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diff --git a/old/14095-8.txt b/old/14095-8.txt new file mode 100644 index 0000000..8a11483 --- /dev/null +++ b/old/14095-8.txt @@ -0,0 +1,4719 @@ +The Project Gutenberg eBook, The Thirteenth Chair, by Bayard Veiller + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: The Thirteenth Chair + +Author: Bayard Veiller + +Release Date: November 19, 2004 [eBook #14095] + +Language: English + +Character set encoding: ISO-8859-1 + + +***START OF THE PROJECT GUTENBERG EBOOK THE THIRTEENTH CHAIR*** + + +E-text prepared by Juliet Sutherland, David Garcia, and the Project +Gutenberg Online Distributed Proofreading Team + + + +THE THIRTEENTH CHAIR + +A Play in Three Acts + +by + +BAYARD VEILLER + +London, Samuel French, Ltd. + +1922 + + + + + + + + All applications for a licence to perform this play, either by + professional or amateur companies, must be made to-- + + Messrs. Samuel French, Ltd., + 26 Southampton Street, + Strand, London, W.C.2, + + or their authorized representatives. + + The fee for the representation by amateurs is Five Guineas. + + 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. + + 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. + + 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. + + .-==============================-. + || THE ABOVE MENTIONED FEE IS || + || REDUCED NOW TO THREE GUINEAS || + || EACH PERFORMANCE. || + '-==============================-' + +Made and Printed in Great Britain by Butler & Tanner Ltd., Frome and +London. + + + + +THE THIRTEENTH CHAIR + + +Produced at The Duke of York's Theatre, London, on October the 16th, +1917, with the following cast of characters:-- + + + ROSCOE CROSBY Mr. Charles Rock + WILLIAM CROSBY Mr. Lionel Belcher + EDWARD WALES Mr. Yorke Stephens + BRADDISH TRENT Mr. Dennis Wyndham + HOWARD STANDISH Mr Vane Sutton-Vane + PHILIP MASON Mr. Arthur Finn + POLLOCK Mr Charles Bishop + INSPECTOR DONOHUE Mr. James Carew + SERGEANT DUNN Mr. Frank Harris + DOOLAN Mr. Denham Charles + HELEN O'NEILL Miss Hilda Bayley + MRS. CROSBY Miss Dorothy Hammon + MARY EASTWOOD Miss Margaret Moffat + HELEN TRENT Miss Ethel Carrington + ELIZABETH ERSKINE Miss Grace Darby + GRACE STANDISH Miss Gladys Maude + MME. ROSALIE LA GRANGE Mrs. Patrick Campbell + + +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. + + + + +[Illustration] + + + + +THE THIRTEENTH CHAIR + +ACT I + + +_The_ SCENE _is the Italian Room in_ ROSCOE CROSBY'S _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_ Miss HELEN O'NEILL _and_ WILLIAM CROSBY +_are discovered standing_ R.C. _They are in each other's arms, and the +rising curtain discloses them as they kiss. The window blinds are +drawn._ + + +HELEN. I love you so. + +WILLIAM. You are the most wonderful thing in all the world. + +(_She gives a little laugh and moves away from him a step right_.) + +HELEN. I can't believe it. + +WILLIAM. That I love you? + +HELEN. Oh, no, I'm sure of that. + +WILLIAM. If there's any doubt in your mind, I'll prove it again. + +HELEN. They'll see us. (_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._) Oh, my dear, my dear! + +(MRS. CROSBY, _a fashionably dressed and extremely attractive woman, +enters from door down_ L. _She closes the door. She stops for a moment +and watches the lovers and then with a little laugh comes toward them._ +MRS. CROSBY _is fifty-five and looks ten years younger. She has charm, +beauty and kindliness._) + +MRS. CROSBY (_coming to_ C. _a step_). Don't move, you look so +comfortable! (_They separate quickly._) Well, are you happy? (_To_ R.C.) + +WILLIAM. Oh, mother! + +HELEN. Happy! + +(MRS. CROSBY _crosses to_ HELEN, _pats her hand and stands between_ +WILLIAM _and_ HELEN R.C.) + +WILLIAM. Shall we tell 'em all? + +MRS. CROSBY. Tell them? (_She laughs_.) 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. + +HELEN. I thought he had an awful cold, he was coughing terribly. + +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. + +WILLIAM. Why you never spoke to him once. + +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. + +(_Crosses to below table_ R.) + +HELEN (_turning to_ MRS. CROSBY). Mrs. Crosby-- + +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. + +(_He and_ MRS. CROSBY _laugh_. HELEN _looks a little hurt_.) + +HELEN. Well, he is. + +MRS. CROSBY. Nonsense, child, don't be silly. (_Sits down stage end of +table_.) + +HELEN (_moving a step to_ MRS. CROSBY). It's not silly, Mrs. Crosby. +Everyone will say it, and they'll be right. + +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-- + +HELEN. Oh, yes, it is. + +MRS. CROSBY. Oh, the first row! I'll settle this one. Nelly! + +WILLIAM. Now then, Nell, out with it, get it all out of your system. + +HELEN. In the first place, it's the money. + +MRS. CROSBY. Yes, but--Helen-- + +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-- + +MRS. CROSBY. My dear child, suppose we admit all that, what then? + +HELEN. But don't you see-- + +WILLIAM (_embracing her in front of table_ R.). You little idiot! +I don't see anything but you. + +MRS. CROSBY. You love each other, that's the whole of it, children. +Suppose you listen to an old woman. + +WILLIAM. Old! Huh! + +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. + +WILLIAM. Twice. + +HELEN. What was she like? + +WILLIAM. Like a chorus girl. + +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. + +WILLIAM. There! + +HELEN. But you know so little about me. + +WILLIAM. Oh, rot! + +MRS. CROSBY (_to_ WILLIAM). Thank you, Billy. I was trying to think of +an effective word. (_To_ 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. + +HELEN. My family-- + +WILLIAM (C.). I'm not marrying your family! + +HELEN. I'm afraid you are. + +WILLIAM. Oh! + +HELEN. There's only mother. + +MRS. CROSBY (_rising and moving to_ HELEN'S _side in front of table_ +R.). Oh, my dear, forgive me. Your mother should have been here +to-night. + +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-- + +MRS. CROSBY. Suppose, my dear, that we take your mother for granted. +(_She crosses to a position between_ WILLIAM _and_ HELEN.) Take us as +you find us and we will try to be happy. + +(_Enter_ CROSBY _from door_ L. _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._) + +MRS. CROSBY. Well, Roscoe? + +CROSBY (_moves to_ L.C.). Welcome, my dear. (HELEN _crosses to him and +he takes her in his arms_.) + +HELEN. Oh, Mr. Crosby--I-- + +CROSBY (_placing_ HELEN L. _of him with arm still around her, reaching +his other hand to_ WILLIAM). Bill, shake! + +(_Father and son shake hands._) + +(CROSBY _looks at his wife and they laugh gently._) + +Shall I tell 'em? + +MRS. CROSBY (_standing in front of table over_ R.). I would. + +WILLIAM (R.C.) Tell us what? + +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. + +HELEN (L. _of_ CROSBY). You see! + +WILLIAM. What for? + +CROSBY. Your mother and I felt that you were pretty slow with your +love-making-- + +WILLIAM. Oh, mother! + +CROSBY (_continuing_).--and I knew darned well that if I interfered, +you'd take the girl out and marry her. + +HELEN. Oh! + +WILLIAM. You old schemer! + +CROSBY (_crossing over_ R.C. _below_ MRS. CROSBY). I bet it would have +worked. + +WILLIAM (_as_ CROSBY _crosses_ R. WILLIAM _slaps him on the back_). +It would. (_Crosses behind_ HELEN _to_ L.C.) + +(_The door down_ L. _opens and_ EDWARD WALES _enters._) + +WALES. I came ahead of the others to tell you-- + +CROSBY. Why, Ned, old man, you came just in time to congratulate them. +(_He points toward_ WILLIAM _and_ HELEN.) + +WALES. On what? (L.C.) + +MRS. CROSBY. They're going to be married: isn't it fine? + +WALES. Oh! + +(_There is a long pause._) + +WILLIAM. You don't congratulate us, Mr. Wales. + +WALES. No, Will, I don't. I'm not sure that I can. (_Down stage a step_.) + +CROSBY. Why, Ned? + +WILLIAM. I'm afraid that calls for an explanation. + +WALES. Yes, I expect that it does. + +(_There is a long pause._) + +WILLIAM. Well? + +WALES. I'm sorry, but I can't explain anything until to-morrow. + +MRS. CROSBY. But really, Mr. Wales, don't you think-- + +WALES. I think my action is almost indefensible. I'm admitting that. But +I have very good reasons for what I am doing. (_He turns to_ 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. + +WILLIAM (_coming to_ WALES _a step_). This is intolerable. + +CROSBY. Ned, I can't understand-- + +WILLIAM. Father, this is my affair. + +WALES. I'm sorry. + +WILLIAM. Sorry? I should think you would be. + +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. + +WILLIAM. Dear, you mustn't mind what he says. + +HELEN (_crossing in front of_ WILLIAM _and moving a few steps towards_ +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." + +(_Turns to_ WILLIAM C. _He takes her in his arms, then_ HELEN _moves +over to_ R. _of him._) + +MRS. CROSBY (_in front of table_ R.). I think she succeeded, my dear. + +WALES (L.C.). Miss O'Neill, I didn't even know that you had a mother. + +WILLIAM (C.). Then you'd better tell us now whatever your objection is. + +WALES. I can tell you nothing until to-morrow. (_He turns to_ 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. (_Voices and laughter heard off_ L.) Now that's all +I'm going to say about it until then. (_Moves up_ L.) + +(_The door_ L. _opens_. MARY EASTWOOD, HELEN TRENT, ELIZABETH ERSKINE, +GRACE STANDISH, HOWARD STANDISH, PHILIP MASON _and_ BRADDISH TRENT +_enter laughing and talking_.) + +MISS EASTWOOD (_at_ L.C. _To crowd in doorway_). And he said whose wife? + +(_All laugh_.) + +WILLIAM (C. HELEN _in front of table_ R.). Quiet, quiet, everybody. I've +got a surprise for you. + +(_From the people at the door come laughter and buzz of conversation_.) + +Nellie and I are going to be married. + +(_Girls rush_ C. _and congratulate_ HELEN. _Men and_ WILLIAM L.C. +_Business ad lib., congratulating him_.) + +MISS EASTWOOD (_coming to_ 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--(_She turns +away_ R.) I hope you will be awfully happy. (_Crosses to_ MR. _and_ MRS. +CROSBY _down_ R.) + +MISS ERSKINE (_coming to_ WILLIAM). Isn't it beautiful? (_Moves up to_ +L. _of chesterfield sofa_.) + +MRS. TRENT (_crossing to_ WILLIAM _and kissing him_). I'm glad, Billy, +glad. + +(_Moves over to_ STANDISH, _who is down_ L. _with_ TRENT. MISS STANDISH +_moves to front of table_ R.) + +(WILLIAM _and_ HELEN _look around--see that no one is paying attention +to them_--WILLIAM _sneaks up to door_ R.C., _opens it and he and_ HELEN +_exit quickly_. MRS. CROSBY, MR. CROSBY _and_ MISS EASTWOOD _are in +front of the table_ R.C. TRENT, STANDISH, MRS. TRENT, MASON _talking +together over_ L. WALES _up_ L. _Conversation ad lib. until_ MISS +EASTWOOD _speaks_.) + +MISS EASTWOOD (_to_ MRS. CROSBY). Marriage is such an awful gamble. +I know a girl who tried it four times. Billy, I do hope you-- +(_Turning to_ C., _where_ WILLIAM _was standing_.) Why, they are gone! + +(_Laughter and buzz of conversation ad lib_.) + +(Miss EASTWOOD _runs up to door_ R.C., _opens it_--_looks in +dining-room--gives a scream_--_closes door quickly, comes to right end +of chesterfield_. TRENT _goes to console table_ L. _of chesterfield, +gets cigarette, lights it, and crosses to_ C. _back of chesterfield in +front of fireplace_. STANDISH _and_ MRS. TRENT _move to table_ L. _of +chesterfield_. WALES _and_ MISS ERSKINE _sit on chesterfield facing +audience up_ C. MRS. CROSBY _is still at upper end of table_ R. CROSBY +_talks with_ MISS EASTWOOD. MASON _is the_ L. _end of the chesterfield +facing the audience_.) + +(_Enter_ BUTLER _from down_ L.) + +BUTLER. Mrs. Crosby, the person you sent the car for has arrived. + +(_All turn eagerly toward him_.) + +WALES (_rises and moves down_ L.C.). Can we see her now, Mrs. Crosby? + +MRS. CROSBY. Certainly--Pollock, ask Madame la Grange if she will come +in, please. + +BUTLER. Yes, madame. + +(_He exits and closes the door after him_.) + +MISS EASTWOOD (_coming down between the large table and the +chesterfield_). I'm perfectly thrilled. Do you suppose she expects to be +taken seriously? + +MISS ERSKINE. Of course. + +MISS EASTWOOD (_at table_ 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. + +MRS. CROSBY (_at table_ R.). Oh, I wouldn't do that, Mary. She may be +quite in earnest. + +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? + +WALES (_in front of chesterfield_). She's the most remarkable woman I +have ever known. + +(_Enter_ BUTLER _from door_ L., _coming well on stage_). + +BUTLER. Madame la Grange. + +(_Enter_ MADAME ROSALIE LA GRANGE. _She is a woman of about fifty. She +speaks with a marked French accent_.) + +ROSALIE. Good evening everybody. (_The men all rise_.) + +MRS. CROSBY. How do you do, Madame la Grange? + +ROSALIE. I am well, I thank you, madame. + +MRS. CROSBY. Do come in. + +ROSALIE. Thank you, madame. (_She sees_ WALES L.C., _and goes to him_.) +Good evening, Mister Wales. It was kind of you to send the motor-car for +me. + +WALES. We wanted you to be comfortable. + +ROSALIE. And I was. (_She laughs and turns to_ MRS. CROSBY R.C.) Do you +know, madame, when the gentleman in uniform come for me, I thought at +first it was a policeman. + +MRS. CROSBY. I hope you weren't frightened. + +(_The positions now are_: ROSALIE C., CROSBY R. _end of chesterfield_ C. +MRS. TRENT _and_ STANDISH _have moved down_ L. TRENT _comes to_ L. _of +arm-chair._ Miss ERSKINE _seated on chesterfield up_ C. MRS. CROSBY _at +table_ R. WALES L.C. _and_ MASON L.C.) + +ROSALIE. Oh, no, madame. I should like to see the policeman that could +frighten me. They are nice boys, the policemen. + +MISS EASTWOOD (_on the_ R. _side of_ ROSALIE). Mr. Wales tells us you +are wonderful. + +ROSALIE. All women are. + +MISS EASTWOOD (_with a meaning glance at the others_). So you tell +fortunes? + +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. + +(_All laugh_--MISS EASTWOOD _loudest_.) + +Once in a while I give advice. (_She turns to_ MISS EASTWOOD.) If I was +you, mademoiselle, I would not meet Jimmy at the Ritz at three o'clock +to-morrow. + +(_All laugh_. MISS STANDISH _crosses to chesterfield_ C. _and sits_. +Miss ERSKINE _rises and crosses to table_ R. _and sits in arm-chair +upper end._ MASON _moves up and sits on up stage chesterfield_. TRENT +_goes to_ L. _end of chesterfield_. MISS EASTWOOD _is in front of table_ +R. ROSALIE _goes to_ WALES L.C. CROSBY _seats_ MRS. CROSBY _down stage +end of table_ R., _then crosses back of_ MISS ERSKINE _to upper end of +table_.) + +Well, sir, and how are you? + +WALES. We're expecting great things from you to-night, Madame la Grange. + +ROSALIE. Bien! I hope you will not be disappointed. + +CROSBY (_above table_ R., _coming_ C. _a step_). I suppose