September 11, 2025 • 24 mins
Inner Sanctum was a hugely popular Old Time Radio series created by producer Himan Brown. It was based on the popular Inner Sanctum mystery series of books. It aired from January 7, 1941, to October 5, 1952. Inner Sanctum featured tales of mystery, horror and suspense, with a mix of humor. That humor was what made Inner Sanctum different from similar horror and mystery series like Suspense, or The Whistler aired during the golden age of radio. Each episode started with the sound of a creaking door, some creepy organ music, followed by the opening narration. It's been said that the listening to the show was like celebrating Halloween every week. Many established stars played roles or were guest stars in the series, including Peter Lorre, Helen Hayes, Mary Astor, Frank Sinatra, Bela Lugosi, Orson Welles, and many more. Of the several hundred episodes of Inner Sanctum that aired, only about 150 survived.
Hope you enjoy this episode of Inner Sanctum! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
Hope you enjoy this episode of Inner Sanctum! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
Good you mean, friends of Leanna Sanctum. This is your host,
bidding you welcome through the squeaking door. Well, we're overcome
with the old time spirits. This evening parties everywhere, what fun.
One fellow was lit up like a torch. His wife
(00:28):
had struck imaginal big shinding at the city Morgue. Everybody
was a little staff out in Hollywood. Drakenstein, Dracula and
the Wolfman through a monster jambourine. The gul said a
screaming good time, and the punch bowl just right chill
(00:53):
to body temperature sub zero. Everybody's blood ran cold.
Speaker 2 (01:06):
To night's inner sanctum.
Speaker 3 (01:07):
Mystery Death Out of Mind was written by John Robert
and stars Larry Haynes on the role of Ed, with
Anne Shepherd as Mary.
Speaker 1 (01:19):
And Now, gentle people, now for the soothing nuances of
shrieks in the night. Say ever see the little man
who wasn't there? No carefully, I mind it. We're an
apartment to way, a cheaply finished flat in Chelsea, facing
(01:39):
the street.
Speaker 4 (01:41):
The room is pitch dark. A patch of moonlight is
crusted on the windows.
Speaker 1 (01:45):
If it can't get through the grime, head taped is
crouched at the window, watching the street's face.
Speaker 5 (01:55):
Marry, there's nobody does here, for there must be.
Speaker 3 (02:03):
I've seen him here here here from the window see
see said. Oh they're leaning, beating against the lamp, pot
smoking a cigarette.
Speaker 4 (02:11):
I've been watching him, Marry.
Speaker 2 (02:12):
I can't take my eyes off.
Speaker 5 (02:14):
You've got to take hold of yourself.
Speaker 3 (02:15):
Leave this room. You'll be waiting for me wherever I go.
He'll be everywhere waiting for me. Turn the corner and
run into him. Catch a train and he's sitting beside you.
Run away and meet him in Boston Friscal.
Speaker 2 (02:25):
High PA's feet.
Speaker 4 (02:29):
They dressed in a black suit.
Speaker 5 (02:31):
He's no more wild tall.
Speaker 4 (02:35):
I'm crazy.
Speaker 5 (02:37):
Is that what you mean, ed darling? See, were just married.
I'm a bride. We were going to be something wonderful.
Speaker 3 (02:47):
Yeah, he married a guy with whims and his head.
Marriage never had a chest. You got to stack deal, Mary.
Speaker 5 (02:56):
I'll get help. Operator. I want the police operator. Operator.
There's no bus.
Speaker 3 (03:09):
Well I instead you cut the worst I told you
it was downstairs anymore than marry, Marry, don't cry over me,
forget me. Just turn time back twenty four hours and
forget you ever married me.
Speaker 5 (03:27):
But you've done nothing it's just in your mind.
Speaker 3 (03:31):
This is a payoff for other things. It is always
a payoff, waiting somewhere, there's always a retribution. Then you
get away married that story. No, I'll wait for Santa alone.
I don't want them coming back staircase and hurry.
Speaker 5 (03:47):
I'll get a doctor.
Speaker 3 (03:47):
You bet it, beat it, beat it.
Speaker 4 (03:59):
He's coming.
Speaker 3 (04:02):
He knocks on my door, faith knocks patiently, once twice, three.
Speaker 4 (04:14):
One you call it. Two you can't get away. Three
open the door.
Speaker 3 (04:21):
So simple that, no fuss, no ways to talk, just one, two, three,
open up, Okay, Santa, I'm not running away. I'm opening up.
Speaker 4 (04:31):
Such a head.
Speaker 3 (04:38):
Tata just killed a lad. Here's a gun, this kind
of sick place, you call it everything. It's been six hours, doctor,
I hate to push, but how much longer? It's feudal
being a district attorney. Now the prisoners are very sick. Man,
(05:02):
just a few questions useless.
Speaker 4 (05:05):
His memory is gone temporarily.
Speaker 3 (05:08):
Who is the head tape reporter on leave from the bulletin?
He was released from a sanitarium less than two weeks ago.
Is a complete reporter. On his way from the station
as to the hospital, Tap kept insisting he'd murdered a.
Speaker 2 (05:22):
Killer named Santo. But he did murder them.
