Ten minutes later.

Discovered: CROSBY standing by the door L. ROSALIE still tied in chair. Dummy supposed to represent WALES’ body, covered by a piece of drapery, has been placed on chesterfield facing fireplace up C.

MRS. TRENT seated below console table L. end of chesterfield.

MISS EASTWOOD seated at R. end of console table R. of chesterfield, rattling book leaves.

STANDISH standing over R. below table.

MISS STANDISH is sitting L.C.

HELEN WILLIAM standing above table R.

MRS. CROSBY seated L. next to ROSALIE. MISS ERSKINE seated next to MRS. CROSBY, tapping the sides of the chair with her fingers. MASON in front of fireplace C., looking at WALES’ body. Eventually he moves to MISS EASTWOOD and takes the book away from her.

TRENT walking up stage L. as curtain rises. All lamps alight.

The arrangement of the chairs for this act is detailed at the end of the play.

MRS. TRENT (rising and moving to CROSBY). Father, please let me go to my room.

CROSBY. It is impossible, my dear.

TRENT. But, Mr. Crosby (Comes down to CROSBY L.)

CROSBY (interrupting him). It’s quite impossible.

(MRS. TRENT goes to and sits in chair up L., followed by TRENT, who stands R. side of her. WILLIAM sits back of table R. HELEN sits above table R.)

STANDISH (below table over R.). Mr. Crosby, I must

CROSBY. Mr. Standish, I just refused to let my own daughter leave the room.

(Slight pause.)

STANDISH. But dont you see, sir

CROSBY. My dear Standish, poor Wales was killed by someone in this room. We are all of us under suspicion. Everyone of us. (Slight movement from all.) It’s an awful thing to say but one of us in this room has killed Wales. Which one of us?

(Knock on door down L.)

CROSBY. Yes.

POLLOCK (outside). The police are here, sir.

CROSBY. Who is it?

DONOHUE (outside). Inspector Donohue.

CROSBY. Pollock, give Inspector Donohue all the keys.

POLLOCK (outside). Yes, sir.

(There is a pause.)

DONOHUE (outside). What is all this?

POLLOCK (outside). I don’t know, I’m sure. I was told to lock the door. I don’t know what’s been going on inside. Then I was told to call you. This is the right key for that door.

(The noise of the key being put into the lock can be heard, then the click as it is turned in the lock, then the door is opened, and INSPECTOR DONOHUE in plain clothes comes well on stage L. He is seen to be a clean-cut, intelligent-looking man of fifty. It later develops that he is reserved and extremely quiet in manner. He speaks like a gentleman and acts like one. SERGEANT DUNN enters also and drops below door L.)

DONOHUE. Where’s Mr. Wales?

CROSBY (L.C.). How did you know that Wales

DONOHUE (L. of CROSBY, interrupting him). I don’t know anything. I was thinking of something else. I was told that I was wanted here in a hurry.

CROSBY. Queer your asking for Wales. Mr. Wales is dead; that’s why I sent for you.

DONOHUE. Wales is what?

CROSBY. Wales is dead.

MISS EASTWOOD (still seated R.C.). Yes, and if you ask me

DONOHUE. Just a minute, please, miss. (He turns to CROSBY.) It must have been very sudden. Why, only this afternoon I Did he ask you to send for me?

CROSBY (L.C.). Inspector, you don’t seem to understand. Mr. Wales was murdered in this room not fifteen minutes ago.

(Other characters keep the same positions as when the curtain rose.)

DONOHUE (his manner changing abruptly). Mike! That door! (SERGEANT DUNN closes door L. and stands in front of it.) Where have you taken him?

CROSBY (pointing to the chesterfield C.). There.

(DONOHUE goes up L. end of chesterfield to C. and stands looking down on the body. There is a long pause, and then slowly raising his head looks with terrible deliberation at each person in the room. MASON moves to R. end of chesterfield.)

DONOHUE. Who did this?

CROSBY. We don’t know.

DONOHUE (very quietly). Then I expect we’ll have to find out. (He comes down by the R. end of the chesterfield and stops when he sees ROSALIE. He gives a short laugh as he sees how she is tied to the chair.) What’s this?

MRS. CROSBY (rises). Good Heavens, we forgot to untie her! I’m so sorry.

ROSALIE. Thank you, madame. I am quite comfortable. I will stay as I am if you do not mind.

MRS. CROSBY. But

DONOHUE. I think we’ll leave things as they are for the present.

(MRS. CROSBY resumes the same seat as before.)

ROSALIE. A policeman with brains! Oh, la-la!

DONOHUE. Let’s see if he can’t use them then. (Moving to CROSBY down L.C. and standing on his R. side.) Now, Mr. Crosby, tell me exactly what happened.

CROSBY. I know it sounds foolish, but we were having a spiritualistic séance. Madame la Grange is a medium.

DONOHUE. I see.

CROSBY. We were sitting in the dark, in a circle, you know, holding hands. Suddenly Wales cried out. I called to my son to turn on the light. He did so. Wales was leaning forward in his chair. His hands were in those of the people he sat between, and all the rest of us were sitting around.

DONOHUE. All of you?

CROSBY. Yes.

DONOHUE. I thought you told your son to turn on the lights.

CROSBY. If youre implying that

DONOHUE. I’m not implying anything, and please answer my questions.

