Curtain.
Curtain.
The sameSCENEhalf an hour later.
ROSALIEis discovered by tableR.
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 atR.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 theC.of this patch, sticking point up in the heavy wooden panelling, can be seen the knife. ROSALIEstands for a few moments looking out at the night. DONOHUEenters downL.He turns on the lights from the switch below the door downL.)
DONOHUE (crosses toL.C.). Who turned off the lights?
ROSALIE (at windowR.). I did, sir.
DONOHUE. Why?
ROSALIE. I was praying. (Coming to above tableR.)
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 doorL.) I will join the others now.
DONOHUE. I think'd you better wait. (Calls offL.) Mike!
(ROSALIEisC. DUNNenters fromL.)
DUNN. Yes, Inspector.
DONOHUE. Did Madame la Grange see you as she came in here?
DUNN (downL.). 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 toROSALIE,who isC.) 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 (crossingL.). I will come!
(They go out. He stands looking after them for about five seconds, whenDUNNre-enters and says:)
DUNN (above doorL.). 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 atL.and puts out his hand. He stops suddenly as his attention is attracted by aPOLICEMANcoming feet foremost down the chimney.DONOHUEgives a little start and then comesL.C.ThePOLICEMANjumps down all the way in fireplace, and comes into the room to console tableL.end of chesterfield. His uniform is covered with soot, and so are his face and hands.DUNNgoes downL.below door.)
DUNN. I sent him to see if they'd hidden that knife up there?
DONOHUE. Good. (ToPOLICEMAN.) 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 atL. DONOHUEcrossesR.Pause.)
DUNN (downL.After a pause). Don't it beatHell?
DONOHUE. Why?
DUNN. That knife couldn't have flew away.
DONOHUE (comingC.). 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.
(DONOHUEcrosses towards tableR.)
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 tableR.). Yes, I noticed that. Mike, you've the makings of a great detective.
DUNN. I'm a darned good detective now.
(DONOHUEgoes to window atR.and calls out.)
DONOHUE. Say, Doolan! See anything?
DOOLAN (outside windowR.). 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.
(DONOHUEcomes below tableR.and turns toDUNN.Crosses toL.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.
(DUNNexitsL. DONOHUEcrosses upR.end of chesterfield to chest upR.,starts to crossL.below chesterfield. CROSBYenters downL.and closes the door. DONOHUEcomes down toC.byR.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. (CROSBYwalks toward doorL.) Why did Wales object to the engagement of your son and Helen O'Neill?
CROSBY (turns toDONOHUE). 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. (MovesR.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. (MovesR.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 downL.) Come in.
(HELENentersL.)
HELEN (L.). You wanted me?
DONOHUE. Yes, come in. Sit down, please.
(Indicating chair below tableR. HELENcrosses and sits. CROSBYstarts to moveR.)
CROSBY. Helen——
DONOHUE. What you are planning to do, Mr. Crosby, will only make matters worse, I promised you that.
(After a moment's pauseCROSBYexitsL.and leaves door open. DONOHUEturns, closes door and turns sharply toHELEN.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. (MovesR.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 tableR.). 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 tableR.). Now we're getting along. How well did you know Spencer Lee? (HELENdoes not answer him—looking front.) You'd better make up your mind to talk. Do you hear? (HELENdoes 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 atL.) 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——
(ROSALIEenters quietly fromL.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. (CrossesR.to table.)
(DONOHUErises and stands by tableR.C. HELENrises.)
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.
(DUNNenters with box and envelope.)
DONOHUE. That's very wise of you.
DUNN. Got it, Inspector. (Crosses toC.)
DONOHUE (downR.). Do they compare?
DUNN. To a T.
(ROSALIE C., HELENdownR. DONOHUEin front table betweenHELENandROSALIE.)
DONOHUE. All right. Let me have 'em. Now ask Mr. Crosby and his son to come here at once.
(DUNNturns and exitsL. DONOHUEupC.crosses to back of tableR.)
