Inner Sanctum 46-01-08 The Creeping Wall

Summary

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Inner Sanctum: "The Creeping Wall" (Original Air Date: January 8, 1946)

Podcast: Harold’s Old Time Radio
Host: Harolds Old Time Radio
Episode aired on podcast: October 19, 2025

Episode Overview

This gripping installment from the "Inner Sanctum Mystery" radio series, titled "The Creeping Wall," is a gothic psychological thriller centered on Karen Jeremy, a woman haunted by claustrophobia, dreams, and her obsession with beauty. Set in an imposing old mansion filled with unsettling mirrors and a sinister portrait, the episode explores Karen’s unraveling grip on reality as she is beset by fears both supernatural and psychological. The drama is punctuated by a macabre sense of humor from the show’s iconic host and rich with atmospheric effects characteristic of Golden Age radio.

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Key Discussion Points and Insights

1. Setting the Stage: The Squeaking Door & Themes of Fear

• The show opens with the host's signature dark humor, inviting listeners to "pick yourself a place to stand... or stretch out on the floor... You’ll have plenty of company before we get through with tonight’s list of victims." (00:39)
• Immediate mood: Expect the macabre blended with tongue-in-cheek commentary, setting up the expectation of a chilling tale.

2. Introducing Karen’s Claustrophobia and Nightmares

• Karen begins recounting her irrational fear of walls in her own home—walls that seem to close in on her. (03:12)
  • Memorable Quote:
    “Can you think of anything more absurd than being afraid of the walls in your own home? Why I should feel that way, I don’t know.” (03:12)
• A vivid nightmare sequence: Karen dreams the walls physically move to crush her, freezing only when she lights a match, signifying her desperation and fragile mental state. (03:29–05:40)

3. The Incident and Escalating Tension

• The stress manifests in reality: Karen, in a moment of fear, seemingly sets the curtains on fire (matches found on the floor), though she cannot recall doing so. Horace, her husband, suggests medical help. (06:30–07:14)
• Dr. Gustafson analyzes Karen, suggesting her obsession with beauty and aging is at the root of her fears:
  • Notable Quote:
    “You have an obsession about being beautiful... That’s why you’re afraid of close scrutiny. That may account for your fear of close spaces.” – Dr. Gustafson (08:10)

4. A New Home, New Nightmares: Meadow Mansion

• In hopes of helping Karen, Horace surprises her by buying "Meadow Mansion," a sprawling estate formerly owned by a naturalist. (09:18–10:24)
• The house is filled with cages of animals waiting for relocation:
  • Karen becomes fixated on a caged Bushmaster snake, empathizing with its plight, an allegory for her own feelings of entrapment. (11:54–13:06)
• Tragedy strikes: The snake escapes and kills Mr. Swanson, the rental agent. Karen insists she did not open the cage, but doubts linger. (13:24–14:18)

5. The Haunted Drawing Room: Mirrors and the Delilah Portrait

• The mansion’s drawing room dazzles Karen with its numerous mirrors—a symbol that will torment her later. She is unsettled by a provocative painting of a woman named Delilah, sparking jealous unease. (10:46–11:32; 18:31–19:15)
  • Notable Quote:
    “She looks evil to me.” – Karen (11:41)
    “You’re just jealous of her. You’re jealous of any beautiful woman, even if she’s only a painting.” – Horace (18:43–18:49)

6. Climax: Paranoia, Violence, and Breakdown

• Karen, obsessed by the Delilah painting, attacks it with a knife. A confrontation with Alice, the maid, spirals into violence—Alice is killed (possibly accidentally). (19:15–21:01)
• Karen desperately tries to hide the evidence and herself:
  • Notable Moment:
    "She was lying on the floor... I didn't stab. It wasn't me... I hid her in the closet because I didn't think you'd believe me." (21:03–24:25)
• Horace uncovers the truth about Alice's disappearance. Karen’s mental state collapses as she sees the walls closing in physically and psychologically. (24:38–25:29)

7. Supernatural Denouement: Mirrors, Delilah, and Escape

• The mirrors come to life—Karen sees hideous versions of herself multiplying and moving between mirrors. Delilah’s portrait comes alive and mocks her, even physically attacking by cutting Karen’s hair. (25:43–27:03)
  • Notable Quote:
    "All the images of me began to come out of the mirrors right into the room. It was incredible. They were all ugly." (25:43)
  • "I'm Delilah and I'm going to cut off your hair..." (26:47)
• The spirit of the mansion offers Karen salvation within the confines of the painting.
  • Notable Dialogue:
    “If you get into the picture frame, they won’t be able to harm you. Quickly, quickly, before Delilah comes back.” (27:41)
• Karen’s transformation—her beauty restored in death/trapped within the portrait.