there are a +lot of tricks that-- + +ROSALIE (_interrupting him_). I suppose mine is the only trade in the +world in which there are tricks, eh, monsieur? + +MISS EASTWOOD (_coming to_ ROSALIE C.). Why shouldn't I meet Jimmy at +the Ritz to-morrow? + +ROSALIE. If you do, something awful may 'appen to 'im. + +MISS EASTWOOD. What? + +ROSALIE. If you keep meeting Jimmy 'e may marry you. + +(MISS EASTWOOD _moves up stage a step_.) + +CROSBY (_upper end of table_ R.). Would you mind telling me how you know +this young lady was going to meet Jimmy at the Ritz to-morrow afternoon? + +ROSALIE. She did leave 'is letter in 'er bag in the 'all, and while I +wait I 'ave read it. + +MISS EASTWOOD (C.). How did you know it was my bag? + +ROSALIE. The stuff of the bag matches the stuff of your dress. + +MRS. CROSBY (_seated below table_ R.). Then it is all trickery? + +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. + +MRS. CROSBY (_seated at lower end of table at_ R.). I think I +understand. + +ROSALIE. Do you, madame? I thought you would. + +(_She moves to and puts her hand-bag on the table_ R. MRS. TRENT, +_seated below door down_ L., _is joined by_ WALES. MASON _is standing in +front of the fireplace_.) + +MISS EASTWOOD (_coming to_ R.C.). Don't you think all this is dishonest! + +ROSALIE (_in front of table_ R., _turning to her_). What is dishonest in +it? + +MISS EASTWOOD. Tricking a lot of poor ignorant people. + +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! + +TRENT (L.C. _by arm-chair_). What I can't understand is why you are +telling us all this. + +(MISS EASTWOOD _moves to the chesterfield_ C.) + +MRS. TRENT (_seated over L. by door_). If we know you are fooling-- + +ROSALIE (_going to_ TRENT). Did not Mr. Wales tell you? + +WALES (L.C.). I've told them nothing. + +(MASON _drops down_ R. _of chesterfield_, STANDISH _down_ L. CROSBY _is_ +R. _end of chesterfield_ C.) + +ROSALIE (C.). Well, tell them now, if you please, sir. (_Moves to and +sits upper end of table and takes off her gloves_.) + +WALES (_down_ 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. + +MASON (_between chesterfield and table_). You mean test conditions? + +WALES. Not exactly. What she said was that no money should pass between +us, and that whatever she did, she would be honest. + +MASON (_very eagerly, and moving towards_ ROSALIE). You mean that you +won't play any tricks? + +ROSALIE. If I do, I will tell _you_. + +MISS EASTWOOD (_seated on chesterfield_ C.). Of course we understand all +about spirit rappings. + +ROSALIE. You do, eh? + +STANDISH (_down_ L.). Well, rather. + +(CROSBY _sits_ R. _end of chesterfield_.) + +ROSALIE. Well, well, what do you think of that? + +MISS EASTWOOD. You have to be near a table or something like that and-- + +ROSALIE. Maybe a chair or a desk would do? + +MISS EASTWOOD. And then in the dark-- + +ROSALIE. But of course in the dark. And you get one rap for yes and two +raps for no. (_There is a short pause_. ROSALIE _rises, comes down_ C. +_and says_:) Are those spirits near? + +(_All laugh_.) + +STANDISH. Oh, no, don't. + +(_One rap is heard from the back of the fireplace_.) + +(_Little laugh_.) + +MISS EASTWOOD. But--(_Rising and coming down_ L.C. _a step_.) + +MASON. Oh, please keep still-- + +(_They gather a little closer around_ ROSALIE.) + +ROSALIE. Is it Laughing Eyes? + +(_One rap is heard--still louder_.) + +And you cannot talk to me in the light? + +(_One rap_.) + +Are you 'appy? + +(MRS. TRENT _rises_.) + +(_Two raps again_.) + +Is there someone here you do not like? + +(_One rap_.) + +A gentleman? + +(_Two raps_.) + +Dear, dear, a lady? + +(_One rap_.) + +(_She points to_ MISS EASTWOOD.) + +Is it that one? + +(_One rap_.) + +Laughing Eyes she do not like you. + +(_General laugh_.) + +MASON (R.C.). That's the most wonderful thing I ever heard. + +STANDISH (_down_ L.). Oh, I don't think-- + +MASON. It couldn't be a trick. She just stood there. I watched her hands +every minute. + +(TRENT _goes to arm-chair_ L.C.) + +ROSALIE. You did watch the wrong end of me. I 'ave a wooden sole in my +shoe. (_She lifts her skirt and shows that she has taken one foot from +her slipper_.) You do it with your foot. Like this. (_Laughingly_.) It +is a trick. + +(MISS EASTWOOD _goes to_ WALES L.C. MRS. TRENT _moves up to armchair_ +L.C. STANDISH _up to_ L. _end of chesterfield, and then by the back of +chesterfield to_ R.C., CROSBY C. MRS. CROSBY _is seated at table_ R.) + +MASON (R.C.). Then if we get any messages-- + +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. (_Moves to_ R. _end of chesterfield_.) +But 'e did not tell me one word about any of you; + +WALES (_down_ L.). That is quite true. + +TRENT (_by arm-chair_ L.C.). You haven't given her a hint of any sort? + +WALES (L.). On my word of honour. + +MASON (_above table_ R.). Madame la Grange. + +ROSALIE. Yes, sir? + +MASON. I know a man who saw Palladino lift a table just by putting her +hands on it. + +(ROSALIE _points to a small console table_ R. _end of settee_--_it has a +lamp on it_. MISS EASTWOOD _is at the_ L. _end of chesterfield_.) + +ROSALIE (_putting hand-bag on chair above table_ R.). Will someone +please take the lamp off that table? And will you bring it to me 'ere? + +(MISS STANDISH _moves to and takes the lamp and holds it_. MASON +_brings console table to_ ROSALIE _who comes down_ C.--_the wide side +of the table to audience_. ROSALIE _puts her hands on table with her +thumbs under its edge and lifts the table and turns right and left_.) + +You mean like that? + +MASON. Yes, I suppose that was it. + +ROSALIE. In the dark you would not 'ave noticed my thumbs. + +(_All laugh_. Miss ERSKINE _is seated at the back of the table over_ R.) + +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. + +ALL. Oh, yes, yes, of course, please do--yes, yes! + +MASON. You mean without any trickery? + +ROSALIE (_getting back of console table. Turning table around--narrow +side to audience_). I mean like this. + +(_She places the tips of the fingers of both hands on the_ C. _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_.) + +MASON (R. _of small table_). Good Lord! + +WALES (L.C., _quietly_). What did I tell you? + +(_There is a long pause, all turn towards_ ROSALIE _to see what she will +do next_. MASON _takes console table back to its place to the_ R. _end +of the chesterfield_. TRENT _and_ MRS. TRENT _are over_ L. STANDISH +_and_ CROSBY C.) + +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. + +CROSBY. Are you asking us to believe that the spirit of a dead child-- + +ROSALIE (C.). To them that believe there is no death. Your own religion +teaches you that. + +CROSBY. But not that the spirits of the dead can come back to earth. + +ROSALIE (_moves to chair upper end of table_ R. CROSBY _crosses to_ R. +_end of chesterfield_). 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. (_Crosses to_ L.C. +STANDISH _has moved to the back of table_ R.) + +MRS. CROSBY (_at table_ R.). Oh, no, please stay. + +ROSALIE (_after hesitating_). Madame, I will be glad to. + +(WILLIAM _and_ HELEN _enter_ R.C.) + +TRENT (_down_ L. _of arm-chair_). And you're willing to submit +to our conditions? + +ROSALIE. Of course, anything in reason--I-- + +HELEN (_coming down_ R.C.). Why! + +(_At the sound of a new voice_ ROSALIE _turns. She gives a little +start, and then moves quickly to_ HELEN C.) + +ROSALIE. Wait! Something is coming to me. Please--not anyone to speak! + +(_All laugh_.) + +(_She is close to_ HELEN _and looks at her_.) It is a message. Give me +your 'and, mademoiselle. + +(HELEN _in a good deal of confusion gives_ ROSALIE _her hand_. ROSALIE +_stands and holds it. Her eyes are closed_.) + +There is nothing but 'appiness coming to you. The spirits tell me you +are the favourite child of fortune. + +(WILLIAM _comes down to_ R.C.) + +You will 'ave wealth and prosperity and 'appiness. You will marry the +man you love, and you will be 'appy all your life, + +(WALES _goes up_ L. TRENT _comes to_ ROSALIE _a step_. ROSALIE _turns to +the others_.) + +There is something I want to tell 'er just for 'erself. She is so young, +we must spare her modesty. + +(MRS. TRENT _goes up_ L. TRENT, MISS EASTWOOD, _and_ WALES _go up_ L.C. +ROSALIE _brings_ HELEN _down_ L. WILLIAM _joins_ CROSBY _and_ MRS. +CROSBY R. MISS ERSKINE _and_ STANDISH _are at the back of table_ R.) + +(_The following lines are spoken by_ HELEN _and_ ROSALIE _in an +undertone_.) + +HELEN. Mother! + +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. + +(HELEN _starts to break away_. ROSALIE _clutches her_.) + +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. + +HELEN. But, mother, there's no shame. I'm proud-- + +ROSALIE. Tell them afterwards if you must tell them, but let me get +away before you do so. (_In her normal voice again_.) 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. + +(_Buzz of conversation_. ROSALIE _turns to_ WALES L. HELEN _stands +looking after her_. WILLIAM _comes to_ HELEN B.C.) + +WILLIAM. What did she tell you? + +HELEN. You heard most of it. I'll tell you the rest later. + +(WILLIAM _and_ HELEN _go up_ R.C.) + +ROSALIE. I think I 'ad better go from 'ere. + +(MISS EASTWOOD _and_ TRENT _come down_ L.) + +WALES. That's absurd. (_To the others_.) Madame la Grange wants to +call off the seance. + +MISS EASTWOOD (_down_ L.). I thought she might. + +(MASON _above table_ R.) + +ROSALIE. Did you really, miss? + +MRS. CROSBY. Oh, won't you please stay? + +(WILLIAM _and_ HELEN R.C. MISS ERSKINE _above table_ R.) + +ROSALIE (_coming_ C.). I am afraid I cannot, madame. I am not feeling +right. I am not just myself, madame. + +WALES (L.C.). Really, Madame la Grange? I'm afraid under the +circumstances-- + +ROSALIE (_getting hand-bag from chair_). I am very sorry, but I must go +from 'ere. + +MISS EASTWOOD (_moving_ L. _of_ 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. + +HELEN. Oh, won't you please stay? (_To_ ROSALIE _now_ C.) + +ROSALIE. I must not. + +HELEN. Won't you as a great favour to me? + +ROSALIE. Well, miss, since you ask it, I will stay. + +(MISS EASTWOOD _laughs. She and_ TRENT _go up_ L. CROSBY _is by +chesterfield_ C. MASON _below table_ R. MRS. CROSBY _is seated at lower +end of table_. MRS. TRENT _comes to arm-chair_ L.C. _and sits_.) + +MRS. CROSBY. I'm very glad. Really I'm greatly interested. + +ROSALIE (_crosses_ R.). Thank you, madame. + +CROSBY (_coming down_ C.). I think after what we've seen, we must ask +Madame la Grange to submit to certain conditions. + +ROSALIE. Anything at all, sir--anything at all. + +MASON (_down_ R.). I agree with you. Frankly this woman impresses me. +I think this test should be taken seriously. + +(MISS EASTWOOD _at the_ L. _end of the chesterfield, laughs_.) + +WALES (L.C.). Just what I was going to say. + +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. + +ROSALIE. Scoffing is the easiest thing anybody can do. + +(CROSBY _crosses down_ R. _below table_.) + +If I could stop that even in one person, it would be a good thing. What +is it that you do want? + +CROSBY. I want the window fastened. + +MASON. That's the idea. + +CROSBY (_coming in front of table_ R.). Then we will have the doors +locked. Will that be all right? + +ROSALIE. Oh, certainly all right. + +MISS EASTWOOD (_coming down_ 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. + +(MISS ERSKINE _and_ MISS STANDISH _are at back of table_ R.) + +ROSALIE (C.). But why not? There are no 'oles in my stockings. + +(_All laugh_.) + +MASON (_down_ R.). I suppose it's going to be difficult for you to get +results if we are all so antagonistic, Madame la Grange? + +(MISS EASTWOOD _goes up_ L.C.) + +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? + +WALES (_down_ 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. + +ROSALIE. I am ready. + +(CROSBY _looks at window fastenings_ R.) + +MRS. CROSBY (_seated at table over_ 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. + +ROSALIE. I do not mind if you fine ladies will not be shocked at seeing +my plain lingerie. + +(WALES _moves up_ L. _General laugh_. Miss ERSKINE _joins_ WILLIAM _and_ +HELEN R.C.) + +MRS. CROSBY (_moving to_ L. _of_ ROSALIE C.). Come with me then, please. +I'm sure we won't be shocked. (_Aside to_ ROSALIE.) I wear that kind +myself. + +ROSALIE. Truly, madame? + +(_They go to door_ L.) + +MRS. CROSBY (_at door_ L.), We shan't be long. + +ROSALIE (_at door_ L.). Madame, would you mind if all the ladies come? +Then they will all be sure I am concealing nothing. + +(_The ladies all talk together and go out_ L. WALES _closes the door +down_ L. CROSBY _comes from lack of table_ R. _to chesterfield_.) + +WILLIAM (_by table_ R.). Do you really want that window fastened? + +(STANDISH _is behind the chair below the table_ R.) + +WALES (L.C. CROSBY _and_ TRENT _sit on corner of chesterfield_). I don't +care. + +MASON (_at table_ 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. + +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. + +(WALES _walks up and down_ L. _of stage_. WILLIAM _and_ TRENT _go out +door_ R.C.) + +You put them in a circle, don't you? (_Begins to place chairs in a +circle_ C. _The chair_ L. _of the fireplace is brought down and placed +in front of the chesterfield_.) What are you going to do, Wales? Ask her +a lot of questions? + +WALES (L.). I'm going to try to find out who killed Spencer Lee. + +CROSBY. Still harping on the murder of Spencer Lee? + +(STANDISH _places the chairs above and below the table in the circle, +then the chair on the_ R. _side of the fireplace in the circle_.) + +WALES. Yes. + +MASON (_over_ R.