I already have your daughter's finger-prints, Madame la Grange.
ROSALIE. 'Ave you really? ... You are very smart.
(HELENcrosses toROSALIE R.C. ROSALIEputs her arms about the girl and swings herL.of her. WhenDONOHUEopens box at the back of tableCROSBYandWILLIAMenter fromL.accompanied byDUNN.)
DONOHUE. That's all, Mike.
(DUNNexitsL.and closes door. CROSBY L.ofHELEN. WILLIAM L.ofCROSBY.)
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 towardHELEN.) This is the woman we have been hunting.
ROSALIE. That is a lie! (R.end of chesterfield.)
(WILLIAMgoes toHELEN.)
DONOHUE (picking up cup and holding it out toward them). Here is the cup—
(CROSBYcrosses downR.to below table—moves chair overR.)
which we took from Spencer Lee's rooms. These are the finger-prints of the woman who used it. (IgnoringCROSBYfor 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. (HELENis inWILLIAM'Sarms. DONOHUEputs 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.
(DONOHUEsteps back with a little gesture of triumph. CROSBYstands staring at the girl. ROSALIEcomes toR.ofHELEN,turns to her.)
ROSALIE (C.). Look at me, my darling. Look at your mother. (She takesHELEN'Sface in her hands and looks at her closely. Then with a little cry of contentment standsR.ofHELEN. ROSALIEandHELENback 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.DONOHUEgives 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. (CROSBYcomes over toHELENand sits beside her on the chesterfield, R.side. WILLIAMis atL.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 toHELEN.) 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.
(DONOHUEgives a short laugh. Sits back of tableR.)
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 showhimhow wrong he is.
DONOHUE (seated back of tableR.). Yes, and I'm waiting to be shown.
WILLIAM (kneelingL.ofHELEN). 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? (HELENdoes not answer.) Did you know Spencer Lee?
WILLIAM. Of course she didn't.
DONOHUE (seated back of tableR.). Why don't she speak for herself?
WILLIAM. Because I'll speak for her.
CROSBY. Can't you answer even that question?
(HELENshakes 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.
(CROSBYandWILLIAMrise. CROSBYmoves toL.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 toHELEN 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.
(CROSBYis nowC. WILLIAMstands below himC.)
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 thenROSALIEgets 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? (HELENdoes not answer. ROSALIEsuddenly turns toWILLIAM.) She is your girl?
WILLIAM (L.C.). Yes.
ROSALIE. Then make her tell.
WILLIAM (toHELEN C.). Nell dear, you must——
HELEN. Billy, I can't.
CROSBY (drops downL.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 toR.end of chesterfield. WILLIAMcomes to her. CROSBYisL.C.)
ROSALIE (interruptingHELEN,coming toR.C.). Break your word? You shall not. You need not tell. I know it myself now—I 'ave been blind. (She turns suddenly on theINSPECTOR—moves to down tableR.,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? (HELENdoes 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 tableR.)
CROSBY. My daughter sent you. What for?
HELEN (R.C.). Some letters.
WILLIAM (in front of chesterfieldC.). Why didn't she go herself?
HELEN. She was afraid.
DONOHUE (still seated back of tableR.). Well, go on.
(HELENdoes 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 tableR.)
ROSALIE. Tell the Inspector what happened, dearie. (PuttingHELENin chair front of tableR.)
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 tableR.). 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?
(ROSALIEis 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 Idon'tis 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 tableR.). 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 tableR.). Oh, they do, they do! The poor creatures!
DONOHUE (downR.). They do not. I know them. (He turns toWILLIAM.) 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.toL.ofWILLIAM). How do you know that?
DONOHUE. She couldn't take tea with a man she's just killed.
WILLIAM. Why,damnyou—— (StartsR.)
CROSBY (grabbingWILLIAMby 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 (downC.a step. CROSBYgoes aboveWILLIAM C.). Of course. Dad, we've lost our brains. She didn't go for her own letters. (WILLIAMturns to theINSPECTOR.) 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 doorL.)
