TRANSKRİPT 🔗
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And now, a tale well calculated to keep you in.
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Suspense.
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Perhaps I'm a coward.
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I don't know.
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In the years that have passed, I've never told this
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story to anyone.
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I've tried to justify my silence by assuring myself that
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no one would believe me.
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But sometimes I feel the guilt.
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Sometimes I feel it so strongly that I can run
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out into the street, stop the first man I see
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and tell him everything about the White House with the
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yellow shutters and the small brown chimneys. But then I think,
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why frighten him? Better that he go on believing that
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life is real. Life is earnest. The grave is not
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its goal.
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The Second Door.
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Starring and written especially for suspense by Robert Reddick.
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Some time ago, I made arrangements to rent a completely
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isolated house in the northwestern part of the country. The
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last leg of the journey there was made in an
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old station wagon. It was very late at night when
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we arrived and I instructed the man who drove it
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to let me off at the entrance to the long driveway.
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As I wanted to walk up to the house alone.
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With a heavy suitcase in each hand, I started up
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the long, gentle slope toward the house. At a point
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perhaps 30 or 40 yards on, the road turned sharply
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to the left, and up ahead it seemed there must
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have been a patch where the foliage of the overhanging
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trees grew less thickly together.
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For amid the utter darkness, a thin, eerie beam of
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light filtered down. shape.
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I had the impression that what I saw up ahead
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in this driveway in the middle of nowhere was a
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woman in a bright red dress, seated imperturbably in a chair.
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And suddenly, after I'd taken but a few steps further,
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this thing that I had been watching move definitely, clearly.
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For an instant, I thought an animal, but whatever it
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was remained in the filtering of light and continued to
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move back and forth in a slow, rhythmic pattern. and
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the sort of to-and-fro motion that one might set up
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at a rocking chair.
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Hello? Hello?
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Who is that up there?
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I strained my.
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Eyes to bring some sense of detail to this apparition,
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but incredibly, with each step I took toward it in the.
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Darkness, the dimmer it became.
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Until inconceivably, when I finally arrived at the spot where
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it should have been the brightest.
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There was total darkness. Darkness.
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And there was nothing there. Nothing but the unmistakable sound
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of a rocking chair. Rocking back and forth.
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Back and forth. Back and forth.
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After a few minutes, the sound of that squeaking chair
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slowly faded away. And I made my way onto the
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house where I lay awake through the night trying to
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find some reasonable explanation. As soon as it was daylight,
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I went back to that spot on the driveway where
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I found nothing to make the matter more understandable. And suddenly,
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quite distinctly, there was the sound of a man's voice
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calling out to me.
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Hello there.
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And quite nearby, a man stepped abruptly out onto the driveway,
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having come apparently along a footpath leading to the house.
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Well, I see you're an early riser, too. Lovely time
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of the day to walk about. My name's Italy. Howard Italy.
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I thought as long as we were going to be
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neighbors that I'd... Neighbors? Yes, I assume you've taken over
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the Lonegan place. Oh, yes. Yes, I have. Well, I
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have a place just north of you.
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Well, it was made perfectly clear there wasn't another house
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around here for miles.
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Oh, that's true enough, except for mine. Originally, you see,
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it was sort of a gatehouse, but it was cut off, remodeled,
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and sold to me. When was this? Uh,
Load full transcript
this is
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our seventh year. Of course, we use it only in
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the summer. We? Yes, my daughter and I. Uh, would
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you care to walk back with me to my house?
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I'd like you to meet Marilla.
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Tell me something, Mr.
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Adderley. Your, um.
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Your daughter... Yes? Does she own a bright red dress?
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What a curious question. Nonetheless, I wish you'd answer it.
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Well, I'm... Fred, I don't know. Why, do you have
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a preference for women in red dresses?
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By no means. Do you have a rocking chair, Mr. Edley?
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A what?
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A rocking chair.
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You're pulling my leg, aren't you?
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No, not at all. Do you have one?
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Oh, yes. Yes, we do have a rocking chair.
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The Italy House was a one-story building, white with yellow
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shutters and two small brown chimneys.
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It sat in the center of a moderate-sized clearing.
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The surface of this clearing was made up entirely of rock,
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actually of one enormous rock whose tap was flat as
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a sidewalk and level with the surrounding earth.