8. Host’s Epilogue: Grim Humor and Reflection

• The host returns, darkly joking about the night’s body count ("...we certainly framed her.") and breaking the fourth wall with playful banter about the macabre story’s "lifelike" (or death-like) results. (29:05–29:13)

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Notable Quotes & Memorable Moments (with Timestamps)

• "Can you think of anything more absurd than being afraid of the walls in your own home?" – Karen, 03:12
• "I had to light matches to stop them. Oh, Horace, it was ghastly." – Karen, 05:30
• "You have an obsession about being beautiful... that may account for your fear of close spaces." – Dr. Gustafson, 08:10
• "She looks evil to me." – Karen about the portrait of Delilah, 11:41
• "You're jealous of any beautiful woman, even if she's only a painting." – Horace, 18:43
• "I didn't stab... It wasn't me. It couldn't be me." – Karen after Alice’s death, 21:01
• "All the images of me began to come out of the mirrors right into the room... They were all ugly." – Karen, 25:43
• "If you get into the picture frame, they won't be able to harm you. Quickly, quickly, before Delilah comes back." – The Spirit, 27:41
• "As for our heroine, it's true we didn't kill her off, but we certainly framed her." – The Host, 29:05

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Timeline of Key Segments

| Timestamp | Segment/Scene | |-----------|--------------------------------------------------| | 00:39 | Host’s macabre introduction | | 03:12 | Karen’s first account of fear, haunted by walls | | 05:30 | Nightmare of the walls closing in | | 06:30 | Real-world fire incident, Horace intervenes | | 08:10 | Dr. Gustafson’s session with Karen | | 09:18 | Horace buys Meadow Mansion | | 13:06 | Bushmaster snake escapes — Swanson is killed | | 18:31 | Karen’s fixation on Delilah’s portrait | | 19:15 | Karen slashes painting, confrontation with Alice | | 21:01 | Alice’s death and cover-up attempt | | 24:38 | Horace discovers the truth | | 25:43 | Mirrors come alive; Delilah attacks Karen | | 27:41 | The spirit offers Karen escape into the painting | | 28:19 | Karen, youthful again, speaks from the frame | | 29:05 | Host’s closing, meta-jokes about story events |

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Tone and Language

• The episode maintains a blend of suspenseful, Gothic horror and dark, self-aware humor throughout.
• The Host’s witticisms provide levity and commentary, while Karen’s narration is emotional and increasingly unreliable, oscillating between terror, sorrow, and delusion.
• Dialogue often teeters between melodramatic and chillingly understated, reflecting the conventions of 1940s radio mysteries.

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For New Listeners

This episode is a classic example of "Inner Sanctum Mystery" at its best: atmospheric, psychological horror laced with sly humor. Listeners will find themselves drawn into Karen’s crumbling psyche and the story’s supernatural undertones, right up until the infamous twist ending where art, death, and madness blend inside the haunted walls of Meadow Mansion.

Whether you’re a fan of radio drama or new to Golden Age audio mysteries, "The Creeping Wall" is a memorable journey through fear, obsession, and the dangers lurking in seemingly safe places—especially when haunted by the ghosts of beauty and age.

Transcript

[A]

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[B]

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[C]

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[A]

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[D]

Lipton Tea and Lipton Soup Present Inner Sanctum Mystery starring Irene Wicker. Good evening, friends of the Inner Sanctum. This is your host inviting you in through the squeaking door. Ease yourself in. The welcome bat is out. Pick yourself a place to stand. You have several choices. You can stand in awe or stand aghast or stand rooted to the spot. Or if you find you can't stand it at all, just stretch out on the floor and lie still. You'll have plenty of company there before we get through with tonight's list of victims.

[C]

Good gracious, Mr.

[E]

Host, I don't think I'd enjoy that company.

[D]

Well, they're not very lively, Mary. In fact, you may find them a little stiff at first, but they won't interrupt if you want to talk.

[E]

And you know, I do want to talk, Mr. Host. So suppose you go greet your other visitors while I have a little chat with our Lipton Lisners. You know, folks, sometimes when you're trying.