CROSBY. Where are you going?
WILLIAM. To get my sister.
DONOHUE. Wait. (WILLIAMstops.) I'll send for Mrs. Trent.
WILLIAM (crossesL.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.
(WILLIAMopens door atL.)
WILLIAM. Sergeant Dunn, the Inspector wants you. (He turns back to the girl, andDUNNentersL.)
DONOHUE. Ask Mrs. Trent to come here.
(DUNNexits atL. ROSALIEis at theR.end of chesterfield. HELENis in the chair in front of the tableR. WILLIAM C. CROSBYwalks upL.,then back toL.C. DONOHUEbelow the table looking at them with a grim smile. After a pause of about ten secondsMRS. TRENTandTRENTenter from L., followed byDUNN,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.ofMRS. TRENT). Did she what?
DONOHUE. Did you, Mrs. Trent?
MRS. TRENT (L.C.). Certainly not.
HELEN. Why—— (Rises from chair in front of tableR.)
DONOHUE (sternly). Keep still, you. (ToMRS. TRENT.) Are you sure?
TRENT (L.of MRS. TRENT). Of course she's sure.
DONOHUE. Mr. Trent, you must stop these interruptions. (ToMRS. TRENT.) Will you please answer my question?
MRS. TRENT. I never wrote a letter to Spencer Lee in my life. (She suddenly turns toHELEN.) How dare you say I sent you there?
HELEN. You did! You did! (In front of table.)
MRS. TRENT (downL.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 (downR.). 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 (comingL.ofMRS. TRENT. CROSBYcomesC.). But Nell didn't know Lee, and you did, Helen.
DONOHUE (still downR.). 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.
(WILLIAMgoes up to chesterfieldC.and sits. CROSBYlooks coldly atHELENand 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 withMR.andMRS. TRENTdownL.)
(HELENis still in front of the tableR.As the door closes, DONOHUEcrosses toL.C.)
DONOHUE. Mike, take her down town.
ROSALIE (C.). I would not if I was you. Inspector, I do know who 'as done it.
(WILLIAMrises.)
DONOHUE (turning toROSALIE C.). You know! Who was it?
ROSALIE. I cannot tell you yet. (DONOHUElaughs. WILLIAMgoes toHELEN.) 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 (downE.). What, Inspector, what?
DONOHUE. The confession of the one who did. (He turns toROSALIE.) 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 toINSPECTOR). Give me one hour, sir. Keep them all here one hour more.
DONOHUE. No.
WILLIAM (in front of tableR.). Give her a chance. We are all here—no one will get away. What difference will a few minutes make?
(There is a pause. DONOHUEtakes 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. (DUNNturns and exits atL.) You've got just ten minutes.
(He followsDUNNoffL.)
ROSALIE. Ten minutes! Ten minutes!
(WILLIAMcrosses to doorL.and closes it.)
WILLIAM (L.C.). Why didn't youtellwho 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. (HELENruns offL.) 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!
(WILLIAMruns offL. ROSALIEstands in thought for a moment, then she places a chairC.facing up stage. WILLIAMruns 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. Watchthem. 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.
(HELENruns inL.)
HELEN. They're coming.
ROSALIE. Leave the door open so we can 'ear them. (HELENdoes so and returns to her mother, standingL.ofROSALIE.) 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 chairC.,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. (WILLIAMcrosses back ofROSALIEtoR.side ofROSALIE'Schair. HELENcrossesR.ofROSALIEabove her.) Nelly, stand close by me. (ToWILLIAM.) Go farther back. (HELENmoves toR.ofROSALIE.) 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 holdingWALES'glove stretched out straight in front of her. Enter downL., CROSBY, MISS EASTWOOD, STANDISH, TRENT, MRS. CROSBY, MRS. TRENT, MISS ERSKINEandMISS STANDISH.)
CROSBY (crossing to upL.C.). What is it, Billy?