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Marilla! Yes, Father? We have a visitor.
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Hello. We thought we heard someone drive up last night.
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Oh, this is Mr. Saunders, my daughter Marilla. How do
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you do?
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It's a pleasure, Mr. Saunders. You have no idea how much.
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It was strange how attracted this girl and I were
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to each other from the very first. There was nothing
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precisely in what she said that would indicate how she felt,
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but there was something.
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unmistakable in her attitude, her manner, and the expression in
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her eyes.
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How long do you plan to be staying up here, Mr. Saunders?
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Oh, just until I unwind a little, maybe a month
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or so. Curiously, the only chair in the room was
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the rocker that Mr. Edley had said he owned. I
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took a step toward it.
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No, I wouldn't sit there, Mr. Saunders.
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Really?
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Why not?
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Well, it's... Yes? Well, it's a little unstable. Some of
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the rungs are loose. Oh, I see.
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It seems.
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Rather old.
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That chair belonged to my mother. She died last year.
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My father's sentimental about it.
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I hesitated to mention it. Well, Marilla, have you prepared
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that breakfast for me?
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Yes, it's in the kitchen.
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Well, then I suggest I get to it. Why don't
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you and Mr. Saunders take a stroll about and get
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to know each other?
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Shall we?
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I'll be working when you get back. Well, what sort
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of work do you do, Mr. Ederlein?
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Dr.
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Ederlein. Oh, really? Of what? Medicine? Oh, hardly. Of philosophy.
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Oh, now, let's go. You two can chat another time.
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Doctor? See you later, Mr. Saunders.
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Don't you think you'll be a little chilly?
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Oh, do you think so? Well, I'll get a jacket.
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Through the window, I could see her open the closet.
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And there, hanging in plain sight, was a bright red dress...
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I said nothing to her about it, hoping that in
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some way she'd get around to mentioning it or at
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least let something drop that would help explain what I'd
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seen in the driveway.
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But she didn't.
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We strolled about for some time and she spoke only
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of inconsequentialities. And when I asked her something specific about
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her background, she would respond with a non sequitur or
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direct my attention to some flower or passing bird. But
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with all, her attitude remained warm and friendly. I might
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even say inviting. And despite everything, I felt myself being...
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More and more drawn to her. At one point, I
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couldn't resist the impulse to reach out for her hands.
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Don't touch me.
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What?
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Please.
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I don't
understand.
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Don't come any closer.
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Marilla, what is it?
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We'd better go back now.
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What's the matter with you?
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Nothing. I'm perfectly all right.
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I tried to take hold of your hand. You backed
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away from me as if I were a serpent. Why?
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Please, I... Why did you do that?
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You looked absolutely terrified.
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I can't explain.
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You can't explain.
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Why can't you explain?
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I mean, I don't know why I did that.
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What, are you afraid of me?
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No.
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Well, then give me your hands. Why won't you give
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me a hand? Leave me alone, will you?
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Please, just leave me alone.
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She suddenly turned and started to run down the path,
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and at that exact moment, from a distance, we heard
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a voice calling out, screaming out, rather, as if in anguish.
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The path branched off just ahead, and I ran quickly
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in the direction of the screen. It was only a
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short distance at the point where the path came out
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of the woods, and I found myself on the cleared
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land that surrounded the Lonergan house.
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And there was no one there.
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No!
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Like the previous night when I'd heard the sound of
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the rocking chair coming out of nowhere, there was now
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only this agonizing scream for help again and again. Like before,
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the sound eventually faded away, but not before I had
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the distinct impression that what I had been listening to
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was the voice of Dr.
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Edley.
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I started back toward his house, but this time securitously,
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to make certain that I wasn't seen, I approached from
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the rear of the house. And keeping low, I scurried
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up to a partly open window.
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Marilla and Dr. Ederle were inside.
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It was your suggestion that I walk with him in
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the woods if you.
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How could I know that you were going to behave
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like an infatuated adolescent? Of course he was going to
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touch you. Batting your eyes, talking in whispers. What kind
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of behavior is that?
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Oh, I didn't know such things.
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Of course you didn't. It was outright flirtation. And then running.
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Imagine that. Running.
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What else could I have done?
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You could have used your wits.
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That screaming you did for help.
