35^5 \,Lii;i^'. CORNELL UNIVERSITY LIBRARY ANNA S.^'gURLEY MEMORIAL BOOK FUND FOR THE PURCHASE OF BOOKS IN THE FIELD OF THE DRAMA THE GIFT OF William F. E. Gurley CLASS OF 1877 1935 Cornell University Library PS 3543.E34T4 1922 The thirteenth chair a play in three act 3 1924 021 714 252 The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021714252 THE THIRTEENTH CHAIR A PLAY IN THREE ACTS BY BAYARD VEILLER CoPYMGHT, 1916, BY Bayard Veiixee Copyright, 1922, by, Samuel French All Rights Reserved CAUTION — Professionals and amateurs are hereby warned that "THE THIRTEENTH OHAIR," bein« fully protected under the copyright laws of the United States, Great Britain and Canada, is sub- ject to a royalty, and anyone presenting the play without the consent of the author or his au^- orized agents will be liable to the penalties by law provided. Applications for the amateur acting rights must be made to SAMUEL French, 25 West 45th Street, New York, New York SAMUEL FRENCH Publisher 25 West 45th Street London SAMUEL FRENCH, Ltd, 26 Southampton Street STRAND "Th^ Thirteenth Chtair" All Bights Reserved Especial notice should be taken that the possession of this book without a valid contract for production first having been obtained from the publisher, confers no right or license to professionals or amateurs to produce the play publicly or in private for gain or charity. In its present form this play is dedicated to the reading public only, and no performance, representation, produc- tion, recitation, or public reading, or radio broadcasting may be given except by special arrangement with Samuel French, 35 West 45th Street, New York. This play may be presented by amateurs upon payment of a royalty of Twenty-Five Dollars for each performance, payable to Samuel French, 25 West 45th Street, New York, one week before the date when the play is given. Whenever the play is produced the following notice must appear on all programs, printing and advertising for the play: "Produced by special arrangement with Samuel French of New York." ' Attention is called to the penalty provided by law for any infringement of the author's rights, as follows: "Section 4966: — Any person publicly performing or rep- resenting any dramatic or musical composition for which copyright has been obtained, without the consent of the proprietor of said dramatic or musical composition, or his heirs and assigns, shall be liable for damages thereof, such damages, in all cases to be assessed at such sum, not less than one hundred dollars for the first and fifty dollars for every subsequent performance, as to the court shall appear to be just. If the unlawful performance and representation be wilful and for profit, such person or persons shall be guilty of a misdemeanor, and upon conviction shall be im- prisoned for a period not exceeding one year." — ^U. S. Revised Statutes: Title 60, Chap. 3. "The Thirteenth Chair" was produced by William Harris, Jr., at the 48th Street Theatre, New York, on November 20, 1916, with the following cast : Helen O'Neill Katherine La Salle Will Crosby Calvin Thomas Mrs. Crosby Martha Mayo RoscoE Crosby , . . . Gardner Crane Edward Wales 6". K. Walker Mary Eastwood Eva Condon Helen Trent Sarah Whitford Grace Standish Rose Aiken Braddish Trent Charles Lait Howard Standish Walter Lewis Philip Mason George Graham Elizabeth Erskine Alice Claire Elliott Pollock A. J. Hendon Rosalie La Grange Margaret Wycherly Tim Donahue Harrison Hunter Sergeant Dunn Walter Young DooLAN Wm. Scott 4 THE THIRTEENTH CHAIR THE CAST Helen O'Neill. Will Crosby. Mrs. Crosby. RoscoE Crosby. Edward Wales. Mary Eastwood. Helen Trent. Braddish Trent. Howard Standish. Philip Mason. Elizabeth Erskine. Grace Standish. Pollock. Madame Rosalie La Grange. Tim Donohue. Sergeant Dunn. DOOLAN. ACT I The Italian Room in Roscoe Crosby's House. Time: Evening. ACT II Same scene. Ten minutes later. ACT III Same scene. A half an hour later. THE THIRTEENTH CHAIR ACT I Scene: Italian Room in Roscoe Crosby's Home. A handsomely furnished square room, door opening on stage down l. Door opening on stage ai back l.c. Large fireplace c. at back. Door opening on stage R.c. NOTE: Fireplace — antique fkedogs — miust be large enough for men to make