World's Best Dramas 41-08-18 Ep009 The Room Without A Door

Summary

Podcast Summary: "The Room Without A Door"

Podcast Information:

• Title: Harold's Old Time Radio
• Host/Author: Harold's Old Time Radio
• Episode: World's Best Dramas 41-08-18 Ep009 The Room Without A Door
• Release Date: April 19, 2025

Introduction

In the April 19, 2025 episode of Harold's Old Time Radio, titled "The Room Without A Door", listeners are transported back to the Golden Age of Radio. This episode, part of the World's Best Dramas series, presents a captivating radio adaptation of Henri de Balzac's 19th-century short story, La Grande British. Adapted for radio by Ranald R. McDougall, the play delves into themes of mystery, inheritance, and psychological turmoil within a decaying estate.

Plot Summary

The story unfolds at an old grey house near the village of Vendome, characterized by its dilapidated state—collapsed roof, weed-choked gardens, and a great oaken door hanging precariously on rusty hinges. The narrator sets the eerie atmosphere, emphasizing the themes of "mystery and desolation" that permeate the estate (00:02).

Inheritance and Arrival

Jacques de Marais, the young heir, arrives at the estate after inheriting it from his great uncle. Despite the house's somber condition, Jacques is greeted by Rosalie, the maid who served his great aunt. Their initial conversation reveals that modern improvements were deliberately avoided by Jacques' great uncle, resulting in the house's current state (02:15).

The Mysterious Room

Rosalie introduces Jacques to the estate's unsettling past, particularly the legend of "the room without a door." This room, once a tiny dressing area without windows, became the focal point of a tragic event involving Jacques' uncle and great aunt. The room's door has long been missing, leading to mounting tension and fear within the household (04:20). Rosalie hands Jacques a silver crucifix, signifying the curse associated with the room (05:16).

Arrival of Burgos de Ferridias

During a gathering, the Spanish officer Burgos de Ferridias is introduced as a prisoner of war. His interactions with Countess Josephine, Jacques' wife, reveal underlying conflicts and attractions. Burgos' presence adds another layer of complexity and tension, as he hints at dark secrets and unforeseen consequences (07:03, 08:08).

Unraveling Secrets

The narrative delves deeper into the tragic history of the house. Rosalie recounts the night when Jacques' uncle forced the workers to wall up the mysterious room, effectively imprisoning his great aunt inside. This act led to the deterioration of both Jacques' uncle and great aunt's mental states, culminating in her madness and eventual death (10:34, 11:40).

Confrontation and Revelation

Jacques becomes determined to uncover the truth about the room. Despite Rosalie's warnings and the haunting legacy left by his predecessors, he attempts to open the sealed door. However, the psychological weight and fear ingrained in the estate prevent him from proceeding, highlighting the enduring impact of the room's dark history (26:33, 27:46).

Climactic Resolution

In the climax, Count de Marais forces Rosalie and Josephine to confront the sealed room, urging them to reveal its secrets. Countess Josephine's desperate pleas and fragmented memories suggest that the room holds more than just physical space—it embodies the emotional and psychological scars left by past tragedies. The episode concludes with the unresolved mystery of the room, leaving listeners pondering the true nature of the estate's curse (24:35, 25:52).

Key Themes and Insights

1. Inheritance and Legacy: The transfer of the estate to Jacques de Marais symbolizes the burden of familial legacy and the struggle to overcome ancestral sins.

2. Isolation and Madness: The house's decaying state serves as a metaphor for the characters' psychological decline, particularly the great uncle and Countess Josephine.

3. Mystery and the Supernatural: The enigmatic room without a door embodies the unknown and the lingering effects of unresolved trauma.

4. Power and Control: Jacques' actions to seal the room reflect themes of control, suppression of truth, and the consequences of authoritarian decisions within a household.

Notable Quotes

• Narrator (00:02): "Everywhere an invisible hand has written the words mystery and desolation."

• Jacques de Marais (04:20): "He was afraid to go into any other room but this."

• Rosalie (10:34): "He was a devil, that Spaniard. I know."

• Count de Marais (17:36): "My dear, I told you that I'd never open that door."

• Countess Josephine (24:35): "All my life is contained in that room without a door."