[C]

To describe a thing, you find it.

[E]

Very hard to think of just the right word. But that doesn't apply when you set out to describe Lipton tea. For Lipton is so different from other teas, its flavor is so extra special that there's a special word to describe it. Brisk. Yes, brisk is the tea expert's word for full bodied, tangy flavor.

[C]

Oh, but then why bother with words.

[E]

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[D]

That's a good idea, Mary. And now, friends, if you'll just reach over and switch off those harsh bright lights with we'll begin our story of the Creeping Wall by Sigmund Miller, starring Irene Wicker in the role of Karen Jeremy. Just let the soothing darkness envelop you like a straight jacket. You'll be surprised how nervous you'll feel. You care.

[F]

Now.

[C]

Can you think of anything more absurd than being afraid of the walls in your own home. Why I should feel that way, I don't know. My husband, Horace, seems to think it's just a case of NER walls are just made of wood and plaster.

[E]

Still, they give me a queer feeling.

[C]

Once, while sitting alone and reading, I had an odd sensation that the walls were tilting. I looked up. Sure enough, they were all leaning toward me. I closed my eyes, but when I opened them again, they were all straight again. It was a horrible experience. But a much worse thing happened to me. Last night I was asleep, dreaming that I was sitting in front of my vanity, making myself pretty. I was alone. It was late at night. Suddenly I noticed through the vanity mirror that the wall behind me was a little closer. I sat quite still for a moment. Then I turned round and it was closer.

[G]

You have to experience it to know.

[C]

What a dreadful feeling that is. A crunchy sound.

[G]

The opposite wall also had moved nearer.

[C]

I screamed. It was only a whisper. Then all the four walls began to hem me in.

[G]

They moved nearer and nearer. I could feel the cold of the walls filling the remaining space of the room. I was going to be crushed to death. There was a book of matches on the vanity. I lit a match and held it near the cold walls.

[C]

They stopped moving.

[G]

They were afraid of the heat.

[C]

And the match went up.

[G]

The walls began to move again. I lit another match. They stopped. I held it until it drained itself.

[C]

Out in my hand.

[G]

I frantically lit another one.

[C]

The last it flared up and then it died out.

[G]

The walls began to move. They were just inches away now. And one of them touched my hand. Icy cold and dreadful. In an agony of terror, I beat against the walls and I exclaimed with every breath of lightning. Karen.

[F]

Karen.

[C]

Karen.

[F]

What'?

[G]

What's the matter, dear? Don't let them crush me. Help me, Horace. Stop beating the walls.

[F]

Karen. What is the matter with you, dear?

[C]

Oh, I was dreaming.

[G]

The walls were closing in on me. I had to light matches to stop them. Oh, Horace, it was ghastly. I'll never forget it so long as I live.

[F]

Well, nightmares are always frightening, dear. You throw the covers off and the room's very cold. That's what probably brought it on. You forget it, darling. The dream won't come back.

[C]

We talked for a while and Horace dozed off, but I remained wide awake. I tried to sleep, but I couldn't.

[G]

I even tried counting sheep.

[C]

While I was counting, I got a sick feeling the walls were really closing in on me. I continued to count. 14, 15, 16, 17.

[G]

The walls were coming closer. I mustn't believe Was my imagination only in mind? 18, 19, 20, 21, 22. I could feel the walls hovering over me.

[C]

They were moving silently this time.

[G]

23, 24, 25, 26. Kevin. Kevin, get some water, quickly. The curtains are on fire. They were on fire. The flames were creeping up the curtains. Here. Help me pull the curtains down.

[C]

Here.

[G]

The water.

[C]

How did they get on fire?

[E]

Horace?

[F]

There's a book of matches on the floor. Karen. Here's a burnt out match.

[G]

I didn't do it. Oh, believe me, Horace. I swear I didn't.

[F]

Darling, you haven't been feeling well lately. I think you ought to see Dr. Gustafson. Who?

[G]

Are you sure don't believe me. I wouldn't do anything like that.

[C]

I couldn't.

[F]

You probably weren't aware of it. Probably nothing serious. Dr. Gustafson's a very good man. Now, now, now, now, Karen, don't be a baby. Darling. All of us get ill sometimes.

[C]

Dr. Gustafson is a little man with sharp eyes. I told him the whole story about the wall and the dream. Tried to be at ease. There was a mirror on his desk. And as I talked, I kept fixing my hair. Didn't look so well today. Two new gray hairs I had to pull out. Kept watching me very closely all the time. Asked me questions about my youth. I told him everything. Even about winning the beauty contest when I was 17.

