DONOHUE. What for?
ROSALIE. You are going to 'ear the murderer confess.
DONOHUE. Pollock, ask Mr. Crosby to bring everyone here, (CrossesR.to above table.)
POLLOCK. Very good, sir.
(He exitsL. DONOHUEtakes out his watch and stands with it in his hand watchingROSALIE.She stands lost in her dreams. DUNNenters withHELEN O'NEILLdownL.)
DUNN. Here she is, Inspector.
DONOHUE. Come here, miss. (HELENcrosses toDONOHUE.ToDUNN.) Go and get a taxi.
(DUNNturns and exitsL.The others enter and stand crowding in the doorway.WILLIAMpushes through and crosses and stands byHELENupR.C.right end of chesterfield.)
CROSBY (upL.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 toROSALIE.) Well?
(ROSALIEstands rigid. There is a long pause.)
ROSALIE (below tableR.). You that is 'iding, come out!
DONOHUE. Come on. (He takesHELENby the hand. They go upR.above table.)
ROSALIE (lower end of tableR.). 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 atL.of fireplace slowly swings open. MASONwith 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 isC.and a little above the table. MRS. TRENT, MISS ERSKINEandSTANDISHbelow door downL. TRENT, MRS. CROSBY, MISS EASTWOOD C.above doorL. WILLIAMupR.C.All watchMASON.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'Seye follows the light. He sees the knife and gives a cry of horror as it strikes the table and sticks in front of him. MASONrushes up stage end of tableR.)
MASON (with a cry). I can't fight the dead. I can't fight the dead!
(SlowlyROSALIEpoints at him. The others stand and stare.)
ROSALIE. Go on, tell it. (LowerR.side of tableR.)
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 doorL.As he opens itSERGEANT DUNNsteps into the room.)
DONOHUE. That's your man, Sergeant.
DUNN (putting his hand onMASON'Sarm).Yougot him?
DONOHUE. Yes, I got him.
DUNN. Great work, chief, great work. (He takesMASONoff downL.)
(HELENcrosses down to lower end of tableR.)
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 doorL.)
CROSBY. Thank you, Inspector, for your consideration.
DONOHUE. Not at all, it was the best way out of it.
ROSALIE. Inspector! (Coming below tableR.toR.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 atL. HELENcomes below tableR.)
MRS. TRENT (turning to her father upL.C.with a cry). Oh, daddy, daddy! I lied about her! I lied about her!
(CROSBYtakes her in his arms, upL. HELENcrosses toROSALIEfrom below tableR.)
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.
TheCurtainfalls.
TheCurtainfalls.
The Explanation of the Figures is given on the Opposite Page.The Explanation of the Figures is given on the Opposite Page.
The Explanation of the Figures is given on the Opposite Page.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,afterMISS EASTWOOD'Sscream, 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.
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.
The Position of the Chairs at the Commencement of the Act.The Position of the Chairs at the Commencement of the Act.
The Position of the Chairs at the Commencement of the Act.The Position of the Chairs at the Commencement of the Act.
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.
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.
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-UpBy ERIC WARDThis 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 paidSAMUEL FRENCH, LTD
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 paidSAMUEL FRENCH, LTD