Character Dynamics

• Jacques de Marais: The inheritor striving to reclaim his family's legacy while grappling with the estate's dark past.

• Rosalie: The loyal maid who holds the secrets of the estate, torn between duty and the haunting truths she guards.

• Countess Josephine: Jacques' wife, whose fractured psyche reflects the estate's cursed history.

• Burgos de Ferridias: The Spanish officer whose presence exacerbates existing tensions and unearths buried secrets.

Conclusion

"The Room Without A Door" is a masterful radio adaptation that weaves a haunting tale of inheritance, mystery, and psychological decay. Through its rich narrative and compelling character interactions, the episode captures the essence of the Golden Age of Radio, immersing listeners in a world where the past's shadows loom large over the present. The unresolved mystery of the room serves as a poignant reminder of how deeply entrenched secrets can dictate the course of lives and relationships.

Production Notes

The episode features a talented cast:

• Helen Clare as Countess Josephine
• George Baxter as Count de Marais
• Irene Hubbard as Rosalie
• Myron McCormick as Jacques de Marais
• Peter Capell as Burgos de Ferridias
• Supporting Players: Ethel Owen and Alfred Shirley

This production, aired on the Blue Network of the National Broadcasting Company from the RCA Building in Radio City, NY, exemplifies the high-quality adaptations that made radio dramas a cherished form of entertainment during their golden era.

Transcript Reference For detailed dialogue and scene progression, refer to the full transcript provided (Transcript).

Transcript

[Narrator]

The World's best. The National Broadcasting Company brings you again the world's best stories of love and hatred, beauty and death. The world's best the works of the greatest authors in the history of literature. Dickens, Dumas and Voltaire, Joseph Conrad, Chekhov and De Maupassant. All these authors and many, many others are represented on this program in radio adaptations by Ranald R. McDougall. Enjoy the world's this evening we're repeating a play which was the first presented in this series in May. The story is called the Room Without a Door and is based upon La Grande British by Henri de Balzac, great French writer of the 19th century. La Grande British is an old grey house a few miles outside the village of Vendome when our story begins. The roof of this house has long since fallen in. The balconies are covered with sparrow's nests. Weeds have overgrown the once beautiful gardens. The warp shutters flap mournfully in the wind. And the great oaken door swings upon its rusty hinges, unattended. Everywhere an invisible hand has written the words mystery and desolation.

[Jacques de Marais]

Hello?

[Countess Josephine]

Hello.

[Narrator]

As we watch, a young man fights his way against the rising wind toward the broken house. Past the crumbling gate, the weed covered sundial, up the twisted steps to the great oaken door that reels drunkenly with each gust of wind. What does he want here, this young man? What does he want?

[Jacques de Marais]

Broken the bell. Guess I pulled a little too hard. Hello? Anyone here? That's funny. I'll swear I saw a light when I was coming up the road. Hello? Oh, well, if there's no one here to welcome me, at least there's no one here to keep me out. I'll go in and make myself comfortable.

[Rosalie]

What do you want here, young man?

[Jacques de Marais]

What? Oh, I. I didn't see you standing there in the dark. I am Jacques de Marais.

[Rosalie]

So, what do you want here?

[Jacques de Marais]

Didn't my lawyer inform you? I've inherited this estate?

[Rosalie]

Well, I wish you much pleasure of it. Come in, young man.

[Jacques de Marais]

Oh, thank you. I think I will. Raw night out, isn't it? I said.

[Rosalie]

Yes, I heard you. You stand there while I light the lamps. We still have lamps here, you know. Your great uncle wouldn't allow any modern improvements after his wife died. The house was allowed to become as you see it now. Sit down.

[Jacques de Marais]

Oh, thank you. You're my great aunt's maid, aren't you? You were.

[Rosalie]

That is, I was. My name is Rosalie.

[Jacques de Marais]

Yes, Yes. I am Jacques de Marie.

[Rosalie]

So you said.

[Jacques de Marais]

Oh, yes, yes. Well, Rosalie, you and I must Be great friends. You'll have to tell me all about the fascinating legends about this wonderful old house. Well, it does have legends, doesn't it?

[Rosalie]

Yes, it does.