WILLIAM (rises, and stands back of table R.). Inspector, I was sitting there, and simply made a move to turn on the light. I had chosen the seat purposely. We wanted to expose trickery, if we found any.

DONOHUE. I understand. (He turns again to CROSBY.) Go on, Mr. Crosby.

CROSBY. In a moment poor Wales fell to the floor. I ran to him and found that he had been stabbed in the back. Before we could call for aid, he was dead.

DONOHUE. Did he say anything?

CROSBY. No. I think that he was dead before we got to him.

DONOHUE. What happened then?

CROSBY. As soon as I realized what had happened I sent for you.

DONOHUE. Why for me? Why not simply notify the police? I mean, was there any special reason for wanting me?

CROSBY. There was, but I wasn’t conscious of it at the time. We’d been talking about the killing of Spencer Lee earlier in the evening, and I suppose that subconsciously I remembered that you were handling that case, which brought yours as the first name to my mind. That’s all.

DONOHUE. I see. (Going C._ a few steps._) Now then, who’s been in or out of this room since? Of course, you know you had no right to move Mr. Wales.

CROSBY (L.C.). Yes, I know, but I couldnt let him lie there on the floor. It was a little too much. You see we were all locked in here and and

DONOHUE. Locked in! You mean as I found you when I came?

CROSBY. Exactly. We had all of the windows fastened and all doors locked for the séance. Pollock had the keys, I refused to let him open the door until you came.

DONOHUE. Mr. Crosby, you are forgiven for breaking the Coroner’s rules. As I understand, then, you were sitting in this room with the doors and windows locked; you were in the dark. Wales was stabbed in the back, the lights were turned on, and no one has left the room or entered since?

CROSBY. No one but you.

DONOHUE. I didn’t kill him. (There is a long pause, then he turns with a sweeping gesture.) Which one of you did? (Slight movement from others. There is another long pause. No one speaks. He moves very quietly down R.C. to below table R.) Now, I’m not going to employ the usual police methods. There is to be no threatening or badgering. But you all can see that there can be no escape for the guilty person. I realize that this is a terrible situation for all of you, but the only way to relieve it is for the murderer of Mr. Wales to confess. (Another pause.) It will save a long, and I assure you, a very trying police investigation. Let me say also that there will be no recriminations, no unpleasant scenes. I realize that this seems a very weak plea for a confession. But I am counting on the intelligence of the people now in this room. (He takes out his watch and holds it face upward in his hand.) I have unlimited time, but not a great deal of patience. Well? (There is another long pause. He finally replaces his watch with a little gesture of finality.) Very well then. (He turns suddenly to MISS EASTWOOD, who is still seated up R.C.) What is your name?

MISS EASTWOOD. Mary Eastwood.

DONOHUE. A moment ago, Miss Eastwood, you started to tell me something. You said, “If you ask me ” Now I am asking you. What was it you wanted to tell me?

MISS EASTWOOD (seated R. of console table R.). I dont want to especially. But I think I ought to tell you this. No one else seems to have thought of it. When the sance started we were all sitting in a circle holding each others hands. As I understand it

DONOHUE. We can take it for granted that I know how that is done. Go on, please.

MISS EASTWOOD. The medium got out of the circle without our knowing it, and then showed us how she did the trick.

DONOHUE. I see.

MISS EASTWOOD. Why couldn’t she have done it again? Of course, that’s what someone did, isn’t it? And if she could get out of the circle without our knowing it, she could get back in again, couldn’t she?

(HELEN rises. MISS EASTWOOD continues with an air of triumph.)

That’s what I wanted to tell you.

ROSALIE. If any one of you, or all of you, can get me out of this chair without untying me or cutting me loose, I will say that I ’ave done that murder.

(HELEN sits above table R.)

DONOHUE. Thank you, Miss Eastwood. It’s only fair to tell you that there isn’t a trick or an effect that these people do that the police do not understand perfectly.

ROSALIE. Is that so?

(DONOHUE goes over and examines the way in which ROSALIE is tied to the chair.)

DONOHUE. Why was she tied up?

CROSBY (down L.C.). At her own request. As Miss Eastwood says, she showed us how she broke out of the circle and then suggested that we tie her into that chair to make sure she didn’t do it again.

DONOHUE (R. of ROSALIE’S chair). It’s lucky for her that she did. Even if she had slipped out of those knots, there’s no way in the world that she could get back in.

ROSALIE. I did say this policeman ’ad brains. (DONOHUE turns away from her.) Get me loose, dear Inspector. My foot ’e sleeps.

(DONOHUE turns back and unties handkerchiefs with which she is tied. She gets up and stands in front of arm-chair C.)

DONOHUE. Thank you very much, Miss Eastwood, that eliminates one.

ROSALIE. Then I can go? (Starting for door L.)

DONOHUE. You cannot.

(ROSALIE goes R. of arm-chair and sits R. end of chesterfield C.)

Anyone else anything they want to tell me? (Pause.) No? Mike, you’d better ’phone the Coroner and ask him to come up here. Tell him I do not want the case reported yet. And suggest that he hurries.

DUNN. Yes, Inspector.

(He turns and exits L., leaving the door open behind him. STANDISH and TRENT start towards door L.)

DONOHUE (turning to them). That open door does not mean freedom for any of you yet.

