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diff --git a/14095-h/14095-h.htm b/14095-h/14095-h.htm new file mode 100644 index 0000000..0fd605f --- /dev/null +++ b/14095-h/14095-h.htm @@ -0,0 +1,5885 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> +<title>The Project Gutenberg eBook of The Thirteenth Chair, by Bayard Veiller</title> +<style type="text/css"> +/*<![CDATA[*/ + <!-- + body { margin-left: 5%; margin-right: 5%; } + p { text-indent: 1em; + margin-top: .75em; + font-size: 100%; + text-align: justify; + margin-bottom: .75em; } + h1,h2,h3,h4,h5,h6 { text-align: center; } + hr { width: 50%; } + hr.full { width: 100%; } + .foot { margin-left: 10%; margin-right: 10%; text-align: justify; text-indent: -3em; font-size: 85%; } + .poem { margin-left: 10%; margin-right: 10%; margin-bottom: 1em; text-align: left; } + .poem .stanza { margin: 1em 0em 1em 0em; } + .poem p { margin: 0; padding-left: 3em; text-indent: -3em; } + .poem p.i2 { margin-left: 2em; } + .exposition { margin-left: 2em; margin-top: 1.5em; margin-bottom: 1.5em; text-indent: -2em; } + .stagec { text-align: center; margin-bottom: 1.5em; } + .quote { margin-left: 8%; margin-right: 8%; text-indent: 0em; font-size: 90%; } + .toc { margin-left: 15%; font-size: 80%; margin-bottom: 0em;} + center { padding: 0.8em;} + a:link {color:blue; + text-decoration:none} + link {color:blue; + text-decoration:none} + a:visited {color:blue; + text-decoration:none} + a:hover {color:red} + pre {font-size: 8pt;} +/*]]>*/ + // --> +</style> +</head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 14095 ***</div> +<h1>The Project Gutenberg eBook, The Thirteenth Chair, by Bayard Veiller</h1> +<hr class="full" /> +<div style="height: 8em;"><br /><br /><br /><br /><br /><br /><br /><br /></div> + +<h1> + THE THIRTEENTH CHAIR +</h1> +<h2> +A Play in Three Acts +</h2> +<h3><b> +BY BAYARD VEILLER +</b></h3> +<p> </p><p> </p><p> </p><p> </p> +<h6> + LONDON<br /> + SAMUEL FRENCH, LTD.</h6> + +<h4>1922</h4> +<p> </p><p> </p> + +<hr /> + +<p> </p><p> </p> +<p class="quote"> + All applications for a licence to perform this play, either by + professional or amateur companies, must be made to— +<br /><b> + Messrs. Samuel French, Ltd.,<br /> + 26 Southampton Street,<br /> + Strand, London, W.C.2,<br /> +</b> or their authorized representatives. +</p> +<p class="quote"> + The fee for the representation by amateurs is Five Guineas. +</p> +<p class="quote"> + In the event of more than one performance being given by amateurs, + the fee for each and every representation subsequent to the first + is Four Guineas. This reduction only applies when the performances + are consecutive (evening following evening, or evening following + matinée) and at the same theatre or hall. +</p> +<p class="quote"> + Upon payment of the fee, a licence will be issued for the performance + to take place, and no performance may be given unless this licence has + been obtained. +</p> +<p class="quote"> + Character costumes and wigs used in the performance of plays contained + in French's Acting Edition may be obtained from Messrs. CHARLES H. FOX, + Ltd., Acre House, 72 Long Acre, London, W.C.2. +</p> +<p style="text-align:center; border: thin; border-style: double; width: 75%; margin: auto;"> +THE ABOVE MENTIONED FEE IS<br /> +REDUCED NOW TO THREE GUINEAS<br /> +EACH PERFORMANCE. +</p> +<center><small> +Made and Printed in Great Britain by Butler & Tanner Ltd., Frome and +London. +</small></center> + + + + +<hr /> + +<center> +<a href="#h2H_4_0002">ACT I</a><br /> +<a href="#h2H_4_0003">ACT II</a><br /> +<a href="#h2H_4_0004">ACT III</a> +</center> +<hr /> + + + +<a name="h2H_4_0001" id="h2H_4_0001"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + THE THIRTEENTH CHAIR +</h2> +<p> +Produced at The Duke of York's Theatre, London, on October the 16th, +1917, with the following cast of characters:— +</p> +<table align="center" summary="Cast of Characters" style="margin-left:5%;"> +<tr><td> ROSCOE CROSBY </td><td align="right"><i>Mr. Charles Rock</i></td></tr> +<tr><td> WILLIAM CROSBY </td><td align="right"><i>Mr. Lionel Belcher</i></td></tr> +<tr><td> EDWARD WALES </td><td align="right"><i>Mr. Yorke Stephens</i></td></tr> +<tr><td> BRADDISH TRENT </td><td align="right"><i>Mr. Dennis Wyndham</i></td></tr> +<tr><td> HOWARD STANDISH </td><td align="right"><i>Mr Vane Sutton-Vane</i></td></tr> +<tr><td> PHILIP MASON </td><td align="right"><i>Mr. Arthur Finn</i></td></tr> +<tr><td> POLLOCK </td><td align="right"><i>Mr Charles Bishop</i></td></tr> +<tr><td> INSPECTOR DONOHUE </td><td align="right"><i>Mr. James Carew</i></td></tr> +<tr><td> SERGEANT DUNN </td><td align="right"><i>Mr. Frank Harris</i></td></tr> +<tr><td> DOOLAN </td><td align="right"><i>Mr. Denham Charles</i></td></tr> +<tr><td> HELEN O'NEILL </td><td align="right"><i>Miss Hilda Bayley</i></td></tr> +<tr><td> MRS. CROSBY </td><td align="right"><i>Miss Dorothy Hammon</i></td></tr> +<tr><td> MARY EASTWOOD </td><td align="right"><i>Miss Margaret Moffat</i></td></tr> +<tr><td> HELEN TRENT </td><td align="right"><i>Miss Ethel Carrington</i></td></tr> +<tr><td> ELIZABETH ERSKINE </td><td align="right"><i>Miss Grace Darby</i></td></tr> +<tr><td> GRACE STANDISH </td><td align="right"><i>Miss Gladys Maude</i></td></tr> +<tr><td> MME. ROSALIE LA GRANGE </td><td align="right"><i>Mrs. Patrick Campbell</i></td></tr> +</table> + +<p> +The scene throughout the play is the Italian Room in Roscoe Crosby's +House, New York. The time is evening. The second act takes place ten +minutes later than the first and the third act half an hour later than +the second. +</p> +<hr /> +<a name="image-0001"><!--IMG--></a> +<center> +<img src="images/illust-1.jpg" width="100%" +alt="" /> +</center> + +<a name="h2H_4_0002" id="h2H_4_0002"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h1> + THE THIRTEENTH CHAIR +</h1> +<h2> + ACT I +</h2> +<p class="exposition"> +<i>The</i> SCENE <i>is the Italian Room in</i> ROSCOE CROSBY'S <i>Home in New York. +It is a handsome room. A plan of the setting will be found at the end of +the play. As the curtain rises</i> Miss HELEN O'NEILL <i>and</i> WILLIAM CROSBY +<i>are discovered standing</i> R.C. <i>They are in each other's arms, and the +rising curtain discloses them as they kiss. The window blinds are +drawn.</i> +</p> +<p> +HELEN. I love you so. +</p> +<p> +WILLIAM. You are the most wonderful thing in all the world. +</p> +<p class="stagec"> +(<i>She gives a little laugh and moves away from him a step right</i>.) +</p> +<p> +HELEN. I can't believe it. +</p> +<p> +WILLIAM. That I love you? +</p> +<p> +HELEN. Oh, no, I'm sure of that. +</p> +<p> +WILLIAM. If there's any doubt in your mind, I'll prove it again. +</p> +<p> +HELEN. They'll see us. (<i>He takes her in his arms again and kisses her. +She laughs happily. And then turning a little stands with her cheek +pressed against his.</i>) Oh, my dear, my dear! +</p> +<p class="exposition"> +(MRS. CROSBY, <i>a fashionably dressed and extremely attractive woman, +enters from door down</i> L. <i>She closes the door. She stops for a moment +and watches the lovers and then with a little laugh comes toward them.</i> +MRS. CROSBY <i>is fifty-five and looks ten years younger. She has charm, +beauty and kindliness.</i>) +</p> +<p> +MRS. CROSBY (<i>coming to</i> C. <i>a step</i>). Don't move, you look so +comfortable! (<i>They separate quickly.</i>) Well, are you happy? (<i>To</i> R.C.) +</p> +<p> +WILLIAM. Oh, mother! +</p> +<p> +HELEN. Happy! +</p> +<p class="stagec"> +(MRS. CROSBY <i>crosses to</i> HELEN, <i>pats her hand and stands between</i> +WILLIAM <i>and</i> HELEN R.C.) +</p> +<p> +WILLIAM. Shall we tell 'em all? +</p> +<p> +MRS. CROSBY. Tell them? (<i>She laughs</i>.) What do you think they are? +Blind and deaf? It's been a perfectly wonderful dinner. You were so +blind to everything but each other. Oh, Billy, I thought your father +would have a fit. +</p> +<p> +HELEN. I thought he had an awful cold, he was coughing terribly. +</p> +<p> +MRS. CROSBY. Coughing? He nearly choked to keep from laughing. I told +him I'd send him from the table if he laughed at you. +</p> +<p> +WILLIAM. Why you never spoke to him once. +</p> +<p> +MRS. CROSBY. Child, explain to him that wives don't have to—Oh, I +forget you haven't learned that yet. You know, Billy, I can talk to your +father very effectively without words. +</p> +<p class="stagec"> +(<i>Crosses to below table</i> R.) +</p> +<p> +HELEN (<i>turning to</i> MRS. CROSBY). Mrs. Crosby— +</p> +<p> +WILLIAM. Mother, Nell's all fussed up because we've got money. She +thinks you'll think—I'm—what in novels they call marrying beneath me. +</p> +<p> +(<i>He and</i> MRS. CROSBY <i>laugh</i>. HELEN <i>looks a little hurt</i>.) +</p> +<p> +HELEN. Well, he is. +</p> +<p> +MRS. CROSBY. Nonsense, child, don't be silly. (<i>Sits down stage end of +table</i>.) +</p> +<p> +HELEN (<i>moving a step to</i> MRS. CROSBY). It's not silly, Mrs. Crosby. +Everyone will say it, and they'll be right. +</p> +<p> +WILLIAM. Let's settle this thing now once and for all, then. In the +first place it's all nonsense, and in the second it isn't true— +</p> +<p> +HELEN. Oh, yes, it is. +</p> +<p> +MRS. CROSBY. Oh, the first row! I'll settle this one. Nelly! +</p> +<p> +WILLIAM. Now then, Nell, out with it, get it all out of your system. +</p> +<p> +HELEN. In the first place, it's the money. +</p> +<p> +MRS. CROSBY. Yes, but—Helen— +</p> +<p> +HELEN. Please, let me say it all. You have social position, great +wealth, charming friends, everything that makes life worth—Oh, what's +the use? You know as well as I do the great difference between us, and— +</p> +<p> +MRS. CROSBY. My dear child, suppose we admit all that, what then? +</p> +<p> +HELEN. But don't you see— +</p> +<p> +WILLIAM (<i>embracing her in front of table</i> R.). You little idiot! +I don't see anything but you. +</p> +<p> +MRS. CROSBY. You love each other, that's the whole of it, children. +Suppose you listen to an old woman. +</p> +<p> +WILLIAM. Old! Huh! +</p> +<p> +MRS. CROSBY. Well, old enough. If Billy was the usual rich man's son it +might be different. There might be something in what you say. But thank +God he isn't. Mind you, I don't say he wasn't like most of them when he +was younger. I dare say he was, I know he went to supper with a chorus +girl once. +</p> +<p> +WILLIAM. Twice. +</p> +<p> +HELEN. What was she like? +</p> +<p> +WILLIAM. Like a chorus girl. +</p> +<p> +MRS. CROSBY. The trouble with you, my dear, is that you've been reading +novels. When Billy's father married me, I was a school teacher, and he +was a clerk. We didn't have any money, but we were awfully in love—we +still rather like each other. Now just for the sake of argument, suppose +we should have acted like stern parents, what would be the use? Billy's +in business for himself, he's making his own money, he can marry when he +wants to and as he wants to, and if you want my real opinion, I don't +mind confessing that I think he's pretty lucky to get you. +</p> +<p> +WILLIAM. There! +</p> +<p> +HELEN. But you know so little about me. +</p> +<p> +WILLIAM. Oh, rot! +</p> +<p> +MRS. CROSBY (<i>to</i> WILLIAM). Thank you, Billy. I was trying to think of +an effective word. (<i>To</i> HELEN.) You've been my private secretary for +over a year, and no matter how much my looks belie it, I'm not a bit of +a fool. I know a great deal about you. +</p> +<p> +HELEN. My family— +</p> +<p> +WILLIAM (C.). I'm not marrying your family! +</p> +<p> +HELEN. I'm afraid you are. +</p> +<p> +WILLIAM. Oh! +</p> +<p> +HELEN. There's only mother. +</p> +<p> +MRS. CROSBY (<i>rising and moving to</i> HELEN'S <i>side in front of table</i> +R.). Oh, my dear, forgive me. Your mother should have been here +to-night. +</p> +<p> +HELEN. No, my mother—Mrs. Crosby—mother doesn't go out—she'd be +unhappy here, and you'd be uncomfortable if she came. You'll find her +trying sometimes, you'll think she's common. Oh, don't misunderstand me. +She's the most wonderful mother in the world. And she's— +</p> +<p> +MRS. CROSBY. Suppose, my dear, that we take your mother for granted. +(<i>She crosses to a position between</i> WILLIAM <i>and</i> HELEN.) Take us as +you find us and we will try to be happy. +</p> +<p class="exposition"> +(<i>Enter</i> CROSBY <i>from door</i> L. <i>He is a fine-looking man of about sixty, +with a pleasant personality, a good deal of charm and that masterful +self-possession which sometimes marks the man of affairs. It is always +evident that the most delightful intimacy exists between himself and his +wife.</i>) +</p> +<p> +MRS. CROSBY. Well, Roscoe? +</p> +<p> +CROSBY (<i>moves to</i> L.C.). Welcome, my dear. (HELEN <i>crosses to him and +he takes her in his arms</i>.) +</p> +<p> +HELEN. Oh, Mr. Crosby—I— +</p> +<p> +CROSBY (<i>placing</i> HELEN L. <i>of him with arm still around her, reaching +his other hand to</i> WILLIAM). Bill, shake! +</p> +<p class="stagec"> +(<i>Father and son shake hands.</i>) +</p> +<p class="stagec"> +(CROSBY <i>looks at his wife and they laugh gently.</i>) +</p> +<p> +Shall I tell 'em? +</p> +<p> +MRS. CROSBY (<i>standing in front of table over</i> R.). I would. +</p> +<p> +WILLIAM (R.C.) Tell us what? +</p> +<p> +CROSBY (C.). You did this just in time. To-morrow I was going to forbid +you to have anything more to do with this young woman. +</p> +<p> +HELEN (L. <i>of</i> CROSBY). You see! +</p> +<p> +WILLIAM. What for? +</p> +<p> +CROSBY. Your mother and I felt that you were pretty slow with your +love-making—— +</p> +<p> +WILLIAM. Oh, mother! +</p> +<p> +CROSBY (<i>continuing</i>).—and I knew darned well that if I interfered, +you'd take the girl out and marry her. +</p> +<p> +HELEN. Oh! +</p> +<p> +WILLIAM. You old schemer! +</p> +<p> +CROSBY (<i>crossing over</i> R.C. <i>below</i> MRS. CROSBY). I bet it would have +worked. +</p> +<p> +WILLIAM (<i>as</i> CROSBY <i>crosses</i> R. WILLIAM <i>slaps him on the back</i>). +It would. (<i>Crosses behind</i> HELEN <i>to</i> L.C.) +</p> +<p class="stagec"> +(<i>The door down</i> L. <i>opens and</i> EDWARD WALES <i>enters.</i>) +</p> +<p> +WALES. I came ahead of the others to tell you— +</p> +<p> +CROSBY. Why, Ned, old man, you came just in time to congratulate them. +(<i>He points toward</i> WILLIAM <i>and</i> HELEN.) +</p> +<p> +WALES. On what? (L.C.) +</p> +<p> +MRS. CROSBY. They're going to be married: isn't it fine? +</p> +<p> +WALES. Oh! +</p> +<p class="stagec"> +(<i>There is a long pause.</i>) +</p> +<p> +WILLIAM. You don't congratulate us, Mr. Wales. +</p> +<p> +WALES. No, Will, I don't. I'm not sure that I can. (<i>Down stage a step</i>.) +</p> +<p> +CROSBY. Why, Ned? +</p> +<p> +WILLIAM. I'm afraid that calls for an explanation. +</p> +<p> +WALES. Yes, I expect that it does. +</p> +<p class="stagec"> +(<i>There is a long pause.</i>) +</p> +<p> +WILLIAM. Well? +</p> +<p> +WALES. I'm sorry, but I can't explain anything until to-morrow. +</p> +<p> +MRS. CROSBY. But really, Mr. Wales, don't you think— +</p> +<p> +WALES. I think my action is almost indefensible. I'm admitting that. But +I have very good reasons for what I am doing. (<i>He turns to</i> CROSBY.) +Roscoe, I've been your close friend for a great many years. You've +trusted me and believed in me. I'm going to ask you to wait. After all, +twenty-four hours can't make any difference, and it may save you all a +great deal of unhappiness. +</p> +<p> +WILLIAM (<i>coming to</i> WALES <i>a step</i>). This is intolerable. +</p> +<p> +CROSBY. Ned, I can't understand— +</p> +<p> +WILLIAM. Father, this is my affair. +</p> +<p> +WALES. I'm sorry. +</p> +<p> +WILLIAM. Sorry? I should think you would be. +</p> +<p> +HELEN. Billy, I told you what would happen. Mr. Wales, I don't know what +you have discovered. But it's nothing of which I am ashamed, nothing. +</p> +<p> +WILLIAM. Dear, you mustn't mind what he says. +</p> +<p> +HELEN (<i>crossing in front of</i> WILLIAM <i>and moving a few steps towards</i> +WALES). Oh, but I do, I can't bear it. Why, my mother is the most +wonderful woman in the world. I won't have her attacked. Do you know +what she did? When I was ten years old she sent me away from her. I was +the one thing she had in the world to love and she gave me up because +she thought—because she thought it was the best thing she could do for +me. I was sent to a fine school, then to college, and then when I was +nineteen, quite by accident, I found out that she wasn't dead, as they'd +always told me, and when I went to her all she said was, "Well, my dear, +I wanted to make a lady of you." +</p> +<p class="stagec"> +(<i>Turns to</i> WILLIAM C. <i>He takes her in his arms, then</i> HELEN <i>moves +over to</i> R. <i>of him.</i>) +</p> +<p> +MRS. CROSBY (<i>in front of table</i> R.). I think she succeeded, my dear. +</p> +<p> +WALES (L.C.). Miss O'Neill, I didn't even know that you had a mother. +</p> +<p> +WILLIAM (C.). Then you'd better tell us now whatever your objection is. +</p> +<p> +WALES. I can tell you nothing until to-morrow. (<i>He turns to</i> WILLIAM.) +Billy, I'd rather be shot than do what I'm doing. If I'm wrong I'll come +to you gladly and eat dirt. I'll beg this young lady's pardon, on my +knees if she likes. (<i>Voices and laughter heard off</i> L.) Now that's all +I'm going to say about it until then. (<i>Moves up</i> L.) +</p> +<p class="exposition"> +(<i>The door</i> L. <i>opens</i>. MARY EASTWOOD, HELEN TRENT, ELIZABETH ERSKINE, +GRACE STANDISH, HOWARD STANDISH, PHILIP MASON <i>and</i> BRADDISH TRENT +<i>enter laughing and talking</i>.) +</p> +<p> +MISS EASTWOOD (<i>at</i> L.C. <i>To crowd in doorway</i>). And he said whose wife? +</p> +<p class="stagec"> +(<i>All laugh</i>.) +</p> +<p> +WILLIAM (C. HELEN <i>in front of table</i> R.). Quiet, quiet, everybody. I've +got a surprise for you. +</p> +<p class="stagec"> +(<i>From the people at the door come laughter and buzz of conversation</i>.) +</p> +<p> +Nellie and I are going to be married. +</p> +<p class="stagec"> +(<i>Girls rush</i> C. <i>and congratulate</i> HELEN. <i>Men and</i> WILLIAM L.C. +<i>Business ad lib., congratulating him</i>.) +</p> +<p> +MISS EASTWOOD (<i>coming to</i> WILLIAM C.). If you hadn't been engaged to +her, she could have you arrested for the way you made eyes at her at +dinner, Billy. But of course, if people will marry—why——(<i>She turns +away</i> R.) I hope you will be awfully happy. (<i>Crosses to</i> MR. <i>and</i> MRS. +CROSBY <i>down</i> R.) +</p> +<p> +MISS ERSKINE (<i>coming to</i> WILLIAM). Isn't it beautiful? (<i>Moves up to</i> +L. <i>of chesterfield sofa</i>.) +</p> +<p> +MRS. TRENT (<i>crossing to</i> WILLIAM <i>and kissing him</i>). I'm glad, Billy, +glad. +</p> +<p class="stagec"> +(<i>Moves over to</i> STANDISH, <i>who is down</i> L. <i>with</i> TRENT. MISS STANDISH +<i>moves to front of table</i> R.) +</p> +<p class="exposition"> +(WILLIAM <i>and</i> HELEN <i>look around—see that no one is paying attention +to them</i>—WILLIAM <i>sneaks up to door</i> R.C., <i>opens it and he and</i> HELEN +<i>exit quickly</i>. MRS. CROSBY, MR. CROSBY <i>and</i> MISS EASTWOOD <i>are in +front of the table</i> R.C. TRENT, STANDISH, MRS. TRENT, MASON <i>talking +together over</i> L. WALES <i>up</i> L. <i>Conversation ad lib. until</i> MISS +EASTWOOD <i>speaks</i>.) +</p> +<p> +MISS EASTWOOD (<i>to</i> MRS. CROSBY). Marriage is such an awful gamble. +I know a girl who tried it four times. Billy, I do hope you—— +(<i>Turning to</i> C., <i>where</i> WILLIAM <i>was standing</i>.) Why, they are gone! +</p> +<p class="stagec"> +(<i>Laughter and buzz of conversation ad lib</i>.) +</p> +<p class="exposition"> +(Miss EASTWOOD <i>runs up to door</i> R.C., <i>opens it</i>—<i>looks in +dining-room—gives a scream</i>—<i>closes door quickly, comes to right end +of chesterfield</i>. TRENT <i>goes to console table</i> L. <i>of chesterfield, +gets cigarette, lights it, and crosses to</i> C. <i>back of chesterfield in +front of fireplace</i>. STANDISH <i>and</i> MRS. TRENT <i>move to table</i> L. <i>of +chesterfield</i>. WALES <i>and</i> MISS ERSKINE <i>sit on chesterfield facing +audience up</i> C. MRS. CROSBY <i>is still at upper end of table</i> R. CROSBY +<i>talks with</i> MISS EASTWOOD. MASON <i>is the</i> L. <i>end of the chesterfield +facing the audience</i>.) +</p> +<p class="stagec"> +(<i>Enter</i> BUTLER <i>from down</i> L.) +</p> +<p> +BUTLER. Mrs. Crosby, the person you sent the car for has arrived. +</p> +<p class="stagec"> +(<i>All turn eagerly toward him</i>.) +</p> +<p> +WALES (<i>rises and moves down</i> L.C.). Can we see her now, Mrs. Crosby? +</p> +<p> +MRS. CROSBY. Certainly—Pollock, ask Madame la Grange if she will come +in, please. +</p> +<p> +BUTLER. Yes, madame. +</p> +<p class="stagec"> +(<i>He exits and closes the door after him</i>.) +</p> +<p> +MISS EASTWOOD (<i>coming down between the large table and the +chesterfield</i>). I'm perfectly thrilled. Do you suppose she expects to be +taken seriously? +</p> +<p> +MISS ERSKINE. Of course. +</p> +<p> +MISS EASTWOOD (<i>at table</i> R.). How funny! If you don't laugh at her, we +can have no end of fun. I'll guy her terribly and she'll never know it. +</p> +<p> +MRS. CROSBY (<i>at table</i> R.). Oh, I wouldn't do that, Mary. She may be +quite in earnest. +</p> +<p> +MISS EASTWOOD. Oh, I can't believe that. Madame la Grange! I can see her +now. Tall, black-haired creature, regular adventuress, see if she isn't. +Isn't she, Mr. Wales? +</p> +<p> +WALES (<i>in front of chesterfield</i>). She's the most remarkable woman I +have ever known. +</p> +<p class="stagec"> +(<i>Enter</i> BUTLER <i>from door</i> L., <i>coming well on stage</i>). +</p> +<p> +BUTLER. Madame la Grange. +</p> +<p class="stagec"> +(<i>Enter</i> MADAME ROSALIE LA GRANGE. <i>She is a woman of about fifty. She +speaks with a marked French accent</i>.) +</p> +<p> +ROSALIE. Good evening everybody. (<i>The men all rise</i>.) +</p> +<p> +MRS. CROSBY. How do you do, Madame la Grange? +</p> +<p> +ROSALIE. I am well, I thank you, madame. +</p> +<p> +MRS. CROSBY. Do come in. +</p> +<p> +ROSALIE. Thank you, madame. (<i>She sees</i> WALES L.C., <i>and goes to him</i>.) +Good evening, Mister Wales. It was kind of you to send the motor-car for +me. +</p> +<p> +WALES. We wanted you to be comfortable. +</p> +<p> +ROSALIE. And I was. (<i>She laughs and turns to</i> MRS. CROSBY R.C.) Do you +know, madame, when the gentleman in uniform come for me, I thought at +first it was a policeman. +</p> +<p> +MRS. CROSBY. I hope you weren't frightened. +</p> +<p class="exposition"> +(<i>The positions now are</i>: ROSALIE C., CROSBY R. <i>end of chesterfield</i> C. +MRS. TRENT <i>and</i> STANDISH <i>have moved down</i> L. TRENT <i>comes to</i> L. <i>of +arm-chair.