[Jacques de Marais]

I see. Well, that's fine. Now may I look around?

[Rosalie]

Nothing to see. Only empty rooms. You can see them in the morning.

[Jacques de Marais]

In the morning?

[Count de Marais]

Oh, yes.

[Jacques de Marais]

I suppose I might as well stay the night, now that I'm here.

[Rosalie]

You can have my bed. It's the only one left in the house.

[Jacques de Marais]

Well, that's very kind of you. Very. There's no other furniture left in the house, I think you said.

[Rosalie]

None except the bed and the chair you're sitting in. It belonged to your great uncle. He sat there after your aunt died, from dawn until dark. And after dark, he slept in that chair also. He never left this room but the.

[Jacques de Marais]

Rest of the house.

[Rosalie]

He was afraid to go into any other room but this.

[Jacques de Marais]

Afraid? Why? Are there ghosts in the house?

[Rosalie]

Perhaps. No one is sure. Your aunt knew, but she died without telling.

[Jacques de Marais]

I. I don't understand.

[Rosalie]

Nor does anyone. But you shall hear the story. It was your uncle's last wish. He asked me to stay here until you came. Give you this. Here.

[Jacques de Marais]

The light's dim. I. Oh, it's a silver crucifix. Looks like Spanish work. Figure is beautifully done.

[Rosalie]

It was your aunt's. She died with it in her hand, staring at the room without the door.

[Jacques de Marais]

What's that?

[Rosalie]

It is the curse of the house and the story your uncle asked me to tell you. On the floor above, overlooking the gardens, was your aunt's parlour and bedroom. She also had a tiny dressing room once. No windows in it, just the door, which is gone now. That's the room I told you of. The room without a door. This house is like an old man now. But once these rooms were filled with laughter and gay voices. Your uncle was a brilliant man and your aunt a beautiful woman. They entertained often and those they invited were happy to come.

[Amelia]

I'm so happy that you were kind enough to ask me here, Josephine. Your evenings are always so delightful. Josephine.

[Countess Josephine]

Oh, sorry, Amelia. I didn't quite catch what you said. I was looking at that dark young man over there. I don't believe I know him.

[Amelia]

Oh, I thought everyone knew. That's the Spanish officer. What's his name? Oh, dear. Oh, my. So. Well, Spanish. I do wish the French uniforms were a bit more on the exotic side. More tights and less, you know. But then.

[Countess Josephine]

Tut, tut, Amelia, don't be wicked. But tell me, what in the world is a Spanish officer doing here? In Vendome. We're still at war with Spain, aren't we?

[Amelia]

I suppose so. Not that it matters dreadfully. I believe he's some sort of a prisoner or something. I'll call him over.

[Countess Josephine]

Amelia.

[Amelia]

Oh, nonsense. It's your party. You have a right to know your guests. Young man, come here. Oh, my, my. Doesn't he walk nicely, though?

[Burgos de Ferridias]

Madame, I'm at your pleasure.

[Amelia]

You really? Well, so nice of you. Oh, but you naughty boy. You haven't paid your respect to the Countess. Your hostess. Josephine. This is Burgess D. Spanish officer, Burgos.

[Burgos de Ferridias]

De Felicidad y Cordoba. Diac Madame Ashanti.

[Amelia]

Yes, you should be. She's quite the most attractive thing in this awful province.

[Countess Josephine]

Amelia.

[Amelia]

Oh, tat tat yourself, Josephine. And now, if you'll pardon me, I want to speak to General Beaumarchais about changing the French uniform.

[Burgos de Ferridias]

Nice lady. She's been kind to me. Tonight I'm even more inadette than before. For the first time, I find something in this place to make my presence here bearable.

[Countess Josephine]

Do the Spanish always make love to women directly upon meeting them?

[Burgos de Ferridias]

No, Madame. It is not always necessary that we meet them first.

[Countess Josephine]

I see. Tell me, Don Paradias, I'm curious to know why you're here in Vendome.

[Burgos de Ferridias]

I am a prisoner of war. I've given my parole to your emperor. And I'm in the custody of the Count. Your husband? He was kind enough to ask me here this evening.

[Countess Josephine]

Strange he hasn't mentioned you. But then, he has been rather occupied recently.