--_opening window curtains and raising window blind_). +Who was Spencer Lee? + +WALES. The best friend I ever had. + +(TRENT _and_ WILLIAM _enter door_ R.C., _each carrying two chairs. They +bring them down_ R.C. _and exit_ R.C.) + +STANDISH (_placing chairs_ C. _with backs to audience_). We all knew Lee +pretty well. And I know he was no good. + +WALES (_moving to_ L.C., _outside the circle_). You mustn't talk like +that about him, Standish! + +CROSBY (_inside the circle and coming down_ C.). The man's dead: why not +let him rest in peace? + +(STANDISH _outside of circle_ L.C. _seat_.) + +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. + +(WILLIAM _and_ TRENT _re-enter from_ R.C., _each carrying two chairs._ +WILLIAM _crosses and places two chairs_ R. _side of circle then goes +back to close the door_.) + +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. (_Moves over_ L.) + +MASON (_by table_ R.). I don't seem to remember anything about the case. + +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. + +(WILLIAM _sits_ R. _in circle_.) + +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. + +STANDISH (_sitting in circle_ 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? + +CROSBY (_sitting in circle up_ 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. + +(TRENT _comes down and sits in_ R. _side of circle_.) + +STANDISH. Funny they never found out who killed him. + +WALES (_standing outside of circle_, L. _side_). They may not. They +haven't stopped trying. + +MASON (_seated on table_ R.). Oh, are the police still interested? + +WALES. Yes, they're interested. As a matter of fact there's a reward of +five thousand dollars for the discovery of the murderers. + +STANDISH. Are you sure of that? + +WALES. I offered it. + +TRENT. You? + +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. + +WILLIAM. But if he was the kind of a man that Standish says-- + +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. + +TRENT. But. + +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. + +MASON. Wasn't there any indication-- + +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. + +TRENT (_with a laugh--still seated in circle_). And now you're going to +try spiritualism? + +WALES. Why not? (_There is a pause._) Do any of you object? + +TRENT. Certainly not. I'm rather for it. + +MASON (_rises, still on_ L. _of table_ R.). You are doing this +seriously? This is not a joke? + +WALES. Quite seriously. (_There is a pause._) Well, why won't somebody +laugh? + +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. +(_Rise._) Neither am I going to have any trickery, or if there is any +I'm going to expose it. + +WALES (_over_ L.). That's perfectly fair. + +CROSBY. You've been at her séances, or whatever they call them, before? + +WALES. Yes. + +CROSBY. In the dark? + +WALES. Invariably. + +CROSBY. I may want light. (_He turns to his son._) Billy, if I call for +lights you give them to me. Don't wait for anything. Understand? + +WILLIAM. Perfectly, dad. + +(WILLIAM _goes up to small table_ R. _of chesterfield. Brings table with +lamp on it down to his chair and the chair next to it in the circle_.) + +CROSBY (_still in circle._) That's all right then. + +(_The door_ L. _opens_. MRS. CROSBY _enters, followed by_ MADAME LA +GRANGE _and the other ladies_. WALES _moves to_ R.C. _outside circle_, +STANDISH _to upper end of table_ R., TRENT _to_ L. _side of circle_.) + +MRS. CROSBY. I think it wasn't fair of us. + +ROSALIE. Oh, madame, I did not mind. + +(MRS. CROSBY _crosses back of chesterfield to up_ R.C.) + +MISS EASTWOOD (_down_ L.). I can assure you there isn't anything up her +sleeve. + +ROSALIE. Well, what did you expect? Burglar's tools? + +(MISS EASTWOOD _goes up to_ L. _end of chesterfield_. MRS. TRENT _closes +door down_ L. _She and_ HELEN _move up_ L. _with_ Miss STANDISH.) + +WALES (_over_ R.). Madame la Grange, we've fastened the windows. + +(TRENT, STANDISH, ERSKINE _by console table_ L. _of chesterfield_.) + +ROSALIE. That is right. You cannot be too careful, eh? + +CROSBY. And now, if you don't mind, I'm going to lock the doors and keep +the keys in my pocket. + +ROSALIE. Anything you do wish, sir. It is all the same to me. + +(_Goes inside circle and sits down up_ C. _in circle_.) + +MASON (R.C.). May I see that it's done, Mr. Crosby? + +CROSBY (L.C., _with a laugh_). Can't you trust me? + +MASON. It isn't that--I--well, I just want to be sure. To see for myself. + +CROSBY. Lock that one yourself, then. (_Indicating door_ R.C. MASON +_goes to and locks the door_. CROSBY _goes to door_ L.C., _locks it, +takes out the key and puts it in his pocket_.) Better try it, Mason. +(MASON _crosses to door_ L.C.--_shows it is locked_.) Now well do this +one. (_He starts to door down_ L. _Then stops suddenly_.) No, I've got a +better way than this. My dear, will you ring for Pollock? + +MRS. CROSBY (_upper end of table_ R.). What are you going to do now? + +CROSBY. Wait and see. (_To_ ROSALIE.) You don't object to this? + +ROSALIE. Oh, no, sir. + +(BUTLER _enters from door_ L.--_comes well on stage_.) + +CROSBY. Oh, Pollock, I want you to put these keys in your pocket. +(_Hands them to him_. POLLOCK _puts them in his waistcoat pocket_.) + +POLLOCK. Yes, sir. + +CROSBY (L.C.). Now then, I want you to take the key out of that door, +and lock it on the outside, understand? + +POLLOCK. Perfectly, sir. + +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? + +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. + +CROSBY. Exactly. (_General buzz of conversation._ POLLOCK _goes to the +door_ L., _takes out the key and exits, closing the door after him. The +key is heard turning in the lock._) Now then, Mason, you'd better try +that door, too. (MASON _goes over and tries the door_ L. CROSBY _follows +him. Speaking through the door_ L.) Are you there, Pollock? + +POLLOCK (_outside._) Yes, sir. + +CROSBY. And the keys are in your pocket? + +POLLOCK. Quite so, sir. + +CROSBY. Now we're ready, Madame la Grange. + +ROSALIE. Then please you will all sit in a circle and hold hands. + +MISS ERSKINE. Hold hands! I'm going to love this. + +(_All laugh._) + +MASON (_moving down to a chair on the_ L. _of the circle_). How shall we +sit? I mean, do you want us in any particular order? + +ROSALIE. Any way at all. + +WILLIAM. I'll sit here. (_Takes chair and sits in reach of lamp on +table_ R.C.) + +ROSALIE. Any way will do. + +(HELEN _and_ MRS. TRENT _come down_ L.) + +(_They all sit in a circle in the following order_: ROSALIE, C.; CROSBY +L. _of_ ROSALIE; MISS ERSKINE, MISS STANDISH, TRENT, MISS EASTWOOD; +MASON; HELEN; MRS. TRENT; STANDISH _and_ MRS. CROSBY; WILLIAM _sits on_ +ROSALIE'S _right side. This will bring_ WALES _sitting at_ C. _with his +back to the audience_. ROSALIE _directly opposite up stage facing him. +The thirteen chairs in the circle consist of two brought from the +fireplace, two from the table_ R., _eight from the room_ R.C., _and the +armchair_ L.C., _which is moved_ C. _and used by_ ROSALIE. _As they are +being seated there is a general buzz of conversation as follows_:--) + +MISS ERSKINE. I'm to sit next to you, Mr. Crosby. + +CROSBY. I've always wanted to hold your hand, my dear. + +MRS. CROSBY. Don't trust him, Daisy. + +MISS ERSKINE. I won't, Mrs. Crosby. + +MISS STANDISH. I'll chaperone them. + +MASON (_to_ HELEN). Will you sit by me? + +TRENT. I'll take this place then. + +MISS EASTWOOD. I'm really getting quite a thrill. (ROSALIE _laughs_.) +What's the joke, Madame la Grange? + +(MRS. TRENT _moves outside of circle to_ R.C., _then sits_.) + +ROSALIE. I did not know anything could give to you a thrill. + +MISS EASTWOOD. You don't like me, do you, Madame la Grange? + +ROSALIE. Oh, mademoiselle, I am indeed very fond of you. + +WALES (_standing below circle_ R.C.). I think we're all ready. + +(_The others are all seated and_ WALES _is about to sit down_.) + +MISS ERSKINE (_counting hurriedly_). Oh! There are thirteen of us. Don't +sit there, Mr. Wales. + +WALES. Oh, I don't mind those little superstitions. (_Sits down stage +side of circle between_ HELEN _and_ MRS. TRENT.) + +MRS. CROSBY. What do we do now? + +ROSALIE. Now, will you please all join your 'ands, and then sit very, +_very_ quiet. Do not try to think of anything. + +TRENT. By Jove, that'll be easy for me. + +(_The others laugh_.) + +WALES. We can't get any results if you treat this as a joke. + +(_All laugh_.) + +STANDISH. Oh, let's be serious. + +MISS ERSKINE. Why, Howard? + +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. + +ROSALIE. We shall 'ave better results in that way. + +CROSBY. Right! (_He rises, goes to door_ L., _and switches off light. +This leaves only the two table lamps_ R. _and_ L. _of the chesterfield_ +C. _still lit. All other lights on scene out. Crosses back to his +chair--turns out table lamp_ L. _of chesterfield._) Billy, you turn out +that light as soon as we are ready. + +WILLIAM. Right you are, dad. + +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. (_She settles back in her chair._) Now then, sir, +please to put out that light. + +(WILLIAM _turns off the light, and the stage is in darkness all but +spots on ceiling._) + +CROSBY. That won't do. Billy, pull down the blind, that light on the +ceiling is too strong. + +(WILLIAM _turns on light, crosses_ R., _pulls blind down and closes +curtains, then resumes his seat and puts light out._ ROSALIE _rises, +crosses back of circle to the back of_ MISS EASTWOOD'S _chair. There +is a pause. Suddenly_ MISS EASTWOOD _screams shrilly._) + +MISS EASTWOOD. There's a hand on my face. There's a hand on my face! + +CROSBY. Will, the light! + +(_The light on the table goes up, showing_ WILLIAM _leaning back in his +chair with one hand on the switch, the other is tightly clasped in his +father's hand._ ROSALIE _is seen standing behind_ MISS EASTWOOD, _with +her hand resting on_ MISS EASTWOOD'S _cheek._) + +(_They all start to speak._) + +MRS. TRENT. It's a trick. + +ROSALIE. Yes, it is a trick. (_They stop and stare at her. Her manner is +commanding, and a little stern._) 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. + +MASON. I don't see how you did it--even now. + +ROSALIE (_standing outside of circle_ 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. (_She moves back to her chair and sits._) Now, if someone +will tie me in, we will go on. + +MASON. How do we know that you can't get free even then? + +ROSALIE. Tie me so that I cannot. + +CROSBY (_rising_). I'll see to that. I want something strong. + +MASON. Take handkerchiefs, they are strong enough. (_Takes handkerchief._) + +CROSBY. They'll do very well. (_Takes out his own._) I want three more. + +WILLIAM. Here's mine. (_Hands his handkerchief to his father._ MASON +_and_ TRENT _give_ CROSBY _theirs._) + +CROSBY. Now, Madame la Grange, if you don't mind. (_He ties her hands to +the arm of the chair._) I don't see why you did that just now. + +ROSALIE. I told you I wanted to be sure. + +CROSBY. Why? + +ROSALIE. Because I think something is going to 'appen. I think there +will be manifestations. I wanted you to know I was not faking. + +MISS EASTWOOD. Why should we think that you were? + +ROSALIE. Why, you 'ave thought nothing else ever since I did come into +the room. + +CROSBY. Mason, see if she can get free from that now. + +(MASON _comes over, inspects the knot._ CROSBY _tying the other hand._) + +MASON. That seems pretty secure--someone else look at it. + +(WILLIAM _and_ TRENT _rise and go to_ ROSALIE'S _chair._) + +CROSBY. I'm going to fasten your ankles now, Madame la Grange. + +ROSALIE. Yes, that is right. + +(CROSBY _ties_ ROSALIE'S _ankles to leg of chair. The other two men look +on._) + +WALES. I don't believe all this is necessary. + +ROSALIE. Why not, if they do want it. + +CROSBY. Now I'm sure she can't get away. + +(MASON _inspects knot._) + +MASON. So am I. + +(_The men resume their places._) + +ROSALIE. Well, now, if you will all sit down, please-- (_Pause._) +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? (_There is no +answer._) 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. + +(WILLIAM _turns out the light._) + +(_There is a long pause._ ROSALIE _moans and whispers as if in pain._) + +HELEN. I can't stand this, I-- + +WALES. Please keep still--she asked us to keep still. + +(ROSALIE _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._) + +ROSALIE. Laughing Eyes is sad, very sad. I a ma long way off--a long +way. (_Pause._) Bad people, bad people, un'appy--he is un'appy-- +(_Pause._) (_Knife is set down in sight of audience, sticking in the +ceiling._) Spencer wants to tell Ned-- (_She moans heavily._) It +hurts--terrible--like a knife--it burns--burns, in the back-- + +(_A man's voice from the chesterfield, facing fireplace, speaks:_) + +VOICE. Ned, I want Ned--why in _Hell_ doesn't Ned answer? + +ROSALIE (_in child's voice_). He wants to talk to Ned--is Ned here? + +STANDISH. Ned who? Who is it? Who does he want to speak to? + +ROSALIE (_in child's voice_). Tell Ned it is Spencer--Spencer wants +to tell Ned about the letters and the pain in the back--in the back. + +STANDISH. What was in the back? (_There is no answer._) Ask him what was +in the back? + +ROSALIE (_still using child's voice_). The knife--Ned--he wants Ned. + +WALES. What do you want! + +ROSALIE. A swimming pool--do not forget the swimming pool. Do not ever +forget-- + +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? + +ROSALIE. Spencer says he cannot rest--he wants to tell you it is hard to +reach--too far away--you promised-- + +WALES. Promised what? When did I promise! + +ROSALIE. Your life saved-- + +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? + +ROSALIE. Find--find-- + +WALES. Do you want me to find the letters? + +ROSALIE. In the back--someone came--someone came. + +WALES. You're trying to tell who killed you? + +ROSALIE. Ask--ask--ask. + +WALES. You want me to ask questions? Is that it? You mean you can't talk +much? + +ROSALIE. Too far away. + +CROSBY. You know who killed you? + +(_There is a pause, but no answer._) + +ROSALIE. He says Ned, he wants Ned. + +WALES. You want me to ask. + +ROSALIE. He wants Ned to ask. + +WALES. Do you know who killed you? + +MRS. TRENT (_hysterically_). Oh, my God! + +CROSBY. Keep still, Helen. + +WALES. Can you tell the name? (ROSALIE _suddenly gives a long moan._) +Quick, the name, the name. Spencer, tell me who killed you--she's coming +out of her trance. I want the name. (ROSALIE _moans again. Her cry is +overtopped by a shriek from_ WALES.) Oh, my God! My back--oh! (_Then +there is a dead silence that lasts as long as it will hold._) + +CROSBY. Wales, is anything the matter? + +MRS. TRENT. Father, he's pulling at my hand. + +CROSBY. The light, Will. + +(WILLIAM _suddenly turns on the light at table._ WALES _is discovered +leaning forward, the circle is unbroken._) + +MRS. TRENT. Look at him! Father! Look at him! + +(CROSBY _drops_ ROSALIE'S _hand and springs forward towards_ WALES. +_At the same instant_ WALES _falls forward on his face to the floor. +The others all rise, chairs are knocked over in the confusion which +follows._) + +CROSBY. Stand back, please. (_The others move back a little._ CROSBY +_leans over_ WALES.) Why, he--why--it's impossible. + +MRS. CROSBY. Roscoe, look at your hand. + +(CROSBY _looks at his hand, takes out his handkerchief and wipes it +hurriedly, then crosses suddenly to the door_ L. ROSALIE _has come out +of her trance and sits staring at_ WALES _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_ MADAME LA GRANGE. _The +rest of the room is in semi-darkness._ TRENT _kneels by_ WALES' _body._) + +CROSBY. Pollock! Pollock! + +POLLOCK (_outside_). Yes, sir. + +(TRENT _turns_ WALES' _body over on back._) + +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. + +POLLOCK. Very