_The same_ SCENE _half an hour later_.
ROSALIE _is discovered by table_ R.
ROSALIE. Father in 'Eaven, help me. My little girl is in terrible
trouble and there is not anyone to 'elp 'er but me. She is a good
girl--you know all things, you know she is a good girl. Show me the way.
I 'ave been a fakir all my life. I 'ave tricked them and fooled them,
but I 'ave never meant to 'arm a soul, I 'ave never done 'arm to any
person. And there is a power. It 'as come to me before, a power that
I could not understand. I felt it, and I showed it. Oh God, give it to
me again. Do this for my little girl, for the sake of your Son. Amen.
(_Turns and goes up stage and then to the window at_ R. _She pulls up
the blind and raises the window. The light comes up from the street lamp,
throwing out her figure in strong silhouette, and showing a square patch
of light on the ceiling. In the_ C. _of this patch, sticking point up in
the heavy wooden panelling, can be seen the knife_. ROSALIE _stands for
a few moments looking out at the night_. DONOHUE _enters down_ L. _He
turns on the lights from the switch below the door down_ L.)
DONOHUE (_crosses to_ L.C.). Who turned off the lights?
ROSALIE (_at window_ R.). I did, sir.
DONOHUE. Why?
ROSALIE. I was praying. (_Coming to above table_ R.)
DONOHUE. Praying? What for?
ROSALIE. Guidance.
DONOHUE (_with a laugh_). I hope you get it.
ROSALIE (_with conviction_). I will, sir, I will. (_She starts toward
the door_ L.) I will join the others now.
DONOHUE. I think'd you better wait. (_Calls off_ L.) Mike!
(ROSALIE _is_ C. DUNN _enters from_ L.)
DUNN. Yes, Inspector.
DONOHUE. Did Madame la Grange see you as she came in here?
DUNN (_down_ L.). No, sir. I followed your instructions and kept out of
sight.
DONOHUE (L.C.). How long has she been here?
DUNN. About ten minutes.
DONOHUE. Time enough for her to find what we couldn't.
DUNN. I'll bet she's got it.
DONOHUE. Take her to Mrs. MacPherson. She's not to go near anyone or
speak to anyone. Tell Mrs. Mac to search her. (_He turns to_ ROSALIE,
_who is_ C.) Unless, of course, you want to give up that knife now.
ROSALIE. I 'ave not any knife, and I 'ave been searched once.
DONOHUE (L.C.). Exactly, and then you were allowed to come back into
this room. We're rather anxious to see what you've found while you were
in here. Well?
ROSALIE. I 'ave found nothing that would be any good to you.
DONOHUE. I'm the best judge of that. What was it you found?
ROSALIE. I found comfort, sir. A feeling that the innocent would come to
no 'arm.
DONOHUE (_dryly_). Take her to Mrs. MacPherson. Come back as soon
as you turn her over to the matron.
DUNN. Yes, Inspector. Come on--come on, you.
ROSALIE (_crossing_ L.). I will come!
(_They go out. He stands looking after them for about five seconds,
when_ DUNN _re-enters and says_:)
DUNN (_above door_ L.). Mrs. Mac's got her.
DONOHUE. She turned out that light. I wonder why? What did she want in
the dark.
(_He goes over toward the light switch at_ L. _and puts out his hand.
He stops suddenly as his attention is attracted by a_ POLICEMAN _coming
feet foremost down the chimney._ DONOHUE _gives a little start and then
comes_ L.C. _The_ POLICEMAN _jumps down all the way in fireplace,
and comes into the room to console table_ L. _end of chesterfield.
His uniform is covered with soot, and so are his face and hands._ DUNN
_goes down_ L. _below door._)
DUNN. I sent him to see if they'd hidden that knife up there?
DONOHUE. Good. (_To_ POLICEMAN.) Find anything?
POLICEMAN. Nothing but dirt. Who pays for this uniform?
DONOHUE. You don't, anyway. Could you hear anything while you were up
there?
POLICEMAN. Not a thing.
DONOHUE. You are sure?
POLICEMAN. Certain.
DONOHUE. Go and get a bath.
POLICEMAN. 'Tain't Saturday.
(_He exits at_ L. DONOHUE _crosses_ R. _Pause_.)
DUNN (_down_ L. _After a pause_). Don't it beat _Hell_?
DONOHUE. Why?
DUNN. That knife couldn't have flew away.
DONOHUE (_coming_ C.). We'll find it eventually. It's in this room
somewhere.
DUNN. No, sir, it ain't.
DONOHUE. Where have you looked?
DUNN. Everywhere.
DONOHUE. Not hidden in the furniture?
DUNN. I'll gamble it ain't. Took up all the rugs, shook 'em. Dug through
the upholstery in the furniture, looked back of mat on the wall. It's
not in the bric-à-brac, or whatever these swells call their jugs.
(DONOHUE _crosses towards table_ R.)
DONOHUE. Unless we find it on the old woman, it's still in this room.
DUNN. I suppose you noticed that she opened the window.
DONOHUE (_upper end of table_ R.). Yes, I noticed that. Mike, you've the
makings of a great detective.
DUNN. I'm a darned good detective now.
(DONOHUE _goes to window at_ R. _and calls out_.)
DONOHUE. Say, Doolan! See anything?
DOOLAN (_outside window_ R.). A woman put up the window just now. She
stood there a while looking up in the air. (_Pause._) Watching the
stars, I guess.
DONOHUE. Have anything in her hand?
DOOLAN. No, sir. The light from this lamp was shinin' right on her. I
could see everything.
DONOHUE. Throw anything out of the window?
DOOLAN. No, Inspector.
DONOHUE. All right. You're to arrest anyone leaving the house.
DOOLAN. I gotcha.
(DONOHUE _comes below table_ R. _and turns to_ DUNN. _Crosses to_ L.C.)
DONOHUE. We'll find the knife eventually. We've got to. Get me Mr.
Crosby, the O'Neill girl--that's the order I want to see them in here.
(DUNN _exits_ L. DONOHUE _crosses up_ R. _end of chesterfield to chest
up_ R., _starts to cross_ L. _below chesterfield_. CROSBY _enters down_
L. _and closes the door_. DONOHUE _comes down to_ C. _by_ R. _end of
chesterfield_.)
CROSBY (L.C.). Your man told me to come here.
DONOHUE. Yes. Sorry to have to give orders in your house. If you don't
like it I can take everyone down to Police Headquarters. You know what
will happen--what the newspapers will do if I take all these ladies and
gentlemen down town. In the end this way will be the best for you and
your friends. Well, how about it?
CROSBY (L.C.). Thank you. I think you'd better regard this house as your
own for the present.
DONOHUE (C.). All right. If you don't mind I'll use this room as a
headquarters for the present.
CROSBY. I have already told you to use this house as your own.