Speaker 3 (05:26):
Oh he did that, all right, But to the best
of the department's knowledge, there never was a killer named Santo.
Speaker 2 (05:34):
How long before he can answer the question?
Speaker 3 (05:36):
Days?
Speaker 4 (05:36):
Maybe weeks?
Speaker 2 (05:37):
The department can't wait that long.
Speaker 3 (05:39):
If we tried Narco synthesis, a compound popularly known as.
Speaker 2 (05:44):
Truth Center, get started, doctor murder, can't wait?
Speaker 4 (05:52):
Kate, Yes, come backwards, Starting at one hundred ninety nine,
My tell us all about it? Date, all about it?
Speaker 3 (06:19):
The sanitarium.
Speaker 4 (06:20):
Yes, about the sanitarium. You were there in the Harbor Hospital.
You were released two weeks ago. You went there? From
your newspaper? Why did you go to the sanitarium? Date?
Stella and Andrews killed herself.
Speaker 3 (06:43):
Like I couldn't get her out of my sinking, get
her out of my head?
Speaker 4 (06:46):
Who was Stella Andrews?
Speaker 3 (06:48):
She she figured in an unsolved murder mystery twenty years ago.
I dug the story up him, put it back on
the front page. I remember the case. Date Stella Andrews
was tried for murder and acquitted. They set her free.
You uncovered new evidence? No, no, no, I did it
As a circulation start to sell papers. I didn't think
(07:11):
of Stella Andrews. I didn't think go on date. I
never even let her until that last day. What happened
that last day? Stella Andrews confronted me in my office,
a gray, tragic woman. She told me that she'd long
(07:32):
ago changed her name, but she'd made a new life
for herself until his notoriety started suspicions in the minds
of her neighbors. She said she was too old to
make a new life for herself all over again.
Speaker 4 (07:49):
And then yes day I turned away in shame, despising myself,
and she was.
Speaker 3 (07:59):
Gone, twenty stories to the sidewalk. An innocent woman paid
the supreme penalty. I was her accuser, her judge and jury.
I was a murderer.
Speaker 4 (08:12):
Go on well I had.
Speaker 3 (08:16):
After that, I couldn't sleep, but I couldn't work. I
wound up in the sanitarium, and then well, on my release,
I tried to forget Stella Andrews. I crushed on the sidewalk.
I tried to get back and stride. I tried to
kick myself. There wouldn't be a payoff somewhere for what
(08:38):
I'd done. I tried marriage. I dragged a sweet kid
into partnership in the accounting. I owed fate, What did
you do?
Speaker 4 (08:49):
Day? I eloped with Mary Connor, a public librarian for me.
Speaker 3 (08:56):
Mary had that kind of magic that makes pain disappear.
I'd only known her for a world in a week,
but long enough to know she was gold through and through.
We were motoring back from Upto, just.
Speaker 4 (09:14):
Heavy.
Speaker 2 (09:17):
What time is it in passed midnight?
Speaker 5 (09:21):
I've been missus Edward Tate for four hours. I'm hungry.
Speaker 3 (09:25):
Oh, coffee, do me fine too. I'll keep looking out
for roadstand.
Speaker 5 (09:28):
Huh, there's one right ahead.
Speaker 4 (09:33):
We look and show it.
Speaker 3 (09:35):
Fine place for weddings.
Speaker 5 (09:37):
The rit darling Hamburgers like flamingo, come on. My mouth's
water and.
Speaker 3 (09:45):
It's a beat up cardboard shack, a kind of generally
bloom in June, grabbed some tourist change and then fade.
In October, the sign outside read Joe's Barbecue.
Speaker 4 (09:57):
The inside was gloomy. Well up bee folks.
Speaker 5 (10:01):
Still hamburger and coffee.
Speaker 2 (10:03):
Coffee first and all hamburgers.
Speaker 4 (10:05):
I'm out of meat or what have you got? Eggs?
Speaker 5 (10:08):
Ham and sweat, ham and swiss and toast the bread.
Speaker 4 (10:11):
Ye'll make it too.
Speaker 3 (10:15):
We were half through sandwiches as tasteless as sawdust. When
the door opened behind us, the night are set a
chill over me, like a premonition.
Speaker 4 (10:24):
Man.
Speaker 3 (10:25):
A man came in out of the night. I stared
at the new comer as if magnetic fingers were drawing
me to him. He was dressed in the devil's black
black so worn it had a satnechen, and his face
was hard and bitter and evil.
Speaker 2 (10:44):
Ah, just eggs and ham and Swiss master. Hey, what
what's the gun for?
Speaker 4 (10:51):
One guess?
Speaker 2 (10:52):
Oh? Sure I could guess.
Speaker 4 (10:55):
Hurry, okay, it was a black.
Speaker 3 (10:58):
Flat of antomatic our wallet. Make sure I got my
wallet and dropped it out on the cover. The chef
was starring over the register. I could tell by the
sudden rigidity in his back that he was reaching for
a gun. I wanted to scream one him not to,
but my throat mussels were I watched the chef double over.
I watched the gunman vault the counter and bear in
for the kill. Mary's hand closed over mine.