good, sir. + +(CROSBY _turns away from the door, and faces the others who have +followed him over._) + +WILLIAM. Father, what do you suppose it is? Are you sure that-- + +MRS. TRENT. It can't be. He was talking and-- + +MRS. CROSBY. Roscoe, are you sure? Hadn't we better send for a doctor? + +(TRENT _is leaning over_ WALES' _body on the floor._) + +TRENT. It's no use. He's dead. + +CROSBY. Murdered! + +TRENT (_rises_). What? + +CROSBY. Mr. Wales was stabbed in the back, just as Spencer Lee was +stabbed in the back. + +STANDISH. Just as he was asking--just when he was trying to find out +who-- + +(_There is a knock on the door down_ L.) + +CROSBY. What is it? + +POLLOCK (_outside of door_). Inspector Donohue was at the Fifty-first +Street Station, sir. He's on his way here. (_There is a pause_). Shall +I unlock the door, sir? + +CROSBY. _No_--not until the Inspector tells you. + + +CURTAIN. + + + + +ACT II + +_Ten minutes later._ + +_Discovered:_--CROSBY _standing by the door_ L. ROSALIE _still tied in +chair. Dummy supposed to represent_ WALES' _body, covered by a piece of +drapery, has been placed on chesterfield facing fireplace up_ C. + +MRS. TRENT _seated below console table_ L. _end of chesterfield._ + +MISS EASTWOOD _seated at_ R. _end of console table_ R. _of chesterfield, +rattling book leaves._ + +STANDISH _standing over_ R. _below table._ + +MISS STANDISH _is sitting_ L.C. + +HELEN--WILLIAM--_standing above table_ R. + +MRS. CROSBY _seated_ L. _next to_ ROSALIE. MISS ERSKINE _seated next to_ +MRS. CROSBY, _tapping the sides of the chair with her fingers._ MASON +_in front of fireplace_ C., _looking at_ WALES' _body. Eventually he +moves to_ MISS EASTWOOD _and takes the book away from her._ + +TRENT _walking up stage_ L. _as curtain rises. All lamps alight._ + +_The arrangement of the chairs for this act is detailed at the end of +the play._ + + +MRS. TRENT (_rising and moving to_ CROSBY). Father, please let me go to +my room. + +CROSBY. It is impossible, my dear. + +TRENT. But, Mr. Crosby-- (_Comes down to_ CROSBY L.) + +CROSBY (_interrupting him_). It's quite impossible. + +(MRS. TRENT _goes to and sits in chair up_ L., _followed by_ TRENT, _who +stands_ R. _side of her._ WILLIAM _sits back of table_ R. HELEN _sits +above table_ R.) + +STANDISH (_below table over_ R.). Mr. Crosby, I must-- + +CROSBY. Mr. Standish, I just refused to let my own daughter leave the +room. + +(_Slight pause._) + +STANDISH. But don't you see, sir-- + +CROSBY. My dear Standish, poor Wales was killed by someone in this room. +We are all of us under suspicion. Everyone of us. (_Slight movement +from all._) It's an awful thing to say--but one of us in this room +has killed Wales. Which one of us? + +(_Knock on door down_ L.) + +CROSBY. Yes. + +POLLOCK (_outside_). The police are here, sir. + +CROSBY. Who is it? + +DONOHUE (_outside_). Inspector Donohue. + +CROSBY. Pollock, give Inspector Donohue all the keys. + +POLLOCK (_outside_). Yes, sir. + +(_There is a pause._) + +DONOHUE (_outside_). What is all this? + +POLLOCK (_outside_). 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. + +(_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_ +INSPECTOR DONOHUE _in plain clothes comes well on stage_ L. _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._ SERGEANT DUNN _enters also and drops below +door_ L.) + +DONOHUE. Where's Mr. Wales? + +CROSBY (L.C.). How did you know that Wales-- + +DONOHUE (L. _of_ CROSBY, _interrupting him_). I don't know anything. I +was thinking of something else. I was told that I was wanted here in a +hurry. + +CROSBY. Queer your asking for Wales. Mr. Wales is dead; that's why I +sent for you. + +DONOHUE. Wales is what? + +CROSBY. Wales is dead. + +MISS EASTWOOD (_still seated_ R.C.). Yes, and if you ask me-- + +DONOHUE. Just a minute, please, miss. (_He turns to_ CROSBY.) It must +have been very sudden. Why, only this afternoon I-- Did he ask you to +send for me? + +CROSBY (L.C.). Inspector, you don't seem to understand. Mr. Wales was +murdered in this room not fifteen minutes ago. + +(_Other characters keep the same positions as when the curtain rose._) + +DONOHUE (_his manner changing abruptly_). Mike! That door! (SERGEANT +DUNN _closes door_ L. _and stands in front of it._) Where have you taken +him? + +CROSBY (_pointing to the chesterfield_ C.). There. + +(DONOHUE _goes up_ L. _end of chesterfield to_ C. _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._ MASON +_moves to_ R. _end of chesterfield._) + +DONOHUE. Who did this? + +CROSBY. We don't know. + +DONOHUE (_very quietly_). Then I expect we'll have to find out. (_He +comes down by the_ R. _end of the chesterfield and stops when he sees_ +ROSALIE. _He gives a short laugh as he sees how she is tied to the +chair._) What's this? + +MRS. CROSBY (_rises_). Good Heavens, we forgot to untie her! I'm so +sorry. + +ROSALIE. Thank you, madame. I am quite comfortable. I will stay as I am +if you do not mind. + +MRS. CROSBY. But-- + +DONOHUE. I think we'll leave things as they are for the present. + +(MRS. CROSBY _resumes the same seat as before._) + +ROSALIE. A policeman with brains! Oh, la-la! + +DONOHUE. Let's see if he can't use them then. (_Moving to _ CROSBY +_down_ L.C. _and standing on his_ R. _side._) Now, Mr. Crosby, tell me +exactly what happened. + +CROSBY. I know it sounds foolish, but we were having a spiritualistic +seance. Madame la Grange is a medium. + +DONOHUE. I see. + +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. + +DONOHUE. All of you? + +CROSBY. Yes. + +DONOHUE. I thought you told your son to turn on the lights. + +CROSBY. If you're implying that-- + +DONOHUE. I'm not implying anything, and please answer my questions. + +WILLIAM (_rises, and stands back of table_ 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. + +DONOHUE. I understand. (_He turns again to_ CROSBY.) Go on, Mr. Crosby. + +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. + +DONOHUE. Did he say anything? + +CROSBY. No. I think that he was dead before we got to him. + +DONOHUE. What happened then? + +CROSBY. As soon as I realized what had happened I sent for you. + +DONOHUE. Why for _me_? Why not simply notify the police? I mean, was +there any special reason for wanting _me_? + +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. + +DONOHUE. I see. (_Going _C._ a few steps._) Now then, who's been in or +out of this room since? Of course, you know you had no right to move Mr. +Wales. + +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-- + +DONOHUE. Locked in! You mean as I found you when I came? + +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. + +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? + +CROSBY. No one but you. + +DONOHUE. I didn't kill him. (_There is a long pause, then he turns +with a sweeping gesture._) Which one of you did? (_Slight movement +from others. There is another long pause. No one speaks. He moves +very quietly down_ R.C. _to below table_ 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. (_Another pause._) 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. (_He takes out his watch and holds it +face upward in his hand._) I have unlimited time, but not a great +deal of patience. Well? (_There is another long pause. He finally +replaces his watch with a little gesture of finality._) Very well +then. (_He turns suddenly to_ MISS EASTWOOD, _who is still seated +up_ R.C.) What is your name? + +MISS EASTWOOD. Mary Eastwood. + +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? + +MISS EASTWOOD (_seated_ R. _of console table_ 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-- + +DONOHUE. We can take it for granted that I know how that is done. Go on, +please. + +MISS EASTWOOD. The medium got out of the circle without our knowing it, +and then showed us how she did the trick. + +DONOHUE. I see. + +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? + +(HELEN _rises._ MISS EASTWOOD _continues with an air of triumph._) + +_That's_ what I wanted to tell you. + +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. + +(HELEN _sits above table_ R.) + +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. + +ROSALIE. Is that so? + +(DONOHUE _goes over and examines the way in which_ ROSALIE _is tied +to the chair._) + +DONOHUE. Why was she tied up? + +CROSBY (_down_ 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. + +DONOHUE (R. _of_ ROSALIE'S _chair_). 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. + +ROSALIE. I did say this policeman 'ad brains. (DONOHUE _turns away +from her._) Get me loose, dear Inspector. My foot 'e sleeps. + +(DONOHUE _turns back and unties handkerchiefs with which she is tied. +She gets up and stands in front of arm-chair_ C.) + +DONOHUE. Thank you very much, Miss Eastwood, that eliminates one. + +ROSALIE. Then I can go? (_Starting for door_ L.) + +DONOHUE. You cannot. + +(ROSALIE _goes_ R. _of arm-chair and sits_ R. _end of chesterfield_ C.) + +Anyone else anything they want to tell me? (_Pause._) 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. + +DUNN. Yes, Inspector. + +(_He turns and exits_ L., _leaving the door open behind him._ STANDISH +_and_ TRENT _start towards door_ L.) + +DONOHUE (_turning to them_). That open door does not mean freedom for +any of you yet. + +TRENT (_coming to_ DONOHUE C.). I'm awfully sorry, Inspector, but I've +an important business engagement at ten o'clock. My father-in-law here +will-- + +DONOHUE. That's quite impossible. + +(TRENT _goes up_ L. _again and stands_ L. _side of_ MRS. TRENT.) + +STANDISH (_moving to_ 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. + +DONOHUE (C.). I see. By the way, who are you? + +STANDISH. Howard Standish, of Standish, Giles & Updegraff, 120 Broadway. +My brother is Judge Standish of the Supreme Court. + +DONOHUE. And you refuse to remain here any longer? + +STANDISH. I do. + +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. (_Turns and crosses_ R.) Are there any others who insist on +leaving this room? + +STANDISH. I beg your pardon, Inspector. I acted like a fool. + +(MASON R. _of chesterfield_ C.) + +DONOHUE. Not at all, sir, your actions are entirely natural. + +(STANDISH _goes up_ L. DUNN'S _voice is heard outside._) + +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 +_crosses over and closes the door_ L.), he doesn't want the case +reported yet. + +DONOHUE. We needn't be bothered with that, anyway. (_Moves back to_ R.C. +_There is a pause._) Well, I'm afraid we'll have to begin work. (_He +goes over to table_ R. _and sits down stage end of table. Takes paper +and gets pencil._) 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-- (_He stops +suddenly and rises, facing them all. He points slowly to the +chesterfield, facing fireplace up_ 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. (_There is a pause. +The men all hesitate. Finally_ MASON _starts to move to chesterfield._ +DONOHUE _is down stage_ R.C.) Thank you very much. We'll-- + +(_Coming to_ C. DUNN _enters from_ L.) + +DUNN. Dr. Bernstein himself is on the way here, Inspector. + +DONOHUE. Good! Mike, get one of the servants to help you to carry this +sofa into another room. + +(DUNN _turns and exits_ L. _without speaking._) + +I won't have to trouble you after all, sir. + +(MASON _drops down to console table_ R. _of chesterfield._ DONOHUE +_gives a little laugh._) + +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. (_Slight pause._) The test didn't work very +well, did it? Certainly you four gentlemen can't all be guilty. (_Slight +pause._) Well, we'll have to try something else. (_Very impressively._) +Because, you know, I really am going to arrest the murderer of Edward +Wales to-night. + +(DUNN _enters from_ L., _followed by_ POLLOCK.) + +Carry the sofa into another room, please. + +CROSBY (_down_ L.). Into that room, please. (_Indicating door_ L.C.) + +(DUNN _goes up to door_ L.C., _turns knob--discovers door is locked._ +POLLOCK _crosses to_ R. _end of chesterfield facing fireplace on which +dummy has been placed between first and second acts. Dummy is covered +with a drapery_.) + +DUNN (_at door_ L.C.). The door is locked. + +DONOHUE (C.). Oh, yes, try these keys. + +(DUNN _comes down_ L.C., _gets keys, goes up and unlocks door. He and_ +POLLOCK _pick up chesterfield,_ POLLOCK _taking his end of chesterfield +through door_ L.C. _first._) + +And, Mike! + +(DUNN _turns his head._) + +DUNN. Yes, sir. + +DONOHUE. Make as quick an examination as you can and report to me here. +(_The men exit carrying sofa into room_ L.C. DONOHUE _crosses to chair +below table_ R. _and sits._ TRENT _places chair_ L.C.) If you will all +come a little closer, please. + +(_The positions now become as follows:_--WILLIAM _back of table_ R.; +HELEN O'NEILL _seated above table;_ MISS EASTWOOD _seated below console +table_ R. _end of chesterfield;_ ROSALIE _seated_ C. _chesterfield;_ +MRS. CROSBY _seated in arm-chair up_ C.; MASON _standing upper end of +table_ R.; MISS ERSKINE _seated up_ L.C.; MRS. TRENT _seated in chair_ +L.C.; STANDISH _standing_ L. _of_ MRS. TRENT, _and_ TRENT _seated_ L.C.; +CROSBY _down_ L.C. DONOHUE _seated lower end of table_ R.) + +Now, I can see you all quite comfortably. + +(POLLOCK _enters door_ L.C., _closes door--crosses to door_ L. _and +exits, closing the door._) + +As I started to say a moment ago, I shall have to find out something +about each of you. You, madam? (_He turns to_ MRS. CROSBY.) + +MRS. CROSBY (_seated in arm-chair_ C.). I'm Alicia Crosby. Mrs. Roscoe +Crosby. + +(_He makes notes on paper in front of him._) + +DONOHUE. I'm sorry to trouble you, Miss--(_He points his pencil at_ MISS +ERSKINE, _seated_ L.C.) + +MISS ERSKINE. Elizabeth Erskine. I'm-- + +DONOHUE. It's not necessary to tell your age. + +MISS ERSKINE. I wasn't going to. I'm the daughter of Edward Erskine, my +father is the banker. + +DONOHUE. I know him. Thank you. You are then merely a guest here? + +MISS ERSKINE. A friend. + +DONOHUE. Miss Eastwood, I already know. And you, miss? + +MISS STANDISH. Grace Standish. + +STANDISH. My sister. + +DONOHUE. Oh! And this young lady? + +CROSBY (_puts his hand on_ MRS. TRENT'S _shoulder_ L.C.). My daughter, +Mrs. Trent. She and Trent here live with us. + +DONOHUE. And you, sir? + +MASON (_there is a pause_). Philip Mason. (_At upper end of table_ R.) + +DONOHUE. That doesn't tell me very much. + +MASON (_with a laugh_). 