entrance comr- ing down through chimney. Large window over R. in arch. Platform one step high running full length of window, -which is three sashes long. Trick blind on c. pane. Curtains on pole on c. windows to work on cue. Up c. in front of fireplace facing up stage, large Chesterfield sofa two feet wide. Facing audience another large Chesterfield sofa, c, sofas setting back to back. At each end of sofas small console table. Con- sole table at r. end of sofa is the trick table which Rosalie lifts, r. of the door, r.c, large antique Italian chest,, l. of door, l.c, large an- S THE THIRTEENTH CHAIR tique chest. Vases on chests. On flat over L., large tapestry. Against wall over i.., running up and down stage, long ornate Italian chest. At either end of this chest Italian lamps, seven feet high, standing on floor. On console tables at either end of sofa, table lamps. On console table L. end of sofa, fancy cigarettes, box with cigarettes and matchbox and ash tray, and be- low door down l., on flat, an antique clock. Below door down l., armchair, l. side of fire- place chair with cushion seat. On mantel two large antique vases, r. side of fireplace with cushion seat. l. side, below console table, large armchair. Over R. is a large library table sit- ting diagonally up and down stage. On table: book rack with four books, desk pad, stationery holder with stationery, pens, pencils, ink box, magazines, armchair back of table, chair below table, chair above table. On platform in win- dow arch, long seat. Below window arch large armchair. Large wall lanterns, on up stage, and down stage, end of window arch. Plush Val- ence or drapery for windows. Rugs on ground cloth. On fiat r. 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. Off stage down l., run on floor, 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 Will 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 THE THIRTEENTH CHAIR 7 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 releas- ing the second knife so that it falls, and sticks in table during third act, is worked by strings off stage R. (As the curtain rises Miss Helen O'Neill and William Crosby are discovered standing r.c. They are in each other's arms, and the rising curtain discloses them as they kiss. Window- shade down.) Helen. I love you so. William. You are the most wonderful thing in all the world. (She gives a little laugh and moves away from, him a step R.J Helen. I can't believe it. Will. That I love you ? Helen. Oh, no, I'm sure of that. Will. If there's any doubt in your mind, I'll prove it again. Helen. They'll sjee us. (He takes her in his arms again and kisies her. She laughs happily. And then, turning a little, stands with her cheek pressed against his) Oh, my dear, my dear. CMrs. Crosby, a fashionably dressed and extremely attractive woman, enters from door down left, closes door. She stops for a moment, and watches the lovers and then with a little laugh comes toward them. Mrs. Crosby is fifty-five and looks ten years younger, she has charm, beauty and kindliness, and is as far removed 8 THE THIRTEENTH CHAIR from the typical stage mother, as it is possible for the management to picture.) Mrs. Crosby. (Coming to c. a step — Will breaks a step) Don't move, you look so comfort- able! (They start apart) Well, are you happy? (To R.c. Will pats Mrs. Crosby on arm.) Will. Oh, Mother! Helen. Happy ! ^Mrs. Crosby crosses to Helen, pats her hand and stands between Will and Helen, r.c.^ Will. Shall we tell 'em all? /Mrs. Crosby Tell them? (She laughs) What do you think they are? Blind and deaf? It's been a perfectly wonderful dinner. You were so blind to everything but each other. Oh, Billy, I thought your father would have a fit. Helen. I thought he had an awful cold, he was coughing terribly. Mrs. Crosby. Coughing? He nearly strangled, to keep from laughing. I told him I'd send him from the table if he laughed at you. Will. Why, you never spoke to him once. Mrs. Crosby. (Between Helen and Will, c.) Child, explain to him that wives don't have to Oh, I forget you haven't learned that yet. You know, Billy, I can talk to your father very effec- tively without words. (Cross below table R.j Helen. (Turning to Mrs. Crosbyj Mrs. Cros- by