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It was the only possible way to distract him. I'd
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rather he was puzzled over that than have him discover
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the whole truth from you. Now I'm going down to
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his house and see if I can double talk our
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way out of this. Don't leave here until I get back.
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For a moment, Marilla stood in the open door.
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And then she turned and went to the bend of
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a long hallway where there were two heavy doors. She
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unlocked the narrow one and went in. Then, as quietly
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as possible, I made my way around to the front
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of the house and down the hallway to the door
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that Marilla.
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Had gone to.
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It was slightly ajar, and I could see most of
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the room with no difficulties. At one side, there was
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an enormous workbench completely strewn over with an infinite assortment of.
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Tools and electronic equipment. There were wires, tubes, lights, and meters.
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Marilla was seated before what at first appeared to be
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an ordinary television set. But there were curious labels above
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the three knobs that she was carefully adjusting. They read, respectively, latitude, longitude,
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and altitude. And she flicked a switch, and an image
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appeared on the screen. It was undoubtedly the Lannigan house.
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And it was a remarkably acceptable illusion, not only because
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the image was sharp and the coloring perfect, but because, astonishingly,
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the house was reproduced in its full three dimensions. The
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object had
roundness, depth, perspective. Except for the reduction in size,
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every detail seemed as credible, as palpable as the original.
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It seemed as if you could reach in and pick
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the very flowers near the lawn. I stood for a
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time watching this, fascinated by it, until Dr. Edderly came
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into view, crossing the lawn, approaching the porch.
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Mr.
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Saunders! Mr.
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Saunders, are you at home?
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His voice was entirely free of the usual amplification sound
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of electronic speakers. It was as clear as the miniature
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image of him that walked up to the door and knocked.
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And getting no answer, he went back toward the woods.
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At this point, Marilla must have.
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Must have heard me move slightly, before she suddenly turned,
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and in one motion she clicked off the set and
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came to her feet.
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That device, did he invent that?
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You mustn't stay here. He's coming right back.
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Well, there doesn't even seem to be an electronic speaker
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in that thing. Are there cameras, microphones, or does he
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merely twist those knobs?
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Oh, if he finds out that you've seen it... Then
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why is he keeping this a secret? It's not perfected.
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Is that true? Yes. Yes.
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Marilla, listen to me. You seem to be frightened by
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something that's going on around here. I know that I am,
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and I want to know what it is. Now, I
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also want to help you. There isn't much I can
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do if you won't tell me the truth. Now, what's
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in that other locked room?
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What?
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In the room next to this.
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My father works in there.
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Well, I'm sure he does, but at what? What does
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he work at in there?
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I can't tell you that.
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Why not?
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Because it's really his affair.
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But you do know what it is?
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Yes.
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You're going to unlock that door, Marilla. And you are
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going to unlock it now.
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Oh, please.
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Well, go on, Marilla. Why don't you oblige the gentleman?
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When a man is as curious about something as all that,
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I don't think he should be kept in frustration. Marilla,
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give me the key.
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Father, what are you doing?
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00:12:40.919 --> 00:12:43.340
Now, Mr. Saunders, if you'll just step this way.
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We walk to the second door where Dr.
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00:12:45.440 --> 00:12:48.500
Edley inserted the key in the lock. And open it.
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I looked into a very small room, the floor, walls,
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and ceiling of which were made entirely of frosted glass.
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And there was nothing else. It was empty.
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On the outside of the door, there was a panel,
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which he slid aside to reveal three knobs like the
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others I had seen, similarly labeled latitude, longitude, and altitude.
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Actually, Mr.
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00:13:08.840 --> 00:13:13.519
Saunders, there are microscopic perforations in the glass to admit air. Now,
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would you be good enough to give me the name
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of a place some distance away? The place? Anywhere you choose.
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Anywhere on Earth.
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Someplace I, um... I would like to see?
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No, Mr. Saunders. Someplace you'd like to be.
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I had no intention of stepping inside Dr. Edley's glass cubicle,
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but I was curious to see what might appear on
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the screens. And I gave him the general location of
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00:13:40.559 --> 00:13:41.639
the New England farm where.
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00:13:41.519 --> 00:13:41.919
I was born.
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Alongside in the hallway, there was a series of bookshelves.