DONOHUE. Thank you. Good evening.
CROSBY (_with a laugh_). I'm dismissed?
DONOHUE. You're dismissed. (CROSBY _walks toward door_ L.) Why did Wales
object to the engagement of your son and Helen O'Neill?
CROSBY (_turns to_ DONOHUE). Who told you that? (_Moving a few steps._)
DONOHUE. It doesn't matter. I know that he did. Why?
CROSBY (_turning front_). I can't talk about it.
DONOHUE (C.). All right. You're the best judge of that. Only I'm
attaching a great deal of importance to this fact. If I'm unduly
emphasizing its value, don't you think you'd better set me straight
about it?
CROSBY. What possible bearing can it have on--
DONOHUE. Motive, my dear sir, motive.
CROSBY. Come now. You can't think that this girl killed Wales because
she heard him ask us to wait before we sanctioned her engagement to my
son.
DONOHUE. She did hear Mr. Wales make that objection. That's just what I
wanted to know.
CROSBY (L.). I think I'd better send for my lawyer.
DONOHUE (C.). Well, you can do as you like about that. Frankly, I don't
understand your attitude at all. I can appreciate your desire to spare
your son all the unhappiness that you can. But if this young woman
killed Wales and Lee, the sooner we find it out the better for you and
your family.
CROSBY. Oddly enough I was thinking only of Miss O'Neill at the moment.
DONOHUE. You'd better think of yourself and your family first.
(_Moves_ R. _a few steps_.)
CROSBY. That's for me to decide. I certainly am not going to allow that
child to be bullied and badgered in the usual police fashion. (_Moves_
R. _a step_.)
DONOHUE. You're going to do as you are told, sir. If you warn that girl,
if you caution her in any way, I'll drag every one of you down town. You
and your wife and your son and the girl and all your friends. Be
reasonable, Mr. Crosby. If the girl is innocent, telling me the truth
won't hurt her. If she's guilty, and I think she is, by God, I'm going
to drag the truth out of her and her mother. (_There is a knock on the
door down_ L.) Come in.
(HELEN _enters_ L.)
HELEN (L.). You wanted me?
DONOHUE. Yes, come in. Sit down, please.
(_Indicating chair below table_ R. HELEN _crosses and sits_. CROSBY
_starts to move_ R.)
CROSBY. Helen--
DONOHUE. What you are planning to do, Mr. Crosby, will only make matters
worse, I promised you that.
(_After a moment's pause_ CROSBY _exits_ L. _and leaves door open_.
DONOHUE _turns, closes door and turns sharply to_ HELEN. _Crosses
towards the table_.)
Now then, young woman, let's hear what you've got to say.
HELEN. Nothing.
DONOHUE (C.). Nothing? I don't suppose it's necessary for me to tell you
that you're under grave suspicion.
HELEN. No, I realize that.
DONOHUE. Now, the best way to help yourself if you're innocent is to be
quite frank with me. (_She simply looks at him, but does not speak._)
Well?
HELEN. I've already told you that there is nothing that I can say.
DONOHUE. Someone has advised you not to answer me. Who was it? (_There
is a pause._) You'd better tell me. (_Moves_ R.C.)
HELEN. I am not going to answer any of your questions.
DONOHUE. I told you that if you were innocent, nothing that you could
say would hurt you. If you're guilty--well that's a different matter.
HELEN. You know that I didn't do it.
DONOHUE (_in front of table_ R.). Well, there you are. Why not
answer my question then? The sooner we find out who is guilty the sooner
you'll be freed from suspicion. You see that, don't you?
HELEN. Yes.
DONOHUE (_brings chair and sits in front of table_ R.). Now we're
getting along. How well did you know Spencer Lee? (HELEN _does not
answer him--looking front_.) You'd better make up your mind to talk.
Do you hear? (HELEN _does not speak. Losing his temper._) Why, you
little fool, do you think you can fight me? (_He turns sharply to face
her, turning his back on the door at_ L.) You were the last person to
see Spencer Lee alive. Yes, and you saw him dead, too. You heard Wales
threaten to tell these fine people what he knew about you; you knew he'd
prevent your marriage to this young millionaire, and then--
(ROSALIE _enters quietly from_ L. _and stands for a moment watching
them_.)
When your chance came in the dark you killed him. Now then, you come
across with the truth.
ROSALIE. She'll come across with nothing. (_Crosses_ R. _to table_.)
(DONOHUE _rises and stands by table_ R.C. HELEN _rises_.)
You said that she was the one that did it and you would find the knife
on 'er. Well, you did not, did you? You think that she is the person
that killed Spencer Lee?
DONOHUE. Yes.
ROSALIE. Well, she is not. You say you 'ave the finger-prints of the
girl who was in his rooms. Well, take 'er finger-prints and put them
side by side with the others, and then you will see. I dare you to do
that.
HELEN (_with a cry_). Mother-- (_She stops suddenly._)
DONOHUE. What were you going to say?
HELEN. Nothing.
(DUNN _enters with box and envelope_.)
DONOHUE. That's very wise of you.
DUNN. Got it, Inspector. (_Crosses to_ C.)
DONOHUE (_down_ R.). Do they compare?
DUNN. To a T.
(ROSALIE C., HELEN _down_ R. DONOHUE _in front table between_ HELEN
_and_ ROSALIE.)
DONOHUE. All right. Let me have 'em. Now ask Mr. Crosby and his son to
come here at once.
(DUNN _turns and exits_ L. DONOHUE _up_ C. _crosses to back of table_ R.)
I already have your daughter's finger-prints, Madame la Grange.
ROSALIE. 'Ave you really? ... You are very smart.
(HELEN _crosses to_ ROSALIE R.C. ROSALIE _puts her arms about the girl
and swings her_ L. _of her. When_ DONOHUE _opens box at the back of
table_ CROSBY _and_ WILLIAM _enter from_ L. _accompanied by_ DUNN.)
DONOHUE. That's all, Mike.
(DUNN _exits_ L. _and closes door_. CROSBY L. _of_ HELEN. WILLIAM L.
_of_ CROSBY.)
Mr. Crosby, I told you that I'd settle this case in a few minutes. The
end has come sooner than I thought. I am now ready to make an arrest.
I have sent for you and your son because-- (_He suddenly turns toward_
HELEN.) This is the woman we have been hunting.
ROSALIE. That is a lie! (R. _end of chesterfield_.)
(WILLIAM _goes to_ HELEN.)
