Inner Sanctum 45-10-23 The Corridor of Doom

Summary

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Podcast Summary: Inner Sanctum – “The Corridor of Doom”

Podcast: Harold's Old Time Radio
Host: Harold’s Old Time Radio
Episode: Inner Sanctum 45-10-23 “The Corridor of Doom”
Original Air Date: October 23, 1945
Date of Podcast Release: October 18, 2025
Star: Boris Karloff as John Clay

Episode Overview

This episode features the classic radio horror drama Inner Sanctum Mysteries, specifically “The Corridor of Doom” starring Boris Karloff. The show plunges listeners into a world of psychological terror, blurring the lines between reality and a nightmarish afterlife. The episode unfolds as a suspenseful, enigmatic puzzle: after surgery, John Clay awakens in a mysterious hospital, unsure if he is alive or dead. Surreal encounters and unexplainable phenomena drive him toward the terrifying realization that he may be walking the very corridor of death.

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Key Discussion Points and Story Breakdown

1. Classic Radio and the Allure of Fear

• The episode opens with the signature macabre humor of the Inner Sanctum’s “host,” who sets a chilling mood while joking about death and graveyards:
  • "[My friend] insists on doing everything for himself... consulting with the monument makers, the grave diggers, fitting of the coffin maker. Yeah, it's quite a busy body. But then we only die once, you know." (00:39)
• There is a light-hearted digression about Lipton Tea (a staple show sponsor), contrasted with the idea that their ghostly audiences wouldn’t appreciate something as “brisk” as Lipton’s.

2. John Clay’s Mystery and Fear

• John Clay, after surgery, awakens in a sterile room with a bandaged abdomen and no memory of how he arrived.
  • "When I woke up, I had no idea where I was or how I'd gotten there. I was lying on a hard white bed in a clean white room. There was a dull pain in my abdomen." (03:38)
• He’s introduced to a cryptic nurse, Nada, and informed he’s in a hospital “with no name”—a harbinger of something more supernatural (04:25).
• "It has no name." – Nurse Nada to John Clay (04:30)

3. Unsettling Visitors and Cryptic Warnings

• Dr. Stone and John’s son-in-law Alec Bartlett enter. Alec’s presence and cryptic attire (“all in black”) escalate the sense of unease.
  • Clay: "Why are you standing out there? Why don't you come in?"
  • Dr. Stone: "I don't think you need worry about that anymore, Mr. Clay. And as far as the mystery is concerned, this initial period of adjustment is always a little difficult." (05:40)
• John urgently demands companionship or a visit from his dog. The dog is delivered—dead.
  • Clay: "He's not asleep. He's dead... When did he die? How old was he? ...That's probably why he could come. What do you mean?" (07:52)

4. The Corridor of Doom – Reality or Nightmare?

• After being sedated, John dreams (or experiences) walking a stone corridor lined with ominous doors, each marked with the name of the deceased in alphabetical succession.
  • "On each door there was a name. Abel. Abercrombie. Abington. Where was I? What was this place? What was behind those awful, ominously closed doors?... Then suddenly I knew. Knew where I was and where I was going." (09:30–10:57)
• Upon awakening, he finds physical dust on his feet—evidence that his experience wasn’t just a dream.
  • Clay: "On the soles. Dust. Thick gray dust. Dust like the dust in the passage. The Corridor of Doom. And that means it wasn't a dream. It means I was really there." (12:41–13:15)

5. Hopelessness—and a Futile Escape Attempt

• John repeatedly attempts to leave or contact someone from the outside, to no avail.
  • His phone calls to his daughter and the police both fail—the line works one-way; no one hears his pleas for help.
  • "Jane? Oh, thank. Hello? Jane, it's your father. Listen, you've got to help me. You've got to come and get me. I'm at the hospital. Alex knows where." (20:50)
  • "Hello, police? This is John Clay..." (21:00) – but again, no one hears him.

