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The Project Gutenberg eBook, The Thirteenth Chair, by Bayard Veiller


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Title: The Thirteenth Chair

Author: Bayard Veiller

Release Date: November 19, 2004  [eBook #14095]

Language: English

Character set encoding: ISO-646-US (US-ASCII)


***START OF THE PROJECT GUTENBERG EBOOK THE THIRTEENTH CHAIR***


E-text prepared by Juliet Sutherland, David Garcia, and the Project
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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
  matinee) 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 seances, 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 seance. 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 seance 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 fiancee, 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 seance.

(_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
seance?

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 seance 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 seance. (_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 seance 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 seance 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 seance 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 seance.

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-a-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 seance.

(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.





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