Speaker 5 (11:18):
And pulled that head quickly.
Speaker 3 (11:20):
I was through the door and running for the car
and someone else's feet. But Mary pulling at my sleeve. Oh,
hurry it, yes, he hold me. When the killer reached
the door and fired him, the shots were lost in
the night. We left him silhouetted in the doorway, a
(11:42):
dark centennialm guarding the tomb own chats touching his automatic
made it look phosphorescent. The Manhattan the skyline was blinking
at us before we did twist our voices.
Speaker 4 (12:00):
Anyone behind us.
Speaker 5 (12:02):
No, it was a car, but it turned off.
Speaker 4 (12:07):
Jolly honeymoon.
Speaker 5 (12:08):
We'll forget it. We'll just not remember.
Speaker 4 (12:13):
Did you watch him there?
Speaker 5 (12:14):
No, it couldn't.
Speaker 3 (12:15):
I relentlessly he moved in for the killer. How exquisitely
cold and efficients like a'm.
Speaker 5 (12:20):
Shed something healthy that that's sort of tall.
Speaker 4 (12:24):
I couldn't take my eyes off of it.
Speaker 3 (12:26):
I I felt as if he were a part of me,
come to life, a blood twin showing me to myself. Oh,
he was demonstrating to me when I really was a killer,
cold and a fisher. Mar Oh, no, you know that
man like I killed Stella Andrews. His instrument was a
Gunmine was a typewriter. He used bullets, I used words.
But our methods were the same, deliberate, ruthless murder. Forget him,
We'll see him again.
Speaker 4 (12:47):
My blood two win. He's my conscience come to life.
Speaker 5 (12:52):
We're gonna report this to the police.
Speaker 3 (12:54):
No or not?
Speaker 4 (12:55):
Why I'm I'm afraid of him?
Speaker 5 (12:59):
But he's a complead stranger. What have we got to fear?
We'll never see him again.
Speaker 4 (13:03):
Let's see him again, Mary, he'll come call me.
Speaker 5 (13:07):
W ed the wallet and yes, your wallet.
Speaker 3 (13:15):
We're not strangers to him, Marry he'll be calling on us.
He had my wallet, my name, my whereabouts. But the
wallet was only an incidental thing. I knew we'd call it.
Our lives were intertwined somehow. He was now as much
(13:39):
a part of my life as that as the ghost
of Stella Andrews. We reached home. We just sat around
and waited, and soon the phone r ed, it's him.
Speaker 2 (13:54):
What do we do?
Speaker 4 (13:55):
Answer the phone? I guess, yes, yes, yes, I understand.
Speaker 5 (14:09):
What did he say?
Speaker 3 (14:12):
I'm to come to the street and they won't harm me,
he said, If I don't come down, he's coming up.
Speaker 5 (14:19):
He said, what did he want?
Speaker 4 (14:20):
I don't know. I'll go see.
Speaker 3 (14:31):
He was waiting for me in a big card that
looked like a hearse as I came out of the hall,
emotion me to come sit beside him. Carlos east toward
the river. He didn't talk, He just concentrated on driving.
(14:54):
We were close enough for me to touch my but
I wasn't frightened, and I felt as if we belonged
to each go where we go?
Speaker 4 (15:03):
Here there's a river? What for they'd dump him?
Speaker 3 (15:10):
Him? Was a gesture behind us. I turned to look.
There was a packing trunk on the floor in the
We heard the car.
Speaker 4 (15:21):
Chef's corpse.
Speaker 3 (15:24):
You're gonna kill me too? Why should I to shut
me up? We'll dump the trunk together. That'll shut you
that well, wouldn't killing me be simply if you're shut up,
it's just the same. Maybe what's your name? You get
(15:45):
an idea?
Speaker 5 (15:45):
No?
Speaker 4 (15:47):
No, I I I just wanna know you very much. Sadah,
just sada.
Speaker 3 (15:53):
We stopped along the deserted wharf, just under the Brooklyn Bridge,
and there with the world to sleep in the moon
looking on.
Speaker 4 (16:02):
We dumped a trunk. It sank slowly, twisting and tortured
slow motion. You can go home now, Ted, don't you
feel it?
Speaker 2 (16:15):
Sat on just this kinship, we're the same person, Sata.
Speaker 4 (16:19):
You're crazy?
Speaker 2 (16:20):
No, no, I mean it.
Speaker 3 (16:21):
Look at me, look at me, see our resemblance. We
didn't just happen together. You or something out of me.
You are me. Your talk too much, Tede. Maybe I
have to kill you at oh Yo. You'll kill me
Sato soon enough.
Speaker 4 (16:35):
You don't have to kill me my conscience.
Speaker 3 (16:47):
At home, we just stayed there and Mary and I
staring emptily at each other. It was a honeymoon, like
a wake. Morning came, the day passed. We did nothing,
just sat and prisoned. And then that night I knew
(17:07):
Sadah would come this time for keeps. I know it
by the way my flesh was floating in sweat. Fear
was consuming Mary.
Speaker 4 (17:16):
Mary.
Speaker 3 (17:16):
Sado's downstairs, downstairs, It'll be coming up, Marry where you're
going to see?