6. Ultimate Confrontation and the “Corridor” Revealed

• As John is about to be dosed again with the “red medicine,” he realizes this is the final step.
  • Dr. Stone: "...You're struggling you know that, don't you?" (22:27)
  • Clay: "Yes, I know, Doctor. I won't have to go back down there again, will I? Down to the corridor?" (22:31)
• John finds himself back at his destiny's edge, at the door marked with his name, about to enter.
  • "Then, suddenly, terribly, one door. A door with my name on it, gaping, waiting for me. I tried to stop, to turn, but my legs carried me forward..." (23:14–24:05)

7. The Twist—and Return to Reality

• Abruptly, John is revived—by Martin, who is revealed to be not an orderly, but a detective Clay had hired after suspecting foul play.
  • "Mr. Martin is a detective. I hired him some time ago... I had a feeling that something was wrong when that railing broke accidentally and I took that bad fall. So I decided I should investigate." (25:05)
  • Alec, the son-in-law, had tried to murder John for his inheritance; John, meanwhile, faked ill health to draw out his would-be killer.

8. Epilogue and Commentary

• The host breaks the fourth wall, returning to macabre jokes and playfully warning listeners:
  • "If you should wake up tonight with a sudden chill, find yourself walking barefoot down a dusty stone corridor with doors on both sides of it, don't get excited. Just insist on a doom with a view." (28:11)
• Memorable interplay regarding the mystical corridor and the placement of the sponsor’s name (“Lipton”) on a tomb door:
  • Host: "How would you like it if we went to the L’s and found a door marked Lipton?"
  • Mary: "Oh, why, that’s fine. Inside, find a wonderful, friendly beverage. Lipton’s the tea with the brisk flavor.” (27:45–27:50)

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Notable Quotes & Memorable Moments

• "Have you thought about death lately? ... How it will come? Do you think of it as a sleep, or a waking, or a sudden transition from one state of being to another—or to non-being?"
  – Inner Sanctum Host (02:21)
• "On the soles. Dust. Thick gray dust. Dust like the dust in the passage. The Corridor of Doom. And that means it wasn't a dream..."
  – John Clay/Boris Karloff (12:41)
• "Jane, it's your father. Listen, you've got to help me..."
  – John Clay, desperately on the phone (20:54)
• "Mr. Martin is a detective. I hired him some time ago..."
  – John Clay reveals his plan (25:07)
• "If you should wake up tonight...find yourself walking barefoot down a dusty stone corridor...just insist on a doom with a view."
  – Host, final warning (28:11)

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Timestamps of Major Segments

• 00:39 – Classic “squeaking door” host intro; dark humor on death
• 02:21 – The story of John Clay begins
• 03:38 – John Clay awakens, disoriented in hospital
• 05:03–07:01 – Arrival of Dr. Stone and Alec Bartlett; surreal explanations
• 07:46 – The death of John’s dog; another clue something is wrong
• 09:30–10:57 – John’s first nightmare journey in the corridor
• 12:41–13:15 – The dust on John’s feet, proving his journey real
• 15:28 – John’s efforts to escape and avoid torment
• 20:50 – John’s futile attempt to phone for help
• 23:14–24:05 – John’s final, terrifying approach to his own door
• 25:07 – The twist: Martin the detective, plot revealed
• 27:03–28:11 – Host wraps up with trademark ghoulish humor

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Summary Tone and Style

The episode weaves signature Inner Sanctum chills, quirky black comedy, and eerie sound design. Boris Karloff’s sonorous narration delivers mounting terror and existential dread, while the host maintains a campy, tongue-in-cheek tone even at the darkest moments. Sponsor spots for Lipton Tea are given a playful treatment, serving as light counterpoints to the harrowing central story.

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For Listeners New and Old

Whether a seasoned fan of Golden Age radio horror or a first-time visitor to the Inner Sanctum, “The Corridor of Doom” offers a rich blend of suspense, psychological intrigue, and classic twists. It exemplifies the period’s dramatic style—keeping listeners guessing until the last chilling moment, all before the family radio.

Transcript

[A]

Mr.

[B]

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[A]

Register in the McDonald's app so you're ready to get your bag.

[B]

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To get your bag Physical peels with.

[B]

Select items and digital peels with others.

[A]

To get your bag, play Monopoly at McDonald's.

[B]

Ba da ba ba ba.

[A]

No purchase necessary. See [e-mail] for full details and amoe.playadmcd.com to play without purchase ends November 23rd, but bonus play ends November 2nd. Monopoly is a registered trademark of Hasbro. Copyright McDonald's.