DONOHUE (_picking up cup and holding it out toward them_). Here is the
cup--
(CROSBY _crosses down_ R. _to below table--moves chair over_ R.)
which we took from Spencer Lee's rooms. These are the finger-prints of
the woman who used it. (_Ignoring_ CROSBY _for the moment_.) Here is the
saucer that she used. More finger-prints. A few minutes ago I sent this
young woman a note. The man who gave it to her wore gloves, so did I
when I addressed the envelope. Hers are the only naked hands that have
touched it. (_He picks up the envelope gingerly by one corner, and
holds it outward to them._) They are unquestionably Helen O'Neill's
finger-prints. (HELEN _is in_ WILLIAM'S _arms_. DONOHUE _puts down the
envelope. Then he picks up the cup and points to the finger-marks on
it_.) And so, Mr. Crosby, are these. There can be no doubt about it.
There is never any doubt about this method of identification. In twenty
years there has never been one mistake. We now have what we've been
hunting for: the woman who went to Spencer Lee's rooms.
(DONOHUE _steps back with a little gesture of triumph_. CROSBY _stands
staring at the girl_. ROSALIE _comes to_ R. _of_ HELEN, _turns to her_.)
ROSALIE (C.). Look at me, my darling. Look at your mother. (_She takes_
HELEN'S _face in her hands and looks at her closely. Then with a little
cry of contentment stands_ R. _of_ HELEN. ROSALIE _and_ HELEN _back up
to chesterfield_.) Now, darling, you must not be frightened. Look up,
child. Why do not you say something?
HELEN. I can't.
(_Sits on chesterfield._ DONOHUE _gives a short laugh_.)
DONOHUE. What can she say?
WILLIAM (_going to her_). Dear, tell him it's a lie.
CROSBY. Wait. Let me talk to her. (CROSBY _comes over to_ HELEN _and
sits beside her on the chesterfield_, R. _side_. WILLIAM _is at_ L.
_end_.) My dear, you understand that none of us believe--what the
Inspector wants us to believe. We know that you have never done
anything--that you are no more guilty of this atrocious crime than I am.
We all want to help you. We believe in you and trust you and love you.
You understand that, don't you?
HELEN. Yes.
WILLIAM. I won't have this.
CROSBY. I'm afraid you must, Will. (_He turns again to_ HELEN.) We
want to help you, so, my dear, you must be perfectly frank with us.
Inspector Donohue says he can prove that you went to that man's rooms.
Is that true?
HELEN (_slowly and reluctantly_). Yes.
(DONOHUE _gives a short laugh. Sits back of table_ R.)
ROSALIE (R. _of chesterfield_). And what if she did? She had a good
errand. What did you go for, darling?
HELEN. I can't tell you.
WILLIAM. Dear, you must tell us. (_She looks at him suddenly. He comes
over and kneels beside her and talks to her as if to a little child._)
My dear, it isn't that we don't trust you. Surely you know how we all
love you? But we must know the truth--because we have to show _him_ how
wrong he is.
DONOHUE (_seated back of table_ R.). Yes, and I'm waiting to be shown.
WILLIAM (_kneeling_ L. _of_ HELEN). Why did you go to Spencer Lee?
HELEN (_sitting on chesterfield_). You mustn't ask me that. I can't tell
you.
CROSBY (_still on chesterfield_). But if you don't tell us, how can we
help you?
HELEN. I didn't do anything, I didn't do anything.
CROSBY. We know that, my child. But why did you go? (HELEN _does not
answer_.) Did you know Spencer Lee?
WILLIAM. Of course she didn't.
DONOHUE (_seated back of table_ R.). Why don't she speak for herself?
WILLIAM. Because I'll speak for her.
CROSBY. Can't you answer even that question?
(HELEN _shakes her head and makes a despairing gesture_.)
WILLIAM. But, dear, don't you see what they'll think? Helen, you must
tell me.
HELEN. Could I speak to mother, alone? (_She rises._)
DONOHUE. You cannot.
(CROSBY _and_ WILLIAM _rise_. CROSBY _moves to_ L. _end of
chesterfield._)
ROSALIE (R. _end of chesterfield_). Where is the 'arm in that? A child
'as the right to talk to 'er own mother any time she does want.
DONOHUE. Anything you wish to say you can say in front of me.
ROSALIE (_coming to_ HELEN C.). Darling, you need not mind the nice
Inspector. I well know that there was never anything in your mind that
you could not say before all the world. (_There is a pause._) Tell your
mother, my darling.
(CROSBY _is now_ C. WILLIAM _stands below him_ C.)
HELEN (_beginning to cry_). I can't. I can't.
ROSALIE (C.). Stop, there 'as been crying enough. I did lose my 'ead
through that. Stop crying or I will beat you. (_She too begins to cry
and takes her daughter in her arms again._) There, there, my dear. Your
mother is not going to let anyone 'urt you--not anyone at all. (_They
cry together for a moment, and then_ ROSALIE _gets her self-control
back. She blows her nose vigorously_.) We will both be the better for
that. Now then, tell me.
HELEN. Mother, I can't.
ROSALIE (R.C.). Who did you promise you would not?
HELEN (_surprised_). Why, how did you--
ROSALIE. She is shielding someone.
HELEN. No. No.
ROSALIE. That is the first lie you 'ave ever told me. I want to know who
it is you are shielding? (HELEN _does not answer_. ROSALIE _suddenly
turns to_ WILLIAM.) She is your girl?
WILLIAM (L.C.). Yes.
ROSALIE. Then make her tell.
WILLIAM (_to_ HELEN C.). Nell dear, you must--
HELEN. Billy, I can't.
CROSBY (_drops down_ L. _of group_). My dear, even if you're protecting
someone else, I think you ought to tell us.
HELEN (_with a sudden outburst_). Why are you all against me? Why are
you all trying to make me break my--
(_Moves to_ R. _end of chesterfield_. WILLIAM _comes to her_. CROSBY
_is_ L.C.)
ROSALIE (_interrupting_ HELEN, _coming to_ R.C.). Break your word? You
shall not. You need not tell. I know it myself now--I 'ave been blind.
(_She turns suddenly on the_ INSPECTOR--_moves to down table_ R., _above
him_.) You are the one that found out there was two Helens. The extra
Helen, you said. Well, please to send for the other Helen and ask her.
HELEN. Mother, stop!
ROSALIE. Stop? I will not.
CROSBY (C.). Wait, please. Is it my daughter you're protecting? (HELEN
_does not answer_.) Because if it is---much as we love her--my dear, we
can't accept that sacrifice from you. I'm her father, and you must tell
me the truth. Did my daughter send you? (_There is a long pause._) Did
you go for my daughter?
HELEN (_slowly_). Yes.
ROSALIE. I did know it. (_Above table_ R.)
CROSBY. My daughter sent you. What for?
HELEN (R.C.). Some letters.
WILLIAM (_in front of chesterfield_ C.). Why didn't she go herself?
HELEN. She was afraid.
DONOHUE (_still seated back of table_ R.). Well, go on.
(HELEN _does not speak_.)
WILLIAM (R.C.). Tell him, dear, it's all right.
HELEN. I don't know what to say.