</i> Miss ERSKINE <i>seated on chesterfield up</i> C. MRS. CROSBY <i>at +table</i> R. WALES L.C. <i>and</i> MASON L.C.) +</p> +<p> +ROSALIE. Oh, no, madame. I should like to see the policeman that could +frighten me. They are nice boys, the policemen. +</p> +<p> +MISS EASTWOOD (<i>on the</i> R. <i>side of</i> ROSALIE). Mr. Wales tells us you +are wonderful. +</p> +<p> +ROSALIE. All women are. +</p> +<p> +MISS EASTWOOD (<i>with a meaning glance at the others</i>). So you tell +fortunes? +</p> +<p> +ROSALIE. No, mademoiselle, I do not. I get messages from those of us +that 'ave passed on. I do not 'old at all with the cards nor tea-leaves +nor any of those tricks. +</p> +<p class="stagec"> +(<i>All laugh</i>—MISS EASTWOOD <i>loudest</i>.) +</p> +<p> +Once in a while I give advice. (<i>She turns to</i> MISS EASTWOOD.) If I was +you, mademoiselle, I would not meet Jimmy at the Ritz at three o'clock +to-morrow. +</p> +<p class="exposition"> +(<i>All laugh</i>. MISS STANDISH <i>crosses to chesterfield</i> C. <i>and sits</i>. +Miss ERSKINE <i>rises and crosses to table</i> R. <i>and sits in arm-chair +upper end.</i> MASON <i>moves up and sits on up stage chesterfield</i>. TRENT +<i>goes to</i> L. <i>end of chesterfield</i>. MISS EASTWOOD <i>is in front of table</i> +R. ROSALIE <i>goes to</i> WALES L.C. CROSBY <i>seats</i> MRS. CROSBY <i>down stage +end of table</i> R., <i>then crosses back of</i> MISS ERSKINE <i>to upper end of +table</i>.) +</p> +<p> +Well, sir, and how are you? +</p> +<p> +WALES. We're expecting great things from you to-night, Madame la Grange. +</p> +<p> +ROSALIE. Bien! I hope you will not be disappointed. +</p> +<p> +CROSBY (<i>above table</i> R., <i>coming</i> C. <i>a step</i>). I suppose there are a +lot of tricks that—— +</p> +<p> +ROSALIE (<i>interrupting him</i>). I suppose mine is the only trade in the +world in which there are tricks, eh, monsieur? +</p> +<p> +MISS EASTWOOD (<i>coming to</i> ROSALIE C.). Why shouldn't I meet Jimmy at +the Ritz to-morrow? +</p> +<p> +ROSALIE. If you do, something awful may 'appen to 'im. +</p> +<p> +MISS EASTWOOD. What? +</p> +<p> +ROSALIE. If you keep meeting Jimmy 'e may marry you. +</p> +<p class="stagec"> +(MISS EASTWOOD <i>moves up stage a step</i>.) +</p> +<p> +CROSBY (<i>upper end of table</i> R.). Would you mind telling me how you know +this young lady was going to meet Jimmy at the Ritz to-morrow afternoon? +</p> +<p> +ROSALIE. She did leave 'is letter in 'er bag in the 'all, and while I +wait I 'ave read it. +</p> +<p> +MISS EASTWOOD (C.). How did you know it was my bag? +</p> +<p> +ROSALIE. The stuff of the bag matches the stuff of your dress. +</p> +<p> +MRS. CROSBY (<i>seated below table</i> R.). Then it is all trickery? +</p> +<p> +ROSALIE. It is, madame, and it is not. I tell you, madame, most of the +time it is tricks, with even the best of us. But there 'ave been times +in my life when it was not tricks. There 'ave been things I could not +understand myself, messages from them that 'ave passed on, madame. There +is a power—a wonderful power—that come to us. But you never can tell +when it is coming. And if you waited for it you would starve to death. +So when it is not there we use tricks. +</p> +<p> +MRS. CROSBY (<i>seated at lower end of table at</i> R.). I think I +understand. +</p> +<p> +ROSALIE. Do you, madame? I thought you would. +</p> +<p class="exposition"> +(<i>She moves to and puts her hand-bag on the table</i> R. MRS. TRENT, +<i>seated below door down</i> L., <i>is joined by</i> WALES. MASON <i>is standing in +front of the fireplace</i>.) +</p> +<p> +MISS EASTWOOD (<i>coming to</i> R.C.). Don't you think all this is dishonest! +</p> +<p> +ROSALIE (<i>in front of table</i> R., <i>turning to her</i>). What is dishonest in +it? +</p> +<p> +MISS EASTWOOD. Tricking a lot of poor ignorant people. +</p> +<p> +ROSALIE. It is all in the way you look at it. A widow woman came to me +this mornin' with a breaking 'eart for the man that was gone. I went +into a trance and Laughing Eyes, my spirit control, came with a message +from 'im. She said 'e was in heaven with the angels, and there was no +cold nor 'unger; and the streets were paved with gold, and there was +music and 'appiness everywhere. She told 'er he was thinking of 'er +every day and every hour and watching and waiting for the day she would +come to 'im. Now wasn't that worth fifty cents of any woman's money? And +the man may be in 'ell for all I know! +</p> +<p> +TRENT (L.C. <i>by arm-chair</i>). What I can't understand is why you are +telling us all this. +</p> +<p class="stagec"> +(MISS EASTWOOD <i>moves to the chesterfield</i> C.) +</p> +<p> +MRS. TRENT (<i>seated over L. by door</i>). If we know you are fooling—— +</p> +<p> +ROSALIE (<i>going to</i> TRENT). Did not Mr. Wales tell you? +</p> +<p> +WALES (L.C.). I've told them nothing. +</p> +<p class="stagec"> +(MASON <i>drops down</i> R. <i>of chesterfield</i>, STANDISH <i>down</i> L. CROSBY <i>is</i> +R. <i>end of chesterfield</i> C.) +</p> +<p> +ROSALIE (C.). Well, tell them now, if you please, sir. (<i>Moves to and +sits upper end of table and takes off her gloves</i>.) +</p> +<p> +WALES (<i>down</i> L.). As I told you some time ago, Madame la Grange has +done a lot of things that we can't explain—-when I asked her to come +here to-night, she said she would under certain conditions. +</p> +<p> +MASON (<i>between chesterfield and table</i>). You mean test conditions? +</p> +<p> +WALES. Not exactly. What she said was that no money should pass between +us, and that whatever she did, she would be honest. +</p> +<p> +MASON (<i>very eagerly, and moving towards</i> ROSALIE). You mean that you +won't play any tricks? +</p> +<p> +ROSALIE. If I do, I will tell <i>you</i>. +</p> +<p> +MISS EASTWOOD (<i>seated on chesterfield</i> C.). Of course we understand all +about spirit rappings. +</p> +<p> +ROSALIE. You do, eh? +</p> +<p> +STANDISH (<i>down</i> L.). Well, rather. +</p> +<p class="stagec"> +(CROSBY <i>sits</i> R. <i>end of chesterfield</i>.) +</p> +<p> +ROSALIE. Well, well, what do you think of that? +</p> +<p> +MISS EASTWOOD. You have to be near a table or something like that and—— +</p> +<p> +ROSALIE. Maybe a chair or a desk would do? +</p> +<p> +MISS EASTWOOD. And then in the dark—— +</p> +<p> +ROSALIE. But of course in the dark. And you get one rap for yes and two +raps for no. (<i>There is a short pause</i>. ROSALIE <i>rises, comes down</i> C. +<i>and says</i>:) Are those spirits near? +</p> +<p class="stagec"> +(<i>All laugh</i>.) +</p> +<p> +STANDISH. Oh, no, don't. +</p> +<p class="stagec"> +(<i>One rap is heard from the back of the fireplace</i>.) +</p> +<p class="stagec"> +(<i>Little laugh</i>.) +</p> +<p> +MISS EASTWOOD. But—(<i>Rising and coming down</i> L.C. <i>a step</i>.) +</p> +<p> +MASON. Oh, please keep still— +</p> +<p class="stagec"> +(<i>They gather a little closer around</i> ROSALIE.) +</p> +<p> +ROSALIE. Is it Laughing Eyes? +</p> +<p class="stagec"> +(<i>One rap is heard—still louder</i>.) +</p> +<p> +And you cannot talk to me in the light? +</p> +<p class="stagec"> +(<i>One rap</i>.) +</p> +<p> +Are you 'appy? +</p> +<p class="stagec"> +(MRS. TRENT <i>rises</i>.) +</p> +<p class="stagec"> +(<i>Two raps again</i>.) +</p> +<p> +Is there someone here you do not like? +</p> +<p class="stagec"> +(<i>One rap</i>.) +</p> +<p> +A gentleman? +</p> +<p class="stagec"> +(<i>Two raps</i>.) +</p> +<p> +Dear, dear, a lady? +</p> +<p class="stagec"> +(<i>One rap</i>.) +</p> +<p class="stagec"> +(<i>She points to</i> MISS EASTWOOD.) +</p> +<p> +Is it that one? +</p> +<p class="stagec"> +(<i>One rap</i>.) +</p> +<p> +Laughing Eyes she do not like you. +</p> +<p class="stagec"> +(<i>General laugh</i>.) +</p> +<p> +MASON (R.C.). That's the most wonderful thing I ever heard. +</p> +<p> +STANDISH (<i>down</i> L.). Oh, I don't think—— +</p> +<p> +MASON. It couldn't be a trick. She just stood there. I watched her hands +every minute. +</p> +<p class="stagec"> +(TRENT <i>goes to arm-chair</i> L.C.) +</p> +<p> +ROSALIE. You did watch the wrong end of me. I 'ave a wooden sole in my +shoe. (<i>She lifts her skirt and shows that she has taken one foot from +her slipper</i>.) You do it with your foot. Like this. (<i>Laughingly</i>.) It +is a trick. +</p> +<p class="exposition"> +(MISS EASTWOOD <i>goes to</i> WALES L.C. MRS. TRENT <i>moves up to armchair</i> +L.C. STANDISH <i>up to</i> L. <i>end of chesterfield, and then by the back of +chesterfield to</i> R.C., CROSBY C. MRS. CROSBY <i>is seated at table</i> R.) +</p> +<p> +MASON (R.C.). Then if we get any messages— +</p> +<p> +ROSALIE. If you get any messages? Well, sir, I am telling you the truth +now. Most of the time it is a fake. With me as with the others. But +to-night there will be no fake. I am a stranger to all of you except to +Mr. Wales. I do not know who live in this 'ouse. I do not know the name +of any one of you. Mr. Wales told me he wanted me to come 'ere, he said +he would send for me. (<i>Moves to</i> R. <i>end of chesterfield</i>.) +But 'e did not tell me one word about any of you; +</p> +<p> +WALES (<i>down</i> L.). That is quite true. +</p> +<p> +TRENT (<i>by arm-chair</i> L.C.). You haven't given her a hint of any sort? +</p> +<p> +WALES (L.). On my word of honour. +</p> +<p> +MASON (<i>above table</i> R.). Madame la Grange. +</p> +<p> +ROSALIE. Yes, sir? +</p> +<p> +MASON. I know a man who saw Palladino lift a table just by putting her +hands on it. +</p> +<p class="stagec"> +(ROSALIE <i>points to a small console table</i> R. <i>end of settee</i>—<i>it has a +lamp on it</i>. MISS EASTWOOD <i>is at the</i> L. <i>end of chesterfield</i>.) +</p> +<p> +ROSALIE (<i>putting hand-bag on chair above table</i> R.). Will someone +please take the lamp off that table? And will you bring it to me 'ere? +</p> +<p class="exposition"> +(MISS STANDISH <i>moves to and takes the lamp and holds it</i>. MASON +<i>brings console table to</i> ROSALIE <i>who comes down</i> C.—<i>the wide side +of the table to audience</i>. ROSALIE <i>puts her hands on table with her +thumbs under its edge and lifts the table and turns right and left</i>.) +</p> +<p> +You mean like that? +</p> +<p> +MASON. Yes, I suppose that was it. +</p> +<p> +ROSALIE. In the dark you would not 'ave noticed my thumbs. +</p> +<p class="stagec"> +(<i>All laugh</i>. Miss ERSKINE <i>is seated at the back of the table over</i> R.) +</p> +<p> +But it can be done, it can be done. I do not say that I can do it in the +light, but if you want I will try. +</p> +<p> +ALL. Oh, yes, yes, of course, please do—yes, yes! +</p> +<p> +MASON. You mean without any trickery? +</p> +<p> +ROSALIE (<i>getting back of console table. Turning table around—narrow +side to audience</i>). I mean like this. +</p> +<p class="exposition"> +(<i>She places the tips of the fingers of both hands on the</i> C. <i>of the +table and stands rigid for a few moments. No one speaks. All watch her +with breathless interest. Slowly the table tips a little to one side, +and then tips in the opposite direction. Then it slowly rises about a +foot from the floor, and then drops suddenly and falls over. There is +a long pause</i>.) +</p> +<p> +MASON (R. <i>of small table</i>). Good Lord! +</p> +<p> +WALES (L.C., <i>quietly</i>). What did I tell you? +</p> +<p class="exposition"> +(<i>There is a long pause, all turn towards</i> ROSALIE <i>to see what she will +do next</i>. MASON <i>takes console table back to its place to the</i> R. <i>end +of the chesterfield</i>. TRENT <i>and</i> MRS. TRENT <i>are over</i> L. STANDISH +<i>and</i> CROSBY C.) +</p> +<p> +ROSALIE (C.). Now you all do know what I can do, but I can trick you +too; so you will 'ave to take my word for it that I will not. I am not +making to you any promises. I will go into the trance for you and it +will be the real trance and not a fake. My spirit does control a little +girl named Laughing Eyes. +</p> +<p> +CROSBY. Are you asking us to believe that the spirit of a dead child—— +</p> +<p> +ROSALIE (C.). To them that believe there is no death. Your own religion +teaches you that. +</p> +<p> +CROSBY. But not that the spirits of the dead can come back to earth. +</p> +<p> +ROSALIE (<i>moves to chair upper end of table</i> R. CROSBY <i>crosses to</i> R. +<i>end of chesterfield</i>). Monsieur should go and read the Bible. I am not +going to argue with any of you. I did not come 'ere for argument. Most +of you do not believe. You are all of little faith; it is 'ard to get +messages then. Perhaps it would be best if I did go. (<i>Crosses to</i> L.C. +STANDISH <i>has moved to the back of table</i> R.) +</p> +<p> +MRS. CROSBY (<i>at table</i> R.). Oh, no, please stay. +</p> +<p> +ROSALIE (<i>after hesitating</i>). Madame, I will be glad to. +</p> +<p class="stagec"> +(WILLIAM <i>and</i> HELEN <i>enter</i> R.C.) +</p> +<p> +TRENT (<i>down</i> L. <i>of arm-chair</i>). And you're willing to submit +to our conditions? +</p> +<p> +ROSALIE. Of course, anything in reason—I—— +</p> +<p> +HELEN (<i>coming down</i> R.C.). Why! +</p> +<p class="stagec"> +(<i>At the sound of a new voice</i> ROSALIE <i>turns. She gives a little +start, and then moves quickly to</i> HELEN C.) +</p> +<p> +ROSALIE. Wait! Something is coming to me. Please—not anyone to speak! +</p> +<p class="stagec"> +(<i>All laugh</i>.) +</p> +<p> +(<i>She is close to</i> HELEN <i>and looks at her</i>.) It is a message. Give me +your 'and, mademoiselle. +</p> +<p class="stagec"> +(HELEN <i>in a good deal of confusion gives</i> ROSALIE <i>her hand</i>. ROSALIE +<i>stands and holds it. Her eyes are closed</i>.) +</p> +<p> +There is nothing but 'appiness coming to you. The spirits tell me you +are the favourite child of fortune. +</p> +<p class="stagec"> +(WILLIAM <i>comes down to</i> R.C.) +</p> +<p> +You will 'ave wealth and prosperity and 'appiness. You will marry the +man you love, and you will be 'appy all your life, +</p> +<p class="stagec"> +(WALES <i>goes up</i> L. TRENT <i>comes to</i> ROSALIE <i>a step</i>. ROSALIE <i>turns to +the others</i>.) +</p> +<p> +There is something I want to tell 'er just for 'erself. She is so young, +we must spare her modesty. +</p> +<p class="exposition"> +(MRS. TRENT <i>goes up</i> L. TRENT, MISS EASTWOOD, <i>and</i> WALES <i>go up</i> L.C. +ROSALIE <i>brings</i> HELEN <i>down</i> L. WILLIAM <i>joins</i> CROSBY <i>and</i> MRS. +CROSBY R. MISS ERSKINE <i>and</i> STANDISH <i>are at the back of table</i> R.) +</p> +<p class="stagec"> +(<i>The following lines are spoken by</i> HELEN <i>and</i> ROSALIE <i>in an +undertone</i>.) +</p> +<p> +HELEN. Mother! +</p> +<p> +ROSALIE. My darling, I did not know. They just brought me here. You know +I would not 'ave come for anything in the world if I 'ad known. +</p> +<p class="stagec"> +(HELEN <i>starts to break away</i>. ROSALIE <i>clutches her</i>.) +</p> +<p> +Don't tell them, dear, don't 'ave me shame you before all your wonderful +friends. I will go in one minute—I will get away from the 'ouse the +first minute I can. +</p> +<p> +HELEN. But, mother, there's no shame. I'm proud—— +</p> +<p> +ROSALIE. Tell them afterwards if you must tell them, but let me get +away before you do so. (<i>In her normal voice again</i>.) Remember now, +mademoiselle, all the love in the world is 'anging above you and praying +for your 'appiness. Do not let it go for the love of 'Eaven. +</p> +<p class="stagec"> +(<i>Buzz of conversation</i>. ROSALIE <i>turns to</i> WALES L. HELEN <i>stands +looking after her</i>. WILLIAM <i>comes to</i> HELEN B.C.) +</p> +<p> +WILLIAM. What did she tell you? +</p> +<p> +HELEN. You heard most of it. I'll tell you the rest later. +</p> +<p class="stagec"> +(WILLIAM <i>and</i> HELEN <i>go up</i> R.C.) +</p> +<p> +ROSALIE. I think I 'ad better go from 'ere. +</p> +<p class="stagec"> +(MISS EASTWOOD <i>and</i> TRENT <i>come down</i> L.) +</p> +<p> +WALES. That's absurd. (<i>To the others</i>.) Madame la Grange wants to +call off the seance. +</p> +<p> +MISS EASTWOOD (<i>down</i> L.). I thought she might. +</p> +<p class="stagec"> +(MASON <i>above table</i> R.) +</p> +<p> +ROSALIE. Did you really, miss? +</p> +<p> +MRS. CROSBY. Oh, won't you please stay? +</p> +<p class="stagec"> +(WILLIAM <i>and</i> HELEN R.C. MISS ERSKINE <i>above table</i> R.) +</p> +<p> +ROSALIE (<i>coming</i> C.). I am afraid I cannot, madame. I am not feeling +right. I am not just myself, madame. +</p> +<p> +WALES (L.C.). Really, Madame la Grange? I'm afraid under the +circumstances—— +</p> +<p> +ROSALIE (<i>getting hand-bag from chair</i>). I am very sorry, but I must go +from 'ere. +</p> +<p> +MISS EASTWOOD (<i>moving</i> L. <i>of</i> ROSALIE). I think it's a shame to bother +her. And I think she's quite right to go. Her sort of tricks aren't for +people of intelligence. +</p> +<p> +HELEN. Oh, won't you please stay? (<i>To</i> ROSALIE <i>now</i> C.) +</p> +<p> +ROSALIE. I must not. +</p> +<p> +HELEN. Won't you as a great favour to me? +</p> +<p> +ROSALIE. Well, miss, since you ask it, I will stay. +</p> +<p class="exposition"> +(MISS EASTWOOD <i>laughs. She and</i> TRENT <i>go up</i> L. CROSBY <i>is by +chesterfield</i> C. MASON <i>below table</i> R. MRS. CROSBY <i>is seated at lower +end of table</i>. MRS. TRENT <i>comes to arm-chair</i> L.C. <i>and sits</i>.) +</p> +<p> +MRS. CROSBY. I'm very glad. Really I'm greatly interested. +</p> +<p> +ROSALIE (<i>crosses</i> R.). Thank you, madame. +</p> +<p> +CROSBY (<i>coming down</i> C.). I think after what we've seen, we must ask +Madame la Grange to submit to certain conditions. +</p> +<p> +ROSALIE. Anything at all, sir—anything at all. +</p> +<p> +MASON (<i>down</i> R.). I agree with you. Frankly this woman impresses me. +I think this test should be taken seriously. +</p> +<p class="stagec"> +(MISS EASTWOOD <i>at the</i> L. <i>end of the chesterfield, laughs</i>.) +</p> +<p> +WALES (L.C.). Just what I was going to say. +</p> +<p> +CROSBY (R.C.). If you will submit to the conditions we impose, Madame la +Grange, and then show us any manifestations, I will never scoff at +anything again. +</p> +<p> +ROSALIE. Scoffing is the easiest thing anybody can do. +</p> +<p class="stagec"> +(CROSBY <i>crosses down</i> R. <i>below table</i>.) +</p> +<p> +If I could stop that even in one person, it would be a good thing. What +is it that you do want? +</p> +<p> +CROSBY. I want the window fastened. +</p> +<p> +MASON. That's the idea. +</p> +<p> +CROSBY (<i>coming in front of table</i> R.). Then we will have the doors +locked. Will that be all right? +</p> +<p> +ROSALIE. Oh, certainly all right. +</p> +<p> +MISS EASTWOOD (<i>coming down</i> L.C.). At the risk of seeming unnecessarily +sceptical, I'm going to suggest that we search Madame la Grange—that +is, of course, if she's willing. +</p> +<p class="stagec"> +(MISS ERSKINE <i>and</i> MISS STANDISH <i>are at back of table</i> R.) +</p> +<p> +ROSALIE (C.). But why not? There are no 'oles in my stockings. +</p> +<p class="stagec"> +(<i>All laugh</i>.) +</p> +<p> +MASON (<i>down</i> R.). I suppose it's going to be difficult for you to get +results if we are all so antagonistic, Madame la Grange? +</p> +<p class="stagec"> +(MISS EASTWOOD <i>goes up</i> L.C.) +</p> +<p> +ROSALIE. It is, sir, and it is not. If there is any who wants to +communicate with any 'ere, maybe they can reach us. I do not know. I do +not understand you. I showed you all the tricks; would I have done that, +if I wanted to—to—fool you? Certainly I would not. Then why will you +not believe that I am 'onest? +</p> +<p> +WALES (<i>down</i> L.). I'm sure Madame la Grange is perfectly honest. +We've made certain stipulations to which she has agreed. I think we've +discussed matters enough already. We're ready if you are, Madame la +Grange. +</p> +<p> +ROSALIE. I am ready. +</p> +<p class="stagec"> +(CROSBY <i>looks at window fastenings</i> R.) +</p> +<p> +MRS. CROSBY (<i>seated at table over</i> R.). Do you know, I don't believe it +will be necessary to subject Madame la Grange to being searched. I'm +quite sure we can spare her that indignity. +</p> +<p> +ROSALIE. I do not mind if you fine ladies will not be shocked at seeing +my plain lingerie. +</p> +<p class="stagec"> +(WALES <i>moves up</i> L. <i>General laugh</i>. Miss ERSKINE <i>joins</i> WILLIAM <i>and</i> +HELEN R.C.) +</p> +<p> +MRS. CROSBY (<i>moving to</i> L. <i>of</i> ROSALIE C.). Come with me then, please. +I'm sure we won't be shocked. (<i>Aside to</i> ROSALIE.) I wear that kind +myself. +</p> +<p> +ROSALIE. Truly, madame? +</p> +<p class="stagec"> +(<i>They go to door</i> L.) +</p> +<p> +MRS. CROSBY (<i>at door</i> L.), We shan't be long. +</p> +<p> +ROSALIE (<i>at door</i> L.). Madame, would you mind if all the ladies come? +Then they will all be sure I am concealing nothing. +</p> +<p class="stagec"> +(<i>The ladies all talk together and go out</i> L. WALES <i>closes the door +down</i> L. CROSBY <i>comes from lack of table</i> R. <i>to chesterfield</i>.) +</p> +<p> +WILLIAM (<i>by table</i> R.). Do you really want that window fastened? +</p> +<p class="stagec"> +(STANDISH <i>is behind the chair below the table</i> R.) +</p> +<p> +WALES (L.C. CROSBY <i>and</i> TRENT <i>sit on corner of chesterfield</i>). I don't +care. +</p> +<p> +MASON (<i>at table</i> R.). I'd like to make the test that way. I've a queer +feeling about that woman. I believe she really has power of some sort. +I know it seems funny, but—well, you all saw her lift that table. +I watched her carefully. There was no trick about it at all. I'm sure +of it. +</p> +<p> +CROSBY. All right then. You fasten the window. Billy, you and Brad go +and get some chairs out of the dining-room. We'll need a lot. +</p> +<p class="stagec"> +(WALES <i>walks up and down</i> L. <i>of stage</i>. WILLIAM <i>and</i> TRENT <i>go out +door</i> R.C.) +</p> +<p> +You put them in a circle, don't you? (<i>Begins to place chairs in a +circle</i> C. <i>The chair</i> L. <i>of the fireplace is brought down and placed +in front of the chesterfield</i>.) What are you going to do, Wales? Ask her +a lot of questions? +</p> +<p> +WALES (L.). I'm going to try to find out who killed Spencer Lee. +</p> +<p> +CROSBY. Still harping on the murder of Spencer Lee? +</p> +<p class="stagec"> +(STANDISH <i>places the chairs above and below the table in the circle, +then the chair on the</i> R. <i>side of the fireplace in the circle</i>.) +</p> +<p> +WALES. Yes. +</p> +<p> +MASON (<i>over</i> R.