[B]

Lipton Tea and Lipton Soup present Inner Sanctum Mysteries starring Boris Carlos. Good evening, friends of the Unearth Sanctum. This is your host. Welcome again through the squeaking door to another session of mystery murder and madness. Oh, excuse me if I don't get up, but I'm all worn out. Yes, I've had a hectic few days with an old friend who just blew into town. He's one of those earnest souls who insists on doing everything for himself. Consultations with the monument makers, the grave diggers, fittings of the coffin maker. Yeah, it's quite a busy body. But then we only die once. You know.

[C]

These friends of yours, they're such unhappy people. They never seem to enjoy life. Never seem interested in any of the quiet, peaceful good things of life. For instance, what's the use of telling one of your spooky characters about Lipton tea? They wouldn't like it, but other people enjoy that brisk Lipton flavor. They settle back in an easy chair and say to themselves, mmm, Lipton certainly has a rich, hearty flavor. Never the least bit wishy washy. No siree. But would a ghost appreciate Lipton's? Indeed he would not. And it's lucky Lipton's is made for real live folks who like good things, or else it wouldn't be the world's largest selling brand of tea.

[B]

Mary, you've been very hard on my friends. Very. And they won't like it. But then, most live folks don't enjoy being scared to death. And that's just what's going to happen to you tonight. Our story is called the Corridor of Doom. It's an original radio play written by Robert Newman. And our star tonight is a man who gives even me the shakes, the famous star of stage, screen and radio, Boris Karloff. Have you thought about death lately? Not the fact that it's inevitable that it must come to all of us someday, but rather how it will come. Do you think of it as a sleep And a waking of a sudden transition from one state of being to another or to a state of non being. John Clay was one of those people who never thought about it at all until he found himself walking down that dim and endless passage which. But suppose we let Boris Karloff and the role of John Clay tell you about it himself. If your blood pressure will take it, put out the lights and come on a little trip down the corridor of doom.

[A]

When I woke up, I had no idea of where I was or how I'd gotten there. I was lying on a hard white bed in a clean white room. There was a dull pain in my abdomen. Touching it tentatively, I felt a bandage. So that was it, an operation?

[C]

But for what?

[A]

And where was I? At that moment the door opened and she came in. Good afternoon. Or is it evening?

[C]

Whichever you prefer. It doesn't matter.

[A]

My name's Clay. John Clay. Yes, and yours?

[C]

You can call me Nada.

[A]

Exactly where am I? In what hospital?

[C]

It has no name.

[A]

What? That's ridiculous. I'd like to speak to Dr. Rogers, if you'll get him for me, please.

[C]

There is no Dr. Rogers, at least not here.

[A]

Then who operated on me? And for what? Listen, I'm not a well man. I've a very bad heart. Will you get someone who can talk to me?

[C]

If you wish, I'll call Dr. Stone.

[A]

A chill crept through my bones. It wasn't cold, it was fear. Unreasoning and abysmal fear. The door opened again and there stood a heavy set man, his hair flecked with grey. And with him, my son in law, Alex Bartlett. Alec, I can't tell you how glad I am to see you. Hello, father. But why are you standing out there? Why don't you come in? Oh, no, I shouldn't advise it, Mr. Clay. And why not? And why? Was it you who operated on me? Yes, I'm Dr. Stone. Why wasn't Dr. Rogers called in? He's taken care of me for years. There wasn't time. It happened during the night. Acute appendicitis. And even as it was. Even as it was what? And why are you dressed that way, Alec, all in black? Well, it's customary. After all, you are my father in law. Of course I am, but. Now look, Alec, you've got to stop being so mysterious. You know about my heart, what any sudden shock will do. I don't think you need worry about that anymore, Mr. Clay. And as far as the mystery is concerned, this initial period of adjustment is always a little difficult. Difficult? Do you realize what it's like lying here helpless, completely isolated. As if I were all alone in the world. Or isn't there someone I can talk to? Some of the other patients? Not just yet. When the time comes, you'll meet them. But look, Doctor, I can't stand much more of this. I can't. If I don't find someone who really cares about me, who'll treat me like a normal human being. My dog. How about my dog? What do you think, Doctor? Yes, that's possible. We'll see what we can do, Mr. Clay. Come along, Bartlett. Goodbye, Father.