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. + +DONOHUE. You mean an artist? + +MASON. Well, I don't paint houses or fences, but I'd hardly call myself +an artist--yet. + +DONOHUE. Poor, I suppose? I know you'll pardon that question, won't you? + +MASON. Quite all right, I assure you. No, I'm not poor. + +DONOHUE. Thank you. (_Turns toward_ WILLIAM, _who is standing back of_ +HELEN'S _chair above table_ R.) And you? + +WILLIAM. I'm young Crosby. + +DONOHUE. I see. Live here, I suppose? + +WILLIAM. Certainly, where else should I live? + +DONOHUE. I thought perhaps you might be married. + +CROSBY (L.C.). He's not, but if he were he'd live with us and-- + +WILLIAM. No, father. When I marry I've got to have my own home and-- + +CROSBY. Nonsense. Don't talk like a fool. You'd live here with me and +your mother--and your wife, of course. + +DONOHUE. I think perhaps we'd better defer that discussion, gentlemen. +(_He turns toward_ HELEN.) And this young lady? + +WILLIAM. My fiancée, Miss O'Neill. + +DONOHUE. Well, that finishes that. (_Rises, standing below table_ R.) + +MISS EASTWOOD. But, Inspector, you haven't asked anything about the medium? + +DONOHUE. Perhaps I don't consider that necessary, Miss Eastwood. + +MISS EASTWOOD. But-- + +DONOHUE. And I'm terribly set on conducting this investigation in my own +way, if you don't mind. + +(_Enter_ DUNN _from_ L.C.) + +DUNN. Inspector! + +DONOHUE. Well? + +DUNN (_at door_ L.C.). I can't tell for sure, but I guess the knife went +clean into the heart. He must have died instantly. + +DONOHUE. All right. Let me know when the Coroner arrives. (DUNN _starts +toward door down_ L.) And, Dunn! + +DUNN. Yes, sir. + +DONOHUE (_going_ C.). You'd better let me have a look at that knife. + +(DUNN _turns sharply and looks at him._) + +DUNN (_down_ L.). The knife? + +DONOHUE. Yes, the knife. + +DUNN. I haven't seen any knife. I thought you had it. + +DONOHUE. No. I haven't seen it. (_There is a long pause._ DONOHUE _is_ +R. _of_ CROSBY.) Mr. Crosby? + +CROSBY (_still_ L.C.). We didn't find it. + +DONOHUE. Look carefully? + +CROSBY. Everywhere. While we were waiting for you. + +DONOHUE. Who moved Mr. Wales' body? + +CROSBY. I did. + +DONOHUE. No one else touched him? + +CROSBY. No one. + +DONOHUE. What did you do, after you had carried him to the sofa? + +CROSBY. I saw that he had been stabbed. I looked for the knife. + +DONOHUE. Where? + +CROSBY. On the floor, under the stairs, everywhere I could think of. + +DONOHUE. No trace of it? + +CROSBY. None. + +DONOHUE. What did you do then? + +CROSBY. Nothing. I waited for you. + +DONOHUE. How long after you found that Mr. Wales was killed did you turn +on the lights? + +CROSBY. Why, I told you; we turned on the light before we found what had +happened. + +DONOHUE. Would it have been possible for the murderer to have hidden it +about the room? + +CROSBY. I doubt it very much. + +DONOHUE. Why? + +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? + +(_There is a pause._) + +DONOHUE. Yes, I remember. Then if the knife was hidden, it's probably on +the person of the man or woman who used it. + +CROSBY. I think so, undoubtedly. + +DONOHUE. Mike, 'phone over to the station house and have them send a +matron over here. + +(DUNN _exits_ L., _and closes the door after him._) + +Now about that light. There was just one lamp turned on as I remember. + +CROSBY. Someone turned on the rest of the lights, almost immediately. + +DONOHUE. Could the knife have been hidden about the room, since that time? + +CROSBY. It's extremely unlikely. We have all been here together. A thing +of that sort would have been seen. + +DONOHUE. Then I expect we'll find it without much trouble. (_There is +a pause, as he looks slowly at each person individually in the room._ +WILLIAM _puts arm on_ HELEN'S _shoulders as_ DONOHUE _looks at him._) +In the meantime, I think we'll let it remain where it is. (_Crosses +down_ R. _He turns with a gesture which takes them all in._) You see +how inevitably the guilty person must be discovered. Don't you think it +would be much simpler to confess? (_Pause._) No? Then I suppose we will +have to continue. (_Crosses up_ L., _takes a chair and places it_ L. +_side of circle, then he takes the chair down_ L. _and places that in +lower left-hand side of circle._ CROSBY _moves to_ C.) I'd like to +visualize the scene a little more clearly. (TRENT _places chair_ L. +_side of circle._) Let's form that circle again--(_Turns two single +chairs down_ C. _around with backs to audience. Crosses and gets chair +in front of table and places it in lower right-hand side of circle._ +MRS. CROSBY, MISS ERSKINE, MRS. TRENT, TRENT _and_ MISS STANDISH _rise +and move to the_ L. _of the circle._) Of course this time without Mr. +Wales. (MISS EASTWOOD _rises and stands at_ R. _end of chesterfield. +During these last few speeches of_ DONOHUE, TRENT _and_ CROSBY _have +placed the remainder of chairs in the circle._) All sit as you were +sitting at the séance. + +(_There is a general movement_. STANDISH _crosses_ R. _to above table_ +R. _The minute this suggestion is made_ ROSALIE _comes down, nearer to_ +DONOHUE, _and looks at him anxiously. Something in his suggestion +greatly disturbs her_.) + +CROSBY (_in upper_ L. _side of circle_). Will, you were there by the +lamp, and Madame la Grange was next to you, and I was next to her-- + +DONOHUE. Then how did they sit? (_Down_ R.) + +CROSBY (_next to_ 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. + +MISS ERSKINE. I was next to you, Mr. Crosby. (_Upper_ L. _side of +circle. She turns to_ MRS. CROSBY, _who is standing over_ L.) Don't you +remember, Mrs. Crosby, he said he'd always wanted to hold my hand, and +we joked about it. (_Sits in her original chair_.) + +MRS. CROSBY (L., _outside of circle_). Yes. I remember. + +DONOHUE. That's all right, then. Who came next? + +(_Down_ R. _They all hesitate_.) + +ROSALIE (_eagerly_). Inspector, I can place them all for you. + +MASON (_over end of table_ R.). But you said you didn't care how we sat. + +(HELEN R.C. _in circle_.) + +ROSALIE. So I did, sir, but I knew where you were sitting all the same. +You will permit that I show you, Inspector? + +DONOHUE (_after a pause_). If you will be so kind. + +(MISS STANDISH _sits in circle_.) + +ROSALIE. The young lady was 'ere. And this gentleman 'e was 'ere. +(_Indicating_ TRENT'S _chair_.) + +TRENT (_from_ L., _outside of circle_). By George, I couldn't have told +you, but she's right. This is exactly where I was sitting. (_Sits in +circle_.) + +ROSALIE (_taking_ HELEN _hastily by the shoulder and putting her in the +next seat_). And this young lady was 'ere. (HELEN _looks at her for a +moment and then sinks back in her chair_. ROSALIE _points at_ MASON.) He +did come next. + +MASON (_over_ R.). No, you're wrong there--I--You're right--I remember +perfectly I was next to Miss O'Neill. (_Crosses_ L. _and sits_ L. _side +of circle_.) I know just how her hand felt in the dark. + +(WILLIAM _looks at him quickly_. HELEN _turns and looks at him in +wonder_.) + +HELEN (_seated_ L. _side in circle_). Well really, Mr. Mason! + +MASON. Oh, I don't mean it that way at all. I assure you I don't. + +WILLIAM. Then why did you say it? (_Seated_ R.C.) + +MASON. My dear fellow, I've apologized. You are misunderstanding me. + +MRS. CROSBY. I think we're all very much upset. (L. _outside circle._) +Inspector Donohue, must we go through all this again? + +DONOHUE. I'm afraid so, Mrs. Crosby. + +CROSBY. Then let's get it over as quickly as possible. (_Sits_ C. _in +his original chair in circle._) + +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? + +ROSALIE (_pointing to_ MISS EASTWOOD). This young lady. + +MISS EASTWOOD. I was next to Mr. Mason, wasn't I, Philip? + +(_Crossing inside of circle, to chair lower_ L. _side of circle, and +sits._) + +MASON. Yes. + +DONOHUE. Now then, who occupied this seat? + +MRS. TRENT (L.C. _outside of circle_). Mr. Wales. I know because I sat +_there_, and I was _next_ to him. Shall I sit there now? + +DONOHUE. If you will be so good. + +(MRS. TRENT _crosses to_ R. _and sits in circle._) + +STANDISH (_upper end of table_ R.). I was next to Mrs. Trent. (_He sits._) + +MRS. CROSBY. And I was here between Mr. Standish and Billy. + +(_She sits._ DONOHUE _moves off a step down_ R. _and stands +looking at them as they sit._ ROSALIE _moves over and takes her +place in armchair._) + +DONOHUE. You are all sure that's where you were sitting? + +MISS EASTWOOD. There's some mix up here, I know. (ROSALIE _rises_.) +I wasn't next to Mr. Wales. + +HELEN (_rises_). Of course you weren't. I don't see what I could have +been thinking of. _I_ sat where Miss Eastwood is. + +MISS EASTWOOD. Yes, and I was next to Mr. Trent, between Philip and Mr. +Trent. I felt sure I was in the wrong seat. (_Rises._) + +DONOHUE (_quite casually_). Then perhaps you ladies will exchange +places. + +(ROSALIE _gives a little sigh of relief when she sees that_ DONOHUE +_attaches no importance to the substitution she has made, and sits down +again._ HELEN _and_ Miss EASTWOOD, _change seats._ HELEN _crosses +outside of circle._) + +Now we're all right, aren't we? (_Slight buzz of conversation._) You are +quite sure that you are all in the places you occupied during the +séance? + +CROSBY. Yes. I think so. + +DONOHUE (_puts his hand on the empty chair_). We'll pretend that +Mr. Wales is still sitting here. (_Slight movement from all._) 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? + +ROSALIE (_hurriedly rising_). 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. + +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 _sits in +arm-chair up_ C.) However, we're all right now. Now, Mr. Crosby. + +CROSBY. Well, after Madame la Grange had shown how she broke out of-- + +DONOHUE. We'll start with the séance. (_All look at_ DONOHUE.) I know +how mediums break the circle and all that. And you needn't describe how +she went into that trance of hers. + +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. + +(_All look at_ MASON.) + +DONOHUE. Then you'd better tell me now. + +MASON. In order that there should be no deception, we had Madame la +Grange searched. + +DONOHUE. I see. + +MASON. And while she was out of the room-- + +DONOHUE. Oh, she left the room? + +(_All look at_ DONOHUE.) + +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-- + +STANDISH. Most ridiculous thing-- + +MASON. As soon as she went into her trance, or whatever it was, Spencer +Lee's spirit tried to talk to us. + +DONOHUE. She began to give you messages from Spencer Lee without knowing +that this was what you were trying to get? + +MASON (_in triumph_). Exactly. And there's no use in trying to tell +me that there's nothing in spiritualism, because now I know better. + +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. + +(MRS. TRENT _turns and faces door, still sitting in her chair_.) + +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. + +DONOHUE. Madame la Grange went into a trance. We'll grant that much, +anyway. What happened then? + +CROSBY. After a few minutes she began talking to us in the voice of a +little child. + +ROSALIE. That was Laughing Eyes, my spirit control. + +DONOHUE. Just what did Laughing Eyes say? + +CROSBY. It was all mixed up; none of it very clear. But she seemed to be +trying to talk _for_ someone _to_ someone. She kept calling for Ned. +Then suddenly she spoke deeply, in a man's voice. + +DONOHUE. Did the man's message have any importance? I mean, did it seem +to make sense? + +CROSBY. It was perfectly coherent at any rate. I can't give you the +exact words, but-- + +MASON (_interrupting_). I can. He said, "Ned--I want Ned. Why in _Hell_ +don't Ned answer me?" + +DONOHUE (_standing at lower end of table_ B.). And did anyone answer? + +CROSBY. Eventually Wales replied. + +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? + +CROSBY. There was at no time mention of Wales' name. The calls were +always for "Ned." + +DONOHUE. I see. Did anyone else answer the calls? + +STANDISH. _I_ asked two or three questions, but no attention was paid to +them. + +DONOHUE. What did Mr. Wales say to all this? + +CROSBY. I don't think Mr. Wales spoke at all until the message about +saving his life came. + +DONOHUE. And after that? + +MISS EASTWOOD. There was a regular conversation between them. + +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?" + +DONOHUE. What was the reply to that? + +MRS. CROSBY. All we got were the words, "Ask--ask--ask." + +CROSBY. And then I said, "Do you know who killed you?" + +DONOHUE. Did you get an answer? + +CROSBY. Not directly. The message was another cry for "Ned." + +DONOHUE. What happened then? + +CROSBY. Then Mr. Wales said, "Do you know who killed you?" + +DONOHUE (_eagerly_). What answer did he get? + +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. + +DONOHUE. And then? + +CROSBY. That's all. + +(_Enter_ DUNN _from door_ L.) + +DUNN. The matron is here now, sir. + +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? + +CROSBY. If you grant that the séance was real, it would be impossible to +arrive at any other conclusion. + +DONOHUE. It was well established in your mind that Wales was the only +person able to get a message? + +CROSBY. Yes. + +DONOHUE. It follows then that he was killed in order to prevent his +question being answered. + +CROSBY. That's the impression I got. + +DONOHUE. This leads to the conclusion that whoever killed Wales knew who +had killed Spencer Lee. + +CROSBY. I should think so. + +DONOHUE (_front of table_ 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. (_There is a long pause._) I don't wish to put +you all through the humiliation of a search. I should like to end this +inquiry here and now. (_Moves a step_ R. _There is another pause_.) No? +Then we'll have to go on. (_Moves briskly to below table_ 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. + +MASON. Well, I've got nothing to conceal. (_He rises and places chair +up_ L., _then moves to door_ L.) + +ROSALIE. Neither 'ave I. (_She rises and moves down_ C.) + +DONOHUE. I'd rather you waited for a few minutes, Madame la Grange. +(ROSALIE _looks at him sharply_.) Any of the other ladies will do. + +MRS. CROSBY (_rising_). Suppose I set the others a good example. + +DONOHUE. Thank you very much. (MRS. CROSBY _comes down_ C., _then +crosses to door_ L. DONOHUE _looks at the others, where they are still +seated_.) And thank you all for the great help you've given me. You need +not sit there any longer, unless you wish. + +(MISS STANDISH _crosses_ R. _to back of table_ R. MRS. CROSBY, MASON, +_and_ SERGEANT DUNN _go out_ L. DUNN _closes the door_. HELEN _goes up_ +C. TRENT _moves one chair up to_ L. _of door_ L.C., _then one chair to_ +R. _of door_ L.C., _right back of chesterfield_ C. MISS ERSKINE _crosses +to back of table_ R. MRS. TRENT _seated_ R.C. WILLIAM _in front of +chesterfield_ C.) + +MISS EASTWOOD (_crossing to_ DONOHUE R.). Inspector, I think