—<i>opening window curtains and raising window blind</i>). +Who was Spencer Lee? +</p> +<p> +WALES. The best friend I ever had. +</p> +<p class="stagec"> +(TRENT <i>and</i> WILLIAM <i>enter door</i> R.C., <i>each carrying two chairs. They +bring them down</i> R.C. <i>and exit</i> R.C.) +</p> +<p> +STANDISH (<i>placing chairs</i> C. <i>with backs to audience</i>). We all knew Lee +pretty well. And I know he was no good. +</p> +<p> +WALES (<i>moving to</i> L.C., <i>outside the circle</i>). You mustn't talk like +that about him, Standish! +</p> +<p> +CROSBY (<i>inside the circle and coming down</i> C.). The man's dead: why not +let him rest in peace? +</p> +<p class="stagec"> +(STANDISH <i>outside of circle</i> L.C. <i>seat</i>.) +</p> +<p> +STANDISH. I didn't bring up the matter, you know, and I don't want to +hurt Ned's feelings, but I know that the police found a lot of +compromising letters and rotten things of that sort. +</p> +<p class="exposition"> +(WILLIAM <i>and</i> TRENT <i>re-enter from</i> R.C., <i>each carrying two chairs.</i> +WILLIAM <i>crosses and places two chairs</i> R. <i>side of circle then goes +back to close the door</i>.) +</p> +<p> +WALES (L.C.). I don't care what they found, or what anyone thinks of +Lee: he was my best friend, and if I can find out who killed him I'm +going to do it. It was a damned brutal murder, stabbed in the back, poor +chap, with never a chance to fight for his life. (<i>Moves over</i> L.) +</p> +<p> +MASON (<i>by table</i> R.). I don't seem to remember anything about the case. +</p> +<p> +WALES. It happened before you got back from France—no, by Jove, it +didn't either. It was a day or two after. I remember you and I had lunch +together the day you got home and I had dinner that night with Spencer. +Funny you don't remember anything about it. +</p> +<p class="stagec"> +(WILLIAM <i>sits</i> R. <i>in circle</i>.) +</p> +<p> +MASON. Well, of course, I must have seen it in the papers, but I don't +go in much for crimes, and not knowing the man I wasn't interested. +</p> +<p> +STANDISH (<i>sitting in circle</i> L.C.). It was a good deal of a sensation. +The man knew a lot of nice people. Came here a good deal, didn't he, +Mr. Crosby? +</p> +<p> +CROSBY (<i>sitting in circle up</i> C.). At one time. But after Helen married +he rather dropped out of it. Fact is, until Trent here appeared on the +scene he was always hanging around. +</p> +<p class="stagec"> +(TRENT <i>comes down and sits in</i> R. <i>side of circle</i>.) +</p> +<p> +STANDISH. Funny they never found out who killed him. +</p> +<p> +WALES (<i>standing outside of circle</i>, L. <i>side</i>). They may not. They +haven't stopped trying. +</p> +<p> +MASON (<i>seated on table</i> R.). Oh, are the police still interested? +</p> +<p> +WALES. Yes, they're interested. As a matter of fact there's a reward of +five thousand dollars for the discovery of the murderers. +</p> +<p> +STANDISH. Are you sure of that? +</p> +<p> +WALES. I offered it. +</p> +<p> +TRENT. You? +</p> +<p> +WALES. Yes. What sort of a man do you think I am? Do you expect me to +sit still and let the murderers of Spencer Lee go free? Why, I'd known +the man all his life. We were the closest friends. +</p> +<p> +WILLIAM. But if he was the kind of a man that Standish says— +</p> +<p> +WALES. I don't give a damn what he was. He was my friend, and I'm never +going to rest till I find out who killed him. +</p> +<p> +TRENT. But. +</p> +<p> +WALES. I wouldn't care so much if they'd given the poor devil half a +chance for his life, but they stabbed him in the back. +</p> +<p> +MASON. Wasn't there any indication— +</p> +<p> +WALES. There wasn't a thing to show who did it, or how it was done. A +knife-wound between the shoulder-blades and no knife ever found. Nothing +stolen, nothing disturbed. The police have found out that a young woman +called to see him that afternoon, two or three hours before his body was +discovered. That's all that we know. +</p> +<p> +TRENT (<i>with a laugh—still seated in circle</i>). And now you're going to +try spiritualism? +</p> +<p> +WALES. Why not? (<i>There is a pause.</i>) Do any of you object? +</p> +<p> +TRENT. Certainly not. I'm rather for it. +</p> +<p> +MASON (<i>rises, still on</i> L. <i>of table</i> R.). You are doing this +seriously? This is not a joke? +</p> +<p> +WALES. Quite seriously. (<i>There is a pause.</i>) Well, why won't somebody +laugh? +</p> +<p> +CROSBY. My dear fellow, why should anyone laugh? This queer old woman +may have powers of which we know nothing at all. Personally, I haven't +much belief in that sort of thing, but I'm not going to laugh at it. +(<i>Rise.</i>) Neither am I going to have any trickery, or if there is any +I'm going to expose it. +</p> +<p> +WALES (<i>over</i> L.). That's perfectly fair. +</p> +<p> +CROSBY. You've been at her séances, or whatever they call them, before? +</p> +<p> +WALES. Yes. +</p> +<p> +CROSBY. In the dark? +</p> +<p> +WALES. Invariably. +</p> +<p> +CROSBY. I may want light. (<i>He turns to his son.</i>) Billy, if I call for +lights you give them to me. Don't wait for anything. Understand? +</p> +<p> +WILLIAM. Perfectly, dad. +</p> +<p class="stagec"> +(WILLIAM <i>goes up to small table</i> R. <i>of chesterfield. Brings table with +lamp on it down to his chair and the chair next to it in the circle</i>.) +</p> +<p> +CROSBY (<i>still in circle.</i>) That's all right then. +</p> +<p class="exposition"> +(<i>The door</i> L. <i>opens</i>. MRS. CROSBY <i>enters, followed by</i> MADAME LA +GRANGE <i>and the other ladies</i>. WALES <i>moves to</i> R.C. <i>outside circle</i>, +STANDISH <i>to upper end of table</i> R., TRENT <i>to</i> L. <i>side of circle</i>.) +</p> +<p> +MRS. CROSBY. I think it wasn't fair of us. +</p> +<p> +ROSALIE. Oh, madame, I did not mind. +</p> +<p class="stagec"> +(MRS. CROSBY <i>crosses back of chesterfield to up</i> R.C.) +</p> +<p> +MISS EASTWOOD (<i>down</i> L.). I can assure you there isn't anything up her +sleeve. +</p> +<p> +ROSALIE. Well, what did you expect? Burglar's tools? +</p> +<p class="exposition"> +(MISS EASTWOOD <i>goes up to</i> L. <i>end of chesterfield</i>. MRS. TRENT <i>closes +door down</i> L. <i>She and</i> HELEN <i>move up</i> L. <i>with</i> Miss STANDISH.) +</p> +<p> +WALES (<i>over</i> R.). Madame la Grange, we've fastened the windows. +</p> +<p class="stagec"> +(TRENT, STANDISH, ERSKINE <i>by console table</i> L. <i>of chesterfield</i>.) +</p> +<p> +ROSALIE. That is right. You cannot be too careful, eh? +</p> +<p> +CROSBY. And now, if you don't mind, I'm going to lock the doors and keep +the keys in my pocket. +</p> +<p> +ROSALIE. Anything you do wish, sir. It is all the same to me. +</p> +<p class="stagec"> +(<i>Goes inside circle and sits down up</i> C. <i>in circle</i>.) +</p> +<p> +MASON (R.C.). May I see that it's done, Mr. Crosby? +</p> +<p> +CROSBY (L.C., <i>with a laugh</i>). Can't you trust me? +</p> +<p> +MASON. It isn't that—I—well, I just want to be sure. To see for myself. +</p> +<p> +CROSBY. Lock that one yourself, then. (<i>Indicating door</i> R.C. MASON +<i>goes to and locks the door</i>. CROSBY <i>goes to door</i> L.C., <i>locks it, +takes out the key and puts it in his pocket</i>.) Better try it, Mason. +(MASON <i>crosses to door</i> L.C.—<i>shows it is locked</i>.) Now well do this +one. (<i>He starts to door down</i> L. <i>Then stops suddenly</i>.) No, I've got a +better way than this. My dear, will you ring for Pollock? +</p> +<p> +MRS. CROSBY (<i>upper end of table</i> R.). What are you going to do now? +</p> +<p> +CROSBY. Wait and see. (<i>To</i> ROSALIE.) You don't object to this? +</p> +<p> +ROSALIE. Oh, no, sir. +</p> +<p class="stagec"> +(BUTLER <i>enters from door</i> L.—<i>comes well on stage</i>.) +</p> +<p> +CROSBY. Oh, Pollock, I want you to put these keys in your pocket. +(<i>Hands them to him</i>. POLLOCK <i>puts them in his waistcoat pocket</i>.) +</p> +<p> +POLLOCK. Yes, sir. +</p> +<p> +CROSBY (L.C.). Now then, I want you to take the key out of that door, +and lock it on the outside, understand? +</p> +<p> +POLLOCK. Perfectly, sir. +</p> +<p> +CROSBY. Then take the key from the lock and put that one in your pocket +also, after that you are to stand outside that door, and you are not to +unlock it until I tell you to. Understand? +</p> +<p> +POLLOCK. Yes, sir, I'm to lock this door on the outside, keep the key in +my pocket, and then stay just outside, and not open it for anyone until +you tell me. +</p> +<p> +CROSBY. Exactly. (<i>General buzz of conversation.</i> POLLOCK <i>goes to the +door</i> L., <i>takes out the key and exits, closing the door after him. The +key is heard turning in the lock.</i>) Now then, Mason, you'd better try +that door, too. (MASON <i>goes over and tries the door</i> L. CROSBY <i>follows +him. Speaking through the door</i> L.) Are you there, Pollock? +</p> +<p> +POLLOCK (<i>outside.</i>) Yes, sir. +</p> +<p> +CROSBY. And the keys are in your pocket? +</p> +<p> +POLLOCK. Quite so, sir. +</p> +<p> +CROSBY. Now we're ready, Madame la Grange. +</p> +<p> +ROSALIE. Then please you will all sit in a circle and hold hands. +</p> +<p> +MISS ERSKINE. Hold hands! I'm going to love this. +</p> +<p class="stagec"> +(<i>All laugh.</i>) +</p> +<p> +MASON (<i>moving down to a chair on the</i> L. <i>of the circle</i>). How shall we +sit? I mean, do you want us in any particular order? +</p> +<p> +ROSALIE. Any way at all. +</p> +<p> +WILLIAM. I'll sit here. (<i>Takes chair and sits in reach of lamp on +table</i> R.C.) +</p> +<p> +ROSALIE. Any way will do. +</p> +<p class="stagec"> +(HELEN <i>and</i> MRS. TRENT <i>come down</i> L.) +</p> +<p class="exposition"> +(<i>They all sit in a circle in the following order</i>: ROSALIE, C.; CROSBY +L. <i>of</i> ROSALIE; MISS ERSKINE, MISS STANDISH, TRENT, MISS EASTWOOD; +MASON; HELEN; MRS. TRENT; STANDISH <i>and</i> MRS. CROSBY; WILLIAM <i>sits on</i> +ROSALIE'S <i>right side. This will bring</i> WALES <i>sitting at</i> C. <i>with his +back to the audience</i>. ROSALIE <i>directly opposite up stage facing him. +The thirteen chairs in the circle consist of two brought from the +fireplace, two from the table</i> R., <i>eight from the room</i> R.C., <i>and the +armchair</i> L.C., <i>which is moved</i> C. <i>and used by</i> ROSALIE. <i>As they are +being seated there is a general buzz of conversation as follows</i>:—) +</p> +<p> +MISS ERSKINE. I'm to sit next to you, Mr. Crosby. +</p> +<p> +CROSBY. I've always wanted to hold your hand, my dear. +</p> +<p> +MRS. CROSBY. Don't trust him, Daisy. +</p> +<p> +MISS ERSKINE. I won't, Mrs. Crosby. +</p> +<p> +MISS STANDISH. I'll chaperone them. +</p> +<p> +MASON (<i>to</i> HELEN). Will you sit by me? +</p> +<p> +TRENT. I'll take this place then. +</p> +<p> +MISS EASTWOOD. I'm really getting quite a thrill. (ROSALIE <i>laughs</i>.) +What's the joke, Madame la Grange? +</p> +<p class="stagec"> +(MRS. TRENT <i>moves outside of circle to</i> R.C., <i>then sits</i>.) +</p> +<p> +ROSALIE. I did not know anything could give to you a thrill. +</p> +<p> +MISS EASTWOOD. You don't like me, do you, Madame la Grange? +</p> +<p> +ROSALIE. Oh, mademoiselle, I am indeed very fond of you. +</p> +<p> +WALES (<i>standing below circle</i> R.C.). I think we're all ready. +</p> +<p class="stagec"> +(<i>The others are all seated and</i> WALES <i>is about to sit down</i>.) +</p> +<p> +MISS ERSKINE (<i>counting hurriedly</i>). Oh! There are thirteen of us. Don't +sit there, Mr. Wales. +</p> +<p> +WALES. Oh, I don't mind those little superstitions. (<i>Sits down stage +side of circle between</i> HELEN <i>and</i> MRS. TRENT.) +</p> +<p> +MRS. CROSBY. What do we do now? +</p> +<p> +ROSALIE. Now, will you please all join your 'ands, and then sit very, +<i>very</i> quiet. Do not try to think of anything. +</p> +<p> +TRENT. By Jove, that'll be easy for me. +</p> +<p class="stagec"> +(<i>The others laugh</i>.) +</p> +<p> +WALES. We can't get any results if you treat this as a joke. +</p> +<p class="stagec"> +(<i>All laugh</i>.) +</p> +<p> +STANDISH. Oh, let's be serious. +</p> +<p> +MISS ERSKINE. Why, Howard? +</p> +<p> +STANDISH. Well, there might be something in it. Anyhow, it's only fair +to do what Madame la Grange wants. I suppose you'd like the lights out? +I've always understood that was necessary. +</p> +<p> +ROSALIE. We shall 'ave better results in that way. +</p> +<p> +CROSBY. Right! (<i>He rises, goes to door</i> L., <i>and switches off light. +This leaves only the two table lamps</i> R. <i>and</i> L. <i>of the chesterfield</i> +C. <i>still lit. All other lights on scene out. Crosses back to his +chair—turns out table lamp</i> L. <i>of chesterfield.</i>) Billy, you turn out +that light as soon as we are ready. +</p> +<p> +WILLIAM. Right you are, dad. +</p> +<p> +ROSALIE. That is all, then. Now you are not to be afraid if I cry or +moan when I do go into a trance. I am not in pain or anything like that. +I do not even know that I do such things, but I 'ave been told that +it sometime 'appen. My spirit control is a sweet little child named +Laughing Eyes. When she begins to talk you can ask 'er anything you do +want. If she do not answer you she do not want to talk to you. Then +whoever it is speaking must let someone else try. That is all, ladies +and gentlemen. (<i>She settles back in her chair.</i>) Now then, sir, +please to put out that light. +</p> +<p class="stagec"> +(WILLIAM <i>turns off the light, and the stage is in darkness all but +spots on ceiling.</i>) +</p> +<p> +CROSBY. That won't do. Billy, pull down the blind, that light on the +ceiling is too strong. +</p> +<p class="exposition"> +(WILLIAM <i>turns on light, crosses</i> R., <i>pulls blind down and closes +curtains, then resumes his seat and puts light out.</i> ROSALIE <i>rises, +crosses back of circle to the back of</i> MISS EASTWOOD'S <i>chair. There +is a pause. Suddenly</i> MISS EASTWOOD <i>screams shrilly.</i>) +</p> +<p> +MISS EASTWOOD. There's a hand on my face. There's a hand on my face! +</p> +<p> +CROSBY. Will, the light! +</p> +<p class="exposition"> +(<i>The light on the table goes up, showing</i> WILLIAM <i>leaning back in his +chair with one hand on the switch, the other is tightly clasped in his +father's hand.</i> ROSALIE <i>is seen standing behind</i> MISS EASTWOOD, <i>with +her hand resting on</i> MISS EASTWOOD'S <i>cheek.</i>) +</p> +<p class="stagec"> +(<i>They all start to speak.</i>) +</p> +<p> +MRS. TRENT. It's a trick. +</p> +<p> +ROSALIE. Yes, it is a trick. (<i>They stop and stare at her. Her manner is +commanding, and a little stern.</i>) I was going to ask you to tie my 'ands +to the arm of the chair, but I thought I would show you this first. +</p> +<p> +MASON. I don't see how you did it—even now. +</p> +<p> +ROSALIE (<i>standing outside of circle</i> L.). Things 'appen in the dark. +The sense of touch is not much developed except in those who are blind. +When this young gentleman did let go my 'and to turn out the light, +I did take my other 'and away from Mr. Crosby and when we joined 'ands +again the two gentlemen were 'olding 'ands as comfortable as you please. +And I was free. It is an old trick. All the mediums do use it. Anyone +can do it. (<i>She moves back to her chair and sits.</i>) Now, if someone +will tie me in, we will go on. +</p> +<p> +MASON. How do we know that you can't get free even then? +</p> +<p> +ROSALIE. Tie me so that I cannot. +</p> +<p> +CROSBY (<i>rising</i>). I'll see to that. I want something strong. +</p> +<p> +MASON. Take handkerchiefs, they are strong enough. (<i>Takes handkerchief.</i>) +</p> +<p> +CROSBY. They'll do very well. (<i>Takes out his own.</i>) I want three more. +</p> +<p> +WILLIAM. Here's mine. (<i>Hands his handkerchief to his father.</i> MASON +<i>and</i> TRENT <i>give</i> CROSBY <i>theirs.</i>) +</p> +<p> +CROSBY. Now, Madame la Grange, if you don't mind. (<i>He ties her hands to +the arm of the chair.</i>) I don't see why you did that just now. +</p> +<p> +ROSALIE. I told you I wanted to be sure. +</p> +<p> +CROSBY. Why? +</p> +<p> +ROSALIE. Because I think something is going to 'appen. I think there +will be manifestations. I wanted you to know I was not faking. +</p> +<p> +MISS EASTWOOD. Why should we think that you were? +</p> +<p> +ROSALIE. Why, you 'ave thought nothing else ever since I did come into +the room. +</p> +<p> +CROSBY. Mason, see if she can get free from that now. +</p> +<p class="stagec"> +(MASON <i>comes over, inspects the knot.</i> CROSBY <i>tying the other hand.</i>) +</p> +<p> +MASON. That seems pretty secure—someone else look at it. +</p> +<p class="stagec"> +(WILLIAM <i>and</i> TRENT <i>rise and go to</i> ROSALIE'S <i>chair.</i>) +</p> +<p> +CROSBY. I'm going to fasten your ankles now, Madame la Grange. +</p> +<p> +ROSALIE. Yes, that is right. +</p> +<p class="stagec"> +(CROSBY <i>ties</i> ROSALIE'S <i>ankles to leg of chair. The other two men look +on.</i>) +</p> +<p> +WALES. I don't believe all this is necessary. +</p> +<p> +ROSALIE. Why not, if they do want it. +</p> +<p> +CROSBY. Now I'm sure she can't get away. +</p> +<p class="stagec"> +(MASON <i>inspects knot.</i>) +</p> +<p> +MASON. So am I. +</p> +<p class="stagec"> +(<i>The men resume their places.</i>) +</p> +<p> +ROSALIE. Well, now, if you will all sit down, please—— (<i>Pause.</i>) +You will have to reach over and take my hands this time—are you all +satisfied now? Is there anything more you want me to do? (<i>There is no +answer.</i>) Then if you will all sit quiet, just keep your minds perfectly +free, that is all you 'ave to do. Now, sir, please to turn out the light. +</p> +<p class="stagec"> +(WILLIAM <i>turns out the light.</i>) +</p> +<p class="stagec"> +(<i>There is a long pause.</i> ROSALIE <i>moans and whispers as if in pain.</i>) +</p> +<p> +HELEN. I can't stand this, I—— +</p> +<p> +WALES. Please keep still—she asked us to keep still. +</p> +<p class="exposition"> +(ROSALIE <i>moans again; after a short pause, she gives a choking sob; +another pause. Finally she speaks with frequent pauses, using the +voice of a little child.</i>) +</p> +<p> +ROSALIE. Laughing Eyes is sad, very sad. I a ma long way off—a long +way. (<i>Pause.</i>) Bad people, bad people, un'appy—he is un'appy—— +(<i>Pause.</i>) (<i>Knife is set down in sight of audience, sticking in the +ceiling.</i>) Spencer wants to tell Ned—— (<i>She moans heavily.</i>) It +hurts—terrible—like a knife—it burns—burns, in the back—— +</p> +<p class="stagec"> +(<i>A man's voice from the chesterfield, facing fireplace, speaks:</i>) +</p> +<p> +VOICE. Ned, I want Ned—why in <i>Hell</i> doesn't Ned answer? +</p> +<p> +ROSALIE (<i>in child's voice</i>). He wants to talk to Ned—is Ned here? +</p> +<p> +STANDISH. Ned who? Who is it? Who does he want to speak to? +</p> +<p> +ROSALIE (<i>in child's voice</i>). Tell Ned it is Spencer—Spencer wants +to tell Ned about the letters and the pain in the back—in the back. +</p> +<p> +STANDISH. What was in the back? (<i>There is no answer.</i>) Ask him what was +in the back? +</p> +<p> +ROSALIE (<i>still using child's voice</i>). The knife—Ned—he wants Ned. +</p> +<p> +WALES. What do you want! +</p> +<p> +ROSALIE. A swimming pool—do not forget the swimming pool. Do not ever +forget—— +</p> +<p> +WALES. You mean the time he went in after me when I was drowning? When +we were little boys? Is that what he wants me to remember? +</p> +<p> +ROSALIE. Spencer says he cannot rest—he wants to tell you it is hard to +reach—too far away—you promised— +</p> +<p> +WALES. Promised what? When did I promise! +</p> +<p> +ROSALIE. Your life saved—— +</p> +<p> +WALES. Now I know—I told him I'd do anything in the world for him. +Spencer, of course, I remember—what do you want me to do? +</p> +<p> +ROSALIE. Find—find—— +</p> +<p> +WALES. Do you want me to find the letters? +</p> +<p> +ROSALIE. In the back—someone came—someone came. +</p> +<p> +WALES. You're trying to tell who killed you? +</p> +<p> +ROSALIE. Ask—ask—ask. +</p> +<p> +WALES. You want me to ask questions? Is that it? You mean you can't talk +much? +</p> +<p> +ROSALIE. Too far away. +</p> +<p> +CROSBY. You know who killed you? +</p> +<p class="stagec"> +(<i>There is a pause, but no answer.</i>) +</p> +<p> +ROSALIE. He says Ned, he wants Ned. +</p> +<p> +WALES. You want me to ask. +</p> +<p> +ROSALIE. He wants Ned to ask. +</p> +<p> +WALES. Do you know who killed you? +</p> +<p> +MRS. TRENT (<i>hysterically</i>). Oh, my God! +</p> +<p> +CROSBY. Keep still, Helen. +</p> +<p> +WALES. Can you tell the name? (ROSALIE <i>suddenly gives a long moan.</i>) +Quick, the name, the name. Spencer, tell me who killed you—she's coming +out of her trance. I want the name. (ROSALIE <i>moans again. Her cry is +overtopped by a shriek from</i> WALES.) Oh, my God! My back—oh! (<i>Then +there is a dead silence that lasts as long as it will hold.</i>) +</p> +<p> +CROSBY. Wales, is anything the matter? +</p> +<p> +MRS. TRENT. Father, he's pulling at my hand. +</p> +<p> +CROSBY. The light, Will. +</p> +<p class="stagec"> +(WILLIAM <i>suddenly turns on the light at table.</i> WALES <i>is discovered +leaning forward, the circle is unbroken.</i>) +</p> +<p> +MRS. TRENT. Look at him! Father! Look at him! +</p> +<p class="exposition"> +(CROSBY <i>drops</i> ROSALIE'S <i>hand and springs forward towards</i> WALES. +<i>At the same instant</i> WALES <i>falls forward on his face to the floor. +The others all rise, chairs are knocked over in the confusion which +follows.</i>) +</p> +<p> +CROSBY. Stand back, please. (<i>The others move back a little.</i> CROSBY +<i>leans over</i> WALES.) Why, he—why—it's impossible. +</p> +<p> +MRS. CROSBY. Roscoe, look at your hand. +</p> +<p class="exposition"> +(CROSBY <i>looks at his hand, takes out his handkerchief and wipes it +hurriedly, then crosses suddenly to the door</i> L. ROSALIE <i>has come out +of her trance and sits staring at</i> WALES <i>as he lies on the floor in +front of her. The two figures are thrown out from the shadows of the +room by the light on the table at the back of</i> MADAME LA GRANGE. <i>The +rest of the room is in semi-darkness.</i> TRENT <i>kneels by</i> WALES' <i>body.</i>) +</p> +<p> +CROSBY. Pollock! Pollock! +</p> +<p> +POLLOCK (<i>outside</i>). Yes, sir. +</p> +<p class="stagec"> +(TRENT <i>turns</i> WALES' <i>body over on back.</i>) +</p> +<p> +CROSBY. Get on the 'phone at once and call up Police Headquarters. Get +Inspector Donohue if you can. Tell him to come to the house at once. +</p> +<p> +POLLOCK. Very good, sir. +</p> +<p class="stagec"> +(CROSBY <i>turns away from the door, and faces the others who have +followed him over.</i>) +</p> +<p> +WILLIAM. Father, what do you suppose it is? Are you sure that—— +</p> +<p> +MRS. TRENT. It can't be. He was talking and—— +</p> +<p> +MRS. CROSBY. Roscoe, are you sure? Hadn't we better send for a doctor? +</p> +<p class="stagec"> +(TRENT <i>is leaning over</i> WALES' <i>body on the floor.