[B]

You.

[A]

You'll be back, won't you, Alec? I don't know. I'll try, but it's difficult. Very difficult. Then. Then don't go, Alec. Don't leave me here all alone. Come back. Come back. I waited and watched. Watched and waited. Then the door opened and there was the doctor again. There was a small, thin faced man with him this time, wearing the white coat of an orderly and carrying a black box with a handle. My dog. You brought my dog. All right, Martin, give it to him. Yes, sir. Thank heaven.

[B]

Now at least.

[A]

Come on, Carrie. Come on, boy. Get up. Wake up.

[C]

Why?

[A]

What's the matter, Kerry? He. He's not asleep. He's dead. You wanted him, Mr. Clay, but. But why didn't you tell me? When did he die? How. How old was he? 11 and a half, maybe 12. Pretty old for a dog. That's probably why he could come. What do you mean? What are you trying to do to me? Don't you realize I'm a sick man? Easy, easy, Mr. Clay. I won't take it easy. I won't stay here another minute. I'm leaving right now. Sorry, but I don't think we can permit. Oh, well, we'll see about that. You're getting yourself all upset for no reason, Mr. Clay, making it very difficult for the rest of us. Martin, you'd better let me have some of that bottle there. About 10 cc's. The red medicine. Yes. I. I don't want any medicine. I won't take it. Now, please, Mr. Clay. I won't. I tell you. No, I. I don't want the. I. Oh, it's awful salty. Tastes like. Yes, but I think you'll find that it will make things much easier for you. Very much easier. You're. You're doping me up. That's what you're doing. Putting me to sleep. You think that when I wake up I'll forget about everything. Yes, Mr. Clay, you forget about everything. Everything. I was somewhere deep down under the earth. It was a passageway, Stone flagged and with stone walls. And I was walking slowly down it in my bare feet. I could feel the chill of the coal stones through the thick layer of dust. The passageway stretched ahead of me endlessly, when suddenly I noticed that there were doors set into the walls on either side. Closed doors. And on each door there was a name. Abel. Abercrombie. Abington. Where was I? What was this place? What was behind those awful, ominously closed doors? Something seemed to be drawing me on, on down the terrible passageway. Addison. Agar. Alan. I could feel the cold creeping up my legs higher and higher, my heart pounding faster and faster. Then suddenly I knew. Knew where I was and where I was going. Knew what was waiting for me there ahead of me down the passage. Exerting all my will, I turned, tried to go back with a roaring in my ears. I was falling through the darkness.

[C]

Falling. Fall.

[A]

When I opened my eyes, I was in that cold, white room again, clutching the blankets with trembling hands.

[C]

How do you feel now, Mr. Clay?

[A]

You cried out, sir, as if a dream. The most awful, horrible nightmare I ever had.

[C]

A dream. The Doctor will be very interested. Would you care to tell me all about it?

[A]

Oh, I don't even want to think about it.

[C]

It was about your former life.

[A]

Former life?

[C]

Oh, I'm sorry. I shouldn't have said that. I meant here. Where are you going?

[A]

Get my clothes to get out of here. I won't stay here anymore.

[C]

You can't go. You can't. Martin, help me, please.

[A]

Don't you realize that if I do stay here, if I dream that dream again. Listen. I was in a passageway. An endless, eternal passageway. Like a corridor of doom. It stretched on and on to infinity, with doors. Closed doors on either side. And on each one of the doors, in alphabetical order, there was a name. The name of all those who had died since the beginning of time. I was walking down that corridor on my bare feet and why? Why are you looking at me that way?

[C]

You mustn't talk about that. You mustn't, do you hear? But you ask me, you didn't dream that dream. You couldn't have. And you've got to get it out of your mind. We'll help you. We'll give you a massage that should make you relax. The alcohol, Martin.

[A]

Right over there. Massage. You think that'll help?

[C]

If it doesn't, we'll call Dr. Stone. Try something, El.

[A]

I see now. What? What are you staring at?

[C]

Your feet.

[A]

On the soles. Dust. Thick gray dust. Dust like the Dust in the passage. The Corridor of Doom. And that means it wasn't a dream. It means I was really there.