TRENT (coming to DONOHUE C.). Im awfully sorry, Inspector, but Ive an important business engagement at ten oclock. My father-in-law here will

DONOHUE. That’s quite impossible.

(TRENT goes up L. again and stands L. side of MRS. TRENT.)

STANDISH (moving to L.C.). That is all very well, Inspector, but you know you can’t keep us in this room for ever. If you want to take the consequences of accusing me of murder, well, that’s your affair. But my patience is exhausted and I haven’t the slightest intention of remaining here much longer. Unless, of course, you are planning to arrest me.

DONOHUE (C.). I see. By the way, who are you?

STANDISH. Howard Standish, of Standish, Giles & Updegraff, 120 Broadway.
My brother is Judge Standish of the Supreme Court.

DONOHUE. And you refuse to remain here any longer?

STANDISH. I do.

DONOHUE. Very well, Mr. Standish of Standish, Giles & Updegraff. You are arrested as a material witness in this case. As soon as Sergeant Dunn returns he will call a patrol wagon and take you down to the House of Detention. (Turns and crosses R.) Are there any others who insist on leaving this room?

STANDISH. I beg your pardon, Inspector. I acted like a fool.

(MASON R. of chesterfield C.)

DONOHUE. Not at all, sir, your actions are entirely natural.

(STANDISH goes up L. DUNN’S voice is heard outside.)

DUNN. Hello! Hello! No, sir. But Inspector Donohue wants you to come here at once. We’re at Mr. Roscoe Crosby’s house. No, sir (DONOHUE crosses over and closes the door L.), he doesn’t want the case reported yet.

DONOHUE. We needn’t be bothered with that, anyway. (Moves back to R.C. There is a pause.) Well, I’m afraid we’ll have to begin work. (He goes over to table R. and sits down stage end of table. Takes paper and gets pencil.) With the exception of Mr. Crosby, who is known to nearly everyone, and Mr. Standish, who has so pleasantly introduced himself to me, I know none of you. So I’ll have to ask (He stops suddenly and rises, facing them all. He points slowly to the chesterfield, facing fireplace up C.) That’s rather a gruesome thing there. I think we’ll move it into another room. Will some of you gentlemen carry Mr. Wales’ body into the other room. (There is a pause. The men all hesitate. Finally MASON starts to move to chesterfield. DONOHUE is down stage R.C.) Thank you very much. Well

(Coming to C. DUNN enters from L.)

DUNN. Dr. Bernstein himself is on the way here, Inspector.

DONOHUE. Good! Mike, get one of the servants to help you to carry this sofa into another room.

(DUNN turns and exits L. without speaking.)

I won’t have to trouble you after all, sir.

(MASON drops down to console table R. of chesterfield. DONOHUE gives a little laugh.)

Funny how these old superstitions cling to us. One of the first tests for guilt invented by detectives was to ask a supposed murderer to touch the body of his victim. (Slight pause.) The test didn’t work very well, did it? Certainly you four gentlemen can’t all be guilty. (Slight pause.) Well, we’ll have to try something else. (Very impressively.) Because, you know, I really am going to arrest the murderer of Edward Wales to-night.

(DUNN enters from L., followed by POLLOCK.)

Carry the sofa into another room, please.

CROSBY (down L.). Into that room, please. (Indicating door L.C.)

(DUNN goes up to door L.C., turns knob discovers door is locked. POLLOCK crosses to R. end of chesterfield facing fireplace on which dummy has been placed between first and second acts. Dummy is covered with a drapery.)

DUNN (at door L.C.). The door is locked.

DONOHUE (C.). Oh, yes, try these keys.

(DUNN comes down L.C., gets keys, goes up and unlocks door. He and POLLOCK pick up chesterfield, POLLOCK taking his end of chesterfield through door L.C. first.)

And, Mike!

(DUNN turns his head.)

DUNN. Yes, sir.

DONOHUE. Make as quick an examination as you can and report to me here. (The men exit carrying sofa into room L.C. DONOHUE crosses to chair below table R. and sits. TRENT places chair L.C.) If you will all come a little closer, please.

(The positions now become as follows: WILLIAM back of table R.; HELEN O’NEILL seated above table; MISS EASTWOOD seated below console table R. end of chesterfield; ROSALIE seated C. chesterfield; MRS. CROSBY seated in arm-chair up C.; MASON standing upper end of table R.; MISS ERSKINE seated up L.C.; MRS. TRENT seated in chair L.C.; STANDISH standing L. of MRS. TRENT, and TRENT seated L.C.; CROSBY down L.C. DONOHUE seated lower end of table R.)

Now, I can see you all quite comfortably.

(POLLOCK enters door L.C., closes door crosses to door L. and exits, closing the door.)

As I started to say a moment ago, I shall have to find out something about each of you. You, madam? (He turns to MRS. CROSBY.)

MRS. CROSBY (seated in arm-chair C.). I’m Alicia Crosby. Mrs. Roscoe Crosby.

(He makes notes on paper in front of him.)

DONOHUE. I’m sorry to trouble you, Miss (He points his pencil at MISS
ERSKINE, seated L.C.)

MISS ERSKINE. Elizabeth Erskine. Im

DONOHUE. It’s not necessary to tell your age.