</i>) +</p> +<p> +TRENT. It's no use. He's dead. +</p> +<p> +CROSBY. Murdered! +</p> +<p> +TRENT (<i>rises</i>). What? +</p> +<p> +CROSBY. Mr. Wales was stabbed in the back, just as Spencer Lee was +stabbed in the back. +</p> +<p> +STANDISH. Just as he was asking—just when he was trying to find out +who— +</p> +<p class="stagec"> +(<i>There is a knock on the door down</i> L.) +</p> +<p> +CROSBY. What is it? +</p> +<p> +POLLOCK (<i>outside of door</i>). Inspector Donohue was at the Fifty-first +Street Station, sir. He's on his way here. (<i>There is a pause</i>). Shall +I unlock the door, sir? +</p> +<p> +CROSBY. <i>No</i>—not until the Inspector tells you. +</p> +<center> +<span style="font-variant: small-caps;"><b>Curtain.</b></span> +</center> + + + + +<a name="h2H_4_0003" id="h2H_4_0003"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + ACT II +</h2> +<p class="stagec"> + <i>Ten minutes later.</i> +</p> +<p class="exposition"> +<i>Discovered:</i>—CROSBY <i>standing by the door</i> L. ROSALIE <i>still tied in +chair. Dummy supposed to represent</i> WALES' <i>body, covered by a piece of +drapery, has been placed on chesterfield facing fireplace up</i> C. +</p> +<p> +MRS. TRENT <i>seated below console table</i> L. <i>end of chesterfield.</i> +</p> +<p> +MISS EASTWOOD <i>seated at</i> R. <i>end of console table</i> R. <i>of chesterfield, +rattling book leaves.</i> +</p> +<p> +STANDISH <i>standing over</i> R. <i>below table.</i> +</p> +<p> +MISS STANDISH <i>is sitting</i> L.C. +</p> +<p> +HELEN—WILLIAM—<i>standing above table</i> R. +</p> +<p> +MRS. CROSBY <i>seated</i> L. <i>next to</i> ROSALIE. MISS ERSKINE <i>seated next to</i> +MRS. CROSBY, <i>tapping the sides of the chair with her fingers.</i> MASON +<i>in front of fireplace</i> C., <i>looking at</i> WALES' <i>body. Eventually he +moves to</i> MISS EASTWOOD <i>and takes the book away from her.</i> +</p> +<p> +TRENT <i>walking up stage</i> L. <i>as curtain rises. All lamps alight.</i> +</p> +<p> +<i>The arrangement of the chairs for this act is detailed at the end of +the play.</i> +</p> +<p> </p> +<p> +MRS. TRENT (<i>rising and moving to</i> CROSBY). Father, please let me go to +my room. +</p> +<p> +CROSBY. It is impossible, my dear. +</p> +<p> +TRENT. But, Mr. Crosby—— (<i>Comes down to</i> CROSBY L.) +</p> +<p> +CROSBY (<i>interrupting him</i>). It's quite impossible. +</p> +<p class="exposition"> +(MRS. TRENT <i>goes to and sits in chair up</i> L., <i>followed by</i> TRENT, <i>who +stands</i> R. <i>side of her.</i> WILLIAM <i>sits back of table</i> R. HELEN <i>sits +above table</i> R.) +</p> +<p> +STANDISH (<i>below table over</i> R.). Mr. Crosby, I must—— +</p> +<p> +CROSBY. Mr. Standish, I just refused to let my own daughter leave the +room. +</p> +<p class="stagec"> +(<i>Slight pause.</i>) +</p> +<p> +STANDISH. But don't you see, sir—— +</p> +<p> +CROSBY. My dear Standish, poor Wales was killed by someone in this room. +We are all of us under suspicion. Everyone of us. (<i>Slight movement +from all.</i>) It's an awful thing to say—but one of us in this room +has killed Wales. Which one of us? +</p> +<p class="stagec"> +(<i>Knock on door down</i> L.) +</p> +<p> +CROSBY. Yes. +</p> +<p> +POLLOCK (<i>outside</i>). The police are here, sir. +</p> +<p> +CROSBY. Who is it? +</p> +<p> +DONOHUE (<i>outside</i>). Inspector Donohue. +</p> +<p> +CROSBY. Pollock, give Inspector Donohue all the keys. +</p> +<p> +POLLOCK (<i>outside</i>). Yes, sir. +</p> +<p class="stagec"> +(<i>There is a pause.</i>) +</p> +<p> +DONOHUE (<i>outside</i>). What is all this? +</p> +<p> +POLLOCK (<i>outside</i>). I don't know, I'm sure. I was told to lock the +door. I don't know what's been going on inside. Then I was told to call +you. This is the right key for that door. +</p> +<p class="exposition"> +(<i>The noise of the key being put into the lock can be heard, then +the click as it is turned in the lock, then the door is opened, and</i> +INSPECTOR DONOHUE <i>in plain clothes comes well on stage</i> L. <i>He is seen +to be a clean-cut, intelligent-looking man of fifty. It later develops +that he is reserved and extremely quiet in manner. He speaks like a +gentleman and acts like one.</i> SERGEANT DUNN <i>enters also and drops below +door</i> L.) +</p> +<p> +DONOHUE. Where's Mr. Wales? +</p> +<p> +CROSBY (L.C.). How did you know that Wales—— +</p> +<p> +DONOHUE (L. <i>of</i> CROSBY, <i>interrupting him</i>). I don't know anything. I +was thinking of something else. I was told that I was wanted here in a +hurry. +</p> +<p> +CROSBY. Queer your asking for Wales. Mr. Wales is dead; that's why I +sent for you. +</p> +<p> +DONOHUE. Wales is what? +</p> +<p> +CROSBY. Wales is dead. +</p> +<p> +MISS EASTWOOD (<i>still seated</i> R.C.). Yes, and if you ask me—— +</p> +<p> +DONOHUE. Just a minute, please, miss. (<i>He turns to</i> CROSBY.) It must +have been very sudden. Why, only this afternoon I—— Did he ask you to +send for me? +</p> +<p> +CROSBY (L.C.). Inspector, you don't seem to understand. Mr. Wales was +murdered in this room not fifteen minutes ago. +</p> +<p class="stagec"> +(<i>Other characters keep the same positions as when the curtain rose.</i>) +</p> +<p> +DONOHUE (<i>his manner changing abruptly</i>). Mike! That door! (SERGEANT +DUNN <i>closes door</i> L. <i>and stands in front of it.</i>) Where have you taken +him? +</p> +<p> +CROSBY (<i>pointing to the chesterfield</i> C.). There. +</p> +<p class="exposition"> +(DONOHUE <i>goes up</i> L. <i>end of chesterfield to</i> C. <i>and stands looking +down on the body. There is a long pause, and then slowly raising his +head looks with terrible deliberation at each person in the room.</i> MASON +<i>moves to</i> R. <i>end of chesterfield.</i>) +</p> +<p> +DONOHUE. Who did this? +</p> +<p> +CROSBY. We don't know. +</p> +<p> +DONOHUE (<i>very quietly</i>). Then I expect we'll have to find out. (<i>He +comes down by the</i> R. <i>end of the chesterfield and stops when he sees</i> +ROSALIE. <i>He gives a short laugh as he sees how she is tied to the +chair.</i>) What's this? +</p> +<p> +MRS. CROSBY (<i>rises</i>). Good Heavens, we forgot to untie her! I'm so +sorry. +</p> +<p> +ROSALIE. Thank you, madame. I am quite comfortable. I will stay as I am +if you do not mind. +</p> +<p> +MRS. CROSBY. But— +</p> +<p> +DONOHUE. I think we'll leave things as they are for the present. +</p> +<p class="stagec"> +(MRS. CROSBY <i>resumes the same seat as before.</i>) +</p> +<p> +ROSALIE. A policeman with brains! Oh, la-la! +</p> +<p> +DONOHUE. Let's see if he can't use them then. (<i>Moving to </i> CROSBY +<i>down</i> L.C. <i>and standing on his</i> R. <i>side.</i>) Now, Mr. Crosby, tell me +exactly what happened. +</p> +<p> +CROSBY. I know it sounds foolish, but we were having a spiritualistic +seance. Madame la Grange is a medium. +</p> +<p> +DONOHUE. I see. +</p> +<p> +CROSBY. We were sitting in the dark, in a circle, you know, holding +hands. Suddenly Wales cried out. I called to my son to turn on the +light. He did so. Wales was leaning forward in his chair. His hands were +in those of the people he sat between, and all the rest of us were +sitting around. +</p> +<p> +DONOHUE. All of you? +</p> +<p> +CROSBY. Yes. +</p> +<p> +DONOHUE. I thought you told your son to turn on the lights. +</p> +<p> +CROSBY. If you're implying that— +</p> +<p> +DONOHUE. I'm not implying anything, and please answer my questions. +</p> +<p> +WILLIAM (<i>rises, and stands back of table</i> R.). Inspector, I was sitting +there, and simply made a move to turn on the light. I had chosen the +seat purposely. We wanted to expose trickery, if we found any. +</p> +<p> +DONOHUE. I understand. (<i>He turns again to</i> CROSBY.) Go on, Mr. Crosby. +</p> +<p> +CROSBY. In a moment poor Wales fell to the floor. I ran to him and found +that he had been stabbed in the back. Before we could call for aid, he +was dead. +</p> +<p> +DONOHUE. Did he say anything? +</p> +<p> +CROSBY. No. I think that he was dead before we got to him. +</p> +<p> +DONOHUE. What happened then? +</p> +<p> +CROSBY. As soon as I realized what had happened I sent for you. +</p> +<p> +DONOHUE. Why for <i>me</i>? Why not simply notify the police? I mean, was +there any special reason for wanting <i>me</i>? +</p> +<p> +CROSBY. There was, but I wasn't conscious of it at the time. We'd been +talking about the killing of Spencer Lee earlier in the evening, and +I suppose that subconsciously I remembered that you were handling that +case, which brought yours as the first name to my mind. That's all. +</p> +<p> +DONOHUE. I see. (<i>Going </i>C.<i> a few steps.</i>) Now then, who's been in or +out of this room since? Of course, you know you had no right to move Mr. +Wales. +</p> +<p> +CROSBY (L.C.). Yes, I know, but I couldn't let him lie there on the +floor. It was a little too much. You see we were all locked in here and +and—— +</p> +<p> +DONOHUE. Locked in! You mean as I found you when I came? +</p> +<p> +CROSBY. Exactly. We had all of the windows fastened and all doors locked +for the séance. Pollock had the keys, I refused to let him open the door +until you came. +</p> +<p> +DONOHUE. Mr. Crosby, you are forgiven for breaking the Coroner's rules. +As I understand, then, you were sitting in this room with the doors and +windows locked; you were in the dark. Wales was stabbed in the back, the +lights were turned on, and no one has left the room or entered since? +</p> +<p> +CROSBY. No one but you. +</p> +<p> +DONOHUE. I didn't kill him. (<i>There is a long pause, then he turns +with a sweeping gesture.</i>) Which one of you did? (<i>Slight movement +from others. There is another long pause. No one speaks. He moves +very quietly down</i> R.C. <i>to below table</i> R.) Now, I'm not going to +employ the usual police methods. There is to be no threatening or +badgering. But you all can see that there can be no escape for the +guilty person. I realize that this is a terrible situation for all of +you, but the only way to relieve it is for the murderer of Mr. Wales +to confess. (<i>Another pause.</i>) It will save a long, and I assure you, +a very trying police investigation. Let me say also that there will be +no recriminations, no unpleasant scenes. I realize that this seems a +very weak plea for a confession. But I am counting on the intelligence +of the people now in this room. (<i>He takes out his watch and holds it +face upward in his hand.</i>) I have unlimited time, but not a great +deal of patience. Well? (<i>There is another long pause. He finally +replaces his watch with a little gesture of finality.</i>) Very well +then. (<i>He turns suddenly to</i> MISS EASTWOOD, <i>who is still seated +up</i> R.C.) What is your name? +</p> +<p> +MISS EASTWOOD. Mary Eastwood. +</p> +<p> +DONOHUE. A moment ago, Miss Eastwood, you started to tell me something. +You said, "If you ask me—" Now I am asking you. What was it you wanted +to tell me? +</p> +<p> +MISS EASTWOOD (<i>seated</i> R. <i>of console table</i> R.). I don't +want to especially. But I think I ought to tell you this. No one else +seems to have thought of it. When the séance started we were all sitting +in a circle holding each others' hands. As I understand it—— +</p> +<p> +DONOHUE. We can take it for granted that I know how that is done. Go on, +please. +</p> +<p> +MISS EASTWOOD. The medium got out of the circle without our knowing it, +and then showed us how she did the trick. +</p> +<p> +DONOHUE. I see. +</p> +<p> +MISS EASTWOOD. Why couldn't she have done it again? Of course, that's +what someone did, isn't it? And if she could get out of the circle +without our knowing it, she could get back in again, couldn't she? +</p> +<p class="stagec"> +(HELEN <i>rises.</i> MISS EASTWOOD <i>continues with an air of triumph.</i>) +</p> +<p> +<i>That's</i> what I wanted to tell you. +</p> +<p> +ROSALIE. If any one of you, or all of you, can get me out of this chair +without untying me or cutting me loose, I will say that I 'ave done that +murder. +</p> +<p class="stagec"> +(HELEN <i>sits above table</i> R.) +</p> +<p> +DONOHUE. Thank you, Miss Eastwood. It's only fair to tell you that there +isn't a trick or an effect that these people do that the police do not +understand perfectly. +</p> +<p> +ROSALIE. Is that so? +</p> +<p class="stagec"> +(DONOHUE <i>goes over and examines the way in which</i> ROSALIE <i>is tied +to the chair.</i>) +</p> +<p> +DONOHUE. Why was she tied up? +</p> +<p> +CROSBY (<i>down</i> L.C.). At her own request. As Miss Eastwood says, +she showed us how she broke out of the circle and then suggested that we +tie her into that chair to make sure she didn't do it again. +</p> +<p> +DONOHUE (R. <i>of</i> ROSALIE'S <i>chair</i>). It's lucky for her that she did. +Even if she had slipped out of those knots, there's no way in the world +that she could get back in. +</p> +<p> +ROSALIE. I did say this policeman 'ad brains. (DONOHUE <i>turns away +from her.</i>) Get me loose, dear Inspector. My foot 'e sleeps. +</p> +<p class="stagec"> +(DONOHUE <i>turns back and unties handkerchiefs with which she is tied. +She gets up and stands in front of arm-chair</i> C.) +</p> +<p> +DONOHUE. Thank you very much, Miss Eastwood, that eliminates one. +</p> +<p> +ROSALIE. Then I can go? (<i>Starting for door</i> L.) +</p> +<p> +DONOHUE. You cannot. +</p> +<p class="stagec"> +(ROSALIE <i>goes</i> R. <i>of arm-chair and sits</i> R. <i>end of chesterfield</i> C.) +</p> +<p> +Anyone else anything they want to tell me? (<i>Pause.</i>) No? Mike, you'd +better 'phone the Coroner and ask him to come up here. Tell him I do not +want the case reported yet. And suggest that he hurries. +</p> +<p> +DUNN. Yes, Inspector. +</p> +<p class="stagec"> +(<i>He turns and exits</i> L., <i>leaving the door open behind him.</i> STANDISH +<i>and</i> TRENT <i>start towards door</i> L.) +</p> +<p> +DONOHUE (<i>turning to them</i>). That open door does not mean freedom for +any of you yet. +</p> +<p> +TRENT (<i>coming to</i> DONOHUE C.). I'm awfully sorry, Inspector, but I've +an important business engagement at ten o'clock. My father-in-law here +will—— +</p> +<p> +DONOHUE. That's quite impossible. +</p> +<p class="stagec"> +(TRENT <i>goes up</i> L. <i>again and stands</i> L. <i>side of</i> MRS. TRENT.) +</p> +<p> +STANDISH (<i>moving to</i> L.C.). That is all very well, Inspector, but you +know you can't keep us in this room for ever. If you want to take the +consequences of accusing me of murder, well, that's your affair. But my +patience is exhausted and I haven't the slightest intention of remaining +here much longer. Unless, of course, you are planning to arrest me. +</p> +<p> +DONOHUE (C.). I see. By the way, who are you? +</p> +<p> +STANDISH. Howard Standish, of Standish, Giles & Updegraff, 120 Broadway. +My brother is Judge Standish of the Supreme Court. +</p> +<p> +DONOHUE. And you refuse to remain here any longer? +</p> +<p> +STANDISH. I do. +</p> +<p> +DONOHUE. Very well, Mr. Standish of Standish, Giles & Updegraff. You are +arrested as a material witness in this case. As soon as Sergeant Dunn +returns he will call a patrol wagon and take you down to the House of +Detention. (<i>Turns and crosses</i> R.) Are there any others who insist on +leaving this room? +</p> +<p> +STANDISH. I beg your pardon, Inspector. I acted like a fool. +</p> +<p class="stagec"> +(MASON R. <i>of chesterfield</i> C.) +</p> +<p> +DONOHUE. Not at all, sir, your actions are entirely natural. +</p> +<p class="stagec"> +(STANDISH <i>goes up</i> L. DUNN'S <i>voice is heard outside.</i>) +</p> +<p> +DUNN. Hello! Hello! No, sir. But Inspector Donohue wants you to come +here at once. We're at Mr. Roscoe Crosby's house. No, sir (DONOHUE +<i>crosses over and closes the door</i> L.), he doesn't want the case +reported yet. +</p> +<p> +DONOHUE. We needn't be bothered with that, anyway. (<i>Moves back to</i> R.C. +<i>There is a pause.</i>) Well, I'm afraid we'll have to begin work. (<i>He +goes over to table</i> R. <i>and sits down stage end of table. Takes paper +and gets pencil.</i>) With the exception of Mr. Crosby, who is known to +nearly everyone, and Mr. Standish, who has so pleasantly introduced +himself to me, I know none of you. So I'll have to ask— (<i>He stops +suddenly and rises, facing them all. He points slowly to the +chesterfield, facing fireplace up</i> C.) That's rather a gruesome thing +there. I think we'll move it into another room. Will some of you +gentlemen carry Mr. Wales' body into the other room. (<i>There is a pause. +The men all hesitate. Finally</i> MASON <i>starts to move to chesterfield.</i> +DONOHUE <i>is down stage</i> R.C.) Thank you very much. We'll—— +</p> +<p class="stagec"> +(<i>Coming to</i> C. DUNN <i>enters from</i> L.) +</p> +<p> +DUNN. Dr. Bernstein himself is on the way here, Inspector. +</p> +<p> +DONOHUE. Good! Mike, get one of the servants to help you to carry this +sofa into another room. +</p> +<p class="stagec"> +(DUNN <i>turns and exits</i> L. <i>without speaking.</i>) +</p> +<p> +I won't have to trouble you after all, sir. +</p> +<p class="stagec"> +(MASON <i>drops down to console table</i> R. <i>of chesterfield.</i> DONOHUE +<i>gives a little laugh.</i>) +</p> +<p> +Funny how these old superstitions cling to us. One of the first tests +for guilt invented by detectives was to ask a supposed murderer to touch +the body of his victim. (<i>Slight pause.</i>) The test didn't work very +well, did it? Certainly you four gentlemen can't all be guilty. (<i>Slight +pause.</i>) Well, we'll have to try something else. (<i>Very impressively.</i>) +Because, you know, I really am going to arrest the murderer of Edward +Wales to-night. +</p> +<p> +(DUNN <i>enters from</i> L., <i>followed by</i> POLLOCK.) +</p> +<p> +Carry the sofa into another room, please. +</p> +<p> +CROSBY (<i>down</i> L.). Into that room, please. (<i>Indicating door</i> L.C.) +</p> +<p class="exposition"> +(DUNN <i>goes up to door</i> L.C., <i>turns knob—discovers door is locked.</i> +POLLOCK <i>crosses to</i> R. <i>end of chesterfield facing fireplace on which +dummy has been placed between first and second acts. Dummy is covered +with a drapery</i>.) +</p> +<p> +DUNN (<i>at door</i> L.C.). The door is locked. +</p> +<p> +DONOHUE (C.). Oh, yes, try these keys. +</p> +<p class="exposition"> +(DUNN <i>comes down</i> L.C., <i>gets keys, goes up and unlocks door. He and</i> +POLLOCK <i>pick up chesterfield,</i> POLLOCK <i>taking his end of chesterfield +through door</i> L.C. <i>first.</i>) +</p> +<p> +And, Mike! +</p> +<p class="stagec"> +(DUNN <i>turns his head.</i>) +</p> +<p> +DUNN. Yes, sir. +</p> +<p> +DONOHUE. Make as quick an examination as you can and report to me here. +(<i>The men exit carrying sofa into room</i> L.C. DONOHUE <i>crosses to chair +below table</i> R. <i>and sits.</i> TRENT <i>places chair</i> L.C.) If you will all +come a little closer, please. +</p> +<p class="exposition"> +(<i>The positions now become as follows:</i>—WILLIAM <i>back of table</i> R.; +HELEN O'NEILL <i>seated above table;</i> MISS EASTWOOD <i>seated below console +table</i> R. <i>end of chesterfield;</i> ROSALIE <i>seated</i> C. <i>chesterfield;</i> +MRS. CROSBY <i>seated in arm-chair up</i> C.; MASON <i>standing upper end of +table</i> R.; MISS ERSKINE <i>seated up</i> L.C.; MRS. TRENT <i>seated in chair</i> +L.C.; STANDISH <i>standing</i> L. <i>of</i> MRS. TRENT, <i>and</i> TRENT <i>seated</i> L.C.; +CROSBY <i>down</i> L.C. DONOHUE <i>seated lower end of table</i> R.) +</p> +<p> +Now, I can see you all quite comfortably. +</p> +<p class="stagec"> +(POLLOCK <i>enters door</i> L.C., <i>closes door—crosses to door</i> L. <i>and +exits, closing the door.</i>) +</p> +<p> +As I started to say a moment ago, I shall have to find out something +about each of you. You, madam? (<i>He turns to</i> MRS. CROSBY.) +</p> +<p> +MRS. CROSBY (<i>seated in arm-chair</i> C.). I'm Alicia Crosby. Mrs. Roscoe +Crosby. +</p> +<p class="stagec"> +(<i>He makes notes on paper in front of him.</i>) +</p> +<p> +DONOHUE. I'm sorry to trouble you, Miss—(<i>He points his pencil at</i> MISS +ERSKINE, <i>seated</i> L.C.) +</p> +<p> +MISS ERSKINE. Elizabeth Erskine. I'm—— +</p> +<p> +DONOHUE. It's not necessary to tell your age. +</p> +<p> +MISS ERSKINE. I wasn't going to. I'm the daughter of Edward Erskine, my +father is the banker. +</p> +<p> +DONOHUE. I know him. Thank you. You are then merely a guest here? +</p> +<p> +MISS ERSKINE. A friend. +</p> +<p> +DONOHUE. Miss Eastwood, I already know. And you, miss? +</p> +<p> +MISS STANDISH. Grace Standish. +</p> +<p> +STANDISH. My sister. +</p> +<p> +DONOHUE. Oh! And this young lady? +</p> +<p> +CROSBY (<i>puts his hand on</i> MRS. TRENT'S <i>shoulder</i> L.C.). My daughter, +Mrs. Trent. She and Trent here live with us. +</p> +<p> +DONOHUE. And you, sir? +</p> +<p> +MASON (<i>there is a pause</i>). Philip Mason. (<i>At upper end of table</i> R.) +</p> +<p> +DONOHUE. That doesn't tell me very much. +</p> +<p> +MASON (<i>with a laugh</i>). There isn't very much to tell. I'm just a friend +of the family. We've known, each other for years. I've lived in Paris +for the last two or three years. I'm a painter. +</p> +<p> +DONOHUE. You mean an artist? +</p> +<p> +MASON. Well, I don't paint houses or fences, but I'd hardly call myself +an artist—yet. +</p> +<p> +DONOHUE. Poor, I suppose? I know you'll pardon that question, won't you? +</p> +<p> +MASON. Quite all right, I assure you. No, I'm not poor. +</p> +<p> +DONOHUE. Thank you. (<i>Turns toward</i> WILLIAM, <i>who is standing back of</i> +HELEN'S <i>chair above table</i> R.) And you? +</p> +<p> +WILLIAM. I'm young Crosby. +</p> +<p> +DONOHUE. I see. Live here, I suppose? +</p> +<p> +WILLIAM. Certainly, where else should I live? +</p> +<p> +DONOHUE. I thought perhaps you might be married. +</p> +<p> +CROSBY (L.C.). He's not, but if he were he'd live with us and—— +</p> +<p> +WILLIAM. No, father. When I marry I've got to have my own home and—— +</p> +<p> +CROSBY. Nonsense. Don't talk like a fool. You'd live here with me and +your mother—and your wife, of course. +</p> +<p> +DONOHUE. I think perhaps we'd better defer that discussion, gentlemen. +(<i>He turns toward</i> HELEN.) And this young lady? +</p> +<p> +WILLIAM. My fiancée, Miss O'Neill. +</p> +<p> +DONOHUE. Well, that finishes that. (<i>Rises, standing below table</i> R.) +</p> +<p> +MISS EASTWOOD. But, Inspector, you haven't asked anything about the medium? +</p> +<p> +DONOHUE. Perhaps I don't consider that necessary, Miss Eastwood. +</p> +<p> +MISS EASTWOOD. But—— +</p> +<p> +DONOHUE. And I'm terribly set on conducting this investigation in my own +way, if you don't mind. +</p> +<p class="stagec"> +(<i>Enter</i> DUNN <i>from</i> L.C.) +</p> +<p> +DUNN. Inspector! +</p> +<p> +DONOHUE. Well? +</p> +<p> +DUNN (<i>at door</i> L.C.). I can't tell for sure, but I guess the knife went +clean into the heart. He must have died instantly. +</p> +<p> +DONOHUE. All right. Let me know when the Coroner arrives. (DUNN <i>starts +toward door down</i> L.) And, Dunn! +</p> +<p> +DUNN. Yes, sir. +</p> +<p> +DONOHUE (<i>going</i> C.). You'd better let me have a look at that knife. +</p> +<p class="stagec"> +(DUNN <i>turns sharply and looks at him.