[B]

Dirty feet on those nice clean sheets. No wonder our friend the nurse seemed so upset. Or was that the reason? Maybe she was just disappointed that he still hadn't told her about his operation, as that always has them in stitches. Great big stitches like the ones they take in a shroud.

[C]

Mr. Host, I'm afraid I just can't believe this story. I can't believe that it really happened.

[B]

Is that so, mary? You think Mr. Clay got that gray dust in his feet because he has feet of clay?

[C]

Mm, there you go again. Always looking on the discouraging side of things. I really do believe I'd rather talk to cheerful folk like those nice young men and women who sang that new Lipton tea song when I was at the studio. Sing a song of Liptons? Yes, that's the way people ought to feel about tea. Because you know, when you're feeling discouraged or tired, there's nothing quite like that brisk flavor of Lipton tea to perk you up. Yes, brisk means that Lipton's is never wishy washy. No, no, no, siree, as they say in the song. So when you've had a busy afternoon, or maybe when friends drop in for a little talk, pour yourself a cup of cheer with brisk flavored Lipton tea. It's got a special flavor that always tastes like home. And it always tastes like more, too.

[B]

Well, now I think it's about time to take another little walk. Yes, down the Corridor of Doom with our star, Boris Karloff. And by the way, don't be concerned about getting too tired because you'll only have to walk one way. That's the nice part of a trip like that. You don't have to worry about coming back.

[A]

I lay there staring down at my feet. No, it had not been a dream, for there on my feet was the thick, heavy dust from the Corridor of doom. I had been there walking down its awful silence, not in my mind, but in the flesh. My heart clenched like an icy fist that I threw the blankets aside, started to get up.

[C]

Mr. Clay, what are you doing? Where are you going?

[A]

Let me go.

[C]

But you can't get up. You can't leave.

[A]

Oh, let me go.

[C]

Oh, quick, help me.

[A]

Please, Mr. Clay, for heaven's sake, let me go. Don't you realize what this means? If it wasn't a dream, and if I stay here, go down to that horrible place again.

[C]

Make him quiet down some more of that medicine, Martin. Another 10cc, right?

[A]

Oh, no. No more of that. It's here, Mr. Clay.

[C]

You must take it. You must. It will make you sleep. Sleep so soundly that you won't be able to go down there again.

[A]

Oh, all right. Give it to me. Here.

[C]

You stay here, Martin. I'll go get Dr. Stone and tell him.

[A]

Better, Mr. Clay? I don't know. Color? Dark red. The taste, it's like. Yes, I know. And it makes me sleepy. My eyes get heavy and. Have you been here for a long time, Martin? No, not long. What. What is it like outside of this room? It's strange. Like no place else. And the other patients, what are they like? They're strange, too. Listen, Martin, I'm a rich man. You're the only friend I've got here. You. You've got to help me. Whether you're rich or poor doesn't matter. As for helping you, that's what I'm here for. Got to stay here. Watch me every minute. My heart, I don't think it will stand much more. My first sensation was one of cold. Numbing cold, creeping up my limbs. I reached for the blankets. Couldn't find them. Then I opened my eyes and I was there again. Back there in that awful, endless passage. That corridor of doom. The same stone wall. Stone floor covered with a thick layer of dust. The same doors with a name on each one on both sides of me. But now. Now I was up to the bees. That one there. Baba next with Babbitt, and then Backer. I tried to cry out, but I couldn't utter a sound. I tried to stop, check myself. My muscles didn't respond. Slowly, heavily, I continued walking on down that endless passage. Past Badger, Baffin, Bagley, past the bees and towards the sea. Towards a door with my name on it. My heart pulsed, pounding with terror. My breath rasped in my throat. Convulsively. I clutched at the wal, forced myself completely around. Then, as if I were fighting against a roaring gale, I drove myself back one step. I took two, three. And I stumbled. And was falling again. Falling through darkness. Complete, absolute, unending. And Doug, here we have the limu emu in its natural habitat, helping people customize their car insurance and save hundreds with Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug Limu.

[B]

Is that guy with the binoculars watching us? Cut the camera.