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It held a selection of highly detailed atlases and charts,
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and from one of these, we determined the exact location
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00:13:50.070 --> 00:13:50.570
of the farm.
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Then he carefully adjusted the knobs.
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I watched from the doorway as the glass began to
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glow with colored light.
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And then, suddenly.
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Before me, What was for all the world an actual pasture.
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Trees and sky, flowers and grass. And in the distance,
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a barn with a silo leading like the Tower of Pisa.
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That barn, I played there when I was a child.
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Involuntarily, I must have taken a step toward it, for
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I heard Marilla's voice. Don't!
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Don't go in there!
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Be quiet.
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I turned around and I saw that Dr. Ederle had
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a gun in his hand.
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Stay where you are. Enjoy yourself. Play in the barn again, Mr. Saunders.
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00:14:26.129 --> 00:14:28.789
And now I was completely engulfed in this farmland scene.
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It was astonishing. It was as if I were a
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very part of it.
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If I had somehow awakened here, never having seen those
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blank glass walls, I would have completely believed that I
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was standing in this open countryside.
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00:14:43.429 --> 00:14:44.960
Where'd you come from, mister?
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00:14:45.120 --> 00:14:46.980
I turned. I saw a farmer standing what seemed to
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be about ten yards away.
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00:14:48.879 --> 00:14:53.860
Something I can do for you? Well, uh... No, no, I, um...
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00:14:54.519 --> 00:14:55.279
What you doing here?
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00:14:57.220 --> 00:14:57.759
Well, I.
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Lose your way?
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Well, not exactly.
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You see, I... Well, go on.
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00:15:07.379 --> 00:15:09.720
Well, I was born here. My family used to own
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this place. I just thought I'd look... Take a look around.
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00:15:14.399 --> 00:15:16.080
Yes. What's your name?
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Gordon Saunders. My father was.
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Dan Saunders. I heard of him. He had the place
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30 years ago.
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That's right.
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00:15:28.200 --> 00:15:32.100
Want to see the house? Well, I... Hey, come on.
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Turned his back and walked away.
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Bring that rake along, will you?
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It was lying on the ground near my feet. I
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00:15:40.269 --> 00:15:40.759
bent down.
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00:15:42.100 --> 00:15:44.220
But my hand didn't close about the handle of the
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rake as it would have ordinarily, but rather passed right
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through it as if it weren't there. Nothing but sounds
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00:15:50.059 --> 00:15:51.899
and images projected across the continent.
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00:15:52.059 --> 00:15:56.090
You coming? Uh, no, no, no. I'd rather be by myself.
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I'll just take a little walk around if you don't mind.
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Suit yourself.
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00:15:59.850 --> 00:16:02.350
We'll be up at the house if you change your mind. Well,
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00:16:02.370 --> 00:16:09.179
thank you very much. And he turned and walked further away.
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00:16:09.200 --> 00:16:13.970
He went on. Then suddenly there was the sound of
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00:16:14.029 --> 00:16:17.919
a key, and the door opened back into Dr. Edley's hallway. Somehow,
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00:16:17.960 --> 00:16:19.620
in an effort to save me, Marilla must have managed
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00:16:19.639 --> 00:16:21.340
to get the key and the gun away from her father.
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00:16:21.399 --> 00:16:23.559
It quickly opened the door of the cubicle and thrown
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00:16:23.580 --> 00:16:25.779
the gun down the length of a long hallway. As
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00:16:25.840 --> 00:16:28.179
I came out, she was grappling with him. Keep him
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00:16:28.200 --> 00:16:28.730
from reaching it.
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00:16:29.139 --> 00:16:31.340
Before I'd taken two steps toward them, he'd broken loose
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00:16:31.639 --> 00:16:33.610
and was running for the gun. It was obvious that
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00:16:33.620 --> 00:16:35.929
he'd reach it before either of us, and in a moment.
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00:16:35.750 --> 00:16:36.470
We'd both be helpless.
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00:16:36.669 --> 00:16:38.610
I had a revolver in my suitcase at the Lonegan place,
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00:16:38.649 --> 00:16:39.950
and I knew that our only chance was for me
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00:16:39.970 --> 00:16:40.289
to get it.
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I ran out of the house and into the woods.