</i>) +</p> +<p> +DUNN (<i>down</i> L.). The knife? +</p> +<p> +DONOHUE. Yes, the knife. +</p> +<p> +DUNN. I haven't seen any knife. I thought you had it. +</p> +<p> +DONOHUE. No. I haven't seen it. (<i>There is a long pause.</i> DONOHUE <i>is</i> +R. <i>of</i> CROSBY.) Mr. Crosby? +</p> +<p> +CROSBY (<i>still</i> L.C.). We didn't find it. +</p> +<p> +DONOHUE. Look carefully? +</p> +<p> +CROSBY. Everywhere. While we were waiting for you. +</p> +<p> +DONOHUE. Who moved Mr. Wales' body? +</p> +<p> +CROSBY. I did. +</p> +<p> +DONOHUE. No one else touched him? +</p> +<p> +CROSBY. No one. +</p> +<p> +DONOHUE. What did you do, after you had carried him to the sofa? +</p> +<p> +CROSBY. I saw that he had been stabbed. I looked for the knife. +</p> +<p> +DONOHUE. Where? +</p> +<p> +CROSBY. On the floor, under the stairs, everywhere I could think of. +</p> +<p> +DONOHUE. No trace of it? +</p> +<p> +CROSBY. None. +</p> +<p> +DONOHUE. What did you do then? +</p> +<p> +CROSBY. Nothing. I waited for you. +</p> +<p> +DONOHUE. How long after you found that Mr. Wales was killed did you turn +on the lights? +</p> +<p> +CROSBY. Why, I told you; we turned on the light before we found what had +happened. +</p> +<p> +DONOHUE. Would it have been possible for the murderer to have hidden it +about the room? +</p> +<p> +CROSBY. I doubt it very much. +</p> +<p> +DONOHUE. Why? +</p> +<p> +CROSBY. I don't think there would have been time. I don't see how anyone +could have done it at all. It's all a mystery to me. I told you the +circle was intact. You remember? +</p> +<p class="stagec"> +(<i>There is a pause.</i>) +</p> +<p> +DONOHUE. Yes, I remember. Then if the knife was hidden, it's probably on +the person of the man or woman who used it. +</p> +<p> +CROSBY. I think so, undoubtedly. +</p> +<p> +DONOHUE. Mike, 'phone over to the station house and have them send a +matron over here. +</p> +<p class="stagec"> +(DUNN <i>exits</i> L., <i>and closes the door after him.</i>) +</p> +<p> +Now about that light. There was just one lamp turned on as I remember. +</p> +<p> +CROSBY. Someone turned on the rest of the lights, almost immediately. +</p> +<p> +DONOHUE. Could the knife have been hidden about the room, since that time? +</p> +<p> +CROSBY. It's extremely unlikely. We have all been here together. A thing +of that sort would have been seen. +</p> +<p> +DONOHUE. Then I expect we'll find it without much trouble. (<i>There is +a pause, as he looks slowly at each person individually in the room.</i> +WILLIAM <i>puts arm on</i> HELEN'S <i>shoulders as</i> DONOHUE <i>looks at him.</i>) +In the meantime, I think we'll let it remain where it is. (<i>Crosses +down</i> R. <i>He turns with a gesture which takes them all in.</i>) You see +how inevitably the guilty person must be discovered. Don't you think it +would be much simpler to confess? (<i>Pause.</i>) No? Then I suppose we will +have to continue. (<i>Crosses up</i> L., <i>takes a chair and places it</i> L. +<i>side of circle, then he takes the chair down</i> L. <i>and places that in +lower left-hand side of circle.</i> CROSBY <i>moves to</i> C.) I'd like to +visualize the scene a little more clearly. (TRENT <i>places chair</i> L. +<i>side of circle.</i>) Let's form that circle again—(<i>Turns two single +chairs down</i> C. <i>around with backs to audience. Crosses and gets chair +in front of table and places it in lower right-hand side of circle.</i> +MRS. CROSBY, MISS ERSKINE, MRS. TRENT, TRENT <i>and</i> MISS STANDISH <i>rise +and move to the</i> L. <i>of the circle.</i>) Of course this time without Mr. +Wales. (MISS EASTWOOD <i>rises and stands at</i> R. <i>end of chesterfield. +During these last few speeches of</i> DONOHUE, TRENT <i>and</i> CROSBY <i>have +placed the remainder of chairs in the circle.</i>) All sit as you were +sitting at the séance. +</p> +<p class="exposition"> +(<i>There is a general movement</i>. STANDISH <i>crosses</i> R. <i>to above table</i> +R. <i>The minute this suggestion is made</i> ROSALIE <i>comes down, nearer to</i> +DONOHUE, <i>and looks at him anxiously. Something in his suggestion +greatly disturbs her</i>.) +</p> +<p> +CROSBY (<i>in upper</i> L. <i>side of circle</i>). Will, you were there by the +lamp, and Madame la Grange was next to you, and I was next to her—— +</p> +<p> +DONOHUE. Then how did they sit? (<i>Down</i> R.) +</p> +<p> +CROSBY (<i>next to</i> ROSALIE, L.C.). I'm trying to remember. It's queer +what a jumbled memory one has. If anyone had asked me about it I would +have said I could have told how we were sitting with great accuracy. But +I can't somehow. +</p> +<p> +MISS ERSKINE. I was next to you, Mr. Crosby. (<i>Upper</i> L. <i>side of +circle. She turns to</i> MRS. CROSBY, <i>who is standing over</i> L.) Don't you +remember, Mrs. Crosby, he said he'd always wanted to hold my hand, and +we joked about it. (<i>Sits in her original chair</i>.) +</p> +<p> +MRS. CROSBY (L., <i>outside of circle</i>). Yes. I remember. +</p> +<p> +DONOHUE. That's all right, then. Who came next? +</p> +<p class="stagec"> +(<i>Down</i> R. <i>They all hesitate</i>.) +</p> +<p> +ROSALIE (<i>eagerly</i>). Inspector, I can place them all for you. +</p> +<p> +MASON (<i>over end of table</i> R.). But you said you didn't care how we sat. +</p> +<p class="stagec"> +(HELEN R.C. <i>in circle</i>.) +</p> +<p> +ROSALIE. So I did, sir, but I knew where you were sitting all the same. +You will permit that I show you, Inspector? +</p> +<p> +DONOHUE (<i>after a pause</i>). If you will be so kind. +</p> +<p class="stagec"> +(MISS STANDISH <i>sits in circle</i>.) +</p> +<p> +ROSALIE. The young lady was 'ere. And this gentleman 'e was 'ere. +(<i>Indicating</i> TRENT'S <i>chair</i>.) +</p> +<p> +TRENT (<i>from</i> L., <i>outside of circle</i>). By George, I couldn't have told +you, but she's right. This is exactly where I was sitting. (<i>Sits in +circle</i>.) +</p> +<p> +ROSALIE (<i>taking</i> HELEN <i>hastily by the shoulder and putting her in the +next seat</i>). And this young lady was 'ere. (HELEN <i>looks at her for a +moment and then sinks back in her chair</i>. ROSALIE <i>points at</i> MASON.) He +did come next. +</p> +<p> +MASON (<i>over</i> R.). No, you're wrong there—I—You're right—I remember +perfectly I was next to Miss O'Neill. (<i>Crosses</i> L. <i>and sits</i> L. <i>side +of circle</i>.) I know just how her hand felt in the dark. +</p> +<p class="stagec"> +(WILLIAM <i>looks at him quickly</i>. HELEN <i>turns and looks at him in +wonder</i>.) +</p> +<p> +HELEN (<i>seated</i> L. <i>side in circle</i>). Well really, Mr. Mason! +</p> +<p> +MASON. Oh, I don't mean it that way at all. I assure you I don't. +</p> +<p> +WILLIAM. Then why did you say it? (<i>Seated</i> R.C.) +</p> +<p> +MASON. My dear fellow, I've apologized. You are misunderstanding me. +</p> +<p> +MRS. CROSBY. I think we're all very much upset. (L. <i>outside circle.</i>) +Inspector Donohue, must we go through all this again? +</p> +<p> +DONOHUE. I'm afraid so, Mrs. Crosby. +</p> +<p> +CROSBY. Then let's get it over as quickly as possible. (<i>Sits</i> C. <i>in +his original chair in circle.</i>) +</p> +<p> +DONOHUE. Mr. Crosby, you seem to forget that this is a police +investigation, and must be conducted as I see fit. Who sat next to Mr. +Mason? +</p> +<p> +ROSALIE (<i>pointing to</i> MISS EASTWOOD). This young lady. +</p> +<p> +MISS EASTWOOD. I was next to Mr. Mason, wasn't I, Philip? +</p> +<p class="stagec"> +(<i>Crossing inside of circle, to chair lower</i> L. <i>side of circle, and +sits.</i>) +</p> +<p> +MASON. Yes. +</p> +<p> +DONOHUE. Now then, who occupied this seat? +</p> +<p> +MRS. TRENT (L.C. <i>outside of circle</i>). Mr. Wales. I know because I sat +<i>there</i>, and I was <i>next</i> to him. Shall I sit there now? +</p> +<p> +DONOHUE. If you will be so good. +</p> +<p class="stagec"> +(MRS. TRENT <i>crosses to</i> R. <i>and sits in circle.</i>) +</p> +<p> +STANDISH (<i>upper end of table</i> R.). I was next to Mrs. Trent. (<i>He sits.</i>) +</p> +<p> +MRS. CROSBY. And I was here between Mr. Standish and Billy. +</p> +<p> +(<i>She sits.</i> DONOHUE <i>moves off a step down</i> R. <i>and stands +looking at them as they sit.</i> ROSALIE <i>moves over and takes her +place in armchair.</i>) +</p> +<p> +DONOHUE. You are all sure that's where you were sitting? +</p> +<p> +MISS EASTWOOD. There's some mix up here, I know. (ROSALIE <i>rises</i>.) +I wasn't next to Mr. Wales. +</p> +<p> +HELEN (<i>rises</i>). Of course you weren't. I don't see what I could have +been thinking of. <i>I</i> sat where Miss Eastwood is. +</p> +<p> +MISS EASTWOOD. Yes, and I was next to Mr. Trent, between Philip and Mr. +Trent. I felt sure I was in the wrong seat. (<i>Rises.</i>) +</p> +<p> +DONOHUE (<i>quite casually</i>). Then perhaps you ladies will exchange +places. +</p> +<p class="exposition"> +(ROSALIE <i>gives a little sigh of relief when she sees that</i> DONOHUE +<i>attaches no importance to the substitution she has made, and sits down +again.</i> HELEN <i>and</i> Miss EASTWOOD, <i>change seats.</i> HELEN <i>crosses +outside of circle.</i>) +</p> +<p> +Now we're all right, aren't we? (<i>Slight buzz of conversation.</i>) You are +quite sure that you are all in the places you occupied during the +séance? +</p> +<p> +CROSBY. Yes. I think so. +</p> +<p> +DONOHUE (<i>puts his hand on the empty chair</i>). We'll pretend that +Mr. Wales is still sitting here. (<i>Slight movement from all.</i>) Now, +Mr. Crosby, I'll ask you to tell me what happened after the séance began. +But first I'll ask you this question, was there any special arrangement +about the seats? +</p> +<p> +ROSALIE (<i>hurriedly rising</i>). There was not, sir. I told them that they +could sit anywhere they did wish. Young Mr. Crosby must 'ave sat by the +light on purpose. And I am so sorry I did make the mistake about the +young ladies. I do not know 'ow I came to make a mistake like that. +</p> +<p> +DONOHUE. Oh, well, if they couldn't remember where they sat, I don't +see how I can expect you to be entirely accurate. (ROSALIE <i>sits in +arm-chair up</i> C.) However, we're all right now. Now, Mr. Crosby. +</p> +<p> +CROSBY. Well, after Madame la Grange had shown how she broke out of—— +</p> +<p> +DONOHUE. We'll start with the séance. (<i>All look at</i> DONOHUE.) I know +how mediums break the circle and all that. And you needn't describe how +she went into that trance of hers. +</p> +<p> +MASON. Inspector, I don't think you're fair to this woman. I think +there's something pretty important that you haven't been told. +</p> +<p class="stagec"> +(<i>All look at</i> MASON.) +</p> +<p> +DONOHUE. Then you'd better tell me now. +</p> +<p> +MASON. In order that there should be no deception, we had Madame la +Grange searched. +</p> +<p> +DONOHUE. I see. +</p> +<p> +MASON. And while she was out of the room— +</p> +<p> +DONOHUE. Oh, she left the room? +</p> +<p class="stagec"> +(<i>All look at</i> DONOHUE.) +</p> +<p> +MASON. Yes, and all of the ladies went with her. Then someone suggested +that we ask Madame la Grange about some special thing, and Mr. Wales +said he was going to ask her to get in communication with Spencer Lee +and see if we couldn't find out who killed him—— +</p> +<p> +STANDISH. Most ridiculous thing— +</p> +<p> +MASON. As soon as she went into her trance, or whatever it was, Spencer +Lee's spirit tried to talk to us. +</p> +<p> +DONOHUE. She began to give you messages from Spencer Lee without knowing +that this was what you were trying to get? +</p> +<p> +MASON (<i>in triumph</i>). Exactly. And there's no use in trying to tell +me that there's nothing in spiritualism, because now I know better. +</p> +<p> +DONOHUE. Thank you very much, Mr. Mason. What you've told me is +extremely important. I'm anxious to know what was said, because I'm a +good deal interested in the Spencer Lee case myself. +</p> +<p class="stagec"> +(MRS. TRENT <i>turns and faces door, still sitting in her chair</i>.) +</p> +<p> +MASON. Then you think there's something in this spiritualism. I never +did until to-day, but, by Jove, you know you can't explain this any +other way. +</p> +<p> +DONOHUE. Madame la Grange went into a trance. We'll grant that much, +anyway. What happened then? +</p> +<p> +CROSBY. After a few minutes she began talking to us in the voice of a +little child. +</p> +<p> +ROSALIE. That was Laughing Eyes, my spirit control. +</p> +<p> +DONOHUE. Just what did Laughing Eyes say? +</p> +<p> +CROSBY. It was all mixed up; none of it very clear. But she seemed to be +trying to talk <i>for</i> someone <i>to</i> someone. She kept calling for Ned. +Then suddenly she spoke deeply, in a man's voice. +</p> +<p> +DONOHUE. Did the man's message have any importance? I mean, did it seem +to make sense? +</p> +<p> +CROSBY. It was perfectly coherent at any rate. I can't give you the +exact words, but— +</p> +<p> +MASON (<i>interrupting</i>). I can. He said, "Ned—I want Ned. Why in <i>Hell</i> +don't Ned answer me?" +</p> +<p> +DONOHUE (<i>standing at lower end of table</i> B.). And did anyone answer? +</p> +<p> +CROSBY. Eventually Wales replied. +</p> +<p> +DONOHUE. I want you all to be extremely careful in what you tell me. I +don't want any surmises. In the first place, did the message come for +anyone but Mr. Wales? +</p> +<p> +CROSBY. There was at no time mention of Wales' name. The calls were +always for "Ned." +</p> +<p> +DONOHUE. I see. Did anyone else answer the calls? +</p> +<p> +STANDISH. <i>I</i> asked two or three questions, but no attention was paid to +them. +</p> +<p> +DONOHUE. What did Mr. Wales say to all this? +</p> +<p> +CROSBY. I don't think Mr. Wales spoke at all until the message about +saving his life came. +</p> +<p> +DONOHUE. And after that? +</p> +<p> +MISS EASTWOOD. There was a regular conversation between them. +</p> +<p> +CROSBY. Then there was some mention about some letters. I remember, too, +that Mr. Wales said, "Are you trying to tell me who killed you?" +</p> +<p> +DONOHUE. What was the reply to that? +</p> +<p> +MRS. CROSBY. All we got were the words, "Ask—ask—ask." +</p> +<p> +CROSBY. And then I said, "Do you know who killed you?" +</p> +<p> +DONOHUE. Did you get an answer? +</p> +<p> +CROSBY. Not directly. The message was another cry for "Ned." +</p> +<p> +DONOHUE. What happened then? +</p> +<p> +CROSBY. Then Mr. Wales said, "Do you know who killed you?" +</p> +<p> +DONOHUE (<i>eagerly</i>). What answer did he get? +</p> +<p> +CROSBY. None. The medium began to moan and cry. Then Mr. Wales asked her +again and again for the name. He kept crying, "Tell me who killed you; I +want the name." He must have asked her two or three times. Then he cried +out that he was hurt. +</p> +<p> +DONOHUE. And then? +</p> +<p> +CROSBY. That's all. +</p> +<p class="stagec"> +(<i>Enter</i> DUNN <i>from door</i> L.) +</p> +<p> +DUNN. The matron is here now, sir. +</p> +<p> +DONOHUE. Just a minute. Just one more question, Mr. Crosby. Did you get +the impression that if Mr. Wales had not been killed his question would +have been answered? +</p> +<p> +CROSBY. If you grant that the séance was real, it would be impossible to +arrive at any other conclusion. +</p> +<p> +DONOHUE. It was well established in your mind that Wales was the only +person able to get a message? +</p> +<p> +CROSBY. Yes. +</p> +<p> +DONOHUE. It follows then that he was killed in order to prevent his +question being answered. +</p> +<p> +CROSBY. That's the impression I got. +</p> +<p> +DONOHUE. This leads to the conclusion that whoever killed Wales knew who +had killed Spencer Lee. +</p> +<p> +CROSBY. I should think so. +</p> +<p> +DONOHUE (<i>front of table</i> R.). And it is not difficult to surmise +that the person who killed Wales was actuated by the strongest of all +motives—self-protection. So in all human probability the murderer +of Wales was also the murderer of Spencer Lee. You see, ladies and +gentlemen, that by the use of a little patience we have come a long way +in our investigation. (<i>There is a long pause.</i>) I don't wish to put +you all through the humiliation of a search. I should like to end this +inquiry here and now. (<i>Moves a step</i> R. <i>There is another pause</i>.) No? +Then we'll have to go on. (<i>Moves briskly to below table</i> R.) There is a +police matron in the other room who will search the ladies of the party. +Sergeant Dunn will perform a similar duty with the men. Mike, you will +take them one at a time. It makes no difference to me in what order +they go. +</p> +<p> +MASON. Well, I've got nothing to conceal. (<i>He rises and places chair +up</i> L., <i>then moves to door</i> L.) +</p> +<p> +ROSALIE. Neither 'ave I. (<i>She rises and moves down</i> C.) +</p> +<p> +DONOHUE. I'd rather you waited for a few minutes, Madame la Grange. +(ROSALIE <i>looks at him sharply</i>.) Any of the other ladies will do. +</p> +<p> +MRS. CROSBY (<i>rising</i>). Suppose I set the others a good example. +</p> +<p> +DONOHUE. Thank you very much. (MRS. CROSBY <i>comes down</i> C., <i>then +crosses to door</i> L. DONOHUE <i>looks at the others, where they are still +seated</i>.) And thank you all for the great help you've given me. You need +not sit there any longer, unless you wish. +</p> +<p class="exposition"> +(MISS STANDISH <i>crosses</i> R. <i>to back of table</i> R. MRS. CROSBY, MASON, +<i>and</i> SERGEANT DUNN <i>go out</i> L. DUNN <i>closes the door</i>. HELEN <i>goes up</i> +C. TRENT <i>moves one chair up to</i> L. <i>of door</i> L.C., <i>then one chair to</i> +R. <i>of door</i> L.C., <i>right back of chesterfield</i> C. MISS ERSKINE <i>crosses +to back of table</i> R. MRS. TRENT <i>seated</i> R.C. WILLIAM <i>in front of +chesterfield</i> C.) +</p> +<p> +MISS EASTWOOD (<i>crossing to</i> DONOHUE R.). Inspector, I think you're +perfectly wonderful. +</p> +<p> +DONOHUE. Oh, we haven't done very much yet, Miss Eastwood. Give the +police a little time. (<i>He turns and crosses to</i> L.C. <i>With an abrupt +change of tone</i>.) Madame la Grange, there's a question I wish to ask +you. +</p> +<p> +ROSALIE (<i>coming down to</i> L.C.). Anything at all, sir. +</p> +<p> +DONOHUE (L.C.). When Mr. Wales asked you for the name, why didn't you +answer him? +</p> +<p> +ROSALIE. I do not know. I was in a trance. (<i>She moves down</i> L.). +</p> +<p> +DONOHUE. Then you didn't hear the question. +</p> +<p> +ROSALIE. How could I? +</p> +<p> +DONOHUE. I didn't ask you that. I want to know why you didn't answer +him. +</p> +<p> +ROSALIE. I 'ave already told you, I was in a trance. I did not know what +was going on. +</p> +<p> +DONOHUE. Why didn't you tell the name that you had agreed with Wales you +would tell? +</p> +<p> +ROSALIE (L.C., <i>astonished</i>). Agreed? +</p> +<p> +DONOHUE. You heard what I said. (<i>There is a pause.</i>) Well, why didn't +you carry out your part of the bargain? (CROSBY <i>moves to front of +chesterfield</i> C.) Why didn't you give him the name as you'd planned? +</p> +<p> +ROSALIE. I do not know what you do mean. +</p> +<p> +DONOHUE. My words are perfectly plain. I asked you why you didn't carry +out your part of the bargain? +</p> +<p> +ROSALIE. There was not any bargain? +</p> +<p> +DONOHUE. Your whole séance was a fake. (<i>Slight movement from others.</i>) +It was not only planned but rehearsed between you and Wales. He thought +that a woman had killed his friend. He told you about it, and asked your +help to discover the murderer, +</p> +<p> +ROSALIE. I do not know what you talk about. +</p> +<p> +DONOHUE (<i>ignoring her reply</i>). Every detail of this séance was planned. +When he asked you the name you were to tell him the name of a woman—— +</p> +<p class="stagec"> +(MRS. TRENT <i>moves up</i> R. <i>and joins</i> TRENT <i>and</i> MISS ERSKINE <i>at +table</i> R.) +</p> +<p> +ROSALIE. Inspector, I 'ave never 'eard one word of this before, +</p> +<p> +DONOHUE. Not a word? +</p> +<p> +ROSALIE. Not a word. +</p> +<p> +DONOHUE (L.C., <i>taking paper out of the inside pocket of his coat</i>, +<i>and reading aloud</i>). "What do you want? Answer. Don't forget the +swimming pool. Don't ever forget the swimming pool. Do you mean the +time he went in after me? When we were little boys. Spencer Lee says he +can't rest." And so on and so on, down to. "Do you know who killed you?" +(<i>He turns to the others.</i>) The answer to that should have been "Yes." +What did she say? +</p> +<p> +CROSBY (<i>now in front of table</i> R.). She didn't answer that question. +</p> +<p> +DONOHUE (<i>looks at paper again</i> L.C.). The next question is, "Can you +tell the name?" And then she was to have told that woman's name. Just +the first name. Mrs. Crosby, what did she reply to that question? +</p> +<p> +CROSBY. She moaned and cried. +</p> +<p> +DONOHUE. What did she say after that? +</p> +<p> +CROSBY. Nothing. She moaned again and came out of the so-called trance. +</p> +<p> +DONOHUE. Why didn't you do as you agreed? +</p> +<p> +ROSALIE (<i>down</i> L.C., <i>left side of</i> DONOHUE. <i>Stonily</i>). +I do not know what you talk about. +</p> +<p> +DONOHUE. The police know that some woman killed Spencer Lee. Something +was taken from the inside pocket of his coat. We think it was a package +of letters. This woman left traces. We have her finger-prints—many of +them. Eventually we'll find her. For three or four weeks Mr. Wales has +been working among the people who knew Lee. His theory was that this +woman wanted to get back her letters—in fact, did get them back. He +felt reasonably sure that he had found the woman—that one of you ladies +here to-night is probably the woman we are hunting. He thought that he +could play on her superstitious fears, and that when her name seemingly +came from the spirit of the dead man she would confess. He told Madame +la Grange the name, explained to her just what he wanted, and together +he and I worked out the exact wording of the messages that were supposed +to come from Spencer Lee's spirit. (<i>He turns suddenly to</i> ROSALIE, +<i>who is down</i> L.C.) You agreed to all this; why didn't you speak +the name? +</p> +<p> +ROSALIE. I do not know anything about it. He—he must 'ave forgotten to +tell it to me. +</p> +<p> +DONOHUE. Oh, no, he didn't. +</p> +<p class="stagec"> +(MISS EASTWOOD <i>down in front of table</i> R.) +</p> +<p> +ROSALIE (<i>with great decision</i>). There was no name. He did not tell +to me any name. +</p> +<p> +DONOHUE. My good woman, you mustn't take me for a fool. You agreed to +use a certain name; you came here for that purpose, and then after you +got here, something happened to make you change your plans. Something +unexpected happened. (<i>He stops for a moment; turns to</i> MISS EASTWOOD.) +Miss Eastwood, what did you say was your first name? +</p> +<p> +MISS EASTWOOD. Mary. +</p> +<p> +DONOHUE (<i>to</i> MISS ERSKINE). And yours? +</p> +<p> +MISS ERSKINE (<i>back of table</i> R.). Elizabeth. +</p> +<p> +DONOHUE. Yours? +</p> +<p> +MISS STANDISH. Grace. +</p> +<p> +DONOHUE. Mr. Crosby, your wife's name is? +</p> +<p> +CROSBY. Alicia. +</p> +<p> +DONOHUE. Mrs. Trent? +</p> +<p> +MRS. TRENT (R.C.). Helen. +</p> +<p> +DONOHUE, Miss O'Neill? +</p> +<p> +HELEN (<i>up</i> C., <i>in front of chesterfield</i>). Helen. +</p> +<p class="stagec"> +(<i>There is a long pause</i>.) +</p> +<p> +DONOHUE (L.C. WILLIAM <i>comes to</i> HELEN C.). Helen, I see. So there are +two Helens. Two Helens. (<i>He stands looking first at one and then at the +other of the two women.