DONOHUE. Why not tell the truth? (_Rises and comes to chair below
table_ R.)
ROSALIE. Tell the Inspector what happened, dearie. (_Putting_ HELEN
_in chair front of table_ R.)
HELEN. Nothing happened. That's the funny part of it. The minute Mr. Lee
understood that I knew about the letters, everything was changed. I said
that unless he gave them to me I'd tell Mr. Crosby about them. He seemed
terribly upset. He said he hadn't meant to frighten Helen. That he loved
her, and was desperate. I thought it was a funny kind of love, but I
didn't tell him that. Then he gave me the letters.
DONOHUE. Was this before or after you had tea with him?
HELEN. Before.
DONOHUE. Go on. He gave you the letters?
HELEN (_seated in front of table_ R.). Yes. And he seemed terribly
unhappy. He begged me to stay and talk to him for a few minutes, and I
did. He asked me to have some tea with him, and I did that too.
DONOHUE. How charming! What did you do after tea?
(ROSALIE _is at the back of the chair in the front of the table_.)
HELEN. I came home and gave Helen her letters.
DONOHUE. And that's all?
HELEN. That's all.
DONOHUE. Why did you do this?
HELEN. She's Billy's sister.
DONOHUE. My compliments, young woman. That was beautifully done. And she
looks so innocent too.
WILLIAM (C). You don't believe--
DONOHUE. Not a word of it. Not one word.
ROSALIE. And why not?
DONOHUE. That I _don't_ is sufficient. Her story is preposterous. Your
daughter's--
WILLIAM. It is the truth.
DONOHUE. Do you expect me to believe for a minute that a man like Lee
would threaten your daughter, and then when a total stranger comes to
him and asks for the letters, give them up without a word? Why, no jury
in the world would believe your story.
WILLIAM. Jury? You're not going to arrest her?
DONOHUE. She is arrested.
ROSALIE. You 'ave not proof.
DONOHUE (_below table_ R.). All the proof that I need. If she was
innocent, why didn't she tell me all this when I first questioned her?
Why did she wait until she knew that I had proof--that she had been in
Spencer Lee's rooms?
WILLIAM. She was protecting my sister.
DONOHUE. Women don't hang together like that.
ROSALIE (_upper end of table_ R.). Oh, they do, they do! The poor
creatures!
DONOHUE (_down_ R.). They do not. I know them. (_He turns to_ WILLIAM.)
She wasn't protecting your sister. She was protecting herself. She went
for the letters, of course; and they had tea before she asked for them,
not afterwards.
CROSBY (R.C. _to_ L. _of_ WILLIAM). How do you know that?
DONOHUE. She couldn't take tea with a man she's just killed.
WILLIAM. Why, _damn_ you-- (_Starts_ R.)
CROSBY (_grabbing_ WILLIAM _by shoulders_). Billy!
WILLIAM (_breaks up stage a few steps, then down stage again_). I'm
sorry. I didn't mean to lose my temper. I suppose we've got to take this
thing calmly. Inspector, you honestly believe that Nelly killed this
man?
DONOHUE. Yes.
WILLIAM. Why should she?
DONOHUE. She was engaged to you--he had compromising letters she had
written to him--he was threatening her with exposure--she went to get
her letters. They had tea together--she's admitted that, after we proved
it, and then when he wouldn't give up her letters she killed him. So
much for the first murder. (_Turns away._) Now for the second: she was
sitting next to Wales; he had already threatened her with exposure; in
another minute the medium would have told her name as that of the person
who had been at Spencer Lee's rooms. She pulled her hand away from his,
struck and took his hand again. (_There is a pause._) Young man, you'll
have a hard time tearing apart that chain of evidence.
ROSALIE. Except for the fact that she did never write the man a letter
in 'er life, it is a grand case you 'ave, Inspector.
WILLIAM (_down_ C. _a step_. CROSBY _goes above_ WILLIAM C.). Of course.
Dad, we've lost our brains. She didn't go for her own letters. (WILLIAM
_turns to the_ INSPECTOR.) You were talking of juries. Do you think any
jury will believe that a young girl would kill a man to get back another
woman's letters for her? (_He starts toward door_ L.)
CROSBY. Where are you going?
WILLIAM. To get my sister.
DONOHUE. Wait. (WILLIAM _stops_.) I'll send for Mrs. Trent.
WILLIAM (_crosses_ L.C.). But I want to ask her--
DONOHUE (_interrupting him_). I'll ask my own questions. If you want to
help this investigation, you might call Sergeant Dunn for me.
(WILLIAM _opens door at_ L.)
WILLIAM. Sergeant Dunn, the Inspector wants you. (_He turns back to the
girl, and_ DUNN _enters_ L.)
DONOHUE. Ask Mrs. Trent to come here.
(DUNN _exits at_ L. ROSALIE _is at the_ R. _end of chesterfield_. HELEN
_is in the chair in front of the table_ R. WILLIAM C. CROSBY _walks up_
L., _then back to_ L.C. DONOHUE _below the table looking at them with a
grim smile. After a pause of about ten seconds_ MRS. TRENT _and_ TRENT
_enter from L., followed by_ DUNN, _who stands below the door._)
I sent for Mrs. Trent.
TRENT (L.C.). I know that. What do you want to see her about?
DONOHUE. Mrs. Trent, did you ask this girl to go to Spencer Lee's rooms
to get letters you had written to him?
TRENT (L. _of_ MRS. TRENT). Did she what?
DONOHUE. Did you, Mrs. Trent?
MRS. TRENT (L.C.). Certainly not.
HELEN. Why-- (_Rises from chair in front of table_ R.)
DONOHUE (_sternly_). Keep still, you. (_To_ MRS. TRENT.) Are you sure?
TRENT (_L._ of MRS. TRENT). Of course she's sure.
DONOHUE. Mr. Trent, you must stop these interruptions. (_To_ MRS.
TRENT.) Will you please answer my question?
MRS. TRENT. I never wrote a letter to Spencer Lee in my life. (_She
suddenly turns to_ HELEN.) How dare you say I sent you there?
HELEN. You did! You did! (_In front of table._)
MRS. TRENT (_down_ L.C.). I don't know what she's told you, Inspector,
but--
DONOHUE. Never mind what she told me. I want to be very sure of this.
You did not ask this girl to go to Spencer Lee's rooms?
MRS. TRENT. No.
DONOHUE (_down_ R.). He had no letters of yours?
MRS. TRENT (L.C.). No.
DONOHUE. Do you know whether this girl had written to him?
MRS. TRENT. I don't know anything about it.
WILLIAM (_coming_ L. _of_ MRS. TRENT. CROSBY _comes_ C.). But Nell
didn't know Lee, and you did, Helen.
DONOHUE (_still down_ R.). How about that, Mrs. Trent?