[Burgos de Ferridias]

Oh, Madame, I cannot conceive of any occupation important enough to distract a man fortunate in being your husband.

[Countess Josephine]

You speak our language very well, Don Ferel Diaz. I presume that you've had a great deal of practice.

[Burgos de Ferridias]

Madame, I am a dead man. Your aim is unerring.

[Countess Josephine]

Yours is not done, Feladier. And I can assure you that your opinion of French women, which seems to be based upon an acquaintance with various Parisian shop girls, is not at all likely to make you popular in Vendome.

[Burgos de Ferridias]

Madame, an intelligent woman is a dreadful thing. However, I am not easily discouraged.

[Countess Josephine]

Nor insulted.

[Burgos de Ferridias]

I see, Madame. I'm the most fortunate of men. In my travels, I've encountered only two kinds of women.

[Countess Josephine]

Good and bad.

[Burgos de Ferridias]

No. Intelligent and unintelligent. The distinction you mentioned does not exist.

[Count de Marais]

Sounds like an interesting conversation.

[Burgos de Ferridias]

It was, my dear Count. I was telling your wife that between the choice of living a free man in Spain and being a prisoner in France, there is little distinction.

[Count de Marais]

Ah, it's nice of you to say so, Don Paretia.

[Countess Josephine]

Clever of him to say so. Husband. And now, if you'll pardon me, I see that our guests are looked after.

[Count de Marais]

Charming woman, isn't she, Don Fordia?

[Burgos de Ferridias]

Indeed, yes. And palligent. An interesting combination.

[Rosalie]

He was a devil, that Spaniard. I know. Your aunt was not the only woman in Van Dorme. Never mind. It's not a big man. But he was well grown. He had very small hands, and he treasured them. He had as many brushes for his hands As a woman has for a whole dressing table. He left them behind. I have them still.

[Jacques de Marais]

Where did he go?

[Rosalie]

The village. They said he had violated his parole, escaped the country. Only your aunt knew. She never told. You can find out for yourself, if you like.

[Jacques de Marais]

How so?

[Rosalie]

That room without a door. Upstairs. Break in the wall where the door used to be. And you will know whether the Spanish officer ran away or did not.

[Jacques de Marais]

What happened in this house? What went on here?

[Rosalie]

A quiet servant is like the furniture in a wealthy household. After a time, good servants cannot help overhearing conversations that were better whispered. I heard everything that night. Your aunt and uncle were beside themselves. No one else existed for them but each other. And the shadow of the Spanish officer. And pride. They were both very proud, you know, it was a night like this. Your aunt had long since gone to her rooms. Your uncle had been playing billiards with a neighbor until very late.

[Count de Marais]

A beautiful shot. That does it, Albert. I'm utterly routed.

An excellent game. And the 40 francs you owe me. Add to my pleasure in beating the best billiard player in France.

Oh, losing to you is a privilege, Albert. Here you are, dear friend.

Thanks. Rather late. I must get along.

I'll come to the door with you, Rosalie. Monsieur de Vriac's cloak.

I do hope you will make my apologies to Madame the Countess for keeping you so late.

It's quite all right, Albert. She's been rather indisposed lately. I'm staying in a different part of the house so as not to disturb her.

[Countess Josephine]

Your clock, monsieur.

[Count de Marais]

Thank you, Rosalie. You're a good girl.

[Rosalie]

I tried to be, Monsieur.

[Count de Marais]

You had better try a little harder. Where is that sleeve?

[Jacques de Marais]

There we are.

[Count de Marais]

Yes, Rosalie. I hear vague rumors that you and the Spanish officer have been sick.

[Rosalie]

Not true.

[Count de Marais]

That will do, Rosalie. Run along and cover the billiard table. What were you saying, Albert? Have Rosalie and Ferideath been seen together?

Several times, walking on the hill. It's nothing serious, though. Just gossip, I expect. But they say that the feridieth has been seen wandering about your mansion, Count.

Oh, dear, dear. I'll have the Countess speak to Rosalie about it. And thank you for telling me, Albert.

I thought you should know. Well, good night, Count.

Good night, my dear Albert. And thank you again. Careful of the steps.

[Jacques de Marais]

Right.