you're +perfectly wonderful. + +DONOHUE. Oh, we haven't done very much yet, Miss Eastwood. Give the +police a little time. (_He turns and crosses to_ L.C. _With an abrupt +change of tone_.) Madame la Grange, there's a question I wish to ask +you. + +ROSALIE (_coming down to_ L.C.). Anything at all, sir. + +DONOHUE (L.C.). When Mr. Wales asked you for the name, why didn't you +answer him? + +ROSALIE. I do not know. I was in a trance. (_She moves down_ L.). + +DONOHUE. Then you didn't hear the question. + +ROSALIE. How could I? + +DONOHUE. I didn't ask you that. I want to know why you didn't answer +him. + +ROSALIE. I 'ave already told you, I was in a trance. I did not know what +was going on. + +DONOHUE. Why didn't you tell the name that you had agreed with Wales you +would tell? + +ROSALIE (L.C., _astonished_). Agreed? + +DONOHUE. You heard what I said. (_There is a pause._) Well, why didn't +you carry out your part of the bargain? (CROSBY _moves to front of +chesterfield_ C.) Why didn't you give him the name as you'd planned? + +ROSALIE. I do not know what you do mean. + +DONOHUE. My words are perfectly plain. I asked you why you didn't carry +out your part of the bargain? + +ROSALIE. There was not any bargain? + +DONOHUE. Your whole séance was a fake. (_Slight movement from others._) +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, + +ROSALIE. I do not know what you talk about. + +DONOHUE (_ignoring her reply_). Every detail of this séance was planned. +When he asked you the name you were to tell him the name of a woman-- + +(MRS. TRENT _moves up_ R. _and joins_ TRENT _and_ MISS ERSKINE _at +table_ R.) + +ROSALIE. Inspector, I 'ave never 'eard one word of this before, + +DONOHUE. Not a word? + +ROSALIE. Not a word. + +DONOHUE (L.C., _taking paper out of the inside pocket of his coat_, +_and reading aloud_). "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?" +(_He turns to the others._) The answer to that should have been "Yes." +What did she say? + +CROSBY (_now in front of table_ R.). She didn't answer that question. + +DONOHUE (_looks at paper again_ 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? + +CROSBY. She moaned and cried. + +DONOHUE. What did she say after that? + +CROSBY. Nothing. She moaned again and came out of the so-called trance. + +DONOHUE. Why didn't you do as you agreed? + +ROSALIE (_down_ L.C., _left side of_ DONOHUE. _Stonily_). +I do not know what you talk about. + +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. (_He turns suddenly to_ ROSALIE, +_who is down_ L.C.) You agreed to all this; why didn't you speak +the name? + +ROSALIE. I do not know anything about it. He--he must 'ave forgotten to +tell it to me. + +DONOHUE. Oh, no, he didn't. + +(MISS EASTWOOD _down in front of table_ R.) + +ROSALIE (_with great decision_). There was no name. He did not tell +to me any name. + +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. (_He stops for a moment; turns to_ MISS EASTWOOD.) +Miss Eastwood, what did you say was your first name? + +MISS EASTWOOD. Mary. + +DONOHUE (_to_ MISS ERSKINE). And yours? + +MISS ERSKINE (_back of table_ R.). Elizabeth. + +DONOHUE. Yours? + +MISS STANDISH. Grace. + +DONOHUE. Mr. Crosby, your wife's name is? + +CROSBY. Alicia. + +DONOHUE. Mrs. Trent? + +MRS. TRENT (R.C.). Helen. + +DONOHUE, Miss O'Neill? + +HELEN (_up_ C., _in front of chesterfield_). Helen. + +(_There is a long pause_.) + +DONOHUE (L.C. WILLIAM _comes to_ HELEN C.). Helen, I see. So there are +two Helens. Two Helens. (_He stands looking first at one and then at the +other of the two women._) Mr. Crosby, when Madame la Grange first came +to-night, did she show any surprise at seeing any of the people here? + +CROSBY (R.C.). Not that I noticed. + +MISS EASTWOOD (_below table_ 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. + +DONOHUE. Now we're getting it. + +(WILLIAM _stands_ R. _of_ HELEN O'NEILL _up_ C.) + +Everything was going along smoothly, until Miss O'Neill came in. The +extra Helen. (_He turns to_ CROSBY.) Mr. Crosby, your daughter was in +the room when Madame la Grange came in? + +CROSBY. Yes. + +DONOHUE. You noticed nothing unusual in this woman's manner? + +CROSBY. I'd never seen her before. + +DONOHUE. I mean, she did nothing to attract your attention; the fact +that Helen Trent was in the room made no impression on her? + +CROSBY. Seemingly not. + +DONOHUE. Then Helen O'Neill came in. (_Goes up to_ HELEN C., _then +crosses down to_ ROSALIE L. _Sharply to her_.) Rosalie la Grange, what's +that girl to you? + +ROSALIE. Nothing at all. + +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? + +ROSALIE. It was just my mistake. I did not do it on purpose. + +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. + +ROSALIE. There's no reason. I never saw the young lady before in all my +life. + +DONOHUE. What's that girl to you? + +ROSALIE. Nothing, nothing at all-- + +DONOHUE (_starts to_ ROSALIE). _Damn you_, you old harridan, you come +across-- + +HELEN (_springing forward from up_ R.C. _down to_ L.C. _and pushing_ +DONOHUE _up stage_). Let my mother alone, let my mother alone. + +(_She goes to_ ROSALIE, _puts her arms around her. Pause._ ROSALIE +_weeps_.) + +DONOHUE (_very quietly_). I thought perhaps I'd get it that way. + +HELEN (_getting_ L. _side of_ ROSALIE). There, there, dear, it's all +right, it's all right. + +DONOHUE (_with a grim smile, coming down_ C.). Of course it's all right! +We've got the finger-prints and-- + +WILLIAM (_interrupting him--coming down to_ C.). If you think for one +minute I'm going to let you-- + +CROSBY. My boy, wait! (_grabbing him and pinning down his arms to his +sides_ C.). Think what-- + +WILLIAM. Think nothing. (_He shakes himself free and goes to_ DONOHUE +L.C.) That's the girl I love, and I'll be _damned_ if I let you take her +finger-prints. + +DONOHUE. Young man, don't be a fool. I'm sorry, but it's too clear. + +ROSALIE (_breaking away from her daughter and moving to_ DONOHUE +C.). Clear--how is it too clear? Inspector, you are never going to +accuse my little girl of a thing like that? + +DONOHUE (C.). She was next to him; she had only to free one hand and +strike, and then take his hand again! + +ROSALIE. There was something else she had to do before she could ever do +that. She had to have murder in her heart. + +DONOHUE. Well? + +ROSALIE (_turns suddenly; seizes her daughter by the hand, turns her to +him._ ROSALIE _stays between_ DONOHUE _and_ 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. + +(DUNN _enters from_ L.) + +DUNN. It's not on either of them. + +DONOHUE. I know where it is. Tell the matron she'll find the knife on +this girl. + +ROSALIE (_to_ 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. + +DONOHUE. Yes. + +ROSALIE (_still crying bitterly_). Then, Inspector Donohue, you are +a damn fool, and with God's 'elp I will prove it. + + +CURTAIN. + + + + +ACT III + + +_The same_ SCENE _half an hour later_. + +ROSALIE _is discovered by table_ R. + + +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. + +(_Turns and goes up stage and then to the window at_ R. _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_ C. _of this patch, sticking point up in +the heavy wooden panelling, can be seen the knife_. ROSALIE _stands for +a few moments looking out at the night_. DONOHUE _enters down_ L. _He +turns on the lights from the switch below the door down_ L.) + +DONOHUE (_crosses to_ L.C.). Who turned off the lights? + +ROSALIE (_at window_ R.). I did, sir. + +DONOHUE. Why? + +ROSALIE. I was praying. (_Coming to above table_ R.) + +DONOHUE. Praying? What for? + +ROSALIE. Guidance. + +DONOHUE (_with a laugh_). I hope you get it. + +ROSALIE (_with conviction_). I will, sir, I will. (_She starts toward +the door_ L.) I will join the others now. + +DONOHUE. I think'd you better wait. (_Calls off_ L.) Mike! + +(ROSALIE _is_ C. DUNN _enters from_ L.) + +DUNN. Yes, Inspector. + +DONOHUE. Did Madame la Grange see you as she came in here? + +DUNN (_down_ L.). No, sir. I followed your instructions and kept out of +sight. + +DONOHUE (L.C.). How long has she been here? + +DUNN. About ten minutes. + +DONOHUE. Time enough for her to find what we couldn't. + +DUNN. I'll bet she's got it. + +DONOHUE. Take her to Mrs. MacPherson. She's not to go near anyone or +speak to anyone. Tell Mrs. Mac to search her. (_He turns to_ ROSALIE, +_who is_ C.) Unless, of course, you want to give up that knife now. + +ROSALIE. I 'ave not any knife, and I 'ave been searched once. + +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? + +ROSALIE. I 'ave found nothing that would be any good to you. + +DONOHUE. I'm the best judge of that. What was it you found? + +ROSALIE. I found comfort, sir. A feeling that the innocent would come to +no 'arm. + +DONOHUE (_dryly_). Take her to Mrs. MacPherson. Come back as soon +as you turn her over to the matron. + +DUNN. Yes, Inspector. Come on--come on, you. + +ROSALIE (_crossing_ L.). I will come! + +(_They go out. He stands looking after them for about five seconds, +when_ DUNN _re-enters and says_:) + +DUNN (_above door_ L.). Mrs. Mac's got her. + +DONOHUE. She turned out that light. I wonder why? What did she want in +the dark. + +(_He goes over toward the light switch at_ L. _and puts out his hand. +He stops suddenly as his attention is attracted by a_ POLICEMAN _coming +feet foremost down the chimney._ DONOHUE _gives a little start and then +comes_ L.C. _The_ POLICEMAN _jumps down all the way in fireplace, +and comes into the room to console table_ L. _end of chesterfield. +His uniform is covered with soot, and so are his face and hands._ DUNN +_goes down_ L. _below door._) + +DUNN. I sent him to see if they'd hidden that knife up there? + +DONOHUE. Good. (_To_ POLICEMAN.) Find anything? + +POLICEMAN. Nothing but dirt. Who pays for this uniform? + +DONOHUE. You don't, anyway. Could you hear anything while you were up +there? + +POLICEMAN. Not a thing. + +DONOHUE. You are sure? + +POLICEMAN. Certain. + +DONOHUE. Go and get a bath. + +POLICEMAN. 'Tain't Saturday. + +(_He exits at_ L. DONOHUE _crosses_ R. _Pause_.) + +DUNN (_down_ L. _After a pause_). Don't it beat _Hell_? + +DONOHUE. Why? + +DUNN. That knife couldn't have flew away. + +DONOHUE (_coming_ C.). We'll find it eventually. It's in this room +somewhere. + +DUNN. No, sir, it ain't. + +DONOHUE. Where have you looked? + +DUNN. Everywhere. + +DONOHUE. Not hidden in the furniture? + +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. + +(DONOHUE _crosses towards table_ R.) + +DONOHUE. Unless we find it on the old woman, it's still in this room. + +DUNN. I suppose you noticed that she opened the window. + +DONOHUE (_upper end of table_ R.). Yes, I noticed that. Mike, you've the +makings of a great detective. + +DUNN. I'm a darned good detective now. + +(DONOHUE _goes to window at_ R. _and calls out_.) + +DONOHUE. Say, Doolan! See anything? + +DOOLAN (_outside window_ R.). A woman put up the window just now. She +stood there a while looking up in the air. (_Pause._) Watching the +stars, I guess. + +DONOHUE. Have anything in her hand? + +DOOLAN. No, sir. The light from this lamp was shinin' right on her. I +could see everything. + +DONOHUE. Throw anything out of the window? + +DOOLAN. No, Inspector. + +DONOHUE. All right. You're to arrest anyone leaving the house. + +DOOLAN. I gotcha. + +(DONOHUE _comes below table_ R. _and turns to_ DUNN. _Crosses to_ L.C.) + +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. + +(DUNN _exits_ L. DONOHUE _crosses up_ R. _end of chesterfield to chest +up_ R., _starts to cross_ L. _below chesterfield_. CROSBY _enters down_ +L. _and closes the door_. DONOHUE _comes down to_ C. _by_ R. _end of +chesterfield_.) + +CROSBY (L.C.). Your man told me to come here. + +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? + +CROSBY (L.C.). Thank you. I think you'd better regard this house as your +own for the present. + +DONOHUE (C.). All right. If you don't mind I'll use this room as a +headquarters for the present. + +CROSBY. I have already told you to use this house as your own. + +DONOHUE. Thank you. Good evening. + +CROSBY (_with a laugh_). I'm dismissed? + +DONOHUE. You're dismissed. (CROSBY _walks toward door_ L.) Why did Wales +object to the engagement of your son and Helen O'Neill? + +CROSBY (_turns to_ DONOHUE). Who told you that? (_Moving a few steps._) + +DONOHUE. It doesn't matter. I know that he did. Why? + +CROSBY (_turning front_). I can't talk about it. + +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? + +CROSBY. What possible bearing can it have on-- + +DONOHUE. Motive, my dear sir, motive. + +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. + +DONOHUE. She did hear Mr. Wales make that objection. That's just what I +wanted to know. + +CROSBY (L.). I think I'd better send for my lawyer. + +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. + +CROSBY. Oddly enough I was thinking only of Miss O'Neill at the moment. + +DONOHUE. You'd better think of yourself and your family first. +(_Moves_ R. _a few steps_.) + +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. (_Moves_ +R. _a step_.) + +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. (_There is a knock on the +door down_ L.) Come in. + +(HELEN _enters_ L.) + +HELEN (L.). You wanted me? + +DONOHUE. Yes, come in. Sit down, please. + +(_Indicating chair below table_ R. HELEN _crosses and sits_. CROSBY +_starts to move_ R.) + +CROSBY. Helen-- + +DONOHUE. What you are planning to do, Mr. Crosby, will only make matters +worse, I promised you that. + +(_After a moment's pause_ CROSBY _exits_ L. _and leaves door open_. +DONOHUE _turns, closes door and turns sharply to_ HELEN. _Crosses +towards the table_.) + +Now then, young woman, let's hear what you've got to say. + +HELEN. Nothing. + +DONOHUE (C.). Nothing? I don't suppose it's necessary for me to tell you +that you're under grave suspicion. + +HELEN. No, I realize that. + +DONOHUE. Now, the best way to help yourself if you're innocent is to be +quite frank with me. (_She simply looks at him, but does not speak._) +Well? + +HELEN. I've already told you that there is nothing that I can say. + +DONOHUE. Someone has advised you not to answer me. Who was it? (_There +is a pause._) You'd better tell me. (_Moves_ R.C.) + +HELEN. I am not going to answer any of your questions. + +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. + +HELEN. You know that I didn't do it. + +DONOHUE (_in front of table_ 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? + +HELEN. Yes. + +DONOHUE (_brings chair and sits in front of table_ R.). Now we're +getting along. How well did you know Spencer Lee? (HELEN _does not +answer him--looking front_.) You'd better make up your mind to talk. +Do you hear? (HELEN _does not speak. Losing his temper._) Why, you +little fool, do you think you can fight me? (_He turns sharply to face +her, turning his back on the door at_ 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-- + +(ROSALIE _enters quietly from_ L. _and stands for a moment watching +them_.) + +When your chance came in the dark you killed him. Now then, you come +across with the truth. + +ROSALIE. She'll come across with nothing. (_Crosses_ R. _to table_.) + +(DONOHUE _rises and stands by table_ R.C. HELEN _rises_.) + +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? + +DONOHUE. Yes. + +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. + +HELEN (_with a cry_). Mother-- (_She stops suddenly._) + +DONOHUE. What were you going to say? + +HELEN. Nothing. + +(DUNN _enters with box and envelope_.) + +DONOHUE. That's very wise of you. + +DUNN. Got it, Inspector. (_Crosses to_ C.) + +DONOHUE (_down_ R.). Do they compare? + +DUNN. To a T. + +(ROSALIE C., HELEN _down_ R. DONOHUE _in front table between_ HELEN +_and_ ROSALIE.) + +DONOHUE. All right. Let me have 'em. Now ask Mr. Crosby and his son to +come here at once. + +(DUNN _turns and exits_ L. DONOHUE _up_ C. _crosses to back of table_ R.) + +I already have your daughter's finger-prints, Madame la Grange. + +ROSALIE. 