[E]

He seemed very interested.

[F]

Mrs. Jeremy, seems to me you have an obsession about being beautiful. You're not as young as you used to be. Neither is your appearance. That's why you're afraid of close scrutiny. That may account for your fear of close spaces.

[C]

Went on like that. Looking at me as though I were a drab, middle aged woman. He didn't like me and I didn't like him. I didn't like the way he spoke to me. The way he watched me.

[F]

Karen, put the letter opener down.

[C]

I. I was just holding it.

[F]

You'll hurt somebody holding it that way. Don't I? No harm was meant, I'm sure. The first thing you should do, Mr. Jeremy, is to get larger living quarters. Your wife may be suffering from acute claustrophobia, among other things.

[C]

I was glad the visit to that horrid little Dr. Gustafson didn't influence Horace at all. He still loved me. Told me I was the loveliest woman in all the world. One day he came home in greatest sight.

[F]

Darling, I've got a wonderful surprise for you. I've just bought the famous Meadow Mansion.

[G]

Oh, Horace, do be careful.

[C]

You wash my hair. What is this Meadow Mansion?

[F]

Well, it belonged to John Aiken. You know, the famous naturalist. He was killed for a fellow, not of accident. It's a huge house, and you won't be troubled by walls, ever. Come on now, darling. We have to see the agent and sign lots of papers.

[C]

We went to the agent's office. Mr. Swanson was his name. A very friendly old man. He kept looking at me all the time he was talking.

[F]

Mr. Swanson, we'd like to take occupancy in the house right away. I. I don't think it's a good idea, Mr. Jeremy. You see, there's still a lot of Mr. Akin's property in the house and. Oh, well, we don't mind that. You don't understand. It's specimens Mr. Aiken's left there. Animals and snakes. They're waiting to be shipped to the zoo. Well, there's nothing to worry about. They're in cages, aren't they? It'd be very unpleasant if they weren't scared to death if snakes misadive. If you'd only wait a few more days, they'll all be shipped out.

[D]

Oh, don't worry about it.

[F]

We'll leave the animals strictly alone. We've just got to move in right away. Well, the house is so big.

[C]

I.

[F]

Guess you can manage. Here are the keys. And good luck to you both.

[C]

Meadow Mansion was magnificent. It was big and gracious. The rooms were huge and beautifully decorated. The high ceilings gave you a wonderful feeling of freedom. But the drawing room was loveliest of all. A large prism chandelier hung in the middle of the room, and the walls were paneled halfway up to the ceiling. But most exciting of all, each wooden panel had a darling little mirror set into it. There were easily a hundred such mirrors. It was very gay. You could see images of yourself anywhere in the room. They're all breathtakingly beautiful, except for a picture on the wall of a very flashy looking woman called Delilah.

[F]

Well, darling, how do you like our new home?

[C]

Oh, it's wonderful, Horace.

[G]

I love it all.

[C]

Everything except that picture.

[F]

We mean Delilah. That's a fine painting, dear, of a very beautiful woman.

[C]

She looks evil to me.

[F]

Darling, I do believe you're jealous. You needn't be. She isn't half as pretty as you are. Alice. Alice, answer the darkling.

[C]

We didn't talk about the picture anymore because Mr. Swanson, the agent, came in to see how we were getting on. I left Horace talking to him and I wandered into the next room. There were a dozen cages standing near the fireplace, ready to be shipped off to the zoo. There were mostly snakes and lizards in the cages. All of them were quite motionless, except one. It was labeled Bushmaster Venezuela. Very odd name for a reptile. Fearfully ugly, yet it fascinated me. Some four feet long, fat and clumsy looking, yet it slid round the cage with wonderful grace. Kept moving round and round, trying so.

[G]

Hard to get out.

[C]

It looked at me pleadingly. And then I found my hand on the safety catch.

[G]

I drew it away in horror.

[C]

Snake kept going round and round the four glass walls.

[G]

Must be maddening to have walls so close they touch you all the time. I remembered what a terrible feeling it was to be frightened. A wall. Then suddenly this snake was in the.

[C]

Middle of the floor.

[G]

Karen, don't move.

[E]

Good heavens.

[C]

It's out of the cage.

[G]

Stand still, Karen.