[Count de Marais]

Good night.

Good night. Rosalie.

[Rosalie]

Yes, sir?

[Count de Marais]

Has Madame retired?

[Rosalie]

I believe not yet, sir. Shall I ask her to come down?

[Count de Marais]

No, no, no. I'll go up. Look after the lights, Rosalie, and then come up to the Countess. I believe that she will want to speak with you.

[Rosalie]

Yes, sir.

[Count de Marais]

Here. Well, that's odd. She never talked to herself before.

[Countess Josephine]

Come in, dear.

[Count de Marais]

Thank you, my dear. Your dressing room. Didn't I see the door closed as I came in?

[Countess Josephine]

What? Oh, the dressing room. No, no, I don't think so. Perhaps the wind.

[Count de Marais]

Oh, yes, yes, perhaps the wind.

[Countess Josephine]

Has de Bruyek finally gone?

[Count de Marais]

Finally. I had to lose a billiard game to him before he was satisfied, the old boar. Odd thing, though. He is an old gossip, of course. But he did say something rather singular.

[Countess Josephine]

Really? What was that?

[Count de Marais]

He said there was talk of that Spanish officer having been seen on the grounds at night.

[Countess Josephine]

That's impossible. Impossible?

[Count de Marais]

Yes, that's what I told him. I said that Rosalie is much too proper to allow such attentions.

[Countess Josephine]

Oh, Rosalie. Well, you know how young girls are.

[Count de Marais]

Yes, I know. Very well, my dear.

[Rosalie]

Is madame ready for the coiffure?

[Countess Josephine]

It's all right, Rosalie. I put my hair up myself this evening.

[Count de Marais]

Oh, don't go, Rosalie. There's something you can do for me tomorrow. The painters are coming. You can help me move some things from Madame's dressing room.

[Countess Josephine]

No, no, I. I mean, I don't want my dressing room painted. I like it as it is.

[Count de Marais]

Do you really? Strange that you should change your mind since yesterday, Madame. Stay, Rosalie. There is someone in that room.

[Countess Josephine]

There is no one there.

[Count de Marais]

Then you have no objection to my looking for myself?

[Countess Josephine]

Wait. Before you open that door, remember this. If you find no one there, it will still be impossible for us to continue as husband and wife.

[Count de Marais]

You are right, Madame. I will not go into that room. In either case, it would separate us forever. Josephine, I trust you. I know that you would not commit a mortal sin to save your life. But I must ask one thing of you. Here. Take your crucifix. Swear to me before God that there's no one in there. I will believe you and will never open that door.

[Countess Josephine]

Please.

[Count de Marais]

I swear.

[Countess Josephine]

I. I swear it.

[Count de Marais]

Louder and repeat after me. I swear before God that there is no one in that room.

[Countess Josephine]

I swear before God that there is no one in that room.

[Count de Marais]

Very well. That will do. Very interesting. Crucifix you have there. I saw another like it recently. Where was it? Oh, yes. I believe it belonged to Burgos de Ferridias.

[Countess Josephine]

It's possible that he has one like it. I bought this from Dubibier, who got it, he said, from a Spanish prisoner who passed through here last year.

[Count de Marais]

Oh, really? Very interesting. Rosalie.

[Rosalie]

Yes, monsieur?

[Count de Marais]

I believe that our new gardener was a bricklayer before he entered my employ, was he not?

[Countess Josephine]

I think so, sir.

[Count de Marais]

Go and fetch him. Tell him to bring his tools and some mortar and bricks from the stable. And hurry.

[Rosalie]

Yes, sir. Yes, of course, sir.

[Countess Josephine]

What are you going to do?

[Count de Marais]

My dear, I told you that I'd never open that door. I will not. Nor will anyone else.

[Rosalie]

So I went after the gardener and told him to bring his tools and material. He was angry at being wakened. But when I told him what had happened, he became very quiet. I went back to your aunt's boudoir. I found her talking with your uncle. It seemed as though everything was all right, but there was an awful quiet in the air, as though we all expected a shriek of anguish at any moment. I kept looking at the door of the tiny dressing room, expecting it to open. It never did, nor has it from that night. Soon Jean came with the bricks and his mason tool.