MISS ERSKINE. I wasn’t going to. I’m the daughter of Edward Erskine, my father is the banker.

DONOHUE. I know him. Thank you. You are then merely a guest here?

MISS ERSKINE. A friend.

DONOHUE. Miss Eastwood, I already know. And you, miss?

MISS STANDISH. Grace Standish.

STANDISH. My sister.

DONOHUE. Oh! And this young lady?

CROSBY (puts his hand on MRS. TRENT’S shoulder L.C.). My daughter,
Mrs. Trent. She and Trent here live with us.

DONOHUE. And you, sir?

MASON (there is a pause). Philip Mason. (At upper end of table R.)

DONOHUE. That doesn’t tell me very much.

MASON (with a laugh). There isn’t very much to tell. I’m just a friend of the family. We’ve known, each other for years. I’ve lived in Paris for the last two or three years. I’m a painter.

DONOHUE. You mean an artist?

MASON. Well, I don’t paint houses or fences, but I’d hardly call myself an artist yet.

DONOHUE. Poor, I suppose? I know you’ll pardon that question, won’t you?

MASON. Quite all right, I assure you. No, I’m not poor.

DONOHUE. Thank you. (Turns toward WILLIAM, who is standing back of
HELEN’S chair above table R.) And you?

WILLIAM. I’m young Crosby.

DONOHUE. I see. Live here, I suppose?

WILLIAM. Certainly, where else should I live?

DONOHUE. I thought perhaps you might be married.

CROSBY (L.C.). Hes not, but if he were hed live with us and

WILLIAM. No, father. When I marry Ive got to have my own home and

CROSBY. Nonsense. Don’t talk like a fool. You’d live here with me and your mother and your wife, of course.

DONOHUE. I think perhaps we’d better defer that discussion, gentlemen. (He turns toward HELEN.) And this young lady?

WILLIAM. My fiancee, Miss O’Neill.

DONOHUE. Well, that finishes that. (Rises, standing below table R.)

MISS EASTWOOD. But, Inspector, you haven’t asked anything about the medium?

DONOHUE. Perhaps I don’t consider that necessary, Miss Eastwood.

MISS EASTWOOD. But

DONOHUE. And I’m terribly set on conducting this investigation in my own way, if you don’t mind.

(Enter DUNN from L.C.)

DUNN. Inspector!

DONOHUE. Well?

DUNN (at door L.C.). I can’t tell for sure, but I guess the knife went clean into the heart. He must have died instantly.

DONOHUE. All right. Let me know when the Coroner arrives. (DUNN starts toward door down L.) And, Dunn!

DUNN. Yes, sir.

DONOHUE (going C.). You’d better let me have a look at that knife.

(DUNN turns sharply and looks at him.)

DUNN (down L.). The knife?

DONOHUE. Yes, the knife.

DUNN. I haven’t seen any knife. I thought you had it.

DONOHUE. No. I haven’t seen it. (There is a long pause. DONOHUE is
R. of CROSBY.) Mr. Crosby?

CROSBY (still L.C.). We didn’t find it.

DONOHUE. Look carefully?

CROSBY. Everywhere. While we were waiting for you.

DONOHUE. Who moved Mr. Wales’ body?

CROSBY. I did.

DONOHUE. No one else touched him?

CROSBY. No one.

DONOHUE. What did you do, after you had carried him to the sofa?

CROSBY. I saw that he had been stabbed. I looked for the knife.

DONOHUE. Where?

CROSBY. On the floor, under the stairs, everywhere I could think of.

DONOHUE. No trace of it?

CROSBY. None.

DONOHUE. What did you do then?

CROSBY. Nothing. I waited for you.

DONOHUE. How long after you found that Mr. Wales was killed did you turn on the lights?

CROSBY. Why, I told you; we turned on the light before we found what had happened.

DONOHUE. Would it have been possible for the murderer to have hidden it about the room?

CROSBY. I doubt it very much.

DONOHUE. Why?

CROSBY. I don’t think there would have been time. I don’t see how anyone could have done it at all. It’s all a mystery to me. I told you the circle was intact. You remember?

(There is a pause.)

DONOHUE. Yes, I remember. Then if the knife was hidden, it’s probably on the person of the man or woman who used it.

CROSBY. I think so, undoubtedly.

DONOHUE. Mike, ’phone over to the station house and have them send a matron over here.

(DUNN exits L., and closes the door after him.)

Now about that light. There was just one lamp turned on as I remember.

CROSBY. Someone turned on the rest of the lights, almost immediately.

DONOHUE. Could the knife have been hidden about the room, since that time?

CROSBY. It’s extremely unlikely. We have all been here together. A thing of that sort would have been seen.

DONOHUE. Then I expect we’ll find it without much trouble. (There is a pause, as he looks slowly at each person individually in the room. WILLIAM puts arm on HELEN’S shoulders as DONOHUE looks at him.) In the meantime, I think we’ll let it remain where it is. (Crosses down R. He turns with a gesture which takes them all in.) You see how inevitably the guilty person must be discovered. Don’t you think it would be much simpler to confess? (Pause.) No? Then I suppose we will have to continue. (Crosses up L., takes a chair and places it L. side of circle, then he takes the chair down L. and places that in lower left-hand side of circle. CROSBY moves to C.) I’d like to visualize the scene a little more clearly. (TRENT places chair L. side of circle.) Let’s form that circle again (Turns two single chairs down C. around with backs to audience. Crosses and gets chair in front of table and places it in lower right-hand side of circle. MRS. CROSBY, MISS ERSKINE, MRS. TRENT, TRENT and MISS STANDISH rise and move to the L. of the circle.) Of course this time without Mr. Wales. (MISS EASTWOOD rises and stands at R. end of chesterfield. During these last few speeches of DONOHUE, TRENT and CROSBY have placed the remainder of chairs in the circle.) All sit as you were sitting at the séance.

