who got off at Larchmont with a suitcase. How about that chair you picked up?
07:09There was a gun in my chair's hand. And the gun was at the side of my head. His finger
07:15was
07:16on his lips warning me. You did say Rochelle, didn't you?
07:19I could see the trigger finger bending and his head shaking from side to side to tell
07:24me to say no. Uh, no, no, Louie. I had two. One to the manor, the other to Rockdale. Not
07:32Rochelle. I didn't get it right the first time. I got to call you. Also, he didn't have
07:37a suitcase. Oh, that's a relief. Say, how's the bot going back to the shack so I can get
07:42a bite at the diner? Yeah, sure thing. As soon as I'm free, this guy wants me to wait
07:45for him. Take him back to the station. Roger. Nice work, Angelo. I got a wife and a kid
07:50to take him, mister. Do you want to go to 36 Bayside Lane? That's right. Better slow
07:57down. There's Bayside Lane right ahead. Ah, this'll do. I wouldn't like it if they heard
08:05us coming up the driveway. There'll be a dollar and a quarter, sir. Get out, Angelo. You want
08:12me to get out? That's right. You're coming in with me to be my witness. Witness? What
08:18for? Divorce, maybe. Oh, please, Mr. Baker, that's not right. I can't afford to get mixed
08:23up like this with my taxi. Get out. And don't slam the door. Yes, sir. Carry my bag, please.
08:32He steered me with a gun in my bag, slowly picking each step in the dark across the lawn
08:39shielded by a high hedge and around to the back of the house, to the kitchen. The lights
08:45were on and we could see his wife and the boyfriend making themselves some bacon and make. All right,
08:50Angelo, pull open the door. Hello, Doris. Hello, Walter. What are you doing with that gun? Please,
09:23you're frightened me. Walter's not frightened. He never was. Look,
09:28me. Isn't that so, Walter? Well, why don't you answer? There's nothing to say. Doris,
09:38do you love Walter? Come now. Of course. And you, Walter, do you love Doris? Yes. You dirty
09:47liar. Yes, please. He's lying, Doris. I know he's lying. He wouldn't go around bragging how
09:53he sees you every time I go out of town if he really loved you. That's not true. We're
09:55going to be married. Oh, married? Not until you become a widow, Doris. I'll never give you
10:02a divorce. Or are you planning to divorce me? All right, Philip. You found me here and you
10:07have a witness. What are you going to do about it? I came back from Albany tonight to kill
10:10you. But I'll give you just one more chance. If I ever hear that you're trying to see Doris
10:17again behind my back, I swear I'll kill you. And Angelo here can be my witness, but I warned
10:22you. Remember that, Angelo. Yes, sir. You got me wrong, Philip. Sure, I've been seeing
10:29Doris, but I haven't went around talking about it. Don't come in. I always knew what I said
10:33to Doris. Let's kill him. Give me that gun. Let's go. Let's go. Let's go. Let's go.
10:38Doris! The three of us stood there paralyzed. Looking down on the still body of Mrs. Baker,
10:49her eyes glassy and blue, her blonde hair soaking up the blood from the hole in her head. One
10:55look was enough for the three of us to know that she was dead. You, you killed her, Philip.
11:01I. I killed her. No, Walter. You killed her. Didn't he, Angelo? The two of them stood
11:21there glaring at one another across the body of Mrs. Baker. Yes. You killed her, Walter.
11:28The gun was in my hand, but you killed her. If you hadn't tried to take the gun away
11:32from me, where are you going? On the police. The police? Yes. Put down that thing. Put
11:39it down. Don't you think you ought to put that gun away now? He's right, Mr. Baker. I don't
11:46think he even heard him. He kneeled down beside the body of his wife and stared at his
11:52gentleman. Suddenly his mouth started to move like he was choking.
11:57for air and his face twisted in angry pain and hate as he looked up at Walter. I could
12:02see Walter sensing it too, realizing that Mr. Baker was going out of his mind. It was
12:08a heavy glass ashtray by the phone. I could see Walter slowly reaching for it. Mr. Baker
12:14looked up and jumped back at Walter through it. Oh, stop it. You stay out of this, Angelo.
12:18Don't you, don't you? Doctor. Angelo. Doctor. They're going to die, Walter. Die like
12:30George. Angelo. Help me. Doctor. Don't bother, Angelo. He won't need a doctor. Stop this. No, no,
12:39don't do it. Mr. Baker, give him a chance. Please, give him a chance. He doesn't need
12:44a doctor now, Angelo, does he? Go on. Bend over him. See if he needs a doctor. Yes. Now
12:55they're both dead. Both dead. What are we doing, Mr. Baker? Do? What? What is there
13:01to do? The police. We ought to call the police. They'll take me away from Doris. I don't want
13:05to leave her. No, I mustn't leave, Doris. Please. Please, Mr. Baker, won't you give me the
13:10gun? The gun? No. No, I've got the gun to protect myself from Walter. But I'm not afraid
13:17of Walter anymore. He's dead, Walter's dead. That's right. Doris is dead and Walter's
13:22dead. We can't leave them, sir. We must take them away to a nice, quiet place where they
13:29can be alone forever. We'll take them away in your car, Angelo. My car? Yes, Angelo.