[Count de Marais]

Jean, I want you to wall up that door. The door to that room. Tomorrow you shall be given 5,000 francs. Providing you leave this place and live where I tell you. And each year, for the rest of your life, or until both the Countess and myself are dead, you will be given 5,000 francs. That is the price for your silence as to what you are about to do. Agreed?

[Jacques de Marais]

Oui, monsieur.

[Count de Marais]

Then wall up that door.

[Countess Josephine]

Count. Before you do this thing, open the door and look into that room.

[Count de Marais]

Why, my dear? There'd be nothing to see. You sworn that there's no one in there?

[Countess Josephine]

Yeah.

[Count de Marais]

You have sworn it, my dear.

[Rosalie]

By morning it was done. The room no longer had a door. All that night, your uncle watched the workman putting in the bricks. Up and down he walked, watching the door, the mason and your aunt. He never said a word. Your aunt sat on the edge of her bed and stared dully as the work went on, clutching the silver crucifix in her hand. In the morning, the workman went away. Your uncle stood there silently for a long time. And he sent me into the next room for his cloak.

[Count de Marais]

Josephine. Josephine.

[Countess Josephine]

What is it?

[Count de Marais]

I must go to the city and make arrangements to pay the workmen. You will lie down and rest while I'm gone.

[Countess Josephine]

All right.

[Rosalie]

Your cloak, monsieur.

[Count de Marais]

Thank you, Rosalie. I am depending upon you to look after the Countess. Goodbye.

[Rosalie]

Rosalie. Madame.

[Countess Josephine]

Did the workman leave his tools here?

[Count de Marais]

Madame. Here.

[Countess Josephine]

Here, give me that trowel. Quickly. Help me take out the bricks. Oh, hurry. Don't let me do it. I saw him put them in. We must take them out again. Help me, Ros.

[Count de Marais]

Allow me to help you, my dear wife.

[Rosalie]

Pierre.

[Count de Marais]

I came back for that purpose.

[Countess Josephine]

Well, Pierre, you must let me open that door. You must look into that room.

[Count de Marais]

I will never look into that room.

[Countess Josephine]

You must, Pierre. You.

[Rosalie]

Jason.

[Countess Josephine]

What's that? What's that?

[Count de Marais]

The wind.

[Countess Josephine]

Pierre, let me open that wall. Please, I beg you. There's nothing in the room you'll be ashamed to see. I swear it to you. I. I wanted to have a cat. And I knew how much you hated them. That's all that's in the room, Pierre. A cat. I swear it. I.

[Count de Marais]

You've already sworn that the room is empty.

[Countess Josephine]

But the cat. He will die.

[Count de Marais]

I don't like cats.

[Rosalie]

Your aunt and uncle were locked in that room for nearly a month. In the beginning, there were many sounds in the walled up room. But when your aunt attempted to plead with your uncle, he would not permit her to speak. He'd merely say, you have sworn on the cross that there is no one in there.

[Jacques de Marais]

That's horrible.

[Rosalie]

Your aunt lost her mind, I think. She used to stare at where the door had been all day long. And even at night, by moonlight, I could sometimes see the glint of her eyes tearing at the door. And she wouldn't allow your uncle nearer. She'd look at him slyly and then begin to laugh. He was miserable.

[Jacques de Marais]

And why didn't uncle let her open up that? That room must have been terrible for him. Always wondering.

[Rosalie]

And he did wonder about it. Although nothing was ever said about the room for many years after that night. But just before your aunt died, your uncle could stand it no longer. It was awful to see him there by her bed, looking down at her so desperately. And her looking up and laughing. Laughing.

[Count de Marais]

Josephine, please. I beg of you.

[Countess Josephine]

What do you beg of me, Pierre? What is it you want?

[Count de Marais]

My darling Josephine, you must tell me.

[Countess Josephine]

Tell you what? My dear, my sweet.

[Count de Marais]

You want me to put it into words, is that it?

[Countess Josephine]

Yes. Put it into words again. Ask me, Pierre. Ask me. I want to hear you.

[Count de Marais]

Was there anyone in that room?

[Countess Josephine]

Ask me again, Pierre, and louder.

[Count de Marais]

Was there anyone in that room? Josephine, listen to me.