Will. Mother, Nell's all fussed up because we've got money. She thinks you'll think — I'm — what in novels they call marrying beneath me. (He and Mrs. Crosby Imigh. Nell looks a little hurt.) Helen. Well, he is. Mrs. Crosby. Nonsense, child, don't be silly. (Sits down stage end of table.) Helen. (To Mrs. Crosby a step) It's not silly, THE THIRTEENTH CHAIR 9 Mrs. Crosby. Everyone will say it, and they'll be right. Will. Let's settle this thing now once and for all, then. In the first place it's all nonsense and in the second it isn't true Helen. Oh, yes it is. Mrs. Crosby. Oh, the first row! I'll settle this one. Nelly ! Will. Now then, Nell, out with it, get it all out of your system. Helen. (Xes to table r. a step) In the first place; it's the money. Mrs. Crosby. (Seated below table r.^ Yes, but — Helen Helen. Please, let me say it all. You have so- cial position, great wealth, charming friends, every- thing that makes life worth Oh, what's the use ? You know as well as I do the great difference between us, and Mrs. Crosby. My dear child, suppose we admit all that, what then? Helen. But don't you see Will. (Embracing her in front of table r.^ You little idiot ! I don't see anything but you. Mrs. Crosby. That's the whole of it, children. You love each other, suppose you listen to an old woman. Will. Old! Huh! Mrs. Crosby. (Seated at table r.) Well, old enough. Well, if Billy was the usual rich man's son, it might be different. There might be some- thing in what you say. But, thank God, he isn't. Mind you, I don't say he wasn't like most of them when he was younger. I dare say he was. I know he went to supper with a chorus girl once. Will. Twice. Helen. What was she like? Will. Like a chorus girl. 10 THE THIRTEENTH CHAIR Mrs. Crosby. The trouble with you, my dear, is that you've been reading novels. When Billy's father married me, I was a school teacher, and he was a clerk. We didn't have any money, but we were awfully in love — we still rather like each other. Now, just for the sake of argument. Suppose we should have acted like stern parents, what would be the use? Billy's in business for himself, he's mak- ing his own money, he can marry when he wants to and as he wants to, and if you want my real opinion, I don't mind confessing that I think he's pretty lucky to get you. Will. There ! Helen. (In front of table r.) But you know so little about me. Will. Oh, rot. Mrs. Crosby. Thank you, Billy. I was trying to think of an efifective word. (To Will. To Helen) You've been my private secretary for over a year, and no matter how much my looks belie it, I'm not a bit of a fool. I know a great deal about you. Helen. My family Will, (c.) I'm not marrying your family! Helen. I'm afraid you are. Will. Oh ! Helen. There's only mother. Mrs. Crosby. (Contritely, rises to Helen in front of table R.) Oh, my dear, forgive me. Your mother should have been here to-inght. Helen. No, my mother — Mrs. Crosby — mother doesn't go out — she'd be unhappy here, and you'd be uncomfortable if she came. You'll find her trying sometimes, you'll think she's common. Oh, don't misunderstand me. She's the most wonderful mother in' the world. And she's Mrs. Crosby. Suppose, my dear, that we take your mother for granted (Cross between Will and Helenj Take us as you find us and we will THE THIRTEENTH CHAIR ii try to be-happy. (Enter Crosby from door l. He is a fine-looking man of about sixty, with a pleasant personality, a good deal of charm and that masterful self-possession which sometimes marks the man of affairs. It is always evident that the most delight- ful intimacy exists between himself and his wife) Well, Roscoe? Crosby. (Cross to l.c. — takes Helen, who crosses to Crosby, in his arms) Welcome, my dear. Helen. Oh, Mr. Crosby — I Crosby. (Placing Helen l. of him with arms still around her — reaching his other hand to Will^ Bill, shake ! (Father and son shake hands. Crosby looks at his wife and they laugh gently) Shall I tell 'em? Mrs. Crosby. (Standing in front of table over "&.) I would. Will, ('r.c.j Tell us what? Crosby, (c.) You did this just in time. To- morrow I was going to forbid you to have anything more to do with this young woman. Helen, (-l. of Crosbyj You see! Will. What for? Crosby. Your mother and I felt that you were pretty slow with your love-making. Will. Oh, Mother! Crosby. (Continuing) And I know darned well that if I interfered, you'd take the girl out and marry her. Helen. Oh ! Will. You old schemer. Crosby. (Crossing over r.c. below Mrs. Crosbyj I bet it would have worked. Will. (As Crosby crosses right. Will slaps him on the back) It would. (Cross back of Helen to L.c J (Door down l. opens and Edward Wales enters.) 