MRS. TRENT. I hadn't seen Mr. Lee for two or three years. He used to
come here a good deal. He wanted to marry me, but I didn't like him. And
I certainly never wrote him letters of any sort. That is all I can tell
you.
DONOHUE. Thank you very much. That is all that I want to know.
WILLIAM (_turning on his sister_). You're lying to save yourself. You've
got to tell the truth.
TRENT. She is telling you the truth.
WILLIAM. She's not.
CROSBY (_after a pause, putting his hand on his son's shoulder_).
I'm sorry, Billy.
(WILLIAM _goes up to chesterfield_ C. _and sits_. CROSBY _looks coldly
at_ HELEN _and turns to his daughter_.)
MRS. TRENT. Father, you know that--
CROSBY. Yes, dear, I know. Inspector, do you want us any more?
DONOHUE. Not any more, thank you.
CROSBY. Come then, children. (_He exits with_ MR. _and_ MRS. TRENT
_down_ L.)
(HELEN _is still in front of the table_ R. _As the door closes_, DONOHUE
_crosses to_ L.C.)
DONOHUE. Mike, take her down town.
ROSALIE (C.). I would not if I was you. Inspector, I do know who 'as
done it.
(WILLIAM _rises_.)
DONOHUE (_turning to_ ROSALIE C.). You know! Who was it?
ROSALIE. I cannot tell you yet. (DONOHUE _laughs_. WILLIAM _goes to_
HELEN.) But I will! I will!
DONOHUE. Telling's not enough. There's just one thing that will convince
me that she didn't kill Spencer Lee.
WILLIAM (_down_ E.). What, Inspector, what?
DONOHUE. The confession of the one who did. (_He turns to_ ROSALIE.)
Bring me that and I'll set your daughter free.
ROSALIE (C.). Inspector, give me a chance. Do not arrest my little girl.
Give me time. I do know who 'as done it and I will get for you what you
want.
DONOHUE (L.C.). Nonsense!
ROSALIE (_moves up to_ INSPECTOR). Give me one hour, sir. Keep them all
here one hour more.
DONOHUE. No.
WILLIAM (_in front of table_ R.). Give her a chance. We are all here--no
one will get away. What difference will a few minutes make?
(_There is a pause_. DONOHUE _takes out his watch and looks at it_.)
DONOHUE. I'll give her ten minutes. Mike, tell Doolan again to arrest
anyone trying to leave the house, and get on the front door yourself and
stay there until I tell you. (DUNN _turns and exits at_ L.) You've got
just ten minutes.
(_He follows_ DUNN _off_ L.)
ROSALIE. Ten minutes! Ten minutes!
(WILLIAM _crosses to door_ L. _and closes it_.)
WILLIAM (L.C.). Why didn't you _tell_ who did it?
ROSALIE (C.). How could I? I 'ave no idea in the world. But I am going
to find out. I am going to find out.
HELEN (B.C.). But how, mother, how?
ROSALIE. Call them back. Make them all come, too. I want them all.
(HELEN _runs off_ L.) Sir, run down into the 'all. Do you know which is
Mr. Wales' overcoat?
WILLIAM. Yes, I think so.
ROSALIE. See if you can find for me a glove or something of 'is--and
'urry, _mon Dieu_, 'urry!
(WILLIAM _runs off_ L. ROSALIE _stands in thought for a moment, then she
places a chair_ C. _facing up stage_. WILLIAM _runs on again and hands
her a glove_.)
Did you get it?
WILLIAM (L.C.). What are you going to do?
ROSALIE (L.C.). Trick them. Lie to them. It is for Nelly. Do you blame me?
WILLIAM. What can I do to help?
ROSALIE. You are a man after my own 'eart. I am going to do something
to put the fear of God into the 'eart of that murderer. Do not pay any
attention to me. Watch _them_. Do not look at me, do not take your
eyes off them. I am looking for one of them to do something that will
show us the way. It is our only chance.
(HELEN _runs in_ L.)
HELEN. They're coming.
ROSALIE. Leave the door open so we can 'ear them. (HELEN _does so and
returns to her mother, standing_ L. _of_ ROSALIE.) Child, kiss me for
luck. (_They kiss._) It will do no 'arm to kiss him, too. (_They kiss._)
Now, my boy, can you lie?
WILLIAM. _Can I!_
ROSALIE (C.). I am going into a trance. When they do come into the room
you will tell them that I asked for Mr. Wales' glove and the minute I
'ave it in my hand I went off like they see me. Tell them you thought
there might be some reason for it. And then leave the rest to me. (_She
sits in the chair_ C., _facing the back of the stage_.)
WILLIAM. I understand.
ROSALIE. You stand here at the back of me. I wish for them all to be
in front of me. (WILLIAM _crosses back of_ ROSALIE _to_ R. _side of_
ROSALIE'S _chair_. HELEN _crosses_ R. _of_ ROSALIE _above her_.) Nelly,
stand close by me. (_To_ WILLIAM.) Go farther back. (HELEN _moves to_ R.
_of_ ROSALIE.) That's right. Now don't you move from there. This will be
the realest trance and the grandest fake. When I come out, make them go
away, tell them you are afraid and that it will kill me to see anyone.
(_She suddenly stiffens in her chair. Lying rigid with her head thrown
back on the head-rest, and the hand in which she is holding_ WALES'
_glove stretched out straight in front of her. Enter down_ L., CROSBY,
MISS EASTWOOD, STANDISH, TRENT, MRS. CROSBY, MRS. TRENT, MISS ERSKINE
_and_ MISS STANDISH.)
CROSBY (_crossing to up_ L.C.). What is it, Billy?
(MISS EASTWOOD _goes to the_ L. _side of_ ROSALIE'S _chair_, MRS. TRENT
_and_ MRS. CROSBY L. _of chesterfield_ C.; TRENT, MISS ERSKINE _and_
STANDISH _lower_ L. _end of chesterfield_.)
STANDISH. What's happened?
WILLIAM (R. _side of_ ROSALIE'S _chair_). I don't know, exactly. We were
talking about this awful thing. She knew, of course, that her daughter
couldn't have done it, and she asked me to get her something that had
belonged to poor Wales. I got a glove out of Wales' overcoat pocket and
handed it to her, and then all of a sudden she went stiff like that.
I don't know what it means.
(_The others draw closer to_ ROSALIE. MISS EASTWOOD _comes to_ ROSALIE
_and lays her hand on her forehead_.)
MISS EASTWOOD. She's like ice, she's not-- (_Backing up_ C. _a few
steps_.)
HELEN. Oh, no, it's a trance.
(MASON _enters_ L.)
MASON. I wouldn't touch her if I were you.