(There is a general movement. STANDISH crosses R. to above table R. The minute this suggestion is made ROSALIE comes down, nearer to DONOHUE, and looks at him anxiously. Something in his suggestion greatly disturbs her.)

CROSBY (in upper L. side of circle). Will, you were there by the lamp, and Madame la Grange was next to you, and I was next to her

DONOHUE. Then how did they sit? (Down R.)

CROSBY (next to ROSALIE, L.C.). I’m trying to remember. It’s queer what a jumbled memory one has. If anyone had asked me about it I would have said I could have told how we were sitting with great accuracy. But I can’t somehow.

MISS ERSKINE. I was next to you, Mr. Crosby. (Upper L. side of circle. She turns to MRS. CROSBY, who is standing over L.) Don’t you remember, Mrs. Crosby, he said he’d always wanted to hold my hand, and we joked about it. (Sits in her original chair.)

MRS. CROSBY (L., outside of circle). Yes. I remember.

DONOHUE. That’s all right, then. Who came next?

(Down R. They all hesitate.)

ROSALIE (eagerly). Inspector, I can place them all for you.

MASON (over end of table R.). But you said you didn’t care how we sat.

(HELEN R.C. in circle.)

ROSALIE. So I did, sir, but I knew where you were sitting all the same.
You will permit that I show you, Inspector?

DONOHUE (after a pause). If you will be so kind.

(MISS STANDISH sits in circle.)

ROSALIE. The young lady was ’ere. And this gentleman ’e was ’ere. (Indicating TRENT’S chair.)

TRENT (from L., outside of circle). By George, I couldn’t have told you, but she’s right. This is exactly where I was sitting. (Sits in circle.)

ROSALIE (taking HELEN hastily by the shoulder and putting her in the next seat). And this young lady was ’ere. (HELEN looks at her for a moment and then sinks back in her chair. ROSALIE points at MASON.) He did come next.

MASON (over R.). No, you’re wrong there I You’re right I remember perfectly I was next to Miss O’Neill. (Crosses L. and sits L. side of circle.) I know just how her hand felt in the dark.

(WILLIAM looks at him quickly. HELEN turns and looks at him in wonder.)

HELEN (seated L. side in circle). Well really, Mr. Mason!

MASON. Oh, I don’t mean it that way at all. I assure you I don’t.

WILLIAM. Then why did you say it? (Seated R.C.)

MASON. My dear fellow, I’ve apologized. You are misunderstanding me.

MRS. CROSBY. I think we’re all very much upset. (L. outside circle.)
Inspector Donohue, must we go through all this again?

DONOHUE. I’m afraid so, Mrs. Crosby.

CROSBY. Then let’s get it over as quickly as possible. (Sits C. in his original chair in circle.)

DONOHUE. Mr. Crosby, you seem to forget that this is a police investigation, and must be conducted as I see fit. Who sat next to Mr. Mason?

ROSALIE (pointing to MISS EASTWOOD). This young lady.

MISS EASTWOOD. I was next to Mr. Mason, wasn’t I, Philip?

(Crossing inside of circle, to chair lower L. side of circle, and sits.)

MASON. Yes.

DONOHUE. Now then, who occupied this seat?

MRS. TRENT (L.C. outside of circle). Mr. Wales. I know because I sat there, and I was next to him. Shall I sit there now?

DONOHUE. If you will be so good.

(MRS. TRENT crosses to R. and sits in circle.)

STANDISH (upper end of table R.). I was next to Mrs. Trent. (He sits.)

MRS. CROSBY. And I was here between Mr. Standish and Billy.

(She sits. DONOHUE moves off a step down R. and stands looking at them as they sit. ROSALIE moves over and takes her place in armchair.)

DONOHUE. You are all sure that’s where you were sitting?

MISS EASTWOOD. There’s some mix up here, I know. (ROSALIE rises.)
I wasn’t next to Mr. Wales.

HELEN (rises). Of course you weren’t. I don’t see what I could have been thinking of. I sat where Miss Eastwood is.

MISS EASTWOOD. Yes, and I was next to Mr. Trent, between Philip and Mr.
Trent. I felt sure I was in the wrong seat. (Rises.)

DONOHUE (quite casually). Then perhaps you ladies will exchange places.

(ROSALIE gives a little sigh of relief when she sees that DONOHUE attaches no importance to the substitution she has made, and sits down again. HELEN and Miss EASTWOOD, change seats. HELEN crosses outside of circle.)

Now we’re all right, aren’t we? (Slight buzz of conversation.) You are quite sure that you are all in the places you occupied during the séance?

CROSBY. Yes. I think so.