13:37You must do as I tell you. It will be their funeral car. The kitchen was next to the garage.
13:52And he made me drive my car into the garage. Open the trunk and brought them, Angelo. He
13:59kept the gun on me and followed me into the kitchen. He pointed to her first. I picked her
14:05up and carried her. I tried not to look at her. I was telling myself I ought to grab
14:11the jack handle in the trunk compartment and swing it on him, but I didn't do it. I was
14:14afraid. I was afraid I'd never live to see Josie and Johnny again. I placed Mrs. Baker
14:21in the trunk gently. Then he made me go back for the other one. Push him in, Angelo. Oh,
14:29his clothes will stick through the door when you close it. That's dead. Very good.
14:35Close the trunk. If I locked the trunk door, I grabbed the handle and bit my lip to keep
14:43from passing. Don't you feel well? I'll be all right. Yes. You'll be all right as soon
14:49as we hit the road. The fresh country air will straighten you out. Get behind the wheel,
14:55please. I got in and he got in the back seat. I must remind you, Angelo. I'll be right
15:00here behind you with this gun in the back of your neck. Don't try to trick me. Radio taxi
15:07calling 64. Hey, Minetti, why don't you answer? What's the idea? Don't answer, Angelo. Call
15:14me on the phone if your mic is out of order. Ignore him, Angelo. Stop driving. Where
15:19to, Mr. Baker? Just keep going. But stay off the Hutchinson Parkway. Patrol cars, you know.
15:26take the back road. We'll find a nice, quiet place for us. We went north on the post road.
15:39Louis' call breaking in on us every minute or so. Calling 64. Radio taxi calling 64.
15:46It's just you, fellow, isn't it? Well, well, he's sorry. Expect you back till we leave him
15:50so he can get down to the diner for a bite. Pass me that cigarette lighter on the dashboard.
15:54Don't you hear me? I want the cigarette lighter. Oh, it's not working. Have you got any matches
15:59in my pocket? Well, let me have them. I reached into the side pocket of my jacket, fumbling
16:05through my handkerchief and keys for the pack of matches. And then my pain had touched a
16:10crayon. A small piece of black crayon, no bigger than an inch long, with a paper wrapping.
16:17A small piece of crayon I'd taken away from Johnny after I yelled at him and made him cry for
16:21marking up the wall. What about those matches? A yacht. A yacht. A yacht. I handed over the
16:27match. But the piece of crayon was in my palm, concealed and held tight by my little finger and
16:32the one next to it. He lit his cigarette. You want the cigarette, Angelo? No, thanks.
16:39There ever was a time in my life I needed a smoke in his name. But I was tumbling with
16:44an idea.
16:45An idea to make my microphone stay open so Louis could hear me without Mr. Baker getting wise.
16:50But I had to hold on to the crayon. If I couldn't take a chance using for a cigarette, I
16:54might
16:54drop that crayon. I waited for Louis to call me again.
16:59Calling 64. Hey, Manetti. You all right? Call me from the phone if you can hear me.
17:05Uh, say, Mr. Baker, maybe I'd better answer him. Why?
17:08Well, well, he might think I'm in a wrecking. He'll have the cops start looking for me.
17:12Yes. Yes, you're quite right. Very well. Talk to me. But be careful what you're telling.
17:20I picked the microphone off the dashboard. It's a hand that held a piece of crayon.
17:2564, I'll call a radio taxi. Where the heck you been, Angelo?
17:28Uh, let me explain, Louis. He's sitting here without a relief. Fine, pal. Depending on you.
17:33Get back here. I'm going down to the diner.
17:35I kept grabbing to Louis and forcing the crayon into the button on the mic, right into the hole that
17:40housed the spring button.
17:41Hoping the paper wrapping on the crayon would wedge the button and keep my sending circuit open.
17:46Uh, Louis. Louis, I'm fixing a flat.
17:49There must be a loose wire. I didn't hear you until just now. Be back as soon as I can.
17:54Roger.
17:56I put the mic back on the dashboard.
17:59Praying the crayon wedge would hold.
18:02As long as that button was wedged on, Louis couldn't talk to me.
18:05As the voice came through, I'd know the crayon had slipped on.
18:08Hi, Louis.
18:09I waited.
18:11The second seemed like ours.
18:14No work from Louis, so the wedge was holding.
18:17I raised my voice so it would carry the two feet between me and the mic.
18:21Uh, Mr. Baker.
18:24Are you going to kill me, too?
18:28Kill you?
18:28Yeah. Yeah, like, like, like you killed Mrs. Baker and, and Walter?
18:32I, I've been thinking about what I ought to do with you, Angela.
18:38Oh, don't, don't kill me, please.