12 THE THIRTEENTH CHAIR Wales. I came ahead of the others to tell you Crosby. Why, Ned, old man, you came just in time to congratulate them. (He points toward Will and Helen. j Wales. On what? (-l.c.) Mrs. Crosby. They're going to be married ; isn't it fine ? Wales. Oh! (There is a long pause.) Will. You haven't congratulated us, Mr. W^ales. Wales. No, Will, I haven't. I'm not sure that I can. (Down stage a step.) Crosby. Why, Ned! Will. I'm afraid that calls for an explanation, sir. Wales. Yes, I expect that it does. (There is a long pause.) Will. Well? Wales. I'm sorry, but I can't explain anything until to-morrow. Mrs. Crosby. But really, Mr. Wales, don't you think Wales. I think my action is almost indefen- sible. I'm admitting that. But I have very good reasons for what I am doing. (He turns to Crosby j Roscoe, I've been your close friend for a great many years. You've trusted me, believed in me. I'm going to ask you to wait. After all, twenty-four hours can't make any difference, and it may save you all a great deal of unhappiness. Will. (Coming to Wales a step) Why, this is intolerable. Crosby. Ned, I can't understand Will. Father, this is my affair. Wales. I'm sorry. Will. Sorry? I should think you would be. Helek. Billy, I told you what would happen. THE THIRTEENTH CHAIR 13 Mr. Wales, I don't know what you have discovered, but it's nothing of which I am ashamed, nothing. Will. Dear, you mustn't mind what he says. Helen. (In front of Will — crossses to Wales a few steps) Oh, but I do, I can't bear it. Why, my mother is the most wonderful woman in the world. I won't have her attacked. Do you know what she did? When I was ten years old she sent me away from her. I was the one thing she had in the world to love and she gave me up because she thought — ^because she thought it was the best thing she could do for me. I was sent to a fine school, then to college, and then when I was nineteen, quite by accident I found out that she wasn't dead, as they'd always told me, and when I went to her all she said was, "Well, my dear, I wanted to make a lady of you." (Crosses to Will — c. — He takes her in his arms, then Helen crosses to r. of him.) Mrs. Crosby. (In front of table r.) I think she succeeded, my child. Wales, (l.c.) Miss O'Neill, I didn't even know that you had a mother. Will, (c.) Then you'd better tell us now what ever your objection is. Wales. I can tell you nothing until to-morrow. (He turns to Will^ Billy, I'd rather be shot than do what I'm doing. If I'm wrong I'll come to you gladly and eat dirt. I'll beg this young lady's par- don on my knees if she likes. (Voices and laughter heard down u) Now that's all I'm going to say about it until then. (Crosses up l.) (The door at l. opens. — Eastwood, Helen Trent, Miss Erskine, Miss Standish, Standish, Mason, enter laughing and talking.) Eastwood. (At l.c. To crowd in doorway) And be said whose wife? (AWlaugh.) 14 THE THIRTEENTH CHAIR Will. (c. — Helen in front of table r.) Quiet, quiet, everybody, I've got a surprise for you. (Peo- ple at door ad lib. laugh and buzz) Nellie and I are going to be married. CGiRLS rush up c. and congratulate Helen — Men and Will go to l.c. ad lib., business congratu- lating him.) Miss Eastwood. (Coming to Will, c.) If you hadn't been engaged to her, she could have you ar- rested for the way you made eyes at her at dinner, Billy. But, of course, if people will marry — why (She turns away r. from them) I hope you will be awfully happy. (Crosses to Mr. and Mrs. Crosby down R.J Miss Erskine. (Coming to Willj Isn't it beau- tiful? (Crosses to l. — to settee.) Mrs. Trent. (Crosses to Will, kissing him) I'm glad, Billy, glad. (Cross to Standish, com^ down L. — and Trent over L. — Miss Standish cross to front of table r. Will and Helen look around — see that no one is paying attention to them — Will sneaks up to door r.c. — opens it — he and Helen exit door r.c. quickly. Mrs. Crosby, Mr. Crosby, Eastwood, in front of table over r. Trent, Standish, Mrs. Trent, Mason talking together over L. Wales up l. Ad lib conversation until Miss Eastwood speaks.) Miss Eastwood. (To Mrs. Crosbyj Marriage is such an awful gamble. I know a girl who tried it four times. Billy, I hope you (Turning to c.) Why, they are gone. (Ad lib laughter of buzz and conversation. Miss Eastwood runs up to door r.c, opens it — looks in dining-room — gives a scream — closes door guiekly, comes down to r. end of settee. Teewt, THE THIRTEENTH CHAIR 15 to console table L. of settee, gets cigarette, lights it. Crosses to c. back of settee in front of fire- place. Standish and Mrs. Trent to table l. of settee. Wales and Erskine sit on settee facing audience up c. Mrs. Crosby — at upper end of table r. Crosby seated r. end of settee, facing audience up c. — Mason l. end of settee, faces audience c. Enter Butler from down l.) Butler. Mrs. Crosby, the person you sent the car for has arrived. ^All turn eagerly toward the door i^.) Wales (Rises — goes to front of armchair l.c.^ Can we see her now, Mrs. Crosby ? Mrs. Crosby. Certainly — Pollock, ask Madame La Grange if she will come in, please. Butler. Yes, Madame. (He exits and closes the door after him.) Miss Eastwood. (Coming between table and settee r.c. j I'm perfectly thrilled. Do you suppose she expects to be taken seriously? Miss Erskine. Of course. Miss Eastwood. (At table r. j How funny ! If you don't laugh at her, we can have no end of fun. I'll guy her terribly and she'll never know it in the world. Mrs. Crosby. (At table r.) Oh, I wouldn't do that, Mary. She may be quite in earnest. Miss Eastwood. Oh, I can't believe that. Madame La Grange ! I can see her now. Tall, black- haired creature, regular adventuress, see if she isn't. Isn't she, Mr. Wales ? Wales. (In front of settee) She's the most re- markable woman I have ever known. (Enter Butler from door l., coming ivell on stage.) i6 THE THIRTEENTH CHAIR Butler. Madame La Grange. (Enter Madame Rosalie La Grange. She is a lit- tle Irish woman of about fifty, but old for her age. She is dressed quaintly. As she comes well on stage she stands and drops a little curt- sey.) Rosalie. Good evenin', all av yes. ('Men all rise.) Mrs. Crosby. How do you do, Madame La Grange ? Rosalie. I'm well, thank ye, ma'am. Mrs. Crosby. Won't you come in ? Rosalie. I will, ma'am. (She sees Wales l.c. and goes to him) Good evenin' to ye, Misther Wales. Sure it was a grand hack ye sent for me. Wales. We all wanted you to be comfortable. Rosalie. Sure, an' I was. (She laughs and turns to Mrs. Crosby r.c.j Do ye know, ma'am, when the gintleman in uniform come for me, I thought at first it was th' police. Mrs. Crosby. I hope you weren't frightened. Rosalie, (c. Crosby r. end of settee c. — Mrs. Trent and Standish move down l., Trent comes to L. of armchair — Erskine seated on settee up c. — Mrs. Crosby at table r. Wales l.c, Trent and Mason l.c.) Divil a bit. Sure I'd like to see the cop that could frighten me. They're nice boys, thim cops, and most of thim good Catholics. Miss Eastwood. (To r. side of Rosalie j Mr. Wales tells us you are wonderful. Rosalie. I am that. Anny woman is. Miss Eastwood. (With a meaning glance at the others) So you tell fortunes? Rosalie. No, miss, I do not. I get messages THE THIRTEENTH CHAIR 17 from thim that have passed on. I don't hold at all •wid the cards nor tea leaves nor any of thim tricks. ('All laugh — Eastwood loudest) Wance in a while I give advice. (She turns to Miss Eastwoodj If I was you, Miss, I wouldn't meet Jimmy at the Ritz at three to-morrow. ^All laugh. Miss Standish crosses to settee c. Sits. Miss Erskine rises, crosses to table r. — and sits in armchair. Mason crosses — sits on up stage settee — Trent to l. end of settee — Miss Eastwood in front of table r. Rosalie goes to Wales l.c, Crosby seats Mrs. Crosby dozvn stage end of table r., then crosses back'of Erskine to upper end of table) Well, sor, and how are ye? Wales. We're expecting great things from you to-night, Madame La Grange. Rosalie. Are ye now? Well, I hope