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.



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.



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.



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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THE END