18:39I, I, I gotta wipe some shit off late, I swear it.
18:41Well, I, I'll never tell anyone that you killed two people.
18:45Where are we, where, where are we going to hide the bodies?
18:49We'll, we'll run out of gas if we keep going like this.
18:51I know where we'll go.
18:53Lake Hathoma.
18:55Doris loved Lake Hathoma.
18:57Uh, he used to go there weekends long ago.
18:59Uh, where is he?
19:00Lake Hathoma.
19:02About 40 miles from here.
19:0340 miles?
19:05I knew I had to find some way to install him.
19:07The range of my cab's transmitter was about 30 miles.
19:10If I ever got out of range, I was done for.
19:12I had no way of knowing whether Louis had met the officer if he caught my first words telling him
19:16about my danger.
19:17Uh, you know how to get to Lake Hathoma from here, Mr. Baker?
19:22Roughly. I know we used to go past White Plains.
19:24Oh, I, I've got a mask.
19:25Good. Stop the car. Take a look at it.
19:32Now, let's see.
19:35White Plains.
19:36Uh, yeah, yeah, Lake Hathoma. There it is.
19:39Uh, we go up here and then...
19:41Uh, I know what it is. Sure, sure.
19:43All right, let's go.
19:45We'll go the most direct way.
19:47No details, mind you.
19:49Oh, no, sir.
19:49Okay.
19:50Well, we're on Weaver Street now.
19:53We keep going up Weaver Street till we get into old Mamanic wrong.
19:57That sounds right, but hurry.
19:59I'm getting very tired.
20:01Step on the gas.
20:02I heard him, but I'm late, though.
20:04Don't you hear me?
20:04I said let's go faster.
20:06Yeah, sure.
20:07Sure, anything you say, Mr. Baker.
20:09But, uh, do you think it's smart?
20:11We're doing 50 now.
20:12Not very fast in the country.
20:13Well, county patrol cars are all through this section.
20:15We'll get caught.
20:15Speedy.
20:16That's quite all right.
20:16I'll pay the fine.
20:18Faster, Angelo.
20:20That's better.
20:2260.
20:2355.
20:2570.
20:26Faster.
20:27It will soon be dead.
20:28I don't know.
20:28I'm very tired.
20:30I'm very tired.
20:32I wonder if John is too tired.
20:34Say, what did I tell you?
20:35Just wave at me.
20:36And then let's hold the man across.
20:38Oh.
20:39Get in.
20:40Patrol car?
20:41I told you.
20:42It's the first meeting ticket.
20:43Slow down.
20:44But remember, I'll have the gun in my coat pocket.
20:47Let me do the talking.
20:48Just accept the ticket and leave me on our way.
20:50Oh!
20:54Patrol car let me roll ahead and fall in behind us, and we came to a stop.
20:58Where do you think you're going?
20:59You were doing 80.
21:02Let's see your license.
21:03It's my fault, officer.
21:04I asked him to.
21:05Yeah?
21:06What for?
21:07Well, there's been a death in my family.
21:10My wife.
21:11Sorry.
21:12So I'll have to give the driver the ticket.
21:15He looked at my license in the beam of the patrol car that night, and he started making
21:20out the ticket.
21:23And then in the side mirror of my cab, I could see another cop get out of a patrol car
21:27with
21:27a gun in his hand.
21:29And I saw him sneak down on the right side of the cab.
21:32He stuck the gun through the open back window, just as Mr. Baker saw him.
21:35Don't move.
21:40Too bad we couldn't take him in.
21:42Oh, it helped, Johnny.
21:44It helped.
21:46Say, how come this guy didn't get wise your microphone circuit was open?
21:50You want to know?
21:50You really want to know?
21:52Oh, I'm leaving the house to go to work, see?
21:54In the hall, my kid, Johnny, is walking up the walls with crayons.
21:58I yell at him, and I make him cry.
22:00I take the crayon away.
22:02That's what kept the mic open.
22:03Hey, look.
22:03Look here.
22:04You see?
22:05The crayons are too holy for buttons to hurt.
22:08See?
22:09You got any kids?
22:10Yeah, why?
22:11You think I've done right?
22:13Yelling at Johnny?
22:22It just goes to show you a fella can do a lot worse than stopping in the middle of the
22:27night for a lovely tyrant.
22:30As you fathers, next time you find Junior's crayons crawls all over the house, he means, well, it's time to
22:38show you the handwriting on the wall.
22:40Oh, this reminds me of a fella I know who's crazy about baseball.
22:44When the warden asked him what he wanted for a lad's request, he said he'd like to watch his game
22:49from the scaffolds.
22:51But they called it after six, so he could enjoy a seven-minute rest.
23:09Pleasant dreams?
23:11Hmm?
23:20Inner Sanctum was heard in the United States over CBS, the Columbia Broadcasting System, and has been rebroadcast for service
23:26men and women overseas.
23:27wegen of $90 storm.真的
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