DONOHUE (puts his hand on the empty chair). We’ll pretend that Mr. Wales is still sitting here. (Slight movement from all.) Now, Mr. Crosby, I’ll ask you to tell me what happened after the séance began. But first I’ll ask you this question, was there any special arrangement about the seats?

ROSALIE (hurriedly rising). There was not, sir. I told them that they could sit anywhere they did wish. Young Mr. Crosby must ’ave sat by the light on purpose. And I am so sorry I did make the mistake about the young ladies. I do not know ’ow I came to make a mistake like that.

DONOHUE. Oh, well, if they couldn’t remember where they sat, I don’t see how I can expect you to be entirely accurate. (ROSALIE sits in arm-chair up C.) However, we’re all right now. Now, Mr. Crosby.

CROSBY. Well, after Madame la Grange had shown how she broke out of

DONOHUE. We’ll start with the séance. (All look at DONOHUE.) I know how mediums break the circle and all that. And you needn’t describe how she went into that trance of hers.

MASON. Inspector, I don’t think you’re fair to this woman. I think there’s something pretty important that you haven’t been told.

(All look at MASON.)

DONOHUE. Then you’d better tell me now.

MASON. In order that there should be no deception, we had Madame la
Grange searched.

DONOHUE. I see.

MASON. And while she was out of the room

DONOHUE. Oh, she left the room?

(All look at DONOHUE.)

MASON. Yes, and all of the ladies went with her. Then someone suggested that we ask Madame la Grange about some special thing, and Mr. Wales said he was going to ask her to get in communication with Spencer Lee and see if we couldnt find out who killed him

STANDISH. Most ridiculous thing

MASON. As soon as she went into her trance, or whatever it was, Spencer
Lee’s spirit tried to talk to us.

DONOHUE. She began to give you messages from Spencer Lee without knowing that this was what you were trying to get?

MASON (in triumph). Exactly. And there’s no use in trying to tell me that there’s nothing in spiritualism, because now I know better.

DONOHUE. Thank you very much, Mr. Mason. What you’ve told me is extremely important. I’m anxious to know what was said, because I’m a good deal interested in the Spencer Lee case myself.

(MRS. TRENT turns and faces door, still sitting in her chair.)

MASON. Then you think there’s something in this spiritualism. I never did until to-day, but, by Jove, you know you can’t explain this any other way.

DONOHUE. Madame la Grange went into a trance. We’ll grant that much, anyway. What happened then?

CROSBY. After a few minutes she began talking to us in the voice of a little child.

ROSALIE. That was Laughing Eyes, my spirit control.

DONOHUE. Just what did Laughing Eyes say?

CROSBY. It was all mixed up; none of it very clear. But she seemed to be trying to talk for someone to someone. She kept calling for Ned. Then suddenly she spoke deeply, in a man’s voice.

DONOHUE. Did the man’s message have any importance? I mean, did it seem to make sense?

CROSBY. It was perfectly coherent at any rate. I cant give you the exact words, but

MASON (interrupting). I can. He said, “Ned I want Ned. Why in Hell don’t Ned answer me?”

DONOHUE (standing at lower end of table B.). And did anyone answer?

CROSBY. Eventually Wales replied.

DONOHUE. I want you all to be extremely careful in what you tell me. I don’t want any surmises. In the first place, did the message come for anyone but Mr. Wales?

CROSBY. There was at no time mention of Wales’ name. The calls were always for “Ned.”

DONOHUE. I see. Did anyone else answer the calls?

STANDISH. I asked two or three questions, but no attention was paid to them.

DONOHUE. What did Mr. Wales say to all this?

CROSBY. I don’t think Mr. Wales spoke at all until the message about saving his life came.

DONOHUE. And after that?

MISS EASTWOOD. There was a regular conversation between them.

CROSBY. Then there was some mention about some letters. I remember, too, that Mr. Wales said, “Are you trying to tell me who killed you?”

DONOHUE. What was the reply to that?

MRS. CROSBY. All we got were the words, “Ask ask ask.”

CROSBY. And then I said, “Do you know who killed you?”

DONOHUE. Did you get an answer?

CROSBY. Not directly. The message was another cry for “Ned.”

DONOHUE. What happened then?

CROSBY. Then Mr. Wales said, “Do you know who killed you?”

DONOHUE (eagerly). What answer did he get?

CROSBY. None. The medium began to moan and cry. Then Mr. Wales asked her again and again for the name. He kept crying, “Tell me who killed you; I want the name.” He must have asked her two or three times. Then he cried out that he was hurt.

DONOHUE. And then?

CROSBY. That’s all.

(Enter DUNN from door L.)

DUNN. The matron is here now, sir.

DONOHUE. Just a minute. Just one more question, Mr. Crosby. Did you get the impression that if Mr. Wales had not been killed his question would have been answered?

CROSBY. If you grant that the séance was real, it would be impossible to arrive at any other conclusion.

DONOHUE. It was well established in your mind that Wales was the only person able to get a message?

CROSBY. Yes.

DONOHUE. It follows then that he was killed in order to prevent his question being answered.

CROSBY. That’s the impression I got.

DONOHUE. This leads to the conclusion that whoever killed Wales knew who had killed Spencer Lee.

CROSBY. I should think so.