ROSALIE. (_Speaking as_ LAUGHING EYES.) Hello, everybody! What are you
all so solemn about? I've got a message from a new friend. He do not
want me to send it--he wants to talk; ha, ha, ha, he thinks he can talk,
and he 'as only been here a little while. (_Still speaking as_ LAUGHING
EYES.) He says you are all fools. It is so plain, so plain. He is
looking right at the one who did it, right straight at the one who did
it.
WALES' VOICE. I'm coming to you until you tell. I can't speak names.
You've got to tell, I'm coming, again and again and again, until you
tell. Find the knife. You must find the knife. The marks will show. The
marks will show.
(MISS EASTWOOD _shrieks and faints on_ L. _end of chesterfield_. MASON
_is below end of chesterfield looking at her_. WILLIAM _is standing_ R.
_side and back of_ ROSALIE _looking eagerly about him_. HELEN _turns and
looks at_ MISS EASTWOOD. MRS. CROSBY _goes to_ MISS EASTWOOD _on
chesterfield_.)
MASON. This has got to stop. (_Starts to move to_ ROSALIE'S _chair_--L.
_side of it_.)
HELEN (R. _side of_ ROSALIE'S _chair_). You mustn't touch her.
MASON. It's all right as far as the men are concerned, but look at that
girl. (_He points to_ MISS EASTWOOD _on the chesterfield_.) They'll all
be fainting if this isn't stopped.
(TRENT _goes to_ ROSALIE.)
WALES' VOICE. Trent, let the medium alone. Do you understand? Let the
medium alone.
TRENT. That's Wales' voice--and Wales is dead.
(MASON _goes slowly to_ ROSALIE'S _chair_. TRENT _moves_ L. _above_
MASON _to_ STANDISH. ROSALIE _begins to mutter and moan. Suddenly she
brings her hands together, and then throws her arms wide apart._ WALES'
_glove sails out of her hand and strikes_ MASON _on the face. It falls
to the floor_.)
(STANDISH _exits very quietly door down_ L. MASON _picks glove up,
holding it in his hand_--_looks at it_--_suddenly drops it to the
floor--turns to_ MRS. CROSBY.)
MASON. Mrs. Crosby, shall I take Miss Eastwood to your room for you?
MRS. CROSBY. Yes, please, Philip.
(MISS ERSKINE _moves to door_ L. MASON _assists_ MISS EASTWOOD _and
helps her from the room, exiting door down_ L. MRS. CROSBY _goes out_ L.
TRENT _wipes his hands with handkerchief_. ROSALIE _stirs uneasily and
moans_.)
HELEN (_standing_ R. _side of_ ROSALIE'S _chair_). Please leave her
to me. I'm afraid seeing you all here will trouble her. I'm afraid
she'll-- Oh, won't you please go.
(_The others turn, move towards the door down_ L. _and go out_.)
CROSBY (_below_ L. _end of chesterfield_). Let me know if there's
anything I can do.
(ROSALIE _moans again_.)
HELEN. Yes, yes. Only please go now.
(CROSBY _goes out_ L. WILLIAM _runs quickly to the door at_ L., _closes
it and then turns to_ ROSALIE, _who is sitting up in her chair_.)
ROSALIE (_rises and crosses a step_ R.). Well?
HELEN (R.C.). It was the Eastwood girl. Her face was terrible. I was
glad when she fainted.
WILLIAM (L.C.). I think you're wrong. Standish ran away. He couldn't
bear it.
ROSALIE. And _that_ is all you saw? I told you to use your eyes and the
brains that are at the back of them.
WILLIAM. Well, of course, there was Trent. You can't mean Trent? Why,
he's the kindest man in the world. (_There is a pause._) The letters.
If he's known the truth about the letters. (_Breaks_ L. _a step_.)
HELEN (_coming down to_ L. _of_ ROSALIE'S _chair and picking up glove_).
Mother, why did you throw that glove at Mason?
ROSALIE. Did it hit him? Well, well! Well, any'ow it was a good séance.
(ROSALIE _crosses down_ R.C.)
HELEN (_moving to_ L. _side of_ ROSALIE). Mother, you know? You've found
out?
(WILLIAM _takes_ ROSALIE'S _chair up_ L. _and then comes down_ L.)
ROSALIE. It is one thing to know and another to prove.
HELEN (L. _of_ ROSALIE). Mother, who was it?
ROSALIE. Child, child, do you think it is a game we do play? I 'ave two
or three minutes. What I 'ave to do I 'ave to do quickly.
HELEN. But what, mother, what?
ROSALIE. I do not know! I do not know! Child, if you do not get away
from me you will drive me mad.
WILLIAM. But can't we--
ROSALIE. This is no work for children. Leave me alone and let me think.
(WILLIAM _and_ HELEN _run off_ L., _closing door_.)
ROSALIE. He will never tell in the world. Never in all this world. (L.C.
_Half in thought_.) Laughing Eyes, you are no good to me in the world.
We 'ave faked all our lives, and now when I want the real thing I get
nothing at all. If I could find the knife, there would be marks of a
'and on that. But it is gone. It is gone. I cannot let 'im get away.
I want a sign. I want a sign. Laughing Eyes, are we going to be beaten
by a scheming, cold-hearted murderer?
(_Two knocks are heard outside the door down_ L. _After five seconds two
further knocks_. ROSALIE _starts and looks hastily around the room_.)
I did not do that. I did not do that. (_She lifts her skirt and sees
that her feet are still in her shoes_.) It is come! After all the years,
a real message. A real message. I will 'ave it in the dark, believing
and trusting that I am to be shown.
(_She crosses down to door_ L. _and switches off the light. All the
lights in the room are out. The spot from the window shines on the
ceiling, brilliantly illuminating the knife_. ROSALIE _moves_ C.)
Laughing Eyes, have you a message for me? (_She looks up at knife in
ceiling_.) Look at it! The knife!
(_The door at_ L. _opens_, POLLOCK _stands in the doorway. He sees that
the lights are out and turns them on. Then he sees_ ROSALIE, _who is
standing_ C., _facing front as in a trance_.)
POLLOCK. Excuse me, madam. I knocked twice, but you didn't hear me.
ROSALIE. I 'eard you. Just the same, it was a message.
POLLOCK. The Inspector says, have you got anything you want to tell him?
(ROSALIE _stands lost in thought_. POLLOCK _looks at her for a moment
and then nervously begins to place the chair below table to up_ R.
_corner of scene. He notices that the window blind is up, goes over and
pulls it down and draws the curtains. He then comes back to_ ROSALIE,
_above table_ R.)
The Inspector says, have you got anything you want to tell him.
(ROSALIE _drops down_ R. _in front of table_. DONOHUE _enters from_ L.)
DONOHUE (_moving_ C). Time's about up. (_He laughs._) Well?
ROSALIE (_below table_ R.). I want them all here. All of them. Everyone.
[Illustration]
DONOHUE. What for?