[Countess Josephine]

Yes, my sweet, my precious.

[Count de Marais]

You are going to die, Josephine.

[Countess Josephine]

I will not die.

[Count de Marais]

Yes, you will die. And not long from now, each second that passes brings you closer to the grave.

[Countess Josephine]

What do you want now, madman? You can't hurt me anymore. I'm finished, dried out. There's no pride in me. No spirit. No love, my darling. Nothing that would be of any use to you or anyone. All my life is contained in that room without a door. When you walled it up, you locked away everything that was beautiful between us. Now what do you want with this talk of death?

[Count de Marais]

Tell me what I wish to know.

[Countess Josephine]

I will not tell you. I swore that the room was empty. I pleaded with you to open it and see for yourself. You would not. Let the matter rest as it is.

[Count de Marais]

Josephine. Yes or no? Was there anyone in that room?

[Countess Josephine]

Look for yourself, Josephine.

[Count de Marais]

You are dying. It doesn't matter. You said yourself there's nothing left in you. That's true of me also. And I will die soon, too. But you will die in peace.

[Countess Josephine]

Look for yourself, Josephine. Look for yourself. Do you hear me? If you want to know whether or not the room is empty, open it up and look for yourself. Then you'll know. Not before. I'll never tell you, Pierre. I'll never tell you. I'll never tell you.

[Count de Marais]

Rosalie.

[Rosalie]

Yes, sir?

[Count de Marais]

You saw the beginning of this. You'll stay and see the end. Don't leave us, Rosalie, until we are both dead.

[Rosalie]

Oh, God have mercy on you both.

[Count de Marais]

Yes, quite so.

[Countess Josephine]

Look for yourself. Oh, Rosalie.

[Narrator]

Look after her, please.

[Count de Marais]

I'll not come here again.

[Rosalie]

Oh, sir, perhaps if you would.

[Count de Marais]

No, it's no use. There's nothing to be done. I will never look into that room, and she will never tell me.

[Countess Josephine]

Look for yourself.

[Rosalie]

Her uncle never said another word to her, and a few months later, she was dead. Still without telling. Poor, miserable creature.

[Jacques de Marais]

Where is that room without a door? Show it to me.

[Rosalie]

What are you going to do there?

[Jacques de Marais]

I'm going to open it. I'm certain that the room is empty. I'm going to open it up and make sure.

[Rosalie]

No. No, you won't open it.

[Jacques de Marais]

Won't I? Just show me the way.

[Rosalie]

Wait till I get the lamp. This way. But you won't open that door.

[Jacques de Marais]

What makes you so certain?

[Rosalie]

After your aunt was dead, your uncle used to sit downstairs and brood for hours. Then suddenly he'd snatch up a hammer and run upstairs to the room. But he never opened the door. He couldn't. He was afraid. And you'll be afraid, too.

[Jacques de Marais]

We'll see about that. Where is it? In here.

[Rosalie]

There. That wall over there. You can see where the workmen joined it to the panels. It shouldn't be difficult work. The mortar's all tumbled away. Kick it a few times and the bricks will tumble out. Go ahead. Open the room Without a Door that curses this house.

[Count de Marais]

I.

[Jacques de Marais]

I can't if it's empty. My uncle ruined his life and my aunts. If it is not empty. No. No.

[Countess Josephine]

I can't.

[Jacques de Marais]

Leave it as it is.

[Rosalie]

Leave it as it is. Your uncle used to say that. Leave it as it is. A room Without a Door.

[Narrator]

The World's Best, created by the great storytellers of all time. You have just heard a repeat broadcast of the Room Without a Door, a masterpiece of honorary de Balzac, based upon his short story La Grand British. We invite you to listen again next week at this same time when the World's Best, adapted for radio by Ranald R. McDougall will present no Hell for Sergeant Flaherty. Appearing in the World's Best Story for this evening were Helen Clare as the Countess des Marais, George Baxter as the Count de Marais, Irene Hubbard as Rosalie, Myron McCormick as Jacques Desmarais and Peter Capell as Bergos de Faradiev. The supporting players were Ethel Owen and Alfred Shirley. This is the Blue Network of the National Broadcasting Company, RCA Building, Radio City, NY.