</i>) Mr. Crosby, when Madame la Grange first came +to-night, did she show any surprise at seeing any of the people here? +</p> +<p> +CROSBY (R.C.). Not that I noticed. +</p> +<p> +MISS EASTWOOD (<i>below table</i> R.). Oh, yes, she did. Miss O'Neill wasn't +in the room when she arrived. Later when she came in Madame la Grange +seemed upset; she said something to her that none of us could hear. Then +I remember she argued with Mr. Wales and said she didn't feel like +having a séance. +</p> +<p> +DONOHUE. Now we're getting it. +</p> +<p class="stagec"> +(WILLIAM <i>stands</i> R. <i>of</i> HELEN O'NEILL <i>up</i> C.) +</p> +<p> +Everything was going along smoothly, until Miss O'Neill came in. The +extra Helen. (<i>He turns to</i> CROSBY.) Mr. Crosby, your daughter was in +the room when Madame la Grange came in? +</p> +<p> +CROSBY. Yes. +</p> +<p> +DONOHUE. You noticed nothing unusual in this woman's manner? +</p> +<p> +CROSBY. I'd never seen her before. +</p> +<p> +DONOHUE. I mean, she did nothing to attract your attention; the fact +that Helen Trent was in the room made no impression on her? +</p> +<p> +CROSBY. Seemingly not. +</p> +<p> +DONOHUE. Then Helen O'Neill came in. (<i>Goes up to</i> HELEN C., <i>then +crosses down to</i> ROSALIE L. <i>Sharply to her</i>.) Rosalie la Grange, what's +that girl to you? +</p> +<p> +ROSALIE. Nothing at all. +</p> +<p> +DONOHUE (C.). Nothing at all! Then why did you try to deceive me as to +where she sat. Why did you place her so that I would not know she was +sitting next to Mr. Wales when he was stabbed? +</p> +<p> +ROSALIE. It was just my mistake. I did not do it on purpose. +</p> +<p> +DONOHUE. I'm afraid that won't do. It's perfectly apparent that the name +you were to speak was—Helen, What's the use of lying to me! You've +tried your best to shield this girl. I want to know why. +</p> +<p> +ROSALIE. There's no reason. I never saw the young lady before in all my +life. +</p> +<p> +DONOHUE. What's that girl to you? +</p> +<p> +ROSALIE. Nothing, nothing at all—— +</p> +<p> +DONOHUE (<i>starts to</i> ROSALIE). <i>Damn you</i>, you old harridan, you come +across—— +</p> +<p> +HELEN (<i>springing forward from up</i> R.C. <i>down to</i> L.C. <i>and pushing</i> +DONOHUE <i>up stage</i>). Let my mother alone, let my mother alone. +</p> +<p class="stagec"> +(<i>She goes to</i> ROSALIE, <i>puts her arms around her. Pause.</i> ROSALIE +<i>weeps</i>.) +</p> +<p> +DONOHUE (<i>very quietly</i>). I thought perhaps I'd get it that way. +</p> +<p> +HELEN (<i>getting</i> L. <i>side of</i> ROSALIE). There, there, dear, it's all +right, it's all right. +</p> +<p> +DONOHUE (<i>with a grim smile, coming down</i> C.). Of course it's all right! +We've got the finger-prints and— +</p> +<p> +WILLIAM (<i>interrupting him—coming down to</i> C.). If you think for one +minute I'm going to let you—— +</p> +<p> +CROSBY. My boy, wait! (<i>grabbing him and pinning down his arms to his +sides</i> C.). Think what—— +</p> +<p> +WILLIAM. Think nothing. (<i>He shakes himself free and goes to</i> DONOHUE +L.C.) That's the girl I love, and I'll be <i>damned</i> if I let you take her +finger-prints. +</p> +<p> +DONOHUE. Young man, don't be a fool. I'm sorry, but it's too clear. +</p> +<p> +ROSALIE (<i>breaking away from her daughter and moving to</i> DONOHUE +C.). Clear—how is it too clear? Inspector, you are never going to +accuse my little girl of a thing like that? +</p> +<p> +DONOHUE (C.). She was next to him; she had only to free one hand and +strike, and then take his hand again! +</p> +<p> +ROSALIE. There was something else she had to do before she could ever do +that. She had to have murder in her heart. +</p> +<p> +DONOHUE. Well? +</p> +<p> +ROSALIE (<i>turns suddenly; seizes her daughter by the hand, turns her to +him.</i> ROSALIE <i>stays between</i> DONOHUE <i>and</i> HELEN). Look at 'er. Look in +'er eyes—look at the face of 'er. Is there murder there? 'Ave you not +eyes in your 'ead. +</p> +<p class="stagec"> +(DUNN <i>enters from</i> L.) +</p> +<p> +DUNN. It's not on either of them. +</p> +<p> +DONOHUE. I know where it is. Tell the matron she'll find the knife on +this girl. +</p> +<p> +ROSALIE (<i>to</i> DONOHUE C.). Inspector, I will tell to you anything I +know, only keep your hands off my little girl. I did come 'ere like you +say, and when I see my little girl I lose my 'ead. I tried to save 'er +and I 'ave made it worse. You 'ave looked at 'er, the poor young thing +that would not 'arm a fly, and you think she could do a thing like that. +</p> +<p> +DONOHUE. Yes. +</p> +<p> +ROSALIE (<i>still crying bitterly</i>). Then, Inspector Donohue, you are +a damn fool, and with God's 'elp I will prove it. +</p> +<center> +<span style="font-variant: small-caps;"><b>Curtain.</b></span> +</center> + + +<a name="h2H_4_0004" id="h2H_4_0004"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + ACT III +</h2> +<p class="stagec"> +<i>The same</i> SCENE <i>half an hour later</i>. +</p> +<p class="stagec"> +ROSALIE <i>is discovered by table</i> R. +</p> +<p> +ROSALIE. Father in 'Eaven, help me. My little girl is in terrible +trouble and there is not anyone to 'elp 'er but me. She is a good +girl—you know all things, you know she is a good girl. Show me the way. +I 'ave been a fakir all my life. I 'ave tricked them and fooled them, +but I 'ave never meant to 'arm a soul, I 'ave never done 'arm to any +person. And there is a power. It 'as come to me before, a power that +I could not understand. I felt it, and I showed it. Oh God, give it to +me again. Do this for my little girl, for the sake of your Son. Amen. +</p> +<p class="exposition"> +(<i>Turns and goes up stage and then to the window at</i> R. <i>She pulls up +the blind and raises the window. The light comes up from the street lamp, +throwing out her figure in strong silhouette, and showing a square patch +of light on the ceiling. In the</i> C. <i>of this patch, sticking point up in +the heavy wooden panelling, can be seen the knife</i>. ROSALIE <i>stands for +a few moments looking out at the night</i>. DONOHUE <i>enters down</i> L. <i>He +turns on the lights from the switch below the door down</i> L.) +</p> +<p> +DONOHUE (<i>crosses to</i> L.C.). Who turned off the lights? +</p> +<p> +ROSALIE (<i>at window</i> R.). I did, sir. +</p> +<p> +DONOHUE. Why? +</p> +<p> +ROSALIE. I was praying. (<i>Coming to above table</i> R.) +</p> +<p> +DONOHUE. Praying? What for? +</p> +<p> +ROSALIE. Guidance. +</p> +<p> +DONOHUE (<i>with a laugh</i>). I hope you get it. +</p> +<p> +ROSALIE (<i>with conviction</i>). I will, sir, I will. (<i>She starts toward +the door</i> L.) I will join the others now. +</p> +<p> +DONOHUE. I think'd you better wait. (<i>Calls off</i> L.) Mike! +</p> +<p class="stagec"> +(ROSALIE <i>is</i> C. DUNN <i>enters from</i> L.) +</p> +<p> +DUNN. Yes, Inspector. +</p> +<p> +DONOHUE. Did Madame la Grange see you as she came in here? +</p> +<p> +DUNN (<i>down</i> L.). No, sir. I followed your instructions and kept out of +sight. +</p> +<p> +DONOHUE (L.C.). How long has she been here? +</p> +<p> +DUNN. About ten minutes. +</p> +<p> +DONOHUE. Time enough for her to find what we couldn't. +</p> +<p> +DUNN. I'll bet she's got it. +</p> +<p> +DONOHUE. Take her to Mrs. MacPherson. She's not to go near anyone or +speak to anyone. Tell Mrs. Mac to search her. (<i>He turns to</i> ROSALIE, +<i>who is</i> C.) Unless, of course, you want to give up that knife now. +</p> +<p> +ROSALIE. I 'ave not any knife, and I 'ave been searched once. +</p> +<p> +DONOHUE (L.C.). Exactly, and then you were allowed to come back into +this room. We're rather anxious to see what you've found while you were +in here. Well? +</p> +<p> +ROSALIE. I 'ave found nothing that would be any good to you. +</p> +<p> +DONOHUE. I'm the best judge of that. What was it you found? +</p> +<p> +ROSALIE. I found comfort, sir. A feeling that the innocent would come to +no 'arm. +</p> +<p> +DONOHUE (<i>dryly</i>). Take her to Mrs. MacPherson. Come back as soon +as you turn her over to the matron. +</p> +<p> +DUNN. Yes, Inspector. Come on—come on, you. +</p> +<p> +ROSALIE (<i>crossing</i> L.). I will come! +</p> +<p class="stagec"> +(<i>They go out. He stands looking after them for about five seconds, +when</i> DUNN <i>re-enters and says</i>:) +</p> +<p> +DUNN (<i>above door</i> L.). Mrs. Mac's got her. +</p> +<p> +DONOHUE. She turned out that light. I wonder why? What did she want in +the dark. +</p> +<p class="exposition"> +(<i>He goes over toward the light switch at</i> L. <i>and puts out his hand. +He stops suddenly as his attention is attracted by a</i> POLICEMAN <i>coming +feet foremost down the chimney.</i> DONOHUE <i>gives a little start and then +comes</i> L.C. <i>The</i> POLICEMAN <i>jumps down all the way in fireplace, +and comes into the room to console table</i> L. <i>end of chesterfield. +His uniform is covered with soot, and so are his face and hands.</i> DUNN +<i>goes down</i> L. <i>below door.</i>) +</p> +<p> +DUNN. I sent him to see if they'd hidden that knife up there? +</p> +<p> +DONOHUE. Good. (<i>To</i> POLICEMAN.) Find anything? +</p> +<p> +POLICEMAN. Nothing but dirt. Who pays for this uniform? +</p> +<p> +DONOHUE. You don't, anyway. Could you hear anything while you were up +there? +</p> +<p> +POLICEMAN. Not a thing. +</p> +<p> +DONOHUE. You are sure? +</p> +<p> +POLICEMAN. Certain. +</p> +<p> +DONOHUE. Go and get a bath. +</p> +<p> +POLICEMAN. 'Tain't Saturday. +</p> +<p class="stagec"> +(<i>He exits at</i> L. DONOHUE <i>crosses</i> R. <i>Pause</i>.) +</p> +<p> +DUNN (<i>down</i> L. <i>After a pause</i>). Don't it beat <i>Hell</i>? +</p> +<p> +DONOHUE. Why? +</p> +<p> +DUNN. That knife couldn't have flew away. +</p> +<p> +DONOHUE (<i>coming</i> C.). We'll find it eventually. It's in this room +somewhere. +</p> +<p> +DUNN. No, sir, it ain't. +</p> +<p> +DONOHUE. Where have you looked? +</p> +<p> +DUNN. Everywhere. +</p> +<p> +DONOHUE. Not hidden in the furniture? +</p> +<p> +DUNN. I'll gamble it ain't. Took up all the rugs, shook 'em. Dug through +the upholstery in the furniture, looked back of mat on the wall. It's +not in the bric-à -brac, or whatever these swells call their jugs. +</p> +<p class="stagec"> +(DONOHUE <i>crosses towards table</i> R.) +</p> +<p> +DONOHUE. Unless we find it on the old woman, it's still in this room. +</p> +<p> +DUNN. I suppose you noticed that she opened the window. +</p> +<p> +DONOHUE (<i>upper end of table</i> R.). Yes, I noticed that. Mike, you've the +makings of a great detective. +</p> +<p> +DUNN. I'm a darned good detective now. +</p> +<p class="stagec"> +(DONOHUE <i>goes to window at</i> R. <i>and calls out</i>.) +</p> +<p> +DONOHUE. Say, Doolan! See anything? +</p> +<p> +DOOLAN (<i>outside window</i> R.). A woman put up the window just now. She +stood there a while looking up in the air. (<i>Pause.</i>) Watching the +stars, I guess. +</p> +<p> +DONOHUE. Have anything in her hand? +</p> +<p> +DOOLAN. No, sir. The light from this lamp was shinin' right on her. I +could see everything. +</p> +<p> +DONOHUE. Throw anything out of the window? +</p> +<p> +DOOLAN. No, Inspector. +</p> +<p> +DONOHUE. All right. You're to arrest anyone leaving the house. +</p> +<p> +DOOLAN. I gotcha. +</p> +<p class="stagec"> +(DONOHUE <i>comes below table</i> R. <i>and turns to</i> DUNN. <i>Crosses to</i> L.C.) +</p> +<p> +DONOHUE. We'll find the knife eventually. We've got to. Get me Mr. +Crosby, the O'Neill girl—that's the order I want to see them in here. +</p> +<p class="exposition"> +(DUNN <i>exits</i> L. DONOHUE <i>crosses up</i> R. <i>end of chesterfield to chest +up</i> R., <i>starts to cross</i> L. <i>below chesterfield</i>. CROSBY <i>enters down</i> +L. <i>and closes the door</i>. DONOHUE <i>comes down to</i> C. <i>by</i> R. <i>end of +chesterfield</i>.) +</p> +<p> +CROSBY (L.C.). Your man told me to come here. +</p> +<p> +DONOHUE. Yes. Sorry to have to give orders in your house. If you don't +like it I can take everyone down to Police Headquarters. You know what +will happen—what the newspapers will do if I take all these ladies and +gentlemen down town. In the end this way will be the best for you and +your friends. Well, how about it? +</p> +<p> +CROSBY (L.C.). Thank you. I think you'd better regard this house as your +own for the present. +</p> +<p> +DONOHUE (C.). All right. If you don't mind I'll use this room as a +headquarters for the present. +</p> +<p> +CROSBY. I have already told you to use this house as your own. +</p> +<p> +DONOHUE. Thank you. Good evening. +</p> +<p> +CROSBY (<i>with a laugh</i>). I'm dismissed? +</p> +<p> +DONOHUE. You're dismissed. (CROSBY <i>walks toward door</i> L.) Why did Wales +object to the engagement of your son and Helen O'Neill? +</p> +<p> +CROSBY (<i>turns to</i> DONOHUE). Who told you that? (<i>Moving a few steps.</i>) +</p> +<p> +DONOHUE. It doesn't matter. I know that he did. Why? +</p> +<p> +CROSBY (<i>turning front</i>). I can't talk about it. +</p> +<p> +DONOHUE (C.). All right. You're the best judge of that. Only I'm +attaching a great deal of importance to this fact. If I'm unduly +emphasizing its value, don't you think you'd better set me straight +about it? +</p> +<p> +CROSBY. What possible bearing can it have on—— +</p> +<p> +DONOHUE. Motive, my dear sir, motive. +</p> +<p> +CROSBY. Come now. You can't think that this girl killed Wales because +she heard him ask us to wait before we sanctioned her engagement to my +son. +</p> +<p> +DONOHUE. She did hear Mr. Wales make that objection. That's just what I +wanted to know. +</p> +<p> +CROSBY (L.). I think I'd better send for my lawyer. +</p> +<p> +DONOHUE (C.). Well, you can do as you like about that. Frankly, I don't +understand your attitude at all. I can appreciate your desire to spare +your son all the unhappiness that you can. But if this young woman +killed Wales and Lee, the sooner we find it out the better for you and +your family. +</p> +<p> +CROSBY. Oddly enough I was thinking only of Miss O'Neill at the moment. +</p> +<p> +DONOHUE. You'd better think of yourself and your family first. +(<i>Moves</i> R. <i>a few steps</i>.) +</p> +<p> +CROSBY. That's for me to decide. I certainly am not going to allow that +child to be bullied and badgered in the usual police fashion. (<i>Moves</i> +R. <i>a step</i>.) +</p> +<p> +DONOHUE. You're going to do as you are told, sir. If you warn that girl, +if you caution her in any way, I'll drag every one of you down town. You +and your wife and your son and the girl and all your friends. Be +reasonable, Mr. Crosby. If the girl is innocent, telling me the truth +won't hurt her. If she's guilty, and I think she is, by God, I'm going +to drag the truth out of her and her mother. (<i>There is a knock on the +door down</i> L.) Come in. +</p> +<p class="stagec"> +(HELEN <i>enters</i> L.) +</p> +<p> +HELEN (L.). You wanted me? +</p> +<p> +DONOHUE. Yes, come in. Sit down, please. +</p> +<p class="stagec"> +(<i>Indicating chair below table</i> R. HELEN <i>crosses and sits</i>. CROSBY +<i>starts to move</i> R.) +</p> +<p> +CROSBY. Helen—— +</p> +<p> +DONOHUE. What you are planning to do, Mr. Crosby, will only make matters +worse, I promised you that. +</p> +<p class="exposition"> +(<i>After a moment's pause</i> CROSBY <i>exits</i> L. <i>and leaves door open</i>. +DONOHUE <i>turns, closes door and turns sharply to</i> HELEN. <i>Crosses +towards the table</i>.) +</p> +<p> +Now then, young woman, let's hear what you've got to say. +</p> +<p> +HELEN. Nothing. +</p> +<p> +DONOHUE (C.). Nothing? I don't suppose it's necessary for me to tell you +that you're under grave suspicion. +</p> +<p> +HELEN. No, I realize that. +</p> +<p> +DONOHUE. Now, the best way to help yourself if you're innocent is to be +quite frank with me. (<i>She simply looks at him, but does not speak.</i>) +Well? +</p> +<p> +HELEN. I've already told you that there is nothing that I can say. +</p> +<p> +DONOHUE. Someone has advised you not to answer me. Who was it? (<i>There +is a pause.</i>) You'd better tell me. (<i>Moves</i> R.C.) +</p> +<p> +HELEN. I am not going to answer any of your questions. +</p> +<p> +DONOHUE. I told you that if you were innocent, nothing that you could +say would hurt you. If you're guilty—well that's a different matter. +</p> +<p> +HELEN. You know that I didn't do it. +</p> +<p> +DONOHUE (<i>in front of table</i> R.). Well, there you are. Why not +answer my question then? The sooner we find out who is guilty the sooner +you'll be freed from suspicion. You see that, don't you? +</p> +<p> +HELEN. Yes. +</p> +<p> +DONOHUE (<i>brings chair and sits in front of table</i> R.). Now we're +getting along. How well did you know Spencer Lee? (HELEN <i>does not +answer him—looking front</i>.) You'd better make up your mind to talk. +Do you hear? (HELEN <i>does not speak. Losing his temper.</i>) Why, you +little fool, do you think you can fight me? (<i>He turns sharply to face +her, turning his back on the door at</i> L.) You were the last person to +see Spencer Lee alive. Yes, and you saw him dead, too. You heard Wales +threaten to tell these fine people what he knew about you; you knew he'd +prevent your marriage to this young millionaire, and then—— +</p> +<p class="stagec"> +(ROSALIE <i>enters quietly from</i> L. <i>and stands for a moment watching +them</i>.) +</p> +<p> +When your chance came in the dark you killed him. Now then, you come +across with the truth. +</p> +<p> +ROSALIE. She'll come across with nothing. (<i>Crosses</i> R. <i>to table</i>.) +</p> +<p class="stagec"> +(DONOHUE <i>rises and stands by table</i> R.C. HELEN <i>rises</i>.) +</p> +<p> +You said that she was the one that did it and you would find the knife +on 'er. Well, you did not, did you? You think that she is the person +that killed Spencer Lee? +</p> +<p> +DONOHUE. Yes. +</p> +<p> +ROSALIE. Well, she is not. You say you 'ave the finger-prints of the +girl who was in his rooms. Well, take 'er finger-prints and put them +side by side with the others, and then you will see. I dare you to do +that. +</p> +<p> +HELEN (<i>with a cry</i>). Mother—— (<i>She stops suddenly.</i>) +</p> +<p> +DONOHUE. What were you going to say? +</p> +<p> +HELEN. Nothing. +</p> +<p class="stagec"> +(DUNN <i>enters with box and envelope</i>.) +</p> +<p> +DONOHUE. That's very wise of you. +</p> +<p> +DUNN. Got it, Inspector. (<i>Crosses to</i> C.) +</p> +<p> +DONOHUE (<i>down</i> R.). Do they compare? +</p> +<p> +DUNN. To a T. +</p> +<p class="stagec"> +(ROSALIE C., HELEN <i>down</i> R. DONOHUE <i>in front table between</i> HELEN +<i>and</i> ROSALIE.) +</p> +<p> +DONOHUE. All right. Let me have 'em. Now ask Mr. Crosby and his son to +come here at once. +</p> +<p class="stagec"> +(DUNN <i>turns and exits</i> L. DONOHUE <i>up</i> C. <i>crosses to back of table</i> R.) +</p> +<p> +I already have your daughter's finger-prints, Madame la Grange. +</p> +<p> +ROSALIE. 'Ave you really? ... You are very smart. +</p> +<p class="exposition"> +(HELEN <i>crosses to</i> ROSALIE R.C. ROSALIE <i>puts her arms about the girl +and swings her</i> L. <i>of her. When</i> DONOHUE <i>opens box at the back of +table</i> CROSBY <i>and</i> WILLIAM <i>enter from</i> L. <i>accompanied by</i> DUNN.) +</p> +<p> +DONOHUE. That's all, Mike. +</p> +<p class="stagec"> +(DUNN <i>exits</i> L. <i>and closes door</i>. CROSBY L. <i>of</i> HELEN. WILLIAM L. +<i>of</i> CROSBY.) +</p> +<p> +Mr. Crosby, I told you that I'd settle this case in a few minutes. The +end has come sooner than I thought. I am now ready to make an arrest. +I have sent for you and your son because—— (<i>He suddenly turns toward</i> +HELEN.) This is the woman we have been hunting. +</p> +<p> +ROSALIE. That is a lie! (R. <i>end of chesterfield</i>.) +</p> +<p class="stagec"> +(WILLIAM <i>goes to</i> HELEN.) +</p> +<p> +DONOHUE (<i>picking up cup and holding it out toward them</i>). Here is the +cup— +</p> +<div class="stagec"> +(CROSBY <i>crosses down</i> R. <i>to below table—moves chair over</i> R.) +</div> +<p><br /> +which we took from Spencer Lee's rooms. These are the finger-prints of +the woman who used it. (<i>Ignoring</i> CROSBY <i>for the moment</i>.) Here is the +saucer that she used. More finger-prints. A few minutes ago I sent this +young woman a note. The man who gave it to her wore gloves, so did I +when I addressed the envelope. Hers are the only naked hands that have +touched it. (<i>He picks up the envelope gingerly by one corner, and +holds it outward to them.</i>) They are unquestionably Helen O'Neill's +finger-prints. (HELEN <i>is in</i> WILLIAM'S <i>arms</i>. DONOHUE <i>puts down the +envelope. Then he picks up the cup and points to the finger-marks on +it</i>.) And so, Mr. Crosby, are these. There can be no doubt about it. +There is never any doubt about this method of identification. In twenty +years there has never been one mistake. We now have what we've been +hunting for: the woman who went to Spencer Lee's rooms. +</p> +<p class="exposition"> +(DONOHUE <i>steps back with a little gesture of triumph</i>. CROSBY <i>stands +staring at the girl</i>. ROSALIE <i>comes to</i> R. <i>of</i> HELEN, <i>turns to her</i>.) +</p> +<p> +ROSALIE (C.). Look at me, my darling. Look at your mother. (<i>She takes</i> +HELEN'S <i>face in her hands and looks at her closely. Then with a little +cry of contentment stands</i> R. <i>of</i> HELEN. ROSALIE <i>and</i> HELEN <i>back up +to chesterfield</i>.) Now, darling, you must not be frightened. Look up, +child. Why do not you say something? +</p> +<p> +HELEN. I can't. +</p> +<p class="stagec"> +(<i>Sits on chesterfield.