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I got the gun and rushed back with it toward
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their house. I stopped just short of the clearing. I
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00:16:53.690 --> 00:16:59.269
walked carefully to the edge. The white house with the
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00:16:59.309 --> 00:17:03.549
yellow shutters and the two small brown chimneys.
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00:17:05.619 --> 00:17:10.220
Was no more. It had vanished completely, not a trace
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00:17:10.240 --> 00:17:10.359
of it.
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00:17:13.440 --> 00:17:15.819
I walked down into the clearing, bewildered, shocked, hardly able
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to accept the evidence of my senses. How do you know, Mr. Saunders,
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00:17:19.869 --> 00:17:24.250
that all of life is not an illusion? I didn't
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00:17:24.289 --> 00:17:27.630
even bother to turn or look about. For I knew
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00:17:27.690 --> 00:17:28.349
I'd see nothing.
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Can you hear me, Marilla?
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00:17:32.190 --> 00:17:37.200
Yes, I can hear you. I can see you.
390
00:17:39.160 --> 00:17:39.799
Are you all right?
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00:17:40.640 --> 00:17:44.960
She's perfectly all right. The house was never really here,
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00:17:45.039 --> 00:17:47.920
was it? I'm afraid not. Nor were you.
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00:17:49.700 --> 00:17:51.509
That walk we took in the woods, Marilla?
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00:17:52.029 --> 00:17:53.369
Like your visit with the farmer.
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00:17:53.529 --> 00:17:54.930
And it was you in the red dress?
396
00:17:55.650 --> 00:17:57.809
Yes. I'm sorry.
397
00:17:58.450 --> 00:18:00.680
I was doing some experiments. There was a short circuit
398
00:18:00.720 --> 00:18:02.380
and the image appeared in the driveway.
399
00:18:03.680 --> 00:18:06.480
And when I tried to touch your hand, Marilla... In
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00:18:06.500 --> 00:18:06.880
the woods?
401
00:18:07.000 --> 00:18:10.559
She moved away. We were careful that you never actually
402
00:18:10.660 --> 00:18:15.289
touched anything connected with us. Ourselves, the rocking chair, even
403
00:18:15.329 --> 00:18:17.930
the doors of the house were held or left open
404
00:18:17.970 --> 00:18:21.029
for you. The floor? What you felt under your feet
405
00:18:21.069 --> 00:18:23.650
was the same flat rock you're standing on now. What
406
00:18:23.690 --> 00:18:28.829
you saw was the illusion of floorboards. No, no, nothing
407
00:18:28.849 --> 00:18:33.609
to touch. As yet. As yet? We have five senses,
408
00:18:33.650 --> 00:18:34.710
haven't we, Mr. Saunders?
409
00:18:34.730 --> 00:18:34.799
Yes.
410
00:18:35.380 --> 00:18:38.779
You were quite beguiled by the use of only two. Well,
411
00:18:38.799 --> 00:18:41.980
I expect to have no particular difficulties with odors and tastes.
412
00:18:43.049 --> 00:18:46.009
But the sense of touch... You'd be interested to know
413
00:18:46.049 --> 00:18:49.230
that I've begun my experiments with the sense of touch, Mr. Saunders.
414
00:18:49.789 --> 00:18:54.990
And with very encouraging results. I'd considered conducting another experiment now.
415
00:18:55.849 --> 00:18:59.569
With you as the subject. With you. And with a
416
00:18:59.609 --> 00:19:00.609
bullet for my gun. Oh.
417
00:19:02.220 --> 00:19:04.640
But Marilla has pleaded your case. She's convinced me that
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00:19:04.660 --> 00:19:08.809
you're too sensible to tell anyone about all this. That
419
00:19:08.869 --> 00:19:09.990
no one would believe you.
420
00:19:11.529 --> 00:19:12.430
I don't imagine they would.
421
00:19:12.630 --> 00:19:14.650
She's also promised never to try to get in touch
422
00:19:14.670 --> 00:19:18.190
with you. And, of course, I have a way of
423
00:19:18.250 --> 00:19:19.990
keeping an eye on you, don't I?
424
00:19:21.470 --> 00:19:23.609
That house actually does exist somewhere.
425
00:19:23.650 --> 00:19:26.420
Doesn't it? Yes, but you won't try to find it,
426
00:19:26.470 --> 00:19:27.269
will you, Mr. Saunders?