[C]

I didn't move, not one bit. I wasn't frightened. I was only wondering how it had escaped from the cage. Snake lay there in the middle of the floor with its head up, hissing. And it started to move.

[G]

It slid in a wide circle toward Horace and Mr. Swanson. It's coming towards me. I've got to get out ahead.

[E]

Hold.

[G]

Run.

[C]

But he didn't listen to Horace.

[G]

He started running. And the snake struck him. It struck him twice in the left. Then he continued running past me. Then suddenly he fell. I picked up a chair. He smacked it down the sink. He smacked it again and again and again, but it was dead.

[C]

His body, it's swelling. He's tired.

[G]

I didn't open the cage. I swear to you, I didn't. He's got it all by himself. Oh, the door must have been loose. Please believe me, Horace. I didn't open it. I couldn't have opened it. You must believe me. You must. Oh, you don't.

[D]

Oh, you know, I'm really upset about poor Mr. Swanson. He hardly opened his mouth in the story when he was out like a lion. Not a nice way to make an exit. I'm really sorry we had to lose the Bushmaster. A very valuable reptile. And we could have used it in another story. But that's the way it is in our business. Our losses are terrific. Houses burned down, money is stolen. Characters die away on us. Every week it's something else. It's simply murder.

[E]

You do have a lot of trouble, don't you, Mr. Host?

[D]

Mary, we have so much trouble on Inner Sanctum. Even our troubles have trouble.

[E]

I think there are times when all of us feel that trouble is piling up on us. But you know, friends, I found a good way to get over that feeling, just say to yourself, I'm going to relax and have a cup of Lipton tea. Then when you're comfortably seated with your teacup within easy reach, give your mind something pleasant to think about that Lipton.

[H]

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[B]

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[E]

Notice Lipton's deep amber color and its welcome familiar fragrance that's so tempting. Then taste it and discover how really delicious that brisk flavor is. For real enjoyment anytime during the day, just take a few minutes out to enjoy a piping hot cup of brisk flavored Lipton tea.

[D]

Well, I'll certainly give you a suggestion to try. Mary and now friends, if you'll give me your hand, we'll go on with the stone. Or would you rather take yourself in hand? Things are going to be a little rugged from now on, so take a firm stand, sit tight and buckle down. And it won't be a bad idea to grit your teeth and square your shoulders at the same time.

[F]

By the way, if you can do.

[D]

All those things at once, let me congratulate you.

[F]

You're quite an athlete.

[D]

Here she is. Karen. Jeremy.

[C]

We'll be over a long time. I don't remember how long. Weeks, maybe months. Horace never spoke about that horrible afternoon. After a while, I stopped thinking about it. I liked my new home. Meadow Mansion was such a beautiful place. I rarely left it. I love best of all the drawing room with its darling little mirrors in the wooden panels. I could see myself from all sides. It was so much fun. My absurd fear of wars was beginning to fade away. There's only one thing that irritated me. That was the picture of Delilah. I was determined to get rid of it.

[F]

Karen, stop glaring at that picture.

[C]

I don't like it, Horace. I wish we'd get rid of it.

[F]

It's a fine work of art.

[C]

Why, I don't care. An evil picture to me.

[F]

Karen, look here. You're just jealous of her. You're jealous of any beautiful woman, even if she's only a painting.

[C]

You. You don't care for me anymore.

[F]

That is a ridiculous thing to say. You know it's not true.

[C]

If you really love me, you take that picture down off the wall.

[F]

That picture is staying right where it is now. It's for your own good. I'm going out for a walk. And, Karen, I absolutely forbid you to touch that picture. I'm in it.

[C]

I sat there for quite a while staring at that picture that was upsetting my life with Horace. He was always kind and gentle with me.

[G]

For the first time he'd ever lost his temper.

[C]

I looked at Delilah with a gleam of white teeth between her full lips. She was an abandoned looking thing. Her long hair cunningly untidy. Her eyes sparkling black. Shameless. She seemed to be laughing at me. I made up my mind Horace would understand. I got a knife from the kitchen and I pulled a chair over to the picture. And I stood up on the chair. Then began to flash down the length of the picture. Mr. Jarrah, what are you doing? It's no business of yours. Go away, Alice. Oh, you mustn't do that. Mr. Jeremy will be angry. I told you, it's none of your business. Please. Please come down off that chair.

[G]

You're destroying a beautiful painting.

[C]

You meddling little fool.

[G]

I'll teach you to interfere.