(MISS EASTWOODgoes to theL.side ofROSALIE'Schair, MRS. TRENTandMRS. CROSBY L.of chesterfieldC.; TRENT, MISS ERSKINEandSTANDISHlowerL.end of chesterfield.)
STANDISH. What's happened?
WILLIAM (R.side ofROSALIE'Schair). 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 toROSALIE. MISS EASTWOODcomes toROSALIEand lays her hand on her forehead.)
MISS EASTWOOD. She's like ice, she's not—— (Backing upC.a few steps.)
HELEN. Oh, no, it's a trance.
(MASONentersL.)
MASON. I wouldn't touch her if I were you.
ROSALIE. (Speaking asLAUGHING 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 asLAUGHING 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 EASTWOODshrieks and faints onL.end of chesterfield. MASONis below end of chesterfield looking at her. WILLIAMis standingR.side and back ofROSALIElooking eagerly about him. HELENturns and looks atMISS EASTWOOD. MRS. CROSBYgoes toMISS EASTWOODon chesterfield.)
MASON. This has got to stop. (Starts to move toROSALIE'Schair—L.side of it.)
HELEN (R.side ofROSALIE'Schair). You mustn't touch her.
MASON. It's all right as far as the men are concerned, but look at that girl. (He points toMISS EASTWOODon the chesterfield.) They'll all be fainting if this isn't stopped.
(TRENTgoes toROSALIE.)
WALES' VOICE. Trent, let the medium alone. Do you understand? Let the medium alone.
TRENT. That's Wales' voice—and Wales is dead.
(MASONgoes slowly toROSALIE'Schair. TRENTmovesL.aboveMASONtoSTANDISH. ROSALIEbegins 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 strikesMASONon the face. It falls to the floor.)
(STANDISHexits very quietly door downL. MASONpicks glove up, holding it in his hand—looks at it—suddenly drops it to the floor—turns toMRS. CROSBY.)
MASON. Mrs. Crosby, shall I take Miss Eastwood to your room for you?
MRS. CROSBY. Yes, please, Philip.
(MISS ERSKINEmoves to doorL. MASONassistsMISS EASTWOODand helps her from the room, exiting door downL. MRS. CROSBYgoes outL. TRENTwipes his hands with handkerchief. ROSALIEstirs uneasily and moans.)
HELEN (standingR.side ofROSALIE'Schair). 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 downL.and go out.)
CROSBY (belowL.end of chesterfield). Let me know if there's anything I can do.
(ROSALIEmoans again.)
HELEN. Yes, yes. Only please go now.
(CROSBYgoes outL. WILLIAMruns quickly to the door atL.,closes it and then turns toROSALIE,who is sitting up in her chair.)
ROSALIE (rises and crosses a stepR.). 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. Andthatis 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. (BreaksL.a step.)
HELEN (coming down toL.ofROSALIE'Schair 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.
(ROSALIEcrosses downR.C.)
HELEN (moving toL.side ofROSALIE). Mother, you know? You've found out?
(WILLIAMtakesROSALIE'Schair upL.and then comes downL.)
ROSALIE. It is one thing to know and another to prove.
HELEN (L.ofROSALIE). 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.
(WILLIAMandHELENrun offL.,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 downL.After five seconds two further knocks. ROSALIEstarts 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 doorL.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. ROSALIEmovesC.)
Laughing Eyes, have you a message for me? (She looks up at knife in ceiling.) Look at it! The knife!
(The door atL.opens, POLLOCKstands in the doorway. He sees that the lights are out and turns them on. Then he seesROSALIE,who is standingC.,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?
(ROSALIEstands lost in thought. POLLOCKlooks at her for a moment and then nervously begins to place the chair below table to upR.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 toROSALIE,above tableR.)
The Inspector says, have you got anything you want to tell him.
(ROSALIEdrops downR.in front of table. DONOHUEenters fromL.)
DONOHUE (movingC). Time's about up. (He laughs.) Well?
ROSALIE (below tableR.). I want them all here. All of them. Everyone.