DONOHUE (front of table R.). And it is not difficult to surmise that the person who killed Wales was actuated by the strongest of all motives self-protection. So in all human probability the murderer of Wales was also the murderer of Spencer Lee. You see, ladies and gentlemen, that by the use of a little patience we have come a long way in our investigation. (There is a long pause.) I don’t wish to put you all through the humiliation of a search. I should like to end this inquiry here and now. (Moves a step R. There is another pause.) No? Then we’ll have to go on. (Moves briskly to below table R.) There is a police matron in the other room who will search the ladies of the party. Sergeant Dunn will perform a similar duty with the men. Mike, you will take them one at a time. It makes no difference to me in what order they go.

MASON. Well, I’ve got nothing to conceal. (He rises and places chair up L., then moves to door L.)

ROSALIE. Neither ’ave I. (She rises and moves down C.)

DONOHUE. I’d rather you waited for a few minutes, Madame la Grange.
(ROSALIE looks at him sharply.) Any of the other ladies will do.

MRS. CROSBY (rising). Suppose I set the others a good example.

DONOHUE. Thank you very much. (MRS. CROSBY comes down C., then crosses to door L. DONOHUE looks at the others, where they are still seated.) And thank you all for the great help you’ve given me. You need not sit there any longer, unless you wish.

(MISS STANDISH crosses R. to back of table R. MRS. CROSBY, MASON, and SERGEANT DUNN go out L. DUNN closes the door. HELEN goes up C. TRENT moves one chair up to L. of door L.C., then one chair to R. of door L.C., right back of chesterfield C. MISS ERSKINE crosses to back of table R. MRS. TRENT seated R.C. WILLIAM in front of chesterfield C.)

MISS EASTWOOD (crossing to DONOHUE R.). Inspector, I think you’re perfectly wonderful.

DONOHUE. Oh, we haven’t done very much yet, Miss Eastwood. Give the police a little time. (He turns and crosses to L.C. With an abrupt change of tone.) Madame la Grange, there’s a question I wish to ask you.

ROSALIE (coming down to L.C.). Anything at all, sir.

DONOHUE (L.C.). When Mr. Wales asked you for the name, why didn’t you answer him?

ROSALIE. I do not know. I was in a trance. (She moves down L.).

DONOHUE. Then you didn’t hear the question.

ROSALIE. How could I?

DONOHUE. I didn’t ask you that. I want to know why you didn’t answer him.

ROSALIE. I ’ave already told you, I was in a trance. I did not know what was going on.

DONOHUE. Why didn’t you tell the name that you had agreed with Wales you would tell?

ROSALIE (L.C., astonished). Agreed?

DONOHUE. You heard what I said. (There is a pause.) Well, why didn’t you carry out your part of the bargain? (CROSBY moves to front of chesterfield C.) Why didn’t you give him the name as you’d planned?

ROSALIE. I do not know what you do mean.

DONOHUE. My words are perfectly plain. I asked you why you didn’t carry out your part of the bargain?

ROSALIE. There was not any bargain?

DONOHUE. Your whole séance was a fake. (Slight movement from others.) It was not only planned but rehearsed between you and Wales. He thought that a woman had killed his friend. He told you about it, and asked your help to discover the murderer,

ROSALIE. I do not know what you talk about.

DONOHUE (ignoring her reply). Every detail of this séance was planned.
When he asked you the name you were to tell him the name of a woman

(MRS. TRENT moves up R. and joins TRENT and MISS ERSKINE at table R.)

ROSALIE. Inspector, I ’ave never ’eard one word of this before,

DONOHUE. Not a word?

ROSALIE. Not a word.

DONOHUE (L.C., taking paper out of the inside pocket of his coat, and reading aloud). “What do you want? Answer. Don’t forget the swimming pool. Don’t ever forget the swimming pool. Do you mean the time he went in after me? When we were little boys. Spencer Lee says he can’t rest.” And so on and so on, down to. “Do you know who killed you?” (He turns to the others.) The answer to that should have been “Yes.” What did she say?

CROSBY (now in front of table R.). She didn’t answer that question.

DONOHUE (looks at paper again L.C.). The next question is, “Can you tell the name?” And then she was to have told that woman’s name. Just the first name. Mrs. Crosby, what did she reply to that question?

CROSBY. She moaned and cried.

DONOHUE. What did she say after that?

CROSBY. Nothing. She moaned again and came out of the so-called trance.

DONOHUE. Why didn’t you do as you agreed?

ROSALIE (down L.C., left side of DONOHUE. Stonily).
I do not know what you talk about.

DONOHUE. The police know that some woman killed Spencer Lee. Something was taken from the inside pocket of his coat. We think it was a package of letters. This woman left traces. We have her finger-prints many of them. Eventually we’ll find her. For three or four weeks Mr. Wales has been working among the people who knew Lee. His theory was that this woman wanted to get back her letters in fact, did get them back. He felt reasonably sure that he had found the woman that one of you ladies here to-night is probably the woman we are hunting. He thought that he could play on her superstitious fears, and that when her name seemingly came from the spirit of the dead man she would confess. He told Madame la Grange the name, explained to her just what he wanted, and together he and I worked out the exact wording of the messages that were supposed to come from Spencer Lee’s spirit. (He turns suddenly to ROSALIE, who is down L.C.) You agreed to all this; why didn’t you speak the name?

ROSALIE. I do not know anything about it. He he must ’ave forgotten to tell it to me.