'Ave you really? ... You are very smart. + +(HELEN _crosses to_ ROSALIE R.C. ROSALIE _puts her arms about the girl +and swings her_ L. _of her. When_ DONOHUE _opens box at the back of +table_ CROSBY _and_ WILLIAM _enter from_ L. _accompanied by_ DUNN.) + +DONOHUE. That's all, Mike. + +(DUNN _exits_ L. _and closes door_. CROSBY L. _of_ HELEN. WILLIAM L. +_of_ CROSBY.) + +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-- (_He suddenly turns toward_ +HELEN.) This is the woman we have been hunting. + +ROSALIE. That is a lie! (R. _end of chesterfield_.) + +(WILLIAM _goes to_ HELEN.) + +DONOHUE (_picking up cup and holding it out toward them_). Here is the +cup-- + +(CROSBY _crosses down_ R. _to below table--moves chair over_ R.) + +which we took from Spencer Lee's rooms. These are the finger-prints of +the woman who used it. (_Ignoring_ CROSBY _for the moment_.) 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. (_He picks up the envelope gingerly by one corner, and +holds it outward to them._) They are unquestionably Helen O'Neill's +finger-prints. (HELEN _is in_ WILLIAM'S _arms_. DONOHUE _puts down the +envelope. Then he picks up the cup and points to the finger-marks on +it_.) 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. + +(DONOHUE _steps back with a little gesture of triumph_. CROSBY _stands +staring at the girl_. ROSALIE _comes to_ R. _of_ HELEN, _turns to her_.) + +ROSALIE (C.). Look at me, my darling. Look at your mother. (_She takes_ +HELEN'S _face in her hands and looks at her closely. Then with a little +cry of contentment stands_ R. _of_ HELEN. ROSALIE _and_ HELEN _back up +to chesterfield_.) Now, darling, you must not be frightened. Look up, +child. Why do not you say something? + +HELEN. I can't. + +(_Sits on chesterfield._ DONOHUE _gives a short laugh_.) + +DONOHUE. What can she say? + +WILLIAM (_going to her_). Dear, tell him it's a lie. + +CROSBY. Wait. Let me talk to her. (CROSBY _comes over to_ HELEN _and +sits beside her on the chesterfield_, R. _side_. WILLIAM _is at_ L. +_end_.) 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? + +HELEN. Yes. + +WILLIAM. I won't have this. + +CROSBY. I'm afraid you must, Will. (_He turns again to_ 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? + +HELEN (_slowly and reluctantly_). Yes. + +(DONOHUE _gives a short laugh. Sits back of table_ R.) + +ROSALIE (R. _of chesterfield_). And what if she did? She had a good +errand. What did you go for, darling? + +HELEN. I can't tell you. + +WILLIAM. Dear, you must tell us. (_She looks at him suddenly. He comes +over and kneels beside her and talks to her as if to a little child._) +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 _him_ how +wrong he is. + +DONOHUE (_seated back of table_ R.). Yes, and I'm waiting to be shown. + +WILLIAM (_kneeling_ L. _of_ HELEN). Why did you go to Spencer Lee? + +HELEN (_sitting on chesterfield_). You mustn't ask me that. I can't tell +you. + +CROSBY (_still on chesterfield_). But if you don't tell us, how can we +help you? + +HELEN. I didn't do anything, I didn't do anything. + +CROSBY. We know that, my child. But why did you go? (HELEN _does not +answer_.) Did you know Spencer Lee? + +WILLIAM. Of course she didn't. + +DONOHUE (_seated back of table_ R.). Why don't she speak for herself? + +WILLIAM. Because I'll speak for her. + +CROSBY. Can't you answer even that question? + +(HELEN _shakes her head and makes a despairing gesture_.) + +WILLIAM. But, dear, don't you see what they'll think? Helen, you must +tell me. + +HELEN. Could I speak to mother, alone? (_She rises._) + +DONOHUE. You cannot. + +(CROSBY _and_ WILLIAM _rise_. CROSBY _moves to_ L. _end of +chesterfield._) + +ROSALIE (R. _end of chesterfield_). Where is the 'arm in that? A child +'as the right to talk to 'er own mother any time she does want. + +DONOHUE. Anything you wish to say you can say in front of me. + +ROSALIE (_coming to_ 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. (_There is a pause._) Tell your +mother, my darling. + +(CROSBY _is now_ C. WILLIAM _stands below him_ C.) + +HELEN (_beginning to cry_). I can't. I can't. + +ROSALIE (C.). Stop, there 'as been crying enough. I did lose my 'ead +through that. Stop crying or I will beat you. (_She too begins to cry +and takes her daughter in her arms again._) There, there, my dear. Your +mother is not going to let anyone 'urt you--not anyone at all. (_They +cry together for a moment, and then_ ROSALIE _gets her self-control +back. She blows her nose vigorously_.) We will both be the better for +that. Now then, tell me. + +HELEN. Mother, I can't. + +ROSALIE (R.C.). Who did you promise you would not? + +HELEN (_surprised_). Why, how did you-- + +ROSALIE. She is shielding someone. + +HELEN. No. No. + +ROSALIE. That is the first lie you 'ave ever told me. I want to know who +it is you are shielding? (HELEN _does not answer_. ROSALIE _suddenly +turns to_ WILLIAM.) She is your girl? + +WILLIAM (L.C.). Yes. + +ROSALIE. Then make her tell. + +WILLIAM (_to_ HELEN C.). Nell dear, you must-- + +HELEN. Billy, I can't. + +CROSBY (_drops down_ L. _of group_). My dear, even if you're protecting +someone else, I think you ought to tell us. + +HELEN (_with a sudden outburst_). Why are you all against me? Why are +you all trying to make me break my-- + +(_Moves to_ R. _end of chesterfield_. WILLIAM _comes to her_. CROSBY +_is_ L.C.) + +ROSALIE (_interrupting_ HELEN, _coming to_ R.C.). Break your word? You +shall not. You need not tell. I know it myself now--I 'ave been blind. +(_She turns suddenly on the_ INSPECTOR--_moves to down table_ R., _above +him_.) 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. + +HELEN. Mother, stop! + +ROSALIE. Stop? I will not. + +CROSBY (C.). Wait, please. Is it my daughter you're protecting? (HELEN +_does not answer_.) 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? (_There is a long pause._) Did +you go for my daughter? + +HELEN (_slowly_). Yes. + +ROSALIE. I did know it. (_Above table_ R.) + +CROSBY. My daughter sent you. What for? + +HELEN (R.C.). Some letters. + +WILLIAM (_in front of chesterfield_ C.). Why didn't she go herself? + +HELEN. She was afraid. + +DONOHUE (_still seated back of table_ R.). Well, go on. + +(HELEN _does not speak_.) + +WILLIAM (R.C.). Tell him, dear, it's all right. + +HELEN. I don't know what to say. + +DONOHUE. Why not tell the truth? (_Rises and comes to chair below +table_ R.) + +ROSALIE. Tell the Inspector what happened, dearie. (_Putting_ HELEN +_in chair front of table_ R.) + +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. + +DONOHUE. Was this before or after you had tea with him? + +HELEN. Before. + +DONOHUE. Go on. He gave you the letters? + +HELEN (_seated in front of table_ 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. + +DONOHUE. How charming! What did you do after tea? + +(ROSALIE _is at the back of the chair in the front of the table_.) + +HELEN. I came home and gave Helen her letters. + +DONOHUE. And that's all? + +HELEN. That's all. + +DONOHUE. Why did you do this? + +HELEN. She's Billy's sister. + +DONOHUE. My compliments, young woman. That was beautifully done. And she +looks so innocent too. + +WILLIAM (C). You don't believe-- + +DONOHUE. Not a word of it. Not one word. + +ROSALIE. And why not? + +DONOHUE. That I _don't_ is sufficient. Her story is preposterous. Your +daughter's-- + +WILLIAM. It is the truth. + +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. + +WILLIAM. Jury? You're not going to arrest her? + +DONOHUE. She is arrested. + +ROSALIE. You 'ave not proof. + +DONOHUE (_below table_ 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? + +WILLIAM. She was protecting my sister. + +DONOHUE. Women don't hang together like that. + +ROSALIE (_upper end of table_ R.). Oh, they do, they do! The poor +creatures! + +DONOHUE (_down_ R.). They do not. I know them. (_He turns to_ 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. + +CROSBY (R.C. _to_ L. _of_ WILLIAM). How do you know that? + +DONOHUE. She couldn't take tea with a man she's just killed. + +WILLIAM. Why, _damn_ you-- (_Starts_ R.) + +CROSBY (_grabbing_ WILLIAM _by shoulders_). Billy! + +WILLIAM (_breaks up stage a few steps, then down stage again_). 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? + +DONOHUE. Yes. + +WILLIAM. Why should she? + +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. (_Turns away._) 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. (_There is a pause._) Young man, you'll +have a hard time tearing apart that chain of evidence. + +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. + +WILLIAM (_down_ C. _a step_. CROSBY _goes above_ WILLIAM C.). Of course. +Dad, we've lost our brains. She didn't go for her own letters. (WILLIAM +_turns to the_ 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? (_He starts toward door_ L.) + +CROSBY. Where are you going? + +WILLIAM. To get my sister. + +DONOHUE. Wait. (WILLIAM _stops_.) I'll send for Mrs. Trent. + +WILLIAM (_crosses_ L.C.). But I want to ask her-- + +DONOHUE (_interrupting him_). I'll ask my own questions. If you want to +help this investigation, you might call Sergeant Dunn for me. + +(WILLIAM _opens door at_ L.) + +WILLIAM. Sergeant Dunn, the Inspector wants you. (_He turns back to the +girl, and_ DUNN _enters_ L.) + +DONOHUE. Ask Mrs. Trent to come here. + +(DUNN _exits at_ L. ROSALIE _is at the_ R. _end of chesterfield_. HELEN +_is in the chair in front of the table_ R. WILLIAM C. CROSBY _walks up_ +L., _then back to_ L.C. DONOHUE _below the table looking at them with a +grim smile. After a pause of about ten seconds_ MRS. TRENT _and_ TRENT +_enter from L., followed by_ DUNN, _who stands below the door._) + +I sent for Mrs. Trent. + +TRENT (L.C.). I know that. What do you want to see her about? + +DONOHUE. Mrs. Trent, did you ask this girl to go to Spencer Lee's rooms +to get letters you had written to him? + +TRENT (L. _of_ MRS. TRENT). Did she what? + +DONOHUE. Did you, Mrs. Trent? + +MRS. TRENT (L.C.). Certainly not. + +HELEN. Why-- (_Rises from chair in front of table_ R.) + +DONOHUE (_sternly_). Keep still, you. (_To_ MRS. TRENT.) Are you sure? + +TRENT (_L._ of MRS. TRENT). Of course she's sure. + +DONOHUE. Mr. Trent, you must stop these interruptions. (_To_ MRS. +TRENT.) Will you please answer my question? + +MRS. TRENT. I never wrote a letter to Spencer Lee in my life. (_She +suddenly turns to_ HELEN.) How dare you say I sent you there? + +HELEN. You did! You did! (_In front of table._) + +MRS. TRENT (_down_ L.C.). I don't know what she's told you, Inspector, +but-- + +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? + +MRS. TRENT. No. + +DONOHUE (_down_ R.). He had no letters of yours? + +MRS. TRENT (L.C.). No. + +DONOHUE. Do you know whether this girl had written to him? + +MRS. TRENT. I don't know anything about it. + +WILLIAM (_coming_ L. _of_ MRS. TRENT. CROSBY _comes_ C.). But Nell +didn't know Lee, and you did, Helen. + +DONOHUE (_still down_ R.). How about that, Mrs. Trent? + +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. + +DONOHUE. Thank you very much. That is all that I want to know. + +WILLIAM (_turning on his sister_). You're lying to save yourself. You've +got to tell the truth. + +TRENT. She is telling you the truth. + +WILLIAM. She's not. + +CROSBY (_after a pause, putting his hand on his son's shoulder_). +I'm sorry, Billy. + +(WILLIAM _goes up to chesterfield_ C. _and sits_. CROSBY _looks coldly +at_ HELEN _and turns to his daughter_.) + +MRS. TRENT. Father, you know that-- + +CROSBY. Yes, dear, I know. Inspector, do you want us any more? + +DONOHUE. Not any more, thank you. + +CROSBY. Come then, children. (_He exits with_ MR. _and_ MRS. TRENT +_down_ L.) + +(HELEN _is still in front of the table_ R. _As the door closes_, DONOHUE +_crosses to_ L.C.) + +DONOHUE. Mike, take her down town. + +ROSALIE (C.). I would not if I was you. Inspector, I do know who 'as +done it. + +(WILLIAM _rises_.) + +DONOHUE (_turning to_ ROSALIE C.). You know! Who was it? + +ROSALIE. I cannot tell you yet. (DONOHUE _laughs_. WILLIAM _goes to_ +HELEN.) But I will! I will! + +DONOHUE. Telling's not enough. There's just one thing that will convince +me that she didn't kill Spencer Lee. + +WILLIAM (_down_ E.). What, Inspector, what? + +DONOHUE. The confession of the one who did. (_He turns to_ ROSALIE.) +Bring me that and I'll set your daughter free. + +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. + +DONOHUE (L.C.). Nonsense! + +ROSALIE (_moves up to_ INSPECTOR). Give me one hour, sir. Keep them all +here one hour more. + +DONOHUE. No. + +WILLIAM (_in front of table_ R.). Give her a chance. We are all here--no +one will get away. What difference will a few minutes make? + +(_There is a pause_. DONOHUE _takes out his watch and looks at it_.) + +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 _turns and exits at_ L.) You've got +just ten minutes. + +(_He follows_ DUNN _off_ L.) + +ROSALIE. Ten minutes! Ten minutes! + +(WILLIAM _crosses to door_ L. _and closes it_.) + +WILLIAM (L.C.). Why didn't you _tell_ who did it? + +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. + +HELEN (B.C.). But how, mother, how? + +ROSALIE. Call them back. Make them all come, too. I want them all. +(HELEN _runs off_ L.) Sir, run down into the 'all. Do you know which is +Mr. Wales' overcoat? + +WILLIAM. Yes, I think so. + +ROSALIE. See if you can find for me a glove or something of 'is--and +'urry, _mon Dieu_, 'urry! + +(WILLIAM _runs off_ L. ROSALIE _stands in thought for a moment, then she +places a chair_ C. _facing up stage_. WILLIAM _runs on again and hands +her a glove_.) + +Did you get it? + +WILLIAM (L.C.). What are you going to do? + +ROSALIE (L.C.). Trick them. Lie to them. It is for Nelly. Do you blame me? + +WILLIAM. What can I do to help? + +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 _them_. 