[A]

They see us. Only pay for what you [e-mail] Liberty. Liberty. Liberty. Liberty Savings. Very underwritten by Liberty Mutual Insurance Company and affiliates. Excludes Massachusetts. What makes work beautiful? It's when the people you hire become the people you admire when one journey ends and a new one begins. When leaders want to be learners LHH is your single talent partner for every step, helping you build strong teams, inspire leaders and guide careers with empathy, clarity and care. See [e-mail] beautiful recruitment, development, career transition LHH a beautiful working world. Even before I opened my eyes, I knew where I was. Back in my room, the sheets crumpled in my sweating hands. I lay there for a moment. I knew that this was my last chance. I knew what I was. Back in my room, the sheets crumpled in my sweating hands, slipped out of bed, tiptoed to the door of the room, opened at a crack and peered out a hospital corridor. And sitting at a desk halfway down it, the nurse. Could I slip past her? Then, at a table next to the door, I saw the telephone. A telephone. How I could get help was someone who would save me, take me out of this place. Picking it up quietly, I dialed my daughter's number. Alec Bartlett's wife.

[C]

Hello?

[A]

Jane? Oh, thank.

[C]

Hello?

[A]

Jane, it's your father. Listen, you've got to help me. You've got to come and get me. I'm at the hospital. Alex knows where.

[C]

Hello? Is anyone there?

[A]

Yes, can't you hear me? Didn't you hear what I said? It's your father and Jane. Jane hung up. I heard her, but she couldn't hear me. Something wrong with the phone. Her phone? I've got to get hold of somebody. Somebody? But who? Dr. Rogers might be out. If they come in while I'm phoning. Oh, I know, of course. Police headquarters, Ryan speaking. Hello, police? This is John Clay of Riverside Road. I'm at a hospital. I don't know where. Hello? Can't you hear me? Officer, for heaven's sake, listen. It's a matter of life and death. John Clay at a hospital. My son in law, Alec Bartley, can tell you. Well, hello, Officer. Officer, listen, don't hang up. Don't.

[B]

Nuts.

[A]

Officer. Officer.

[C]

Hello?

[A]

Anything the matter, Mr. Clay? Huh? Dr. Stone, your telephone. There's. There's something wrong with it. No, Mr. Clay, there's nothing wrong. Not with the telephone. That. But I tried to make two calls. Two different numbers and. I know. And you should have known, Nurse. All of them should have known what? Why couldn't they hear me when I could hear them? Why, yes, Dr. Stone, will you put Mr. Clay back into bed? No, I'm awfully sorry, sir. I only went out for a minute. Come on, Mr. Clay. No, no, leave me alone.

[B]

Please know you're struggling you know that, don't you?

[A]

Yes, I know, Doctor. I won't have to go back down there again, will I? Down to the corridor? That's not up to me. All right, Nurse. I think we're ready for another dose. The final one.

[C]

Yes, Doctor.

[A]

No, Doctor, no. Not that red medicine. Not again. I'm sorry, but you've had a lot of time. All the time we can give you.

[C]

All right, Mr.

[B]

Plain.

[A]

Oh, I will take it. You know what it means, Doctor. Why go back down there again? To the corridor? It'll be to the letter C, to the place where my name is. If he won't take it by himself. Perhaps you'd better help her, Martin. Yes. No.

[B]

No.

[A]

No, I won't again. I knew where I was before I opened my eyes. I could feel the dust under my bare feet. And through the dust, the biting chill of the coal stones. I was there, back in the corridor, walking down its silent length past the blank closed doors. For the names on the doors now, they were all Seas. Cabot, Caden, Cahoon. On I walked, the beating of my heart, the pounding of my pulse loud in my ears, on down the passage, no longer even trying to fight against what I knew was a bear. On past Cameron, Chelsea, Chiswick. And then, suddenly, terribly, one door. A door with my name on it, gaping, waiting for me. I tried to stop, to turn, but my legs carried me forward. I was but two doors away. I could see into it now, see that it contained nothing. Absolutely nothing. Not even a coffin. Just stone walls and a flat stone stab. I was turning, turning to step over the threshold. I made a last convulsive effort, personal. Heaven help me save. All right, Martin, pick him up. Yes, sir. Is it all over? Hello, Bartlett. In at the death, eh? I'll see if there's any pulse, of course, but I should think it is all over. It is stone, but not the way you think. Clay. He's not dead. No thanks to you. All right, get him up, both of you. Here, Mr. Clay, let me help you. It's all right, Martin. I'll be fine from now on.