Speaker 5 (17:23):
And I can't stand much more?
Speaker 3 (17:24):
Yeah, yeah, you go see and when you come back,
signal like this. Do it twice? Mary went down to check,
but I knew the answer. I got my gun and
went to the window to watch and wait. Sarado was downstairs.
Sarado was downstairs. When he came up, I killed him.
Speaker 4 (17:52):
We know the rash tad. Now you must sleep sleep Yeah.
Speaker 3 (18:02):
By me is a march, hare, cried Doctor Early suggests
a vivid hallucinosis induced by his guilt feelings about this
still address.
Speaker 4 (18:16):
This man he killed him? Did you identify him?
Speaker 3 (18:18):
Got a report on it a moment ago, a man
named Jenkins. He was the building superintendent. This Santo then
just existed in Tate's imagination, Fate dressed in a black suit.
It's an interesting hypothesis, Kittrit a big headache to me.
Oh daily, get those notes typed up. Have the department
(18:41):
investigate every last detail immediately. Missus Tate's in the next room. Doctor,
you want to listen in very much, Gittrich.
Speaker 4 (18:49):
Ah, Missus Tait, this is doctor Thorpe.
Speaker 2 (18:52):
How is he?
Speaker 5 (18:53):
Doctor?
Speaker 3 (18:53):
I'm recommending his immediate return to a mental hospital. Missus Tates,
your husband just told us a long story. I'll have
to ask you some questions for the record. Yes, you
were just married. Yes, Murdering back from Elkton, did you
stop at a road stand for refreshments?
Speaker 2 (19:10):
No?
Speaker 5 (19:11):
We came straight to our apartment. And then what he
began behaving queerly? He locked us in. We just sat
all night all the next day. The second night, had
took a gun out of his release. He stood guard
at the window. He said he was waiting for a
(19:33):
sane Did you.
Speaker 2 (19:34):
Ever see this, Santo?
Speaker 5 (19:36):
No?
Speaker 4 (19:38):
What brought the janitor up at that hour of the
night Ed.
Speaker 5 (19:42):
Was raving insanely? I suppose he came to investigate the noise.
Can I go, mister kitt Oh not right now, You're.
Speaker 4 (19:51):
Gonna have to stay awhile just routine.
Speaker 3 (19:53):
My man will be reporting back, and I want you
to read your husband's statement and then make one of
your own.
Speaker 2 (20:00):
Come the bench, grab forty winks ye think o dose
off myself?
Speaker 4 (20:05):
Pick your own chair.
Speaker 3 (20:06):
Doctor oh, Kittridge speaking, Yeah, we like it a pencil. Okay, Yeah,
(20:28):
I got it, I got it. Keep talking, Okay, report's
coming in Kittridge. Yes, doctor, explain this. There was a
road stand called Joe's Barbecue. My men found it all,
bought it up. He'd probably noticed it while driving and
wove it into his hallucination.
Speaker 4 (20:50):
Miss A Ted, there's a t Yeah, did.
Speaker 3 (20:54):
Your husband leave the apartment at Tall last night before
the shooting?
Speaker 5 (20:59):
You might have while I was asleep.
Speaker 3 (21:01):
Why do you ask that question, Kitdrid Because my men
fished a packing trunk out of the East River. What
was in the trunk cement? Bags of cement. That's the
medical slant.
Speaker 4 (21:15):
On that only perplexity.
Speaker 3 (21:18):
Kittridge, You know I've got a new theory, doctor, since
we're hypothesizing, what is it that Tate's zany story was true,
the whole of it, that the chef and Santa were real,
that the whole thing was staged to play on Tate's
emotional instability, drive him crazy, then drive him the actual
murder by sending that janitor.
Speaker 4 (21:37):
Up those stairs.
Speaker 3 (21:38):
Like all police theories too incredible for me, Missus Tate, can.
Speaker 2 (21:42):
You help us out? Give us an idea about that trunk?
Speaker 5 (21:46):
No Edward irrational, capable of anything.
Speaker 3 (21:50):
When he barricaded himself in the room with a gun.
Why didn't you call the police?
Speaker 1 (21:54):
I did?
Speaker 2 (21:56):
But but what.
Speaker 5 (21:58):
The wires were cut?
Speaker 4 (22:01):
I'm not touch for your doctor.
Speaker 3 (22:03):
The man who wasn't there cut the telephone wires, extra
cut the wires inside the apartment.
Speaker 4 (22:12):
Faith dressed in black?
Speaker 2 (22:15):
Do you like black, missus Tate?
Speaker 3 (22:19):
I do black worn to a Satney machine? Do you
always wear a Satney black?
Speaker 2 (22:27):
Missus Tate, I prefer.
Speaker 5 (22:31):
Mister district attorney.
Speaker 4 (22:32):
Good heavens Kettridge.
Speaker 2 (22:34):
What do you say you were Mary Connor when you
got married?
Speaker 3 (22:38):
Yes? Who were you Mary Connor, before you began masquerading
his faith.
Speaker 5 (22:46):
Mary Andrews Stella Andrews was my mother day.
Speaker 4 (23:03):
I want to get married. M okay, may all your.