[C]

Mrs. Jeremy.

[G]

I've put up with you for a long time. Nobody's ever dared to slap me.

[E]

You.

[G]

You vicious, miserable hag. That's what you are. A Hag. For years I've pampered you. I've always told you how beautiful you were, how lovely you looked. Well, maybe you were beautiful once, but now you're just a self centered, haggard old woman. But just look at your face.

[F]

Your.

[C]

She was lying on the floor. Violet.

[G]

I didn't stab. It wasn't me. It couldn't be me. I wouldn't do such a thing. I looked at myself in the paneled mirror.

[C]

I looked pale.

[G]

My hair was all untidy.

[C]

And I thought of Horace.

[G]

He would never believe I didn't do it.

[C]

And look at me in that piercing, sad way. No, no, he mustn't see the body.

[G]

I must hide it before he gets back. I dragged her over to the closet and I hid her body in the corner. I locked the door with a key.

[C]

There was blood on my hand.

[G]

I don't know how it got there, but I had to wash it off. And the knife and threw it in the garbage pail.

[C]

There was blood on the carpet too.

[G]

I took a scatter rug and carefully placed it over the spot.

[C]

And I sat down and waited for.

[G]

Horace to come home. The room was very queer. The chandelier seemed to be lower. All the walls, they seemed a bit closer. I sat there fighting off that old terror, praying and praying that Horace would come forth. As soon as he came. I put my arms around him and never let him go again. Never, never, never let him go. And I heard the door. Not turning, I hurried over to the door.

[E]

Hello, Karen.

[G]

Oh, darling, darling, darling, I'm so sorry. It was all my fault.

[C]

Please forgive me.

[G]

Horace.

[C]

I can't bear your being angry with me.

[G]

Please say you forgive me.

[F]

That's all right, Karen. I shouldn't have lost my. What happened to the painting? It's cut.

[G]

I don't know what came over me. But you see, I didn't cut at all.

[C]

I stopped.

[G]

It does cut a little.

[C]

I can repair it.

[G]

It'll be just as good as new. I'll never do it again. I swear I'll never touch it.

[F]

Well, it's not too badly damaged. I'll get Alice to take it over to the art shop. Maybe they can repair it.

[G]

Alice isn't here.

[C]

She's gone to get her blue coat from the tailors.

[F]

Karen, that is not true. Alice got that coat this morning. Where is she?

[G]

I don't know where she is.

[F]

Karen, you do know. Where is she?

[G]

She was here just a little while ago. She must have gone out.

[F]

Alice. Alice, I'm going to find.

[G]

No, no, please don't leave me.

[F]

Please, Horace, tell me where she is. Karen.

[C]

I can't remember.

[G]

I can't remember anything.

[F]

Karen, did you do anything to her?

[G]

No, no, no. Not yet.

[F]

You are not telling me the truth. Something has happened to her and you're hiding it. Now I'm going to find her. She must be somewhere.

[G]

No, no, no. She isn't in the house.

[F]

How do you know she's not here if you don't know where she is?

[G]

I. I didn't mean that.

[F]

I'm going to look around. There's blood on the floor. Near the closet.

[G]

Yeah, I cut my finger.

[F]

Closet is locked. Have you the key, Karen?

[E]

No.

[G]

No, I don't have it.

[F]

Karen, give me that key.

[G]

Karen. You killed her.

[E]

No.

[G]

I didn't kill her. I couldn't do such a thing. I saw her lying there on the floor. No. I hid her in the closet because I didn't think you'd believe me. But I didn't kill her. I didn't. I didn't do it.

[F]

I'm going to get Dr. Gustus and Karen. Maybe you can.

[G]

No. Please don't go. I can't bear being alone. The walls, they'll. They'll crush me if you leave.

[F]

I'll be back as soon as I can.

[C]

He left me in the room all alone. Looked at myself in the mirror. All my beauty was gone. I looked haggard.

[G]

I wasn't beautiful anymore. My face was all wrinkled and pale.

[C]

My hair hung down lifelessly.

[G]

I was ugly.

[C]

Oughtn't that Horace see me now?

[G]

I looked evil.

[C]

I bolted the door.

[G]

I didn't want him to come back and see me looking this way.

[C]

He would hate me. The walls were moving again.

[G]

They were very clever. They waited for Horace to leave. They were afraid of him. Looked at myself again in the mirror. There were dozens of me. And something very strange happened.

[C]

All the images of me began to.