427
00:19:27.309 --> 00:19:29.009
And, of course, your name isn't Ederle.
428
00:19:29.210 --> 00:19:32.000
I should think not. You know, I've thought of an
429
00:19:32.059 --> 00:19:34.740
interesting experiment we might conduct in the place of the
430
00:19:34.880 --> 00:19:39.150
one with the bullet. Marilla, I thought that since you've
431
00:19:39.170 --> 00:19:41.109
become so fond of our friend that you might want
432
00:19:41.130 --> 00:19:44.630
to say your last goodbye with the proper finality. That
433
00:19:44.670 --> 00:19:51.029
you might want to say it with a kiss. for
434
00:19:51.049 --> 00:19:51.509
a moment or.
435
00:19:51.490 --> 00:19:52.970
Two there was silence.
436
00:19:55.250 --> 00:20:00.259
And then I heard Marilla's voice very close almost in
437
00:20:00.299 --> 00:20:00.980
a whisper.
438
00:20:01.990 --> 00:20:05.660
I've never heard your first name would you tell it
439
00:20:05.720 --> 00:20:06.599
to me now.
440
00:20:08.940 --> 00:20:09.880
It's Gordon.
441
00:20:11.769 --> 00:20:13.730
Goodbye, Gordon.
442
00:20:16.299 --> 00:20:22.099
And then I felt Marilla's lips on mine. Gently. A
443
00:20:22.180 --> 00:20:24.640
tender pressure that lingered on my lips for a moment.
444
00:20:26.420 --> 00:20:27.000
And then was gone.
445
00:20:28.819 --> 00:20:31.650
And now, Mr. Saunders, now that I have given you
446
00:20:31.710 --> 00:20:34.750
your life, would you tell me in return if you
447
00:20:34.869 --> 00:20:36.089
felt Marilla's kiss?
448
00:20:38.630 --> 00:20:39.730
Yes, I did. Clearly.
449
00:20:40.529 --> 00:20:41.369
Unmistakably. Clearly.
450
00:20:43.490 --> 00:20:45.430
It was in every sense the kiss of a lovely woman.
451
00:20:47.470 --> 00:20:47.869
Except.
452
00:20:47.890 --> 00:20:48.109
Yes.
453
00:20:48.759 --> 00:20:49.259
Except what?
454
00:20:52.279 --> 00:20:57.200
That it was cold, Doctor. Cold as death.
455
00:21:05.839 --> 00:21:06.660
Suspense.
456
00:21:06.759 --> 00:21:07.160
Suspense.
457
00:21:10.019 --> 00:21:13.549
You've been listening to The Second Door, starring and written
458
00:21:13.589 --> 00:21:34.789
especially for suspense by Robert Reddick. Suspense is produced and
459
00:21:34.829 --> 00:21:39.049
directed by Bruno Zerato, Jr. Music supervision by Ethel Huber.
460
00:21:39.609 --> 00:21:43.309
Sound patterns by Walter Otto. Heard in tonight's story were
461
00:21:43.349 --> 00:21:47.789
Barbara Kassar as Marilla, Paul McGrath as Dr. Ederle, and
462
00:21:47.869 --> 00:21:49.470
Bob Dryden as the farmer.
463
00:21:50.119 --> 00:21:51.440
This is Stuart Metz speaking.
464
00:21:52.000 --> 00:21:55.279
Listen again next week when we return with Hide and Seek,
465
00:21:55.640 --> 00:21:59.119
written by Bob Corcoran. Another tale well calculated to keep
466
00:21:59.160 --> 00:21:59.500
you in.
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00:22:01.859 --> 00:22:02.700
Suspense.
468
00:22:04.599 --> 00:22:08.660
Now from suspense and from CBS Radio Network stations everywhere,
469
00:22:09.140 --> 00:22:13.799
anniversary greetings to radio station KSL, Salt Lake City, marking
470
00:22:13.839 --> 00:22:18.420
its 40th year of operation today. To 50,000 watt KSL,
471
00:22:18.740 --> 00:22:23.549
affiliated with CBS Radio since 1932. Many more years of success.
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00:22:24.509 --> 00:22:26.390
This is the CBS Radio Network.