Speaker 1 (23:09):
Troubles the little one confused chapter that taste h three
on my honeymoon, mister, that's asking for trouble. In fact,
wouldn't you say it's sort of crowding your luck.
Speaker 3 (23:25):
M m.
Speaker 1 (23:27):
And that little man who was there popping in and
out of it's mind, you know, if it was me,
I just started charging him around. Good eye, pleasant streams.
Speaker 4 (23:51):
Mm hmmm.
Speaker 5 (24:09):
Well w
Good you mean, friends of Leanna Sanctum. This is your host,
bidding you welcome through the squeaking door. Well, we're overcome
with the old time spirits. This evening parties everywhere, what fun.
One fellow was lit up like a torch. His wife
(00:28):
had struck imaginal big shinding at the city Morgue. Everybody
was a little staff out in Hollywood. Drakenstein, Dracula and
the Wolfman through a monster jambourine. The gul said a
screaming good time, and the punch bowl just right chill
(00:53):
to body temperature sub zero. Everybody's blood ran cold.
Speaker 2 (01:06):
To night's inner sanctum.
Speaker 3 (01:07):
Mystery Death Out of Mind was written by John Robert
and stars Larry Haynes on the role of Ed, with
Anne Shepherd as Mary.
Speaker 1 (01:19):
And Now, gentle people, now for the soothing nuances of
shrieks in the night. Say ever see the little man
who wasn't there? No carefully, I mind it. We're an
apartment to way, a cheaply finished flat in Chelsea, facing
(01:39):
the street.
Speaker 4 (01:41):
The room is pitch dark. A patch of moonlight is
crusted on the windows.
Speaker 1 (01:45):
If it can't get through the grime, head taped is
crouched at the window, watching the street's face.
Speaker 5 (01:55):
Marry, there's nobody does here, for there must be.
Speaker 3 (02:03):
I've seen him here here here from the window see
see said. Oh they're leaning, beating against the lamp, pot
smoking a cigarette.
Speaker 4 (02:11):
I've been watching him, Marry.
Speaker 2 (02:12):
I can't take my eyes off.
Speaker 5 (02:14):
You've got to take hold of yourself.
Speaker 3 (02:15):
Leave this room. You'll be waiting for me wherever I go.
He'll be everywhere waiting for me. Turn the corner and
run into him. Catch a train and he's sitting beside you.
Run away and meet him in Boston Friscal.
Speaker 2 (02:25):
High PA's feet.
Speaker 4 (02:29):
They dressed in a black suit.
Speaker 5 (02:31):
He's no more wild tall.
Speaker 4 (02:35):
I'm crazy.
Speaker 5 (02:37):
Is that what you mean, ed darling? See, were just married.
I'm a bride. We were going to be something wonderful.
Speaker 3 (02:47):
Yeah, he married a guy with whims and his head.
Marriage never had a chest. You got to stack deal, Mary.
Speaker 5 (02:56):
I'll get help. Operator. I want the police operator. Operator.
There's no bus.
Speaker 3 (03:09):
Well I instead you cut the worst I told you
it was downstairs anymore than marry, Marry, don't cry over me,
forget me. Just turn time back twenty four hours and
forget you ever married me.
Speaker 5 (03:27):
But you've done nothing it's just in your mind.
Speaker 3 (03:31):
This is a payoff for other things. It is always
a payoff, waiting somewhere, there's always a retribution. Then you
get away married that story. No, I'll wait for Santa alone.
I don't want them coming back staircase and hurry.
Speaker 5 (03:47):
I'll get a doctor.
Speaker 3 (03:47):
You bet it, beat it, beat it.
Speaker 4 (03:59):
He's coming.
Speaker 3 (04:02):
He knocks on my door, faith knocks patiently, once twice, three.
Speaker 4 (04:14):
One you call it. Two you can't get away. Three
open the door.
Speaker 3 (04:21):
So simple that, no fuss, no ways to talk, just one, two, three,
open up, Okay, Santa, I'm not running away. I'm opening up.
Speaker 4 (04:31):
Such a head.
Speaker 3 (04:38):
Tata just killed a lad. Here's a gun, this kind
of sick place, you call it everything. It's been six hours, doctor,
I hate to push, but how much longer? It's feudal
being a district attorney. Now the prisoners are very sick. Man,
(05:02):
just a few questions useless.
Speaker 4 (05:05):
His memory is gone temporarily.
Speaker 3 (05:08):
Who is the head tape reporter on leave from the bulletin?
He was released from a sanitarium less than two weeks ago.
Is a complete reporter. On his way from the station
as to the hospital, Tap kept insisting he'd murdered a.
Speaker 2 (05:22):
Killer named Santo. But he did murder them.
Speaker 3 (05:26):
Oh he did that, all right, But to the best
of the department's knowledge, there never was a killer named Santo.
Speaker 2 (05:34):
How long before he can answer the question?
Speaker 3 (05:36):
Days?
Speaker 4 (05:36):
Maybe weeks?
Speaker 2 (05:37):
The department can't wait that long.
Speaker 3 (05:39):
If we tried Narco synthesis, a compound popularly known as.
Speaker 2 (05:44):
Truth Center, get started, doctor murder, can't wait?