[G]

Come out of the mirrors right into the room.

[C]

It was incredible. They were all ugly.

[G]

They kept coming out of one mirror, going back into another.

[C]

I watched them.

[G]

They began to move very fast. In and out, in and out, in and out. Made my eyes hard to watch them. The walls are moving slowly, but they couldn't fool me.

[C]

I knew they were moving because the picture of Delilah was nearer than ever. She was still laughing at me.

[G]

I could even hear her laughing. She pushed one leg out of the picture frame. Up she came, Polly, toward me.

[C]

Hello, Karen. Don't you? You think I'm beautiful. I didn't answer her, but she kept on talking to me. I'm deny her and I'm going to cut off your hair.

[G]

I. I couldn't stop her. He laughed as he cut my hair. It made me very, very sad. I began to cry. She began to cut faster and faster because the wall are very close now. I could even feel their coldness.

[I]

Don't be frightened, Karen.

[C]

I turned around a man I never had seen before. He had a kind, good face. He looked at me tenderly, admiringly.

[D]

I'm menu the spirit of this house.

[I]

You mustn't be afraid of me. I think you're beautiful. I've always admired you. You're even lovely on a delilah.

[G]

Oh, please help me, Mr. Meadow.

[C]

The walls are so close they're going to crush me.

[I]

If you get into the picture frame, they won't be able to harm you. Quickly, quickly, before delilah comes back.

[G]

Open the door.

[C]

Hurry.

[I]

You'd better hurry and climb to the frame, Karen, before it's too late.

[G]

Karen, open the door.

[I]

Hurry. You haven't much time. You'll be safe inside the picture.

[G]

Ms. Hat. Perhaps in the picture frame.

[E]

Karen.

[G]

You, you, you. Pat your hair off. It's amazing. She looks 20 years younger, but she's beautiful.

[C]

I'm safe now, darling.

[G]

The world can never get me, ever.

[D]

I think we did rather well tonight. Two of our characters were gathered to their forefathers. I'm sort of sorry about that maid. She seemed like a nice sort and I don't think it was quite kind to be so cutting to her. But that renting agent, you couldn't get an apartment out of him anyhow. As for our heroine, it's true we didn't kill her off, but we certainly framed her.

[C]

Well, it couldn't have been a very pretty picture, miss.

[D]

No, mary. But you'll have to admit it was remarkably lifeline.

[E]

Well, while you're admiring it, I have a few words for our friends listening in. You know, some people tie a string around their finger to remind them of things. Well, I'm not going to ask you folks to do that. All I want you to do is just remember all the good things I've told you about lipton tea and let them remind you to get a package of liptons tomorrow. Lipton's wonderful brisk flavor, its full bodied goodness mean more contentment in your tea cup. Remember, lipton's is the tea that gives you extra pleasure and extra satisfaction. Ask your grocer for a package tomorrow.

[D]

Well, that should be easy to remember, Mary. Well, friends, it's time to close the squeaking door until next Tuesday when we'll get together again for another killing time. Oh, by the way, this month's Inner Sanctum mystery novel is the Pavilion by Hilda Lauren. 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 called the Edge of Death. Feeling a little edgy already? Very interesting story. Yeah, it's sort of a mixture of Russian legend and modern psychiatry that tells of a beautiful and sinister old sword. But I'm sure you'll get the point. Until we meet on the Edge of Death next Tuesday.

[F]

Good night.

[D]

Pleasant dream.

[E]

Here's a grand dish to get your dinner off to. A good start. Lipton's noodle soup. It has all the homemade goodness and real chickeny flavor your family loves. Lipton's noodle soup is seasoned to perfection and it's full of tender golden noodles.

[G]

Hard to prepare?

[E]

Not a bit. It takes only a few quick minutes from package to soup plate. Economical, too. Costs less and makes lots more than canned soups. So get Lipton's noodle soup mix tomorrow. And don't forget to tune in next Tuesday night for another Inner Sanctum mystery.

[D]

This cbs, the Columbia Broadcasting System.

[H]

Time is precious and so are our pets. So time with our pets is extra precious. That's why we started Dutch. Dutch provides 24. 7 access to licensed vets with unlimited virtual visits and follow ups for up to five pets. You can message a vet at any time and schedule a video visit the same day. Our vets can even prescribe medication for many ailments and shipping is always free. With Dutch, you'll get more time with your pets and year round peace of mind when it comes to their vet care.