DONOHUE. Oh, no, he didn’t.

(MISS EASTWOOD down in front of table R.)

ROSALIE (with great decision). There was no name. He did not tell to me any name.

DONOHUE. My good woman, you mustn’t take me for a fool. You agreed to use a certain name; you came here for that purpose, and then after you got here, something happened to make you change your plans. Something unexpected happened. (He stops for a moment; turns to MISS EASTWOOD.) Miss Eastwood, what did you say was your first name?

MISS EASTWOOD. Mary.

DONOHUE (to MISS ERSKINE). And yours?

MISS ERSKINE (back of table R.). Elizabeth.

DONOHUE. Yours?

MISS STANDISH. Grace.

DONOHUE. Mr. Crosby, your wife’s name is?

CROSBY. Alicia.

DONOHUE. Mrs. Trent?

MRS. TRENT (R.C.). Helen.

DONOHUE, Miss O’Neill?

HELEN (up C., in front of chesterfield). Helen.

(There is a long pause.)

DONOHUE (L.C. WILLIAM comes to HELEN C.). Helen, I see. So there are two Helens. Two Helens. (He stands looking first at one and then at the other of the two women.) Mr. Crosby, when Madame la Grange first came to-night, did she show any surprise at seeing any of the people here?

CROSBY (R.C.). Not that I noticed.

MISS EASTWOOD (below table R.). Oh, yes, she did. Miss O’Neill wasn’t in the room when she arrived. Later when she came in Madame la Grange seemed upset; she said something to her that none of us could hear. Then I remember she argued with Mr. Wales and said she didn’t feel like having a séance.

DONOHUE. Now we’re getting it.

(WILLIAM stands R. of HELEN O’NEILL up C.)

Everything was going along smoothly, until Miss O’Neill came in. The extra Helen. (He turns to CROSBY.) Mr. Crosby, your daughter was in the room when Madame la Grange came in?

CROSBY. Yes.

DONOHUE. You noticed nothing unusual in this woman’s manner?

CROSBY. I’d never seen her before.

DONOHUE. I mean, she did nothing to attract your attention; the fact that Helen Trent was in the room made no impression on her?

CROSBY. Seemingly not.

DONOHUE. Then Helen O’Neill came in. (Goes up to HELEN C., then crosses down to ROSALIE L. Sharply to her.) Rosalie la Grange, what’s that girl to you?

ROSALIE. Nothing at all.

DONOHUE (C.). Nothing at all! Then why did you try to deceive me as to where she sat. Why did you place her so that I would not know she was sitting next to Mr. Wales when he was stabbed?

ROSALIE. It was just my mistake. I did not do it on purpose.

DONOHUE. I’m afraid that won’t do. It’s perfectly apparent that the name you were to speak was Helen, What’s the use of lying to me! You’ve tried your best to shield this girl. I want to know why.

ROSALIE. There’s no reason. I never saw the young lady before in all my life.

DONOHUE. What’s that girl to you?

ROSALIE. Nothing, nothing at all

DONOHUE (starts to ROSALIE). Damn you, you old harridan, you come across

HELEN (springing forward from up R.C. down to L.C. and pushing
DONOHUE up stage). Let my mother alone, let my mother alone.

(She goes to ROSALIE, puts her arms around her. Pause. ROSALIE weeps.)

DONOHUE (very quietly). I thought perhaps I’d get it that way.

HELEN (getting L. side of ROSALIE). There, there, dear, it’s all right, it’s all right.

DONOHUE (with a grim smile, coming down C.). Of course it’s all right!
Weve got the finger-prints and

WILLIAM (interrupting him coming down to C.). If you think for one minute Im going to let you

CROSBY. My boy, wait! (grabbing him and pinning down his arms to his sides C.). Think what

WILLIAM. Think nothing. (He shakes himself free and goes to DONOHUE L.C.) That’s the girl I love, and I’ll be damned if I let you take her finger-prints.

DONOHUE. Young man, don’t be a fool. I’m sorry, but it’s too clear.

ROSALIE (breaking away from her daughter and moving to DONOHUE C.). Clear how is it too clear? Inspector, you are never going to accuse my little girl of a thing like that?

DONOHUE (C.). She was next to him; she had only to free one hand and strike, and then take his hand again!

ROSALIE. There was something else she had to do before she could ever do that. She had to have murder in her heart.

DONOHUE. Well?

ROSALIE (turns suddenly; seizes her daughter by the hand, turns her to him. ROSALIE stays between DONOHUE and HELEN). Look at ’er. Look in ’er eyes look at the face of ’er. Is there murder there? ’Ave you not eyes in your ’ead.

(DUNN enters from L.)

DUNN. It’s not on either of them.

DONOHUE. I know where it is. Tell the matron she’ll find the knife on this girl.

ROSALIE (to DONOHUE C.). Inspector, I will tell to you anything I know, only keep your hands off my little girl. I did come ’ere like you say, and when I see my little girl I lose my ’ead. I tried to save ’er and I ’ave made it worse. You ’ave looked at ’er, the poor young thing that would not ’arm a fly, and you think she could do a thing like that.

DONOHUE. Yes.

ROSALIE (still crying bitterly). Then, Inspector Donohue, you are a damn fool, and with God’s ’elp I will prove it.