Speaker 4 (05:52):
Kate, Yes, come backwards, Starting at one hundred ninety nine,
My tell us all about it? Date, all about it?
Speaker 3 (06:19):
The sanitarium.
Speaker 4 (06:20):
Yes, about the sanitarium. You were there in the Harbor Hospital.
You were released two weeks ago. You went there? From
your newspaper? Why did you go to the sanitarium? Date?
Stella and Andrews killed herself.
Speaker 3 (06:43):
Like I couldn't get her out of my sinking, get
her out of my head?
Speaker 4 (06:46):
Who was Stella Andrews?
Speaker 3 (06:48):
She she figured in an unsolved murder mystery twenty years ago.
I dug the story up him, put it back on
the front page. I remember the case. Date Stella Andrews
was tried for murder and acquitted. They set her free.
You uncovered new evidence? No, no, no, I did it
As a circulation start to sell papers. I didn't think
(07:11):
of Stella Andrews. I didn't think go on date. I
never even let her until that last day. What happened
that last day? Stella Andrews confronted me in my office,
a gray, tragic woman. She told me that she'd long
(07:32):
ago changed her name, but she'd made a new life
for herself until his notoriety started suspicions in the minds
of her neighbors. She said she was too old to
make a new life for herself all over again.
Speaker 4 (07:49):
And then yes day I turned away in shame, despising myself,
and she was.
Speaker 3 (07:59):
Gone, twenty stories to the sidewalk. An innocent woman paid
the supreme penalty. I was her accuser, her judge and jury.
I was a murderer.
Speaker 4 (08:12):
Go on well I had.
Speaker 3 (08:16):
After that, I couldn't sleep, but I couldn't work. I
wound up in the sanitarium, and then well, on my release,
I tried to forget Stella Andrews. I crushed on the sidewalk.
I tried to get back and stride. I tried to
kick myself. There wouldn't be a payoff somewhere for what
(08:38):
I'd done. I tried marriage. I dragged a sweet kid
into partnership in the accounting. I owed fate, What did
you do?
Speaker 4 (08:49):
Day? I eloped with Mary Connor, a public librarian for me.
Speaker 3 (08:56):
Mary had that kind of magic that makes pain disappear.
I'd only known her for a world in a week,
but long enough to know she was gold through and through.
We were motoring back from Upto, just.
Speaker 4 (09:14):
Heavy.
Speaker 2 (09:17):
What time is it in passed midnight?
Speaker 5 (09:21):
I've been missus Edward Tate for four hours. I'm hungry.
Speaker 3 (09:25):
Oh, coffee, do me fine too. I'll keep looking out
for roadstand.
Speaker 5 (09:28):
Huh, there's one right ahead.
Speaker 4 (09:33):
We look and show it.
Speaker 3 (09:35):
Fine place for weddings.
Speaker 5 (09:37):
The rit darling Hamburgers like flamingo, come on. My mouth's
water and.
Speaker 3 (09:45):
It's a beat up cardboard shack, a kind of generally
bloom in June, grabbed some tourist change and then fade.
In October, the sign outside read Joe's Barbecue.
Speaker 4 (09:57):
The inside was gloomy. Well up bee folks.
Speaker 5 (10:01):
Still hamburger and coffee.
Speaker 2 (10:03):
Coffee first and all hamburgers.
Speaker 4 (10:05):
I'm out of meat or what have you got? Eggs?
Speaker 5 (10:08):
Ham and sweat, ham and swiss and toast the bread.
Speaker 4 (10:11):
Ye'll make it too.
Speaker 3 (10:15):
We were half through sandwiches as tasteless as sawdust. When
the door opened behind us, the night are set a
chill over me, like a premonition.
Speaker 4 (10:24):
Man.
Speaker 3 (10:25):
A man came in out of the night. I stared
at the new comer as if magnetic fingers were drawing
me to him. He was dressed in the devil's black
black so worn it had a satnechen, and his face
was hard and bitter and evil.
Speaker 2 (10:44):
Ah, just eggs and ham and Swiss master. Hey, what
what's the gun for?
Speaker 4 (10:51):
One guess?
Speaker 2 (10:52):
Oh? Sure I could guess.
Speaker 4 (10:55):
Hurry, okay, it was a black.
Speaker 3 (10:58):
Flat of antomatic our wallet. Make sure I got my
wallet and dropped it out on the cover. The chef
was starring over the register. I could tell by the
sudden rigidity in his back that he was reaching for
a gun. I wanted to scream one him not to,
but my throat mussels were I watched the chef double over.
I watched the gunman vault the counter and bear in
for the kill. Mary's hand closed over mine.
Speaker 5 (11:18):
And pulled that head quickly.
Speaker 3 (11:20):
I was through the door and running for the car
and someone else's feet. But Mary pulling at my sleeve. Oh,
hurry it, yes, he hold me. When the killer reached
the door and fired him, the shots were lost in
the night. We left him silhouetted in the doorway, a
(11:42):
dark centennialm guarding the tomb own chats touching his automatic
made it look phosphorescent. The Manhattan the skyline was blinking
at us before we did twist our voices.