</i> DONOHUE <i>gives a short laugh</i>.) +</p> +<p> +DONOHUE. What can she say? +</p> +<p> +WILLIAM (<i>going to her</i>). Dear, tell him it's a lie. +</p> +<p> +CROSBY. Wait. Let me talk to her. (CROSBY <i>comes over to</i> HELEN <i>and +sits beside her on the chesterfield</i>, R. <i>side</i>. WILLIAM <i>is at</i> L. +<i>end</i>.) My dear, you understand that none of us believe—what the +Inspector wants us to believe. We know that you have never done +anything—that you are no more guilty of this atrocious crime than I am. +We all want to help you. We believe in you and trust you and love you. +You understand that, don't you? +</p> +<p> +HELEN. Yes. +</p> +<p> +WILLIAM. I won't have this. +</p> +<p> +CROSBY. I'm afraid you must, Will. (<i>He turns again to</i> HELEN.) We +want to help you, so, my dear, you must be perfectly frank with us. +Inspector Donohue says he can prove that you went to that man's rooms. +Is that true? +</p> +<p> +HELEN (<i>slowly and reluctantly</i>). Yes. +</p> +<p class="stagec"> +(DONOHUE <i>gives a short laugh. Sits back of table</i> R.) +</p> +<p> +ROSALIE (R. <i>of chesterfield</i>). And what if she did? She had a good +errand. What did you go for, darling? +</p> +<p> +HELEN. I can't tell you. +</p> +<p> +WILLIAM. Dear, you must tell us. (<i>She looks at him suddenly. He comes +over and kneels beside her and talks to her as if to a little child.</i>) +My dear, it isn't that we don't trust you. Surely you know how we all +love you? But we must know the truth—because we have to show <i>him</i> how +wrong he is. +</p> +<p> +DONOHUE (<i>seated back of table</i> R.). Yes, and I'm waiting to be shown. +</p> +<p> +WILLIAM (<i>kneeling</i> L. <i>of</i> HELEN). Why did you go to Spencer Lee? +</p> +<p> +HELEN (<i>sitting on chesterfield</i>). You mustn't ask me that. I can't tell +you. +</p> +<p> +CROSBY (<i>still on chesterfield</i>). But if you don't tell us, how can we +help you? +</p> +<p> +HELEN. I didn't do anything, I didn't do anything. +</p> +<p> +CROSBY. We know that, my child. But why did you go? (HELEN <i>does not +answer</i>.) Did you know Spencer Lee? +</p> +<p> +WILLIAM. Of course she didn't. +</p> +<p> +DONOHUE (<i>seated back of table</i> R.). Why don't she speak for herself? +</p> +<p> +WILLIAM. Because I'll speak for her. +</p> +<p> +CROSBY. Can't you answer even that question? +</p> +<p class="stagec"> +(HELEN <i>shakes her head and makes a despairing gesture</i>.) +</p> +<p> +WILLIAM. But, dear, don't you see what they'll think? Helen, you must +tell me. +</p> +<p> +HELEN. Could I speak to mother, alone? (<i>She rises.</i>) +</p> +<p> +DONOHUE. You cannot. +</p> +<p class="stagec"> +(CROSBY <i>and</i> WILLIAM <i>rise</i>. CROSBY <i>moves to</i> L. <i>end of +chesterfield.</i>) +</p> +<p> +ROSALIE (R. <i>end of chesterfield</i>). Where is the 'arm in that? A child +'as the right to talk to 'er own mother any time she does want. +</p> +<p> +DONOHUE. Anything you wish to say you can say in front of me. +</p> +<p> +ROSALIE (<i>coming to</i> HELEN C.). Darling, you need not mind the nice +Inspector. I well know that there was never anything in your mind that +you could not say before all the world. (<i>There is a pause.</i>) Tell your +mother, my darling. +</p> +<p class="stagec"> +(CROSBY <i>is now</i> C. WILLIAM <i>stands below him</i> C.) +</p> +<p> +HELEN (<i>beginning to cry</i>). I can't. I can't. +</p> +<p> +ROSALIE (C.). Stop, there 'as been crying enough. I did lose my 'ead +through that. Stop crying or I will beat you. (<i>She too begins to cry +and takes her daughter in her arms again.</i>) There, there, my dear. Your +mother is not going to let anyone 'urt you—not anyone at all. (<i>They +cry together for a moment, and then</i> ROSALIE <i>gets her self-control +back. She blows her nose vigorously</i>.) We will both be the better for +that. Now then, tell me. +</p> +<p> +HELEN. Mother, I can't. +</p> +<p> +ROSALIE (R.C.). Who did you promise you would not? +</p> +<p> +HELEN (<i>surprised</i>). Why, how did you—— +</p> +<p> +ROSALIE. She is shielding someone. +</p> +<p> +HELEN. No. No. +</p> +<p> +ROSALIE. That is the first lie you 'ave ever told me. I want to know who +it is you are shielding? (HELEN <i>does not answer</i>. ROSALIE <i>suddenly +turns to</i> WILLIAM.) She is your girl? +</p> +<p> +WILLIAM (L.C.). Yes. +</p> +<p> +ROSALIE. Then make her tell. +</p> +<p> +WILLIAM (<i>to</i> HELEN C.). Nell dear, you must—— +</p> +<p> +HELEN. Billy, I can't. +</p> +<p> +CROSBY (<i>drops down</i> L. <i>of group</i>). My dear, even if you're protecting +someone else, I think you ought to tell us. +</p> +<p> +HELEN (<i>with a sudden outburst</i>). Why are you all against me? Why are +you all trying to make me break my— +</p> +<p class="stagec"> +(<i>Moves to</i> R. <i>end of chesterfield</i>. WILLIAM <i>comes to her</i>. CROSBY +<i>is</i> L.C.) +</p> +<p> +ROSALIE (<i>interrupting</i> HELEN, <i>coming to</i> R.C.). Break your word? You +shall not. You need not tell. I know it myself now—I 'ave been blind. +(<i>She turns suddenly on the</i> INSPECTOR—<i>moves to down table</i> R., <i>above +him</i>.) You are the one that found out there was two Helens. The extra +Helen, you said. Well, please to send for the other Helen and ask her. +</p> +<p> +HELEN. Mother, stop! +</p> +<p> +ROSALIE. Stop? I will not. +</p> +<p> +CROSBY (C.). Wait, please. Is it my daughter you're protecting? (HELEN +<i>does not answer</i>.) Because if it is—-much as we love her—my dear, we +can't accept that sacrifice from you. I'm her father, and you must tell +me the truth. Did my daughter send you? (<i>There is a long pause.</i>) Did +you go for my daughter? +</p> +<p> +HELEN (<i>slowly</i>). Yes. +</p> +<p> +ROSALIE. I did know it. (<i>Above table</i> R.) +</p> +<p> +CROSBY. My daughter sent you. What for? +</p> +<p> +HELEN (R.C.). Some letters. +</p> +<p> +WILLIAM (<i>in front of chesterfield</i> C.). Why didn't she go herself? +</p> +<p> +HELEN. She was afraid. +</p> +<p> +DONOHUE (<i>still seated back of table</i> R.). Well, go on. +</p> +<p class="stagec"> +(HELEN <i>does not speak</i>.) +</p> +<p> +WILLIAM (R.C.). Tell him, dear, it's all right. +</p> +<p> +HELEN. I don't know what to say. +</p> +<p> +DONOHUE. Why not tell the truth? (<i>Rises and comes to chair below +table</i> R.) +</p> +<p> +ROSALIE. Tell the Inspector what happened, dearie. (<i>Putting</i> HELEN +<i>in chair front of table</i> R.) +</p> +<p> +HELEN. Nothing happened. That's the funny part of it. The minute Mr. Lee +understood that I knew about the letters, everything was changed. I said +that unless he gave them to me I'd tell Mr. Crosby about them. He seemed +terribly upset. He said he hadn't meant to frighten Helen. That he loved +her, and was desperate. I thought it was a funny kind of love, but I +didn't tell him that. Then he gave me the letters. +</p> +<p> +DONOHUE. Was this before or after you had tea with him? +</p> +<p> +HELEN. Before. +</p> +<p> +DONOHUE. Go on. He gave you the letters? +</p> +<p> +HELEN (<i>seated in front of table</i> R.). Yes. And he seemed terribly +unhappy. He begged me to stay and talk to him for a few minutes, and I +did. He asked me to have some tea with him, and I did that too. +</p> +<p> +DONOHUE. How charming! What did you do after tea? +</p> +<p class="stagec"> +(ROSALIE <i>is at the back of the chair in the front of the table</i>.) +</p> +<p> +HELEN. I came home and gave Helen her letters. +</p> +<p> +DONOHUE. And that's all? +</p> +<p> +HELEN. That's all. +</p> +<p> +DONOHUE. Why did you do this? +</p> +<p> +HELEN. She's Billy's sister. +</p> +<p> +DONOHUE. My compliments, young woman. That was beautifully done. And she +looks so innocent too. +</p> +<p> +WILLIAM (C). You don't believe—— +</p> +<p> +DONOHUE. Not a word of it. Not one word. +</p> +<p> +ROSALIE. And why not? +</p> +<p> +DONOHUE. That I <i>don't</i> is sufficient. Her story is preposterous. Your +daughter's— +</p> +<p> +WILLIAM. It is the truth. +</p> +<p> +DONOHUE. Do you expect me to believe for a minute that a man like Lee +would threaten your daughter, and then when a total stranger comes to +him and asks for the letters, give them up without a word? Why, no jury +in the world would believe your story. +</p> +<p> +WILLIAM. Jury? You're not going to arrest her? +</p> +<p> +DONOHUE. She is arrested. +</p> +<p> +ROSALIE. You 'ave not proof. +</p> +<p> +DONOHUE (<i>below table</i> R.). All the proof that I need. If she was +innocent, why didn't she tell me all this when I first questioned her? +Why did she wait until she knew that I had proof—that she had been in +Spencer Lee's rooms? +</p> +<p> +WILLIAM. She was protecting my sister. +</p> +<p> +DONOHUE. Women don't hang together like that. +</p> +<p> +ROSALIE (<i>upper end of table</i> R.). Oh, they do, they do! The poor +creatures! +</p> +<p> +DONOHUE (<i>down</i> R.). They do not. I know them. (<i>He turns to</i> WILLIAM.) +She wasn't protecting your sister. She was protecting herself. She went +for the letters, of course; and they had tea before she asked for them, +not afterwards. +</p> +<p> +CROSBY (R.C. <i>to</i> L. <i>of</i> WILLIAM). How do you know that? +</p> +<p> +DONOHUE. She couldn't take tea with a man she's just killed. +</p> +<p> +WILLIAM. Why, <i>damn</i> you—— (<i>Starts</i> R.) +</p> +<p> +CROSBY (<i>grabbing</i> WILLIAM <i>by shoulders</i>). Billy! +</p> +<p> +WILLIAM (<i>breaks up stage a few steps, then down stage again</i>). I'm +sorry. I didn't mean to lose my temper. I suppose we've got to take this +thing calmly. Inspector, you honestly believe that Nelly killed this +man? +</p> +<p> +DONOHUE. Yes. +</p> +<p> +WILLIAM. Why should she? +</p> +<p> +DONOHUE. She was engaged to you—he had compromising letters she had +written to him—he was threatening her with exposure—she went to get +her letters. They had tea together—she's admitted that, after we proved +it, and then when he wouldn't give up her letters she killed him. So +much for the first murder. (<i>Turns away.</i>) Now for the second: she was +sitting next to Wales; he had already threatened her with exposure; in +another minute the medium would have told her name as that of the person +who had been at Spencer Lee's rooms. She pulled her hand away from his, +struck and took his hand again. (<i>There is a pause.</i>) Young man, you'll +have a hard time tearing apart that chain of evidence. +</p> +<p> +ROSALIE. Except for the fact that she did never write the man a letter +in 'er life, it is a grand case you 'ave, Inspector. +</p> +<p> +WILLIAM (<i>down</i> C. <i>a step</i>. CROSBY <i>goes above</i> WILLIAM C.). Of course. +Dad, we've lost our brains. She didn't go for her own letters. (WILLIAM +<i>turns to the</i> INSPECTOR.) You were talking of juries. Do you think any +jury will believe that a young girl would kill a man to get back another +woman's letters for her? (<i>He starts toward door</i> L.) +</p> +<p> +CROSBY. Where are you going? +</p> +<p> +WILLIAM. To get my sister. +</p> +<p> +DONOHUE. Wait. (WILLIAM <i>stops</i>.) I'll send for Mrs. Trent. +</p> +<p> +WILLIAM (<i>crosses</i> L.C.). But I want to ask her—— +</p> +<p> +DONOHUE (<i>interrupting him</i>). I'll ask my own questions. If you want to +help this investigation, you might call Sergeant Dunn for me. +</p> +<p class="stagec"> +(WILLIAM <i>opens door at</i> L.) +</p> +<p> +WILLIAM. Sergeant Dunn, the Inspector wants you. (<i>He turns back to the +girl, and</i> DUNN <i>enters</i> L.) +</p> +<p> +DONOHUE. Ask Mrs. Trent to come here. +</p> +<p class="exposition"> +(DUNN <i>exits at</i> L. ROSALIE <i>is at the</i> R. <i>end of chesterfield</i>. HELEN +<i>is in the chair in front of the table</i> R. WILLIAM C. CROSBY <i>walks up</i> +L., <i>then back to</i> L.C. DONOHUE <i>below the table looking at them with a +grim smile. After a pause of about ten seconds</i> MRS. TRENT <i>and</i> TRENT +<i>enter from L., followed by</i> DUNN, <i>who stands below the door.</i>) +</p> +<p> +I sent for Mrs. Trent. +</p> +<p> +TRENT (L.C.). I know that. What do you want to see her about? +</p> +<p> +DONOHUE. Mrs. Trent, did you ask this girl to go to Spencer Lee's rooms +to get letters you had written to him? +</p> +<p> +TRENT (L. <i>of</i> MRS. TRENT). Did she what? +</p> +<p> +DONOHUE. Did you, Mrs. Trent? +</p> +<p> +MRS. TRENT (L.C.). Certainly not. +</p> +<p> +HELEN. Why—— (<i>Rises from chair in front of table</i> R.) +</p> +<p> +DONOHUE (<i>sternly</i>). Keep still, you. (<i>To</i> MRS. TRENT.) Are you sure? +</p> +<p> +TRENT (<i>L.</i> of MRS. TRENT). Of course she's sure. +</p> +<p> +DONOHUE. Mr. Trent, you must stop these interruptions. (<i>To</i> MRS. +TRENT.) Will you please answer my question? +</p> +<p> +MRS. TRENT. I never wrote a letter to Spencer Lee in my life. (<i>She +suddenly turns to</i> HELEN.) How dare you say I sent you there? +</p> +<p> +HELEN. You did! You did! (<i>In front of table.</i>) +</p> +<p> +MRS. TRENT (<i>down</i> L.C.). I don't know what she's told you, Inspector, +but—— +</p> +<p> +DONOHUE. Never mind what she told me. I want to be very sure of this. +You did not ask this girl to go to Spencer Lee's rooms? +</p> +<p> +MRS. TRENT. No. +</p> +<p> +DONOHUE (<i>down</i> R.). He had no letters of yours? +</p> +<p> +MRS. TRENT (L.C.). No. +</p> +<p> +DONOHUE. Do you know whether this girl had written to him? +</p> +<p> +MRS. TRENT. I don't know anything about it. +</p> +<p> +WILLIAM (<i>coming</i> L. <i>of</i> MRS. TRENT. CROSBY <i>comes</i> C.). But Nell +didn't know Lee, and you did, Helen. +</p> +<p> +DONOHUE (<i>still down</i> R.). How about that, Mrs. Trent? +</p> +<p> +MRS. TRENT. I hadn't seen Mr. Lee for two or three years. He used to +come here a good deal. He wanted to marry me, but I didn't like him. And +I certainly never wrote him letters of any sort. That is all I can tell +you. +</p> +<p> +DONOHUE. Thank you very much. That is all that I want to know. +</p> +<p> +WILLIAM (<i>turning on his sister</i>). You're lying to save yourself. You've +got to tell the truth. +</p> +<p> +TRENT. She is telling you the truth. +</p> +<p> +WILLIAM. She's not. +</p> +<p> +CROSBY (<i>after a pause, putting his hand on his son's shoulder</i>). +I'm sorry, Billy. +</p> +<p class="stagec"> +(WILLIAM <i>goes up to chesterfield</i> C. <i>and sits</i>. CROSBY <i>looks coldly +at</i> HELEN <i>and turns to his daughter</i>.) +</p> +<p> +MRS. TRENT. Father, you know that—— +</p> +<p> +CROSBY. Yes, dear, I know. Inspector, do you want us any more? +</p> +<p> +DONOHUE. Not any more, thank you. +</p> +<p> +CROSBY. Come then, children. (<i>He exits with</i> MR. <i>and</i> MRS. TRENT +<i>down</i> L.) +</p> +<p class="stagec"> +(HELEN <i>is still in front of the table</i> R. <i>As the door closes</i>, DONOHUE +<i>crosses to</i> L.C.) +</p> +<p> +DONOHUE. Mike, take her down town. +</p> +<p> +ROSALIE (C.). I would not if I was you. Inspector, I do know who 'as +done it. +</p> +<p class="stagec"> +(WILLIAM <i>rises</i>.) +</p> +<p> +DONOHUE (<i>turning to</i> ROSALIE C.). You know! Who was it? +</p> +<p> +ROSALIE. I cannot tell you yet. (DONOHUE <i>laughs</i>. WILLIAM <i>goes to</i> +HELEN.) But I will! I will! +</p> +<p> +DONOHUE. Telling's not enough. There's just one thing that will convince +me that she didn't kill Spencer Lee. +</p> +<p> +WILLIAM (<i>down</i> E.). What, Inspector, what? +</p> +<p> +DONOHUE. The confession of the one who did. (<i>He turns to</i> ROSALIE.) +Bring me that and I'll set your daughter free. +</p> +<p> +ROSALIE (C.). Inspector, give me a chance. Do not arrest my little girl. +Give me time. I do know who 'as done it and I will get for you what you +want. +</p> +<p> +DONOHUE (L.C.). Nonsense! +</p> +<p> +ROSALIE (<i>moves up to</i> INSPECTOR). Give me one hour, sir. Keep them all +here one hour more. +</p> +<p> +DONOHUE. No. +</p> +<p> +WILLIAM (<i>in front of table</i> R.). Give her a chance. We are all here—no +one will get away. What difference will a few minutes make? +</p> +<p class="stagec"> +(<i>There is a pause</i>. DONOHUE <i>takes out his watch and looks at it</i>.) +</p> +<p> +DONOHUE. I'll give her ten minutes. Mike, tell Doolan again to arrest +anyone trying to leave the house, and get on the front door yourself and +stay there until I tell you. (DUNN <i>turns and exits at</i> L.) You've got +just ten minutes. +</p> +<p class="stagec"> +(<i>He follows</i> DUNN <i>off</i> L.) +</p> +<p> +ROSALIE. Ten minutes! Ten minutes! +</p> +<p class="stagec"> +(WILLIAM <i>crosses to door</i> L. <i>and closes it</i>.) +</p> +<p> +WILLIAM (L.C.). Why didn't you <i>tell</i> who did it? +</p> +<p> +ROSALIE (C.). How could I? I 'ave no idea in the world. But I am going +to find out. I am going to find out. +</p> +<p> +HELEN (B.C.). But how, mother, how? +</p> +<p> +ROSALIE. Call them back. Make them all come, too. I want them all. +(HELEN <i>runs off</i> L.) Sir, run down into the 'all. Do you know which is +Mr. Wales' overcoat? +</p> +<p> +WILLIAM. Yes, I think so. +</p> +<p> +ROSALIE. See if you can find for me a glove or something of 'is—and +'urry, <i>mon Dieu</i>, 'urry! +</p> +<p class="exposition"> +(WILLIAM <i>runs off</i> L. ROSALIE <i>stands in thought for a moment, then she +places a chair</i> C. <i>facing up stage</i>. WILLIAM <i>runs on again and hands +her a glove</i>.) +</p> +<p> +Did you get it? +</p> +<p> +WILLIAM (L.C.). What are you going to do? +</p> +<p> +ROSALIE (L.C.). Trick them. Lie to them. It is for Nelly. Do you blame me? +</p> +<p> +WILLIAM. What can I do to help? +</p> +<p> +ROSALIE. You are a man after my own 'eart. I am going to do something +to put the fear of God into the 'eart of that murderer. Do not pay any +attention to me. Watch <i>them</i>. Do not look at me, do not take your +eyes off them. I am looking for one of them to do something that will +show us the way. It is our only chance. +</p> +<p class="stagec"> +(HELEN <i>runs in</i> L.) +</p> +<p> +HELEN. They're coming. +</p> +<p> +ROSALIE. Leave the door open so we can 'ear them. (HELEN <i>does so and +returns to her mother, standing</i> L. <i>of</i> ROSALIE.) Child, kiss me for +luck. (<i>They kiss.</i>) It will do no 'arm to kiss him, too. (<i>They kiss.</i>) +Now, my boy, can you lie? +</p> +<p> +WILLIAM. <i>Can I!</i> +</p> +<p> +ROSALIE (C.). I am going into a trance. When they do come into the room +you will tell them that I asked for Mr. Wales' glove and the minute I +'ave it in my hand I went off like they see me. Tell them you thought +there might be some reason for it. And then leave the rest to me. (<i>She +sits in the chair</i> C., <i>facing the back of the stage</i>.) +</p> +<p> +WILLIAM. I understand. +</p> +<p> +ROSALIE. You stand here at the back of me. I wish for them all to be +in front of me. (WILLIAM <i>crosses back of</i> ROSALIE <i>to</i> R. <i>side of</i> +ROSALIE'S <i>chair</i>. HELEN <i>crosses</i> R. <i>of</i> ROSALIE <i>above her</i>.) Nelly, +stand close by me. (<i>To</i> WILLIAM.) Go farther back. (HELEN <i>moves to</i> R. +<i>of</i> ROSALIE.) That's right. Now don't you move from there. This will be +the realest trance and the grandest fake. When I come out, make them go +away, tell them you are afraid and that it will kill me to see anyone. +</p> +<p class="exposition"> +(<i>She suddenly stiffens in her chair. Lying rigid with her head thrown +back on the head-rest, and the hand in which she is holding</i> WALES' +<i>glove stretched out straight in front of her. Enter down</i> L., CROSBY, +MISS EASTWOOD, STANDISH, TRENT, MRS. CROSBY, MRS. TRENT, MISS ERSKINE +<i>and</i> MISS STANDISH.) +</p> +<p> +CROSBY (<i>crossing to up</i> L.C.). What is it, Billy? +</p> +<p class="exposition"> +(MISS EASTWOOD <i>goes to the</i> L. <i>side of</i> ROSALIE'S <i>chair</i>, MRS. TRENT +<i>and</i> MRS. CROSBY L. <i>of chesterfield</i> C.; TRENT, MISS ERSKINE <i>and</i> +STANDISH <i>lower</i> L. <i>end of chesterfield</i>.) +</p> +<p> +STANDISH. What's happened? +</p> +<p> +WILLIAM (R. <i>side of</i> ROSALIE'S <i>chair</i>). I don't know, exactly. We were +talking about this awful thing. She knew, of course, that her daughter +couldn't have done it, and she asked me to get her something that had +belonged to poor Wales. I got a glove out of Wales' overcoat pocket and +handed it to her, and then all of a sudden she went stiff like that. +I don't know what it means. +</p> +<p class="stagec"> +(<i>The others draw closer to</i> ROSALIE. MISS EASTWOOD <i>comes to</i> ROSALIE +<i>and lays her hand on her forehead</i>.) +</p> +<p> +MISS EASTWOOD. She's like ice, she's not—— (<i>Backing up</i> C. <i>a few +steps</i>.) +</p> +<p> +HELEN. Oh, no, it's a trance. +</p> +<p class="stagec"> +(MASON <i>enters</i> L.) +</p> +<p> +MASON. I wouldn't touch her if I were you. +</p> +<p> +ROSALIE. (<i>Speaking as</i> LAUGHING EYES.) Hello, everybody! What are you +all so solemn about? I've got a message from a new friend. He do not +want me to send it—he wants to talk; ha, ha, ha, he thinks he can talk, +and he 'as only been here a little while. (<i>Still speaking as</i> LAUGHING +EYES.) He says you are all fools. It is so plain, so plain. He is +looking right at the one who did it, right straight at the one who did +it. +</p> +<p> +WALES' VOICE. I'm coming to you until you tell. I can't speak names. +You've got to tell, I'm coming, again and again and again, until you +tell. Find the knife. You must find the knife. The marks will show. The +marks will show. +</p> +<p class="exposition"> +(MISS EASTWOOD <i>shrieks and faints on</i> L. <i>end of chesterfield</i>. MASON +<i>is below end of chesterfield looking at her</i>. WILLIAM <i>is standing</i> R. +<i>side and back of</i> ROSALIE <i>looking eagerly about him</i>. HELEN <i>turns and +looks at</i> MISS EASTWOOD. MRS. CROSBY <i>goes to</i> MISS EASTWOOD <i>on +chesterfield</i>.) +</p> +<p> +MASON. This has got to stop. (<i>Starts to move to</i> ROSALIE'S <i>chair</i>—L. +<i>side of it</i>.) +</p> +<p> +HELEN (R. <i>side of</i> ROSALIE'S <i>chair</i>). You mustn't touch her. +</p> +<p> +MASON. It's all right as far as the men are concerned, but look at that +girl. (<i>He points to</i> MISS EASTWOOD <i>on the chesterfield</i>.) They'll all +be fainting if this isn't stopped. +</p> +<p class="stagec"> +(TRENT <i>goes to</i> ROSALIE.) +</p> +<p> +WALES' VOICE. Trent, let the medium alone. Do you understand? Let the +medium alone. +</p> +<p> +TRENT. That's Wales' voice—and Wales is dead. +</p> +<p class="exposition"> +(MASON <i>goes slowly to</i> ROSALIE'S <i>chair</i>. TRENT <i>moves</i> L. <i>above</i> +MASON <i>to</i> STANDISH. ROSALIE <i>begins to mutter and moan. Suddenly she +brings her hands together, and then throws her arms wide apart.