ye won't be disappointed. Crosby. (Above table r., coming c. a step) I .suppose there are a lot of tricks that Rosalie. (Interrupting him) You said it, sor. But I suppose mine is the only trade in the world there's anny tricks in. Miss Eastwood. (Coming to Rosalie, who is c.) Why shouldn't I meet Jimmy at the Ritz to- morrow ? Rosalie. If you do, sure, something awful is liable to happen to him. Miss Eastwood. What? Rosalie. Sure if you keep meeting the man he is liable to marry ye. ('Eastwood up stage a step.) Crosby. (Upper end of table r.J Would you mind telling me how you know this young lady was going to meet Jimmy at the Ritz to-morrow after- noon? Rosalie. I would not. Sure she left his letter in her bag in the hall, and while I was waitin' I read it. i8 THE THIRTEENTH CHAIR Miss Eastwood. How did you know it was my bag? (c.) Rosalie. Sure, the stuff on the bag matches the stuff on your dress. Mrs. Crosby. (Seated below table R.) Then it is all trickery ? Rosalie. It is, ma'am, and it ain't. I tell ye, ma'am, most of the time it's tricks, with even the best of us. But there's been times in my life when — well, ma'am, thim times it wasn't tricks. There's been things I couldn't understand myself, messages from thim that's passed on. There is a power — a wonderful — power — that comes to us. But the divil of it is ye never can tell when it's comin'. Sure, if ye waited for it ye'd starve to death. So when it ain't there we use tricks. Mrs. Crosby. (Seated at lozver end of table at R.) I think I understand. Rosalie. Do ye know, ma'am? Well, do you know, maybe I thought ye would. (Puts hand bag on table R.) CMrs. Trent seated below door down l. Wales crosses down l. and joins Mrs. Trent at door L. Crosby above table r.c.J Miss Eastwood. (Coming down to r.c.J Don't you think all this is dishonest? Rosalie. (In front of table r. Turning to her) What's dishonest? Miss Eastwood. Tricking a lot of poor, ignorant people. ^Mason back of settee c.) Rosalie. It's all in the way ye look at it. A widdy woman came to me this mornin' wid a break- ing heart for the man that was gone. I went into THE THIRTEENTH CHAIR 19 trance and Laughing Eyes, me spirit control, came with a message from him. Sure, she said he was in Heaven wid the angels, and there was no cold nor hunger; and the streets was paved with gold, and there was music and happiness everywhere. She told her he was thinkin' of her every day and every hour and watchin' and waitin' fer the day she'd come to him. Sure, wasn't that worth fifty cents of any woman's money? The man may have been in hell for all I know. Trent. (By armchair l.c. j What I can't under- stand is why you are telling us all this. fMiss Eastwood to settee c. Rosalie to armchair L.C.^ Mrs. Trent. (Seated over l. hy door) If we know you are fooling Rosalie. Didn't Mr. Wales tell ye ? Wales. (i..c.) I've told them nothing. ("Mason drops down r. of settee. Standish down L. — Crosby is r. end of settee c.) Rosalie, (c.) Well, tell thim now, plaze sur. (Sits upper end of table — takes off gloves, takes out glasses from bag.) Wales. (Down l.J As I told you some time ago, Madame La Grange has done a lot of things that we can't explain.— When I asked her to come here to-night, she said she would under certain con- ditions. Mason. (Between settee and table) You mean test conditions? Wales. Not exactly. What she said was that no money should pass between us, and that what- ever she did, she would be honest. Mason. (Very eagerly) You mean that you won't play any tricks? 20 THE THIRTEENTH CHAIR Rosalie. (Whisper. Mason comes to her, upper end of table R J Av I do I'll tell ye. Miss Eastwood. (Seated on settee c.) Of course we understand all about spirit rappings. Rosalie. Do ye now? Standish. (Down l.J Well, rather. Rosalie. ^Crosby sits r. end of settee) Well, well, what do ye think av that? Miss Eastwood. You have to be near a table or something like that and Rosalie. Maybe a chair or a desk would do? Miss Eastwood. And then in the dark Rosalie. Av course in the dark. And ye got wan rap for yes and two for no. (There is a short pause. Rosalie comes down c. — stands and says) Are those spirits near? ("All laugh.) Standish. Oh, no, don't. ONE RAP (One rap is heard — from back of fireplace. Little laugh.) Miss Eastwood. But (Rises, comes down L.C. a step.) Mason. Oh, please keep still ('All gather a little closer around Rosalie, j Rosalie. Is it Laughing Eyes ? (One rap is heard — stUl louder) ONE RAP And ye can't talk to me in the light ? (One rap) ONE RAP Are ye happy? ^Mrs. Trent rises) (Two raps again) TWO RAPS is there someone here ye don't like? (One rap) ONE RAP A gentleman? (Two raps) TWO RAPS Dear, dear, a lady. (One rap) ONE RAP, THE THIRTEENTH CHAIR 21 (She points to Miss Eastwood^ Is it that one? (One rap) ONE RAP Laughing Eyes don't like you. (General laugh.) Mason, ('r.c.j That's the most wonderful thing I ever heard. Standish. (Down l.) Oh, I don't think Mason. It couldn't be a trick. She just stood there. I watched her hands every minute. Rosalie. Sure, ye watched the wrong end of me. I have a wooden sole in me shoe. (She lifts her skirt and shows that she has taken one foot from her slipper) Ye do it with yer foot. Like this. ('Trent goes up to armchair l.c. Laughingly) Sure, it's a trick. ('Miss Eastwood goes to Wales l.c. Mrs. Trent crosses up to armchair l.c. Standish crosses up to L. end of settee, Crosby c. Mrs. Crosby seated at table r. Standish crosses back of settee to R.c.j Mason. Then if we get any messages Cr-c.; Rosalie. If ye get any messages. Well, sur, I'm tellin' ye the truth now. Most of the time it's fake. With me, or that dago Palladino, and it was with Slade, and all the rest of the trance mediums. But to-night there'll be no fakin'. (Rises) I'm a stranger to all of yez except Mr. Wales. I don't know who lives in this house, I don't know the name of any one of ye. Mr. Wales told me he wanted me to come here, he said he'd be sendin' for me. He ain't told me one word about any of ye. (Goes to R. end of settee.) Wales. That is quite true. (Over L.j Trent. (By armchair l.c.J You haven't given her a hint of any sort? Wales, (i..) On my word of honor. 22 THE THIRTEENTH CHAIR Mason. (Above table rJ Madam La Grange? Rosalie. Sor ? Mason. I know a man who saw this woman Palladino hft a table just by putting her hands on h. ('Rosalie points to a small console table r. end of settee — it has a lamp on it — Eastwooo l. end of settee.) Rosalie. (Putting handbag on chair above table R.J Will some one please take the lamp off that table? And will you bring it here to me? fMiss Standish crosses r. to upper end of table r., takes lamp and holds it. Mason brings console table to Rosalie down c. — wide side to audience — Rosalie puts her hands on table with her thumbs under its edge and lifts the table and turns r. and L.j You mean like that? Mason. Yes, I suppose that was it. Rosalie. In the dark ye wouldn't hardly notice my thumbs. ^All laugh. Miss Erskine seated back of table over R.J But it can be done, it can be done. I don't say I can do it in the light, but if ye want I'll try. All. Oh, yes, yes, of course, please do, yes, yes. Mason. You mean without any trickery ? Rosalie. (Getting back of console table. Turn- ing table around — narrow side to entrance) I mean like this. (She places the tips of the fingers of both hajids on the c. of the table and stands rigid for a few moments. No one speaks. All watch her with breathless interest. Slowly the table tips a little to one side, and then tips in the opposite direction. Then it slowly rises about a foot from the floor, amd then drops suddenly and falls over. There is a long pause.) THE THIRTEENTH CHAIR 23 Mason, (r. of small fable) Good God. Wales, ^l.c. Quietly) What did I tell you? (There is a long pause, All turn towards Rosalie to see what she will do next. Mason takes con- sole table back to its place R. end of settee. Trent, Mrs. Trent, over l. Standish and Crosby c.