Speaker 4 (12:00):
Anyone behind us.
Speaker 5 (12:02):
No, it was a car, but it turned off.
Speaker 4 (12:07):
Jolly honeymoon.
Speaker 5 (12:08):
We'll forget it. We'll just not remember.
Speaker 4 (12:13):
Did you watch him there?
Speaker 5 (12:14):
No, it couldn't.
Speaker 3 (12:15):
I relentlessly he moved in for the killer. How exquisitely
cold and efficients like a'm.
Speaker 5 (12:20):
Shed something healthy that that's sort of tall.
Speaker 4 (12:24):
I couldn't take my eyes off of it.
Speaker 3 (12:26):
I I felt as if he were a part of me,
come to life, a blood twin showing me to myself. Oh,
he was demonstrating to me when I really was a killer,
cold and a fisher. Mar Oh, no, you know that
man like I killed Stella Andrews. His instrument was a
Gunmine was a typewriter. He used bullets, I used words.
But our methods were the same, deliberate, ruthless murder. Forget him,
We'll see him again.
Speaker 4 (12:47):
My blood two win. He's my conscience come to life.
Speaker 5 (12:52):
We're gonna report this to the police.
Speaker 3 (12:54):
No or not?
Speaker 4 (12:55):
Why I'm I'm afraid of him?
Speaker 5 (12:59):
But he's a complead stranger. What have we got to fear?
We'll never see him again.
Speaker 4 (13:03):
Let's see him again, Mary, he'll come call me.
Speaker 5 (13:07):
W ed the wallet and yes, your wallet.
Speaker 3 (13:15):
We're not strangers to him, Marry he'll be calling on us.
He had my wallet, my name, my whereabouts. But the
wallet was only an incidental thing. I knew we'd call it.
Our lives were intertwined somehow. He was now as much
(13:39):
a part of my life as that as the ghost
of Stella Andrews. We reached home. We just sat around
and waited, and soon the phone r ed, it's him.
Speaker 2 (13:54):
What do we do?
Speaker 4 (13:55):
Answer the phone? I guess, yes, yes, yes, I understand.
Speaker 5 (14:09):
What did he say?
Speaker 3 (14:12):
I'm to come to the street and they won't harm me,
he said, If I don't come down, he's coming up.
Speaker 5 (14:19):
He said, what did he want?
Speaker 4 (14:20):
I don't know. I'll go see.
Speaker 3 (14:31):
He was waiting for me in a big card that
looked like a hearse as I came out of the hall,
emotion me to come sit beside him. Carlos east toward
the river. He didn't talk, He just concentrated on driving.
(14:54):
We were close enough for me to touch my but
I wasn't frightened, and I felt as if we belonged
to each go where we go?
Speaker 4 (15:03):
Here there's a river? What for they'd dump him?
Speaker 3 (15:10):
Him? Was a gesture behind us. I turned to look.
There was a packing trunk on the floor in the
We heard the car.
Speaker 4 (15:21):
Chef's corpse.
Speaker 3 (15:24):
You're gonna kill me too? Why should I to shut
me up? We'll dump the trunk together. That'll shut you
that well, wouldn't killing me be simply if you're shut up,
it's just the same. Maybe what's your name? You get
(15:45):
an idea?
Speaker 5 (15:45):
No?
Speaker 4 (15:47):
No, I I I just wanna know you very much. Sadah,
just sada.
Speaker 3 (15:53):
We stopped along the deserted wharf, just under the Brooklyn Bridge,
and there with the world to sleep in the moon
looking on.
Speaker 4 (16:02):
We dumped a trunk. It sank slowly, twisting and tortured
slow motion. You can go home now, Ted, don't you
feel it?
Speaker 2 (16:15):
Sat on just this kinship, we're the same person, Sata.
Speaker 4 (16:19):
You're crazy?
Speaker 2 (16:20):
No, no, I mean it.
Speaker 3 (16:21):
Look at me, look at me, see our resemblance. We
didn't just happen together. You or something out of me.
You are me. Your talk too much, Tede. Maybe I
have to kill you at oh Yo. You'll kill me
Sato soon enough.
Speaker 4 (16:35):
You don't have to kill me my conscience.
Speaker 3 (16:47):
At home, we just stayed there and Mary and I
staring emptily at each other. It was a honeymoon, like
a wake. Morning came, the day passed. We did nothing,
just sat and prisoned. And then that night I knew
(17:07):
Sadah would come this time for keeps. I know it
by the way my flesh was floating in sweat. Fear
was consuming Mary.
Speaker 4 (17:16):
Mary.
Speaker 3 (17:16):
Sado's downstairs, downstairs, It'll be coming up, Marry where you're
going to see?
Speaker 5 (17:23):
And I can't stand much more?
Speaker 3 (17:24):
Yeah, yeah, you go see and when you come back,
signal like this. Do it twice? Mary went down to check,
but I knew the answer. I got my gun and
went to the window to watch and wait. Sarado was downstairs.
Sarado was downstairs. When he came up, I killed him.
Speaker 4 (17:52):
We know the rash tad. Now you must sleep sleep Yeah.