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. + +(HELEN _runs in_ L.) + +HELEN. They're coming. + +ROSALIE. Leave the door open so we can 'ear them. (HELEN _does so and +returns to her mother, standing_ L. _of_ ROSALIE.) Child, kiss me for +luck. (_They kiss._) It will do no 'arm to kiss him, too. (_They kiss._) +Now, my boy, can you lie? + +WILLIAM. _Can I!_ + +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. (_She +sits in the chair_ C., _facing the back of the stage_.) + +WILLIAM. I understand. + +ROSALIE. You stand here at the back of me. I wish for them all to be +in front of me. (WILLIAM _crosses back of_ ROSALIE _to_ R. _side of_ +ROSALIE'S _chair_. HELEN _crosses_ R. _of_ ROSALIE _above her_.) Nelly, +stand close by me. (_To_ WILLIAM.) Go farther back. (HELEN _moves to_ R. +_of_ 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. + +(_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_ WALES' +_glove stretched out straight in front of her. Enter down_ L., CROSBY, +MISS EASTWOOD, STANDISH, TRENT, MRS. CROSBY, MRS. TRENT, MISS ERSKINE +_and_ MISS STANDISH.) + +CROSBY (_crossing to up_ L.C.). What is it, Billy? + +(MISS EASTWOOD _goes to the_ L. _side of_ ROSALIE'S _chair_, MRS. TRENT +_and_ MRS. CROSBY L. _of chesterfield_ C.; TRENT, MISS ERSKINE _and_ +STANDISH _lower_ L. _end of chesterfield_.) + +STANDISH. What's happened? + +WILLIAM (R. _side of_ ROSALIE'S _chair_). 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. + +(_The others draw closer to_ ROSALIE. MISS EASTWOOD _comes to_ ROSALIE +_and lays her hand on her forehead_.) + +MISS EASTWOOD. She's like ice, she's not-- (_Backing up_ C. _a few +steps_.) + +HELEN. Oh, no, it's a trance. + +(MASON _enters_ L.) + +MASON. I wouldn't touch her if I were you. + +ROSALIE. (_Speaking as_ 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. (_Still speaking as_ 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. + +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. + +(MISS EASTWOOD _shrieks and faints on_ L. _end of chesterfield_. MASON +_is below end of chesterfield looking at her_. WILLIAM _is standing_ R. +_side and back of_ ROSALIE _looking eagerly about him_. HELEN _turns and +looks at_ MISS EASTWOOD. MRS. CROSBY _goes to_ MISS EASTWOOD _on +chesterfield_.) + +MASON. This has got to stop. (_Starts to move to_ ROSALIE'S _chair_--L. +_side of it_.) + +HELEN (R. _side of_ ROSALIE'S _chair_). You mustn't touch her. + +MASON. It's all right as far as the men are concerned, but look at that +girl. (_He points to_ MISS EASTWOOD _on the chesterfield_.) They'll all +be fainting if this isn't stopped. + +(TRENT _goes to_ ROSALIE.) + +WALES' VOICE. Trent, let the medium alone. Do you understand? Let the +medium alone. + +TRENT. That's Wales' voice--and Wales is dead. + +(MASON _goes slowly to_ ROSALIE'S _chair_. TRENT _moves_ L. _above_ +MASON _to_ STANDISH. ROSALIE _begins to mutter and moan. Suddenly she +brings her hands together, and then throws her arms wide apart._ WALES' +_glove sails out of her hand and strikes_ MASON _on the face. It falls +to the floor_.) + +(STANDISH _exits very quietly door down_ L. MASON _picks glove up, +holding it in his hand_--_looks at it_--_suddenly drops it to the +floor--turns to_ MRS. CROSBY.) + +MASON. Mrs. Crosby, shall I take Miss Eastwood to your room for you? + +MRS. CROSBY. Yes, please, Philip. + +(MISS ERSKINE _moves to door_ L. MASON _assists_ MISS EASTWOOD _and +helps her from the room, exiting door down_ L. MRS. CROSBY _goes out_ L. +TRENT _wipes his hands with handkerchief_. ROSALIE _stirs uneasily and +moans_.) + +HELEN (_standing_ R. _side of_ ROSALIE'S _chair_). 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. + +(_The others turn, move towards the door down_ L. _and go out_.) + +CROSBY (_below_ L. _end of chesterfield_). Let me know if there's +anything I can do. + +(ROSALIE _moans again_.) + +HELEN. Yes, yes. Only please go now. + +(CROSBY _goes out_ L. WILLIAM _runs quickly to the door at_ L., _closes +it and then turns to_ ROSALIE, _who is sitting up in her chair_.) + +ROSALIE (_rises and crosses a step_ R.). Well? + +HELEN (R.C.). It was the Eastwood girl. Her face was terrible. I was +glad when she fainted. + +WILLIAM (L.C.). I think you're wrong. Standish ran away. He couldn't +bear it. + +ROSALIE. And _that_ is all you saw? I told you to use your eyes and the +brains that are at the back of them. + +WILLIAM. Well, of course, there was Trent. You can't mean Trent? Why, +he's the kindest man in the world. (_There is a pause._) The letters. +If he's known the truth about the letters. (_Breaks_ L. _a step_.) + +HELEN (_coming down to_ L. _of_ ROSALIE'S _chair and picking up glove_). +Mother, why did you throw that glove at Mason? + +ROSALIE. Did it hit him? Well, well! Well, any'ow it was a good séance. + +(ROSALIE _crosses down_ R.C.) + +HELEN (_moving to_ L. _side of_ ROSALIE). Mother, you know? You've found +out? + +(WILLIAM _takes_ ROSALIE'S _chair up_ L. _and then comes down_ L.) + +ROSALIE. It is one thing to know and another to prove. + +HELEN (L. _of_ ROSALIE). Mother, who was it? + +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. + +HELEN. But what, mother, what? + +ROSALIE. I do not know! I do not know! Child, if you do not get away +from me you will drive me mad. + +WILLIAM. But can't we-- + +ROSALIE. This is no work for children. Leave me alone and let me think. + +(WILLIAM _and_ HELEN _run off_ L., _closing door_.) + +ROSALIE. He will never tell in the world. Never in all this world. (L.C. +_Half in thought_.) 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? + +(_Two knocks are heard outside the door down_ L. _After five seconds two +further knocks_. ROSALIE _starts and looks hastily around the room_.) + +I did not do that. I did not do that. (_She lifts her skirt and sees +that her feet are still in her shoes_.) 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. + +(_She crosses down to door_ L. _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_. ROSALIE _moves_ C.) + +Laughing Eyes, have you a message for me? (_She looks up at knife in +ceiling_.) Look at it! The knife! + +(_The door at_ L. _opens_, POLLOCK _stands in the doorway. He sees that +the lights are out and turns them on. Then he sees_ ROSALIE, _who is +standing_ C., _facing front as in a trance_.) + +POLLOCK. Excuse me, madam. I knocked twice, but you didn't hear me. + +ROSALIE. I 'eard you. Just the same, it was a message. + +POLLOCK. The Inspector says, have you got anything you want to tell him? + +(ROSALIE _stands lost in thought_. POLLOCK _looks at her for a moment +and then nervously begins to place the chair below table to up_ R. +_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_ ROSALIE, +_above table_ R.) + +The Inspector says, have you got anything you want to tell him. + +(ROSALIE _drops down_ R. _in front of table_. DONOHUE _enters from_ L.) + +DONOHUE (_moving_ C). Time's about up. (_He laughs._) Well? + +ROSALIE (_below table_ R.). I want them all here. All of them. Everyone. + +[Illustration] + +DONOHUE. What for? + +ROSALIE. You are going to 'ear the murderer confess. + +DONOHUE. Pollock, ask Mr. Crosby to bring everyone here, (_Crosses_ R. +_to above table_.) + +POLLOCK. Very good, sir. + +(_He exits_ L. DONOHUE _takes out his watch and stands with it in his +hand watching_ ROSALIE. _She stands lost in her dreams_. DUNN _enters +with_ HELEN O'NEILL _down_ L.) + +DUNN. Here she is, Inspector. + +DONOHUE. Come here, miss. (HELEN _crosses to_ DONOHUE. _To_ DUNN.) Go +and get a taxi. + +(DUNN _turns and exits_ L. _The others enter and stand crowding in the +doorway._ WILLIAM _pushes through and crosses and stands by_ HELEN _up_ +R.C. _right end of chesterfield_.) + +CROSBY (_up_ L.C.). What is it? You sent for us. + +DONOHUE (_between table and chesterfield_). She says her daughter's +not guilty. I gave her ten minutes to find out who is. The time's up. +(_He puts his watch back in his pocket. He turns to_ ROSALIE.) Well? + +(ROSALIE _stands rigid. There is a long pause_.) + +ROSALIE (_below table_ R.). You that is 'iding, come out! + +DONOHUE. Come on. (_He takes_ HELEN _by the hand. They go up_ R. _above +table_.) + +ROSALIE (_lower end of table_ 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! + +(_The door at_ L. _of fireplace slowly swings open_. MASON _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_ C. _and a little above the table_. MRS. TRENT, MISS ERSKINE _and_ +STANDISH _below door down_ L. TRENT, MRS. CROSBY, MISS EASTWOOD C. +_above door_ L. WILLIAM _up_ R.C. _All watch_ MASON. _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_. MASON'S _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_. MASON _rushes up stage end of table_ R.) + +MASON (_with a cry_). I can't fight the dead. I can't fight the dead! + +(_Slowly_ ROSALIE _points at him. The others stand and stare_.) + +ROSALIE. Go on, tell it. (_Lower_ R. _side of table_ R.) + +MASON. I had to do it. I was afraid Mr. Wales would know. + +ROSALIE. You did kill them both? + +MASON. Yes. + +ROSALIE. Mr. Wales to prevent 'im finding out about Spencer Lee? + +MASON. Yes. + +ROSALIE. And Spencer Lee? + +MASON. He ought to have been killed. I'd been waiting for years to kill +him. + +ROSALIE. Why? + +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. + +ROSALIE. Why did you kill Spencer Lee? + +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. + +DONOHUE. How did you get the knife in the ceiling? + +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! + +(_He turns suddenly and walks to door_ L. _As he opens it_ SERGEANT DUNN +_steps into the room_.) + +DONOHUE. That's your man, Sergeant. + +DUNN (_putting his hand on_ MASON'S _arm_). _You_ got him? + +DONOHUE. Yes, I got him. + +DUNN. Great work, chief, great work. (_He takes_ MASON _off down_ L.) + +(HELEN _crosses down to lower end of table_ R.) + +ROSALIE (_as they disappear from view_). The poor young man! the poor +young man! + +DONOHUE. Ladies and gentlemen, you are all quite at liberty. + +(_He goes toward door_ L.) + +CROSBY. Thank you, Inspector, for your consideration. + +DONOHUE. Not at all, it was the best way out of it. + +ROSALIE. Inspector! (_Coming below table_ R. _to_ R.C.) + +DONOHUE (_half turning_). Yes. + +ROSALIE. My congratulations. + +(_He looks at her for a moment, then turns back and shakes hands with +her._) + +DONOHUE. You were quite right about me. I was a damn fool. + +(_He exits at_ L. HELEN _comes below table_ R.) + +MRS. TRENT (_turning to her father up_ L.C. _with a cry_). Oh, daddy, +daddy! I lied about her! I lied about her! + +(CROSBY _takes her in his arms, up_ L. HELEN _crosses to_ ROSALIE _from +below table_ R.) + +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. + +_The_ CURTAIN _falls_. + + + + + + +ACT I. + +[Illustration: The explanation of the figures is given on the opposite +page.] + +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, _after_ MISS EASTWOOD'S +_scream_, the knife in down stage slot is let down in sight of +audience. _Seen with point sticking in ceiling._ 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. + + +LIGHT PLOT. + +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. + +1ST CUE.--When ROSALIE lifts table first time sneak off baby down stage +L., also baby from window R. that starts across stage. + +2ND CUE.--After POLLOCK locks door down L., all entrance strips and baby +down L., out. + +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. + +4TH CUE.--When WILLIAM pulls chain on table lamp right end of +chesterfield, table lamp out. Two babies from window out. + +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. + +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. + +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. + +8TH CUE.--When WILLIAM pulls chain on table lamp right end of +chesterfield, table lamp, two babies, amber foots, OUT, leaving blue +spot, LIT. + +9TH CUE.--When CROSBY calls for light, table lamp right end of +chesterfield, LIT; two amber babies, LIT; amber foots, 3/8 LIT. + +NOTE.--All house lights in front (Auditorium) must be OUT when ROSALIE +and ladies enter after ROSALIE has been searched. This is very +important. + + + +ACT II. + +[Illustration: The position of the chairs at the commencement of the +Act.] + +LIGHTING PLOT FOR ACT II. + +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. + + + +ACT III. + +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. + +Be sure to clear everything off table R.C. for knife. + + +LIGHTING PLOT FOR ACT III. + +Everything OUT at RISE except amber strip and amber baby in left first +entrance and blue bunches outside of window, R., which are LIT. + +1ST CUE.--After prayer, ROSALIE raises window shade, white spot on knife +in ceiling, LIT. + +2ND CUE.--Inspector pushes switch, lights lit, amber foots 1/2, table +lamps, brackets, post lights, LIT. + +NOTE.--No lights in entrance R.C., L.C., and fireplace. + +3RD CUE.--ROSALIE pushes light switch, foots, table lamps, brackets, +post lights, OUT. Spot on knife from outside window R., LIT. + +4TH CUE.--POLLOCK pushes light switch, amber foots, table lamps, +brackets, post lights, LIT same as AT RISE. Spot on knife, out. + +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. + + + + + + ===================================================================== + + A Book of Make-Up + + By ERIC WARD + + + This handbook is unique inasmuch as it is prepared specially for + ready reference during the actual process of Making-Up. + + 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. + + 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. + + 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. + + 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. + + + Price 3s. 9d. post paid. + + SAMUEL FRENCH, LTD. + + + +***END OF THE PROJECT GUTENBERG EBOOK THE THIRTEENTH CHAIR*** + + +******* This file should be named 14095-8.txt or 14095-8.zip ******* + + +This and all associated files of various formats will be found in: +https://www.gutenberg.org/dirs/1/4/0/9/14095 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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