ROSALIE. You are going to 'ear the murderer confess.
DONOHUE. Pollock, ask Mr. Crosby to bring everyone here, (_Crosses_ R.
_to above table_.)
POLLOCK. Very good, sir.
(_He exits_ L. DONOHUE _takes out his watch and stands with it in his
hand watching_ ROSALIE. _She stands lost in her dreams_. DUNN _enters
with_ HELEN O'NEILL _down_ L.)
DUNN. Here she is, Inspector.
DONOHUE. Come here, miss. (HELEN _crosses to_ DONOHUE. _To_ DUNN.) Go
and get a taxi.
(DUNN _turns and exits_ L. _The others enter and stand crowding in the
doorway._ WILLIAM _pushes through and crosses and stands by_ HELEN _up_
R.C. _right end of chesterfield_.)
CROSBY (_up_ L.C.). What is it? You sent for us.
DONOHUE (_between table and chesterfield_). She says her daughter's
not guilty. I gave her ten minutes to find out who is. The time's up.
(_He puts his watch back in his pocket. He turns to_ ROSALIE.) Well?
(ROSALIE _stands rigid. There is a long pause_.)
ROSALIE (_below table_ R.). You that is 'iding, come out!
DONOHUE. Come on. (_He takes_ HELEN _by the hand. They go up_ R. _above
table_.)
ROSALIE (_lower end of table_ R.). You that is skulking, come out!
I call on the spirit of Edward Wales. I call on the spirit of Edward
Wales. Now, you that's killed two men, look!
(_The door at_ L. _of fireplace slowly swings open_. MASON _with a cry
of horror pushes through the crowd at the doorway, which parts to let
him through. He follows the spirit he sees moving across the stage until
he is_ C. _and a little above the table_. MRS. TRENT, MISS ERSKINE _and_
STANDISH _below door down_ L. TRENT, MRS. CROSBY, MISS EASTWOOD C.
_above door_ L. WILLIAM _up_ R.C. _All watch_ MASON. _Suddenly the
window curtains are thrown back, the blind runs up noisily and the
lights go down. The street light strikes the knife in the ceiling, as it
begins to fall_. MASON'S _eye follows the light. He sees the knife and
gives a cry of horror as it strikes the table and sticks in front of
him_. MASON _rushes up stage end of table_ R.)
MASON (_with a cry_). I can't fight the dead. I can't fight the dead!
(_Slowly_ ROSALIE _points at him. The others stand and stare_.)
ROSALIE. Go on, tell it. (_Lower_ R. _side of table_ R.)
MASON. I had to do it. I was afraid Mr. Wales would know.
ROSALIE. You did kill them both?
MASON. Yes.
ROSALIE. Mr. Wales to prevent 'im finding out about Spencer Lee?
MASON. Yes.
ROSALIE. And Spencer Lee?
MASON. He ought to have been killed. I'd been waiting for years to kill
him.
ROSALIE. Why?
MASON. That's between him and me. He smashed my life, and by God, I got
him. He knows why I killed him, I told him I would. I'm glad I did.
I only wish I could have done it over and over again. That's all.
ROSALIE. Why did you kill Spencer Lee?
MASON. He took her away from me. She was the one thing in the world and
he took her away from me. I went to Paris to forget and all I could do
was to remember. Then she died, and I made up my mind that he must die
too.
DONOHUE. How did you get the knife in the ceiling?
MASON. I threw it. Just as I threw a knife into Spencer Lee's back.
I stood in the doorway of his room and told him I'd come to kill him,
and he ran for his revolver and as he ran I threw the knife into his
back. Then I picked up my knife and walked away. No one saw me. I was
quite safe. Quite safe until she came. And unseen hands pushed me
forward. Unseen hands have pointed the way. She's not human. Lee's
message came through her--you all heard Wales speak; out of her lips we
heard Wales' voice. He said he'd come back, again and again and again.
And then he came! I saw him as he came through the door! God Almighty,
you can't fight the dead!
(_He turns suddenly and walks to door_ L. _As he opens it_ SERGEANT DUNN
_steps into the room_.)
DONOHUE. That's your man, Sergeant.
DUNN (_putting his hand on_ MASON'S _arm_). _You_ got him?
DONOHUE. Yes, I got him.
DUNN. Great work, chief, great work. (_He takes_ MASON _off down_ L.)
(HELEN _crosses down to lower end of table_ R.)
ROSALIE (_as they disappear from view_). The poor young man! the poor
young man!
DONOHUE. Ladies and gentlemen, you are all quite at liberty.
(_He goes toward door_ L.)
CROSBY. Thank you, Inspector, for your consideration.
DONOHUE. Not at all, it was the best way out of it.
ROSALIE. Inspector! (_Coming below table_ R. _to_ R.C.)
DONOHUE (_half turning_). Yes.
ROSALIE. My congratulations.
(_He looks at her for a moment, then turns back and shakes hands with
her._)
DONOHUE. You were quite right about me. I was a damn fool.
(_He exits at_ L. HELEN _comes below table_ R.)
MRS. TRENT (_turning to her father up_ L.C. _with a cry_). Oh, daddy,
daddy! I lied about her! I lied about her!
(CROSBY _takes her in his arms, up_ L. HELEN _crosses to_ ROSALIE _from
below table_ R.)
ROSALIE (C.). There is nothing but 'appiness coming to you. The spirits
tell me you are the favourite child of fortune. You will 'ave wealth and
prosperity and 'appiness. You will marry the man you love, and you will
be 'appy.
_The_ CURTAIN _falls_.
ACT I.
[Illustration: The explanation of the figures is given on the opposite
page.]
Italian Room in ROSCOE CROSBY'S home. New York. A handsomely furnished
square room. 1. Door opening on stage down L. 2. Door opening on stage
at back L.C. 3. Door opening on stage R.C. 4. Large fireplace C. at
back. The fireplace with antique fire-dogs must be large enough for man
to make an entrance coming through chimney. 5. Large window over R. in
arch. 6. Platform one step high running full length of window, which is
three sashes long. Trick blind on centre pane. Curtains on pole on
centre windows to work on cue. 7. Up C. in front of fireplace facing up
stage, large chesterfield sofa two feet wide. 8. Facing audience another
large chesterfield sofa, C., sofas back to back. 9. At each end of sofas
small console tables. Console table at right end of sofa is the trick
table which ROSALIE lifts. On console tables at either end of sofa,
table lamps. On console table left end of sofa, fancy cigarettes box
with cigarettes and match-box and ash-tray. 10. Right of the door, R.C.,
large antique Italian chest. 11. Left of door, L.C., large antique
chest. Vases on chests. On flat over L. large tapestry. 12. Against wall
over L. running up and down stage long ornate Italian chest. 13. At
either end of this chest Italian lamps, seven feet high, standing on
floor. Below door down L., on flat, an antique clock. 14. Below door
down L., arm-chair. 15. Left side of fireplace chair with cushion seat.