Speaker 3 (18:02):
By me is a march, hare, cried Doctor Early suggests
a vivid hallucinosis induced by his guilt feelings about this
still address.
Speaker 4 (18:16):
This man he killed him? Did you identify him?
Speaker 3 (18:18):
Got a report on it a moment ago, a man
named Jenkins. He was the building superintendent. This Santo then
just existed in Tate's imagination, Fate dressed in a black suit.
It's an interesting hypothesis, Kittrit a big headache to me.
Oh daily, get those notes typed up. Have the department
(18:41):
investigate every last detail immediately. Missus Tate's in the next room. Doctor,
you want to listen in very much, Gittrich.
Speaker 4 (18:49):
Ah, Missus Tait, this is doctor Thorpe.
Speaker 2 (18:52):
How is he?
Speaker 5 (18:53):
Doctor?
Speaker 3 (18:53):
I'm recommending his immediate return to a mental hospital. Missus Tates,
your husband just told us a long story. I'll have
to ask you some questions for the record. Yes, you
were just married. Yes, Murdering back from Elkton, did you
stop at a road stand for refreshments?
Speaker 2 (19:10):
No?
Speaker 5 (19:11):
We came straight to our apartment. And then what he
began behaving queerly? He locked us in. We just sat
all night all the next day. The second night, had
took a gun out of his release. He stood guard
at the window. He said he was waiting for a
(19:33):
sane Did you.
Speaker 2 (19:34):
Ever see this, Santo?
Speaker 5 (19:36):
No?
Speaker 4 (19:38):
What brought the janitor up at that hour of the
night Ed.
Speaker 5 (19:42):
Was raving insanely? I suppose he came to investigate the noise.
Can I go, mister kitt Oh not right now, You're.
Speaker 4 (19:51):
Gonna have to stay awhile just routine.
Speaker 3 (19:53):
My man will be reporting back, and I want you
to read your husband's statement and then make one of
your own.
Speaker 2 (20:00):
Come the bench, grab forty winks ye think o dose
off myself?
Speaker 4 (20:05):
Pick your own chair.
Speaker 3 (20:06):
Doctor oh, Kittridge speaking, Yeah, we like it a pencil. Okay, Yeah,
(20:28):
I got it, I got it. Keep talking, Okay, report's
coming in Kittridge. Yes, doctor, explain this. There was a
road stand called Joe's Barbecue. My men found it all,
bought it up. He'd probably noticed it while driving and
wove it into his hallucination.
Speaker 4 (20:50):
Miss A Ted, there's a t Yeah, did.
Speaker 3 (20:54):
Your husband leave the apartment at Tall last night before
the shooting?
Speaker 5 (20:59):
You might have while I was asleep.
Speaker 3 (21:01):
Why do you ask that question, Kitdrid Because my men
fished a packing trunk out of the East River. What
was in the trunk cement? Bags of cement. That's the
medical slant.
Speaker 4 (21:15):
On that only perplexity.
Speaker 3 (21:18):
Kittridge, You know I've got a new theory, doctor, since
we're hypothesizing, what is it that Tate's zany story was true,
the whole of it, that the chef and Santa were real,
that the whole thing was staged to play on Tate's
emotional instability, drive him crazy, then drive him the actual
murder by sending that janitor.
Speaker 4 (21:37):
Up those stairs.
Speaker 3 (21:38):
Like all police theories too incredible for me, Missus Tate, can.
Speaker 2 (21:42):
You help us out? Give us an idea about that trunk?
Speaker 5 (21:46):
No Edward irrational, capable of anything.
Speaker 3 (21:50):
When he barricaded himself in the room with a gun.
Why didn't you call the police?
Speaker 1 (21:54):
I did?
Speaker 2 (21:56):
But but what.
Speaker 5 (21:58):
The wires were cut?
Speaker 4 (22:01):
I'm not touch for your doctor.
Speaker 3 (22:03):
The man who wasn't there cut the telephone wires, extra
cut the wires inside the apartment.
Speaker 4 (22:12):
Faith dressed in black?
Speaker 2 (22:15):
Do you like black, missus Tate?
Speaker 3 (22:19):
I do black worn to a Satney machine? Do you
always wear a Satney black?
Speaker 2 (22:27):
Missus Tate, I prefer.
Speaker 5 (22:31):
Mister district attorney.
Speaker 4 (22:32):
Good heavens Kettridge.
Speaker 2 (22:34):
What do you say you were Mary Connor when you
got married?
Speaker 3 (22:38):
Yes? Who were you Mary Connor, before you began masquerading
his faith.
Speaker 5 (22:46):
Mary Andrews Stella Andrews was my mother day.
Speaker 4 (23:03):
I want to get married. M okay, may all your.
Speaker 1 (23:09):
Troubles the little one confused chapter that taste h three
on my honeymoon, mister, that's asking for trouble. In fact,
wouldn't you say it's sort of crowding your luck.
Speaker 3 (23:25):
M m.
Speaker 1 (23:27):
And that little man who was there popping in and
out of it's mind, you know, if it was me,
I just started charging him around. Good eye, pleasant streams.
Speaker 4 (23:51):
Mm hmmm.
Speaker 5 (24:09):
Well w
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