</i> WALES' +<i>glove sails out of her hand and strikes</i> MASON <i>on the face. It falls +to the floor</i>.) +</p> +<p class="exposition"> +(STANDISH <i>exits very quietly door down</i> L. MASON <i>picks glove up, +holding it in his hand</i>—<i>looks at it</i>—<i>suddenly drops it to the +floor—turns to</i> MRS. CROSBY.) +</p> +<p> +MASON. Mrs. Crosby, shall I take Miss Eastwood to your room for you? +</p> +<p> +MRS. CROSBY. Yes, please, Philip. +</p> +<p class="exposition"> +(MISS ERSKINE <i>moves to door</i> L. MASON <i>assists</i> MISS EASTWOOD <i>and +helps her from the room, exiting door down</i> L. MRS. CROSBY <i>goes out</i> L. +TRENT <i>wipes his hands with handkerchief</i>. ROSALIE <i>stirs uneasily and +moans</i>.) +</p> +<p> +HELEN (<i>standing</i> R. <i>side of</i> ROSALIE'S <i>chair</i>). Please leave her +to me. I'm afraid seeing you all here will trouble her. I'm afraid +she'll—— Oh, won't you please go. +</p> +<p class="stagec"> +(<i>The others turn, move towards the door down</i> L. <i>and go out</i>.) +</p> +<p> +CROSBY (<i>below</i> L. <i>end of chesterfield</i>). Let me know if there's +anything I can do. +</p> +<p class="stagec"> +(ROSALIE <i>moans again</i>.) +</p> +<p> +HELEN. Yes, yes. Only please go now. +</p> +<p class="exposition"> +(CROSBY <i>goes out</i> L. WILLIAM <i>runs quickly to the door at</i> L., <i>closes +it and then turns to</i> ROSALIE, <i>who is sitting up in her chair</i>.) +</p> +<p> +ROSALIE (<i>rises and crosses a step</i> R.). Well? +</p> +<p> +HELEN (R.C.). It was the Eastwood girl. Her face was terrible. I was +glad when she fainted. +</p> +<p> +WILLIAM (L.C.). I think you're wrong. Standish ran away. He couldn't +bear it. +</p> +<p> +ROSALIE. And <i>that</i> is all you saw? I told you to use your eyes and the +brains that are at the back of them. +</p> +<p> +WILLIAM. Well, of course, there was Trent. You can't mean Trent? Why, +he's the kindest man in the world. (<i>There is a pause.</i>) The letters. +If he's known the truth about the letters. (<i>Breaks</i> L. <i>a step</i>.) +</p> +<p> +HELEN (<i>coming down to</i> L. <i>of</i> ROSALIE'S <i>chair and picking up glove</i>). +Mother, why did you throw that glove at Mason? +</p> +<p> +ROSALIE. Did it hit him? Well, well! Well, any'ow it was a good séance. +</p> +<p class="stagec"> +(ROSALIE <i>crosses down</i> R.C.) +</p> +<p> +HELEN (<i>moving to</i> L. <i>side of</i> ROSALIE). Mother, you know? You've found +out? +</p> +<p class="stagec"> +(WILLIAM <i>takes</i> ROSALIE'S <i>chair up</i> L. <i>and then comes down</i> L.) +</p> +<p> +ROSALIE. It is one thing to know and another to prove. +</p> +<p> +HELEN (L. <i>of</i> ROSALIE). Mother, who was it? +</p> +<p> +ROSALIE. Child, child, do you think it is a game we do play? I 'ave two +or three minutes. What I 'ave to do I 'ave to do quickly. +</p> +<p> +HELEN. But what, mother, what? +</p> +<p> +ROSALIE. I do not know! I do not know! Child, if you do not get away +from me you will drive me mad. +</p> +<p> +WILLIAM. But can't we—— +</p> +<p> +ROSALIE. This is no work for children. Leave me alone and let me think. +</p> +<p class="stagec"> +(WILLIAM <i>and</i> HELEN <i>run off</i> L., <i>closing door</i>.) +</p> +<p> +ROSALIE. He will never tell in the world. Never in all this world. (L.C. +<i>Half in thought</i>.) Laughing Eyes, you are no good to me in the world. +We 'ave faked all our lives, and now when I want the real thing I get +nothing at all. If I could find the knife, there would be marks of a +'and on that. But it is gone. It is gone. I cannot let 'im get away. +I want a sign. I want a sign. Laughing Eyes, are we going to be beaten +by a scheming, cold-hearted murderer? +</p> +<p class="exposition"> +(<i>Two knocks are heard outside the door down</i> L. <i>After five seconds two +further knocks</i>. ROSALIE <i>starts and looks hastily around the room</i>.) +</p> +<p> +I did not do that. I did not do that. (<i>She lifts her skirt and sees +that her feet are still in her shoes</i>.) It is come! After all the years, +a real message. A real message. I will 'ave it in the dark, believing +and trusting that I am to be shown. +</p> +<p class="exposition"> +(<i>She crosses down to door</i> L. <i>and switches off the light. All the +lights in the room are out. The spot from the window shines on the +ceiling, brilliantly illuminating the knife</i>. ROSALIE <i>moves</i> C.) +</p> +<p> +Laughing Eyes, have you a message for me? (<i>She looks up at knife in +ceiling</i>.) Look at it! The knife! +</p> +<p class="exposition"> +(<i>The door at</i> L. <i>opens</i>, POLLOCK <i>stands in the doorway. He sees that +the lights are out and turns them on. Then he sees</i> ROSALIE, <i>who is +standing</i> C., <i>facing front as in a trance</i>.) +</p> +<p> +POLLOCK. Excuse me, madam. I knocked twice, but you didn't hear me. +</p> +<p> +ROSALIE. I 'eard you. Just the same, it was a message. +</p> +<p> +POLLOCK. The Inspector says, have you got anything you want to tell him? +</p> +<p class="exposition"> +(ROSALIE <i>stands lost in thought</i>. POLLOCK <i>looks at her for a moment +and then nervously begins to place the chair below table to up</i> R. +<i>corner of scene. He notices that the window blind is up, goes over and +pulls it down and draws the curtains. He then comes back to</i> ROSALIE, +<i>above table</i> R.) +</p> +<p> +The Inspector says, have you got anything you want to tell him. +</p> +<p class="stagec"> +(ROSALIE <i>drops down</i> R. <i>in front of table</i>. DONOHUE <i>enters from</i> L.) +</p> +<p> +DONOHUE (<i>moving</i> C). Time's about up. (<i>He laughs.</i>) Well? +</p> +<p> +ROSALIE (<i>below table</i> R.). I want them all here. All of them. Everyone. +</p> +<a name="image-0002"><!--IMG--></a> +<center> +<img src="images/illust-4.jpg" width="100%" +alt="" /> +</center> + +<p> +DONOHUE. What for? +</p> +<p> +ROSALIE. You are going to 'ear the murderer confess. +</p> +<p> +DONOHUE. Pollock, ask Mr. Crosby to bring everyone here, (<i>Crosses</i> R. +<i>to above table</i>.) +</p> +<p> +POLLOCK. Very good, sir. +</p> +<p class="exposition"> +(<i>He exits</i> L. DONOHUE <i>takes out his watch and stands with it in his +hand watching</i> ROSALIE. <i>She stands lost in her dreams</i>. DUNN <i>enters +with</i> HELEN O'NEILL <i>down</i> L.) +</p> +<p> +DUNN. Here she is, Inspector. +</p> +<p> +DONOHUE. Come here, miss. (HELEN <i>crosses to</i> DONOHUE. <i>To</i> DUNN.) Go +and get a taxi. +</p> +<p class="exposition"> +(DUNN <i>turns and exits</i> L. <i>The others enter and stand crowding in the +doorway.</i> WILLIAM <i>pushes through and crosses and stands by</i> HELEN <i>up</i> +R.C. <i>right end of chesterfield</i>.) +</p> +<p> +CROSBY (<i>up</i> L.C.). What is it? You sent for us. +</p> +<p> +DONOHUE (<i>between table and chesterfield</i>). She says her daughter's +not guilty. I gave her ten minutes to find out who is. The time's up. +(<i>He puts his watch back in his pocket. He turns to</i> ROSALIE.) Well? +</p> +<p class="stagec"> +(ROSALIE <i>stands rigid. There is a long pause</i>.) +</p> +<p> +ROSALIE (<i>below table</i> R.). You that is 'iding, come out! +</p> +<p> +DONOHUE. Come on. (<i>He takes</i> HELEN <i>by the hand. They go up</i> R. <i>above +table</i>.) +</p> +<p> +ROSALIE (<i>lower end of table</i> R.). You that is skulking, come out! +I call on the spirit of Edward Wales. I call on the spirit of Edward +Wales. Now, you that's killed two men, look! +</p> +<p class="exposition"> +(<i>The door at</i> L. <i>of fireplace slowly swings open</i>. MASON <i>with a cry +of horror pushes through the crowd at the doorway, which parts to let +him through. He follows the spirit he sees moving across the stage until +he is</i> C. <i>and a little above the table</i>. MRS. TRENT, MISS ERSKINE <i>and</i> +STANDISH <i>below door down</i> L. TRENT, MRS. CROSBY, MISS EASTWOOD C. +<i>above door</i> L. WILLIAM <i>up</i> R.C. <i>All watch</i> MASON. <i>Suddenly the +window curtains are thrown back, the blind runs up noisily and the +lights go down. The street light strikes the knife in the ceiling, as it +begins to fall</i>. MASON'S <i>eye follows the light. He sees the knife and +gives a cry of horror as it strikes the table and sticks in front of +him</i>. MASON <i>rushes up stage end of table</i> R.) +</p> +<p> +MASON (<i>with a cry</i>). I can't fight the dead. I can't fight the dead! +</p> +<p class="stagec"> +(<i>Slowly</i> ROSALIE <i>points at him. The others stand and stare</i>.) +</p> +<p> +ROSALIE. Go on, tell it. (<i>Lower</i> R. <i>side of table</i> R.) +</p> +<p> +MASON. I had to do it. I was afraid Mr. Wales would know. +</p> +<p> +ROSALIE. You did kill them both? +</p> +<p> +MASON. Yes. +</p> +<p> +ROSALIE. Mr. Wales to prevent 'im finding out about Spencer Lee? +</p> +<p> +MASON. Yes. +</p> +<p> +ROSALIE. And Spencer Lee? +</p> +<p> +MASON. He ought to have been killed. I'd been waiting for years to kill +him. +</p> +<p> +ROSALIE. Why? +</p> +<p> +MASON. That's between him and me. He smashed my life, and by God, I got +him. He knows why I killed him, I told him I would. I'm glad I did. +I only wish I could have done it over and over again. That's all. +</p> +<p> +ROSALIE. Why did you kill Spencer Lee? +</p> +<p> +MASON. He took her away from me. She was the one thing in the world and +he took her away from me. I went to Paris to forget and all I could do +was to remember. Then she died, and I made up my mind that he must die +too. +</p> +<p> +DONOHUE. How did you get the knife in the ceiling? +</p> +<p> +MASON. I threw it. Just as I threw a knife into Spencer Lee's back. +I stood in the doorway of his room and told him I'd come to kill him, +and he ran for his revolver and as he ran I threw the knife into his +back. Then I picked up my knife and walked away. No one saw me. I was +quite safe. Quite safe until she came. And unseen hands pushed me +forward. Unseen hands have pointed the way. She's not human. Lee's +message came through her—you all heard Wales speak; out of her lips we +heard Wales' voice. He said he'd come back, again and again and again. +And then he came! I saw him as he came through the door! God Almighty, +you can't fight the dead! +</p> +<p class="stagec"> +(<i>He turns suddenly and walks to door</i> L. <i>As he opens it</i> SERGEANT DUNN +<i>steps into the room</i>.) +</p> +<p> +DONOHUE. That's your man, Sergeant. +</p> +<p> +DUNN (<i>putting his hand on</i> MASON'S <i>arm</i>). <i>You</i> got him? +</p> +<p> +DONOHUE. Yes, I got him. +</p> +<p> +DUNN. Great work, chief, great work. (<i>He takes</i> MASON <i>off down</i> L.) +</p> +<p class="stagec"> +(HELEN <i>crosses down to lower end of table</i> R.) +</p> +<p> +ROSALIE (<i>as they disappear from view</i>). The poor young man! the poor +young man! +</p> +<p> +DONOHUE. Ladies and gentlemen, you are all quite at liberty. +</p> +<p class="stagec"> +(<i>He goes toward door</i> L.) +</p> +<p> +CROSBY. Thank you, Inspector, for your consideration. +</p> +<p> +DONOHUE. Not at all, it was the best way out of it. +</p> +<p> +ROSALIE. Inspector! (<i>Coming below table</i> R. <i>to</i> R.C.) +</p> +<p> +DONOHUE (<i>half turning</i>). Yes. +</p> +<p> +ROSALIE. My congratulations. +</p> +<p class="stagec"> +(<i>He looks at her for a moment, then turns back and shakes hands with +her.</i>) +</p> +<p> +DONOHUE. You were quite right about me. I was a damn fool. +</p> +<p class="stagec"> +(<i>He exits at</i> L. HELEN <i>comes below table</i> R.) +</p> +<p> +MRS. TRENT (<i>turning to her father up</i> L.C. <i>with a cry</i>). Oh, daddy, +daddy! I lied about her! I lied about her! +</p> +<p class="stagec"> +(CROSBY <i>takes her in his arms, up</i> L. HELEN <i>crosses to</i> ROSALIE <i>from +below table</i> R.) +</p> +<p> +ROSALIE (C.). There is nothing but 'appiness coming to you. The spirits +tell me you are the favourite child of fortune. You will 'ave wealth and +prosperity and 'appiness. You will marry the man you love, and you will +be 'appy. +</p> + +<center> +<b><i>The</i> <span style="font-variant: small-caps;">Curtain</span> <i>falls.</i></b> +</center> + +<hr /> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h3> +ACT I. +</h3> + +<a name="image-0003"><!--IMG--></a> +<center> +<img src="images/illust-2.png" width="100%" +alt="The Explanation of the Figures is given on the Opposite Page." /><br /> +<b><small>The Explanation of the Figures is given on the Opposite Page.</small></b> +</center> + + +<p> +Italian Room in ROSCOE CROSBY'S home. New York. A handsomely furnished +square room. 1. Door opening on stage down L. 2. Door opening on stage +at back L.C. 3. Door opening on stage R.C. 4. Large fireplace C. at +back. The fireplace with antique fire-dogs must be large enough for man +to make an entrance coming through chimney. 5. Large window over R. in +arch. 6. Platform one step high running full length of window, which is +three sashes long. Trick blind on centre pane. Curtains on pole on +centre windows to work on cue. 7. Up C. in front of fireplace facing up +stage, large chesterfield sofa two feet wide. 8. Facing audience another +large chesterfield sofa, C., sofas back to back. 9. At each end of sofas +small console tables. Console table at right end of sofa is the trick +table which ROSALIE lifts. On console tables at either end of sofa, +table lamps. On console table left end of sofa, fancy cigarettes box +with cigarettes and match-box and ash-tray. 10. Right of the door, R.C., +large antique Italian chest. 11. Left of door, L.C., large antique +chest. Vases on chests. On flat over L. large tapestry. 12. Against wall +over L. running up and down stage long ornate Italian chest. 13. At +either end of this chest Italian lamps, seven feet high, standing on +floor. Below door down L., on flat, an antique clock. 14. Below door +down L., arm-chair. 15. Left side of fireplace chair with cushion seat. +On mantel two large antique vases. 16. Right side of fireplace, chair +with cushion seat. 17. Large arm-chair. 18. Over right is a large +library table sitting diagonally up and down stage. On table: book-rack +with four books, desk-pad, stationery-holder with stationery, pens, +pencils, ink-box, magazines. 19. Arm-chair back of table. 20. Chair +below table. 21. Chair above table. 22. On platform in window arch, long +seat. 23. Below window arch long arm-chair. 24. Large wall lanterns, on +up stage and down stage, end of window arch. Plush valence or drapery +for windows. Rugs on ground cloth. On flat right of doors up R.C. +small-sized, painted, image of the Virgin. Interior backing for door +down L., up L.C., and R.C. Fireplace backing. Exterior backing for +window over R. 25. Off stage down L. large Italian table with two bronze +vases, and a shrine of the Virgin on it. Off stage R.C. are eight small +chairs, to be brought on stage on cue during First Act. In ceiling, +directly over table R., is a double slot to hold knives. During First +Act, after WILLIAM puts out table lamp, <i>after</i> MISS EASTWOOD'S +<i>scream</i>, the knife in down stage slot is let down in sight of +audience. <i>Seen with point sticking in ceiling.</i> Between Second and +Third Acts, the knife that falls on cue, during Third Act, is placed up +stage slot in ceiling, with point downwards. Setting the knife down in +view of audience in First Act, as well as releasing the second knife so +that it falls, and sticks in table during Third Act, is worked by +strings off stage R. +</p> + +<h3> +LIGHT PLOT. +</h3> + +<p> +Foots full rose, ambers 3/4 at rise. Light switch down stage side of +door down L. Hanging lamps, post lamps, table lamps, lit. Amber strip in +doorway down L. lit. One light strip amber, in doorway R.C. and L.C. Two +light strip amber, hung on fireplace backing. Two blue bunches outside +window R., lit. Baby amber shooting across stage from window R. Baby +amber striking mantel up C. from window R. Baby amber down L. at +proscenium arch shooting across stage, lit. Blue baby focused to strike +ROSALIE in chair C. from window R., OUT AT RISE. White frost spot in +position outside of window R. to strike ceiling on cue, OUT AT RISE. +</p> +<p> +1ST CUE.—When ROSALIE lifts table first time sneak off baby down stage +L., also baby from window R. that starts across stage. +</p> +<p> +2ND CUE.—After POLLOCK locks door down L., all entrance strips and baby +down L., out. +</p> +<p> +3RD CUE.—When CROSBY pushes button, all foots out. Brackets out, lamp +posts out. Amber babies at window R., out. At same time, white spot +light on ceiling LIT. +</p> +<p> +4TH CUE.—When WILLIAM pulls chain on table lamp right end of +chesterfield, table lamp out. Two babies from window out. +</p> +<p> +5TH CUE.—When CROSBY says, "The reflection on the ceiling is too +strong," WILLIAM pulls chain on table lamp right end of chesterfield, +table lamp and two babies from window right, LIT. +</p> +<p> +6TH CUE.—WILLIAM pulls down window shade, spot on ceiling and blue +bunches OUT. Then when WILLIAM pulls chain on the table lamp right end +of chesterfield, table lamp, two babies outside window R., OUT. +</p> +<p> +7TH CUE.—When CROSBY calls for light, table lamp right end of +chesterfield, LIT. Two babies from window LIT. Amber foots 1/4 LIT. +Bring on blue baby outside window R. +</p> +<p> +8TH CUE.—When WILLIAM pulls chain on table lamp right end of +chesterfield, table lamp, two babies, amber foots, OUT, leaving blue +spot, LIT. +</p> +<p> +9TH CUE.—When CROSBY calls for light, table lamp right end of +chesterfield, LIT; two amber babies, LIT; amber foots, 3/8 LIT. +</p> +<p> +NOTE.—All house lights in front (Auditorium) must be OUT when ROSALIE +and ladies enter after ROSALIE has been searched. This is very +important. +</p> + +<h3>ACT II.</h3> + +<a name="image-0004"><!--IMG--></a> +<center> +<img src="images/illust-3.png" width="100%" +alt="The Position of the Chairs at the Commencement of the Act." /><br /> +<b><small>The Position of the Chairs at the Commencement of the Act.</small></b> +</center> + +<h3> +LIGHTING PLOT FOR ACT II. +</h3> + +<p> +Amber foots, half up. Hanging brackets, lamp posts, table lamps, +entrance strips, LIT. Amber baby down in L. first entrance, LIT. Blue +bunches outside of window R., LIT. Fireplace, LIT. Lights stand during +this Act. +</p> + +<h3> +ACT III. +</h3> + +<p> +The eight small chairs that were brought on in the First Act are taken +off stage. The big arm-chair that ROSALIE sat in has been taken up the +left corner of set. Table has been moved up and on stage about a foot. +The knife that is to fall on given cue has been placed in slot in +ceiling. The window blind is pulled down, the curtains on window are +opened. Arm-chair back of table R. Chair below table R. Chair above +table R. Chesterfield has been moved down stage C. about a foot. Shelf +back of chesterfield has been fixed for WALES to lie on. Console table +back in its original position, right end of chesterfield C. Chairs with +upholstered seats put back to left and right sides of fireplace. Door +down L., open. +</p> +<p> +Be sure to clear everything off table R.C. for knife. +</p> + +<h3> +LIGHTING PLOT FOR ACT III. +</h3> + +<p> +Everything OUT at RISE except amber strip and amber baby in left first +entrance and blue bunches outside of window, R., which are LIT. +</p> +<p> +1ST CUE.—After prayer, ROSALIE raises window shade, white spot on knife +in ceiling, LIT. +</p> +<p> +2ND CUE.—Inspector pushes switch, lights lit, amber foots 1/2, table +lamps, brackets, post lights, LIT. +</p> +<p> +NOTE.—No lights in entrance R.C., L.C., and fireplace. +</p> +<p> +3RD CUE.—ROSALIE pushes light switch, foots, table lamps, brackets, +post lights, OUT. Spot on knife from outside window R., LIT. +</p> +<p> +4TH CUE.—POLLOCK pushes light switch, amber foots, table lamps, +brackets, post lights, LIT same as AT RISE. Spot on knife, out. +</p> +<p> +5TH CUE.—ROSALIE says, "I call on the spirit of Edward Wales," start to +dim foots to 1/8. Must be down on word "look." As window shade flies up, +spot on knife, LIT. As knife leaves ceiling spot OUT and amber foots, +flash up, full. +</p> + +<hr /> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<div style="border: thin; border-style: solid;"> + +<h3>A Book of Make-Up</h3> +<h4>By ERIC WARD</h4> + +<p class="quote"> + This handbook is unique inasmuch as it is prepared specially for + ready reference during the actual process of Making-Up. +</p> +<p class="quote"> + The author has had many years of professional experience on the + Stage and Screen: as actor, stage manager and designer, both in + this country and abroad. +</p> +<p class="quote"> + The object of the book is to set before the student of the stage + in the simplest form the procedure of facial make-up, so that even + the beginner may follow its instructions easily and clearly. +</p> +<p class="quote"> + Amongst the numerous chapters the following are included:—The + Principles of Make-Up, The Dressing Table, The Preparation of + the Face, "Straight" Make-Up, Film Make-Up, Character Make-Up, + Confidential Make-Up, Some Racial Types and Classic Models. +</p> +<p class="quote"> + Several coloured illustrations are given, showing in detail the + actual colouring for various characters of the eyes, nose, mouth, + and full face, both for juvenile and character make-up, all of + which are adequately described in the letterpress. +</p> + +<center>Price 3s. 9d. post paid<br /> +SAMUEL FRENCH, LTD +</center> +</div> + + +<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 14095 ***</div> +</body> +</html> diff --git a/14095-h/images/illust-1.jpg b/14095-h/images/illust-1.jpg Binary files differnew file mode 100644 index 0000000..1cf487d --- /dev/null +++ b/14095-h/images/illust-1.jpg diff --git a/14095-h/images/illust-2.png b/14095-h/images/illust-2.png Binary files differnew file mode 100644 index 0000000..34d4562 --- /dev/null +++ b/14095-h/images/illust-2.png diff --git a/14095-h/images/illust-3.png b/14095-h/images/illust-3.png Binary files differnew file mode 100644 index 0000000..3f52fae --- /dev/null +++ b/14095-h/images/illust-3.png diff --git a/14095-h/images/illust-4.jpg b/14095-h/images/illust-4.jpg Binary files differnew file mode 100644 index 0000000..02289c8 --- /dev/null +++ b/14095-h/images/illust-4.jpg |