[C]

But how?

[A]

Don't look so surprised, Alec. Mr. Martin is a detective. I hired him some time ago. You see, I had a feeling that something was wrong when that railing broke accidentally and I took that bad fall. So I decided I should investigate. You can't prove it. You can't prove anything. The first results of Martin's investigation showed me what bad financial shape you were in. And it was then that I realized that you had actually been trying to Murder me to get hold of my money. So I faked that story of having a very bad heart. You mean it? I thought it would give you the idea of trying something more subtle and less dangerous. And it certainly did. But you still can't prove anything. Not a thing. No. Don't you worry about that. Don't forget. Come back here, Bartlett.

[B]

You'll never have a chance to prove it. Come back, Bartlett.

[A]

You shot him. Killed him. Well, I couldn't have. I fired up in the air to get him to stop. Come on. I don't understand it. Not a mark on him. But he is dead. He was the one who had the bad heart. That's what gave me the idea of preten. Good heavens. Look at what this hallway was supposed to be. The corridor of doom. When I reached the door with my name on it, I was supposed to die. Look. Look at the name on that door there. The one right next to him. Bartlett. His name. So what? Nothing, Martin. Nothing at all.

[B]

Now, where do you think old Dr. Stone got the idea for that little alphabetical graveyard that's right for me, huh? You don't believe me? Then come on home with me tonight and I'll show you the one in the cellar of my house. What's more, I'll show you a door and a neat stone slab with your name on it.

[C]

Nonsense, Mr. Host. Mr. Clay just explained that the whole thing was a hoax. And I'm not going to sit here and hear you say otherwise.

[B]

Well, then don't sit. Stand up and we'll take a walk. Mary Bennett. Yes. Back to your name. Back to the bees. Baker. Bartlett, Bennett.

[C]

You don't scare me.

[B]

Yeah, well, how would you like it if we went to the elves and found a door marked Lipton?

[C]

Oh, why, that's fine. Inside, find a wonderful, friendly beverage. Lipton's the tea with the brisk flavor. The tea that's welcome at all hours of the day. Yes, the largest selling brand of tea in the whole world, Lipton tea.

[B]

And now a word of advice. If you should wake up tonight with a sudden chill, find yourself walking barefoot down a dusty stone corridor with doors on both sides of it, don't get excited. Just insist on a doom with a view. By the way, this month's Inner Sanctum mystery novel is the Whistling legs by Roman McDougall. Yes. In next week's Inner Sanctum story, directed by Hyman Brown and brought to you by Lipton Tea and Lipton Soup. Next week's story is about women. Yes, two women who like to be treated rough. Choke em to death, shoot em, murder em. They love you for it. And who do you think is going to be their boyfriend?

[A]

Hmm?

[B]

Yeah, that's right. Boris Karloff. Boris Karloff will be with us again next week because who else could love such women? So if you're in a tender mood, tune in next Tuesday. Until then, good night. Pleasant dream.

[C]

Folks. It's wonderful how quick and easy cooking can be these days. I guess some of you remember when it used to take half a day to make a pot of chicken noodle soup. But now we have Lipton's noodle soup mix. You might say Lipton's takes no time at all to prepare. And yet it has a fresh cooked chickeny taste. A real old fashioned homemade flavor. Yes, and it's brimful of tender golden egg noodles. Lipton's is grand for quick meals and it's also a perfect beginning for the most elaborate dinner. So don't forget to serve Lipton's noodle soup. And don't forget to tune in next Tuesday night for another inner sanctum mystery.

[B]

This is cbs, the Columbia Broadcasting System.

[A]

And Doug. Here we have the Limu Emu in its natural habitat helping people customize their car insurance and save hundreds with Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug.

[B]

Limu is that guy with the binoculars watching us. Cut the camera.

[A]

They see us. Only pay for what you need@liberty mutual.com savings. Very unwritten by Liberty Mutual Insurance Company affiliates. Excludes Massachusetts.