On mantel two large antique vases. 16. Right side of fireplace, chair
with cushion seat. 17. Large arm-chair. 18. Over right is a large
library table sitting diagonally up and down stage. On table: book-rack
with four books, desk-pad, stationery-holder with stationery, pens,
pencils, ink-box, magazines. 19. Arm-chair back of table. 20. Chair
below table. 21. Chair above table. 22. On platform in window arch, long
seat. 23. Below window arch long arm-chair. 24. Large wall lanterns, on
up stage and down stage, end of window arch. Plush valence or drapery
for windows. Rugs on ground cloth. On flat right of doors up R.C.
small-sized, painted, image of the Virgin. Interior backing for door
down L., up L.C., and R.C. Fireplace backing. Exterior backing for
window over R. 25. Off stage down L. large Italian table with two bronze
vases, and a shrine of the Virgin on it. Off stage R.C. are eight small
chairs, to be brought on stage on cue during First Act. In ceiling,
directly over table R., is a double slot to hold knives. During First
Act, after WILLIAM puts out table lamp, _after_ MISS EASTWOOD'S
_scream_, the knife in down stage slot is let down in sight of
audience. _Seen with point sticking in ceiling._ Between Second and
Third Acts, the knife that falls on cue, during Third Act, is placed up
stage slot in ceiling, with point downwards. Setting the knife down in
view of audience in First Act, as well as releasing the second knife so
that it falls, and sticks in table during Third Act, is worked by
strings off stage R.
LIGHT PLOT.
Foots full rose, ambers 3/4 at rise. Light switch down stage side of
door down L. Hanging lamps, post lamps, table lamps, lit. Amber strip in
doorway down L. lit. One light strip amber, in doorway R.C. and L.C. Two
light strip amber, hung on fireplace backing. Two blue bunches outside
window R., lit. Baby amber shooting across stage from window R. Baby
amber striking mantel up C. from window R. Baby amber down L. at
proscenium arch shooting across stage, lit. Blue baby focused to strike
ROSALIE in chair C. from window R., OUT AT RISE. White frost spot in
position outside of window R. to strike ceiling on cue, OUT AT RISE.
1ST CUE.--When ROSALIE lifts table first time sneak off baby down stage
L., also baby from window R. that starts across stage.
2ND CUE.--After POLLOCK locks door down L., all entrance strips and baby
down L., out.
3RD CUE.--When CROSBY pushes button, all foots out. Brackets out, lamp
posts out. Amber babies at window R., out. At same time, white spot
light on ceiling LIT.
4TH CUE.--When WILLIAM pulls chain on table lamp right end of
chesterfield, table lamp out. Two babies from window out.
5TH CUE.--When CROSBY says, "The reflection on the ceiling is too
strong," WILLIAM pulls chain on table lamp right end of chesterfield,
table lamp and two babies from window right, LIT.
6TH CUE.--WILLIAM pulls down window shade, spot on ceiling and blue
bunches OUT. Then when WILLIAM pulls chain on the table lamp right end
of chesterfield, table lamp, two babies outside window R., OUT.
7TH CUE.--When CROSBY calls for light, table lamp right end of
chesterfield, LIT. Two babies from window LIT. Amber foots 1/4 LIT.
Bring on blue baby outside window R.
8TH CUE.--When WILLIAM pulls chain on table lamp right end of
chesterfield, table lamp, two babies, amber foots, OUT, leaving blue
spot, LIT.
9TH CUE.--When CROSBY calls for light, table lamp right end of
chesterfield, LIT; two amber babies, LIT; amber foots, 3/8 LIT.
NOTE.--All house lights in front (Auditorium) must be OUT when ROSALIE
and ladies enter after ROSALIE has been searched. This is very
important.
ACT II.
[Illustration: The position of the chairs at the commencement of the
Act.]
LIGHTING PLOT FOR ACT II.
Amber foots, half up. Hanging brackets, lamp posts, table lamps,
entrance strips, LIT. Amber baby down in L. first entrance, LIT. Blue
bunches outside of window R., LIT. Fireplace, LIT. Lights stand during
this Act.
ACT III.
The eight small chairs that were brought on in the First Act are taken
off stage. The big arm-chair that ROSALIE sat in has been taken up the
left corner of set. Table has been moved up and on stage about a foot.
The knife that is to fall on given cue has been placed in slot in
ceiling. The window blind is pulled down, the curtains on window are
opened. Arm-chair back of table R. Chair below table R. Chair above
table R. Chesterfield has been moved down stage C. about a foot. Shelf
back of chesterfield has been fixed for WALES to lie on. Console table
back in its original position, right end of chesterfield C. Chairs with
upholstered seats put back to left and right sides of fireplace. Door
down L., open.
Be sure to clear everything off table R.C. for knife.
LIGHTING PLOT FOR ACT III.
Everything OUT at RISE except amber strip and amber baby in left first
entrance and blue bunches outside of window, R., which are LIT.
1ST CUE.--After prayer, ROSALIE raises window shade, white spot on knife
in ceiling, LIT.
2ND CUE.--Inspector pushes switch, lights lit, amber foots 1/2, table
lamps, brackets, post lights, LIT.
NOTE.--No lights in entrance R.C., L.C., and fireplace.
3RD CUE.--ROSALIE pushes light switch, foots, table lamps, brackets,
post lights, OUT. Spot on knife from outside window R., LIT.
4TH CUE.--POLLOCK pushes light switch, amber foots, table lamps,
brackets, post lights, LIT same as AT RISE. Spot on knife, out.
5TH CUE.--ROSALIE says, "I call on the spirit of Edward Wales," start to
dim foots to 1/8. Must be down on word "look." As window shade flies up,
spot on knife, LIT. As knife leaves ceiling spot OUT and amber foots,
flash up, full.
=====================================================================
A Book of Make-Up
By ERIC WARD
This handbook is unique inasmuch as it is prepared specially for
ready reference during the actual process of Making-Up.
The author has had many years of professional experience on the
Stage and Screen: as actor, stage manager and designer, both in
this country and abroad.
The object of the book is to set before the student of the stage
in the simplest form the procedure of facial make-up, so that even
the beginner may follow its instructions easily and clearly.
Amongst the numerous chapters the following are included:--The
Principles of Make-Up, The Dressing Table, The Preparation of
the Face, "Straight" Make-Up, Film Make-Up, Character Make-Up,
Confidential Make-Up, Some Racial Types and Classic Models.
Several coloured illustrations are given, showing in detail the
actual colouring for various characters of the eyes, nose, mouth,
and full face, both for juvenile and character make-up, all of
which are adequately described in the letterpress.
Price 3s. 9d. post paid.
SAMUEL FRENCH, LTD.