^ Rosalie, (c.) Now ye all know what I can do, but I can trick ye, too ; so ye'll have to take my word for it that I won't. I'm not makin' you any promises. I'll go into trance for ye, and it will be a real trance and no fake. My spirit controls a little girl named Laughing Eyes. Crosby. (Coming c.) Are you asking us to be- lieve that the spirit of a dead child Rosalie, (c.) To them that believes there is no death. Glory be to God, your own religion teaches ye that. Crosby. But not that the spirits of the dead can come back to earth. Rosalie. (Goes to chair upper end of table — Crosby crosses to end of settee) Man, go read your Bible, f Standish crosses to back of table R.j Sure, I'm not going to argue with any of you. I didn't come here for argument. Most of you don't believe, you're all of little faith; sure, it's hard to get mes- sages then. Perhaps I'd better go about me busi- ness? (Crosses to l.c.J Mrs. Crosby. (At table r. j Oh, no, please stay. Rosalie. Sure, ma'am, I'll be glad to. CWiLL and Helen enter r.c. Cross down r.c.J Trent. (Down l. of armchair) And you're willing to submit to our conditions? Rosalie. Of course, anything in reason — I 24 THE THIRTEENTH CHAIR Helen. Why ! (Coming down e.c J ('Rosalie^ at the sound of a new voice, turns. She gives a little start, and then moves quickly to Helen — c.) Rosalie. Wait, something's coming to me. Don't anyone speak. ("All laugh. She goes close to Helen and looks at her — crosses down c.) It's a message — give me your hand, Miss. ^Helen, in a good deal of confusion, gives Rosalie her hand. Rosalie stands and holds, her eyes are closed) Lady, there's nothin' but happiness comin' to you. The spirits tell me you're the favorite child av for- tune. fWiLL comes to R.c.j You'll have wealth, and prosperity, and happiness. You'll marry the man you love, and ye'll be happy all your life long. fWALES goes up l. Trent comes to Rosalie a step. Rosalie turns to others) There's something I got to tell her, just fer herself it is. Sure, a young girl like, it's her modesty I'm sparin'. fMRS. Trent goes up l. Trent, Eastwood, and Wales goes up l.c. Rosalie brings Helen down L. Will joins Crosby and Mrs. Crosby E. — Erskine and Standish back of table ^.) Helen. Mother ! Rosalie. Sure, darlin', I didn't know, they Just brought me here. Ye know I wouldn't have come fer anythin' in the world. ^Helen starts to break away) Don't tell them, dear, don't have me shame you before all your fine friends. I'll go in a minute — I'll get away the minute I can. Helen. But, Mother, there's no shame. I'm proud Rosalie. Tell them afterwards av ye must, but let me get away first. (Aloud) Remember now, THE THIRTEENTH CHAIR 25 Miss, all the love in the world is hangin' over ye, and prayin' for your happiness. Don't let it go. (Buzz — Rosalie turns to Wales l. Nellie stands looking after her. Will comes to her r.c. j Will. What did she tell you? Helen. You heard most of it. I'll tell you the rest later. CWill and Helen go up vl.c.) Rosalie. I'm afraid I'd better go. CEastwood and Trent come down u) Wales. (To the others) What do you think? Madame La Grange wants to call off the seance. Miss Eastwood. (Down -l.) I thought she might. Rosalie. (Mason above table r.) Did ye, now? Mrs. Crosby. Oh, won't you please stay? ^WiLL and Helen r.c. Miss Erskine above table R.J Rosalie. (Comes c.) I'm afraid I can't, ma'am. I'm not feeling right, I ain't just meself . Wales, (l.c.) Really, Madame La Grange. I'm afraid under the circumstances. Rosalie. (Getting handbag from chair) I'm sorry but I got to go. Miss Eastwood. (Down l. of Rosalie^ I think it's a shame to bother her. And I think she's quite right to go. Her sort of tricks aren't for people of intelligence. Helen. Oh, won't you please stay? (To Rosa- lie c.) Rosalie. I mustn't. Helen. Won't you as a great favor to me? Rosalie. Well, Miss, since you ask it. I will stay. 26 THE THIRTEENTH CHAIR ^Miss Eastwood laughs. She and Trent go up l. Crosby by settee c. Mason below table r. Mrs. Crosby seated lower end of table. Mrs. Trent comes down to armchair l.c, sits.) Mrs. Crosby. I'm very glad. Really, I'm greatly interested. Rosalie. (Crosses R.j Are ye now, ma'am? Crosby. (To c.) I think after what we've seen, that we must ask Madame La Grange to submit to certain conditions. Rosalie. Anythin' at all, sur, anythin' at all. Mason. (Down r. j I agree with you. Frankly this woman impresses me. I think this test should be taken seriously. ('Eastwood laughs. Crosses to l. end of settee.) Wales, ('l.c.j Just what I was going to say. Crosby, (r.c.) If you will submit to the condi- tions we impose, Madame La Grange, and then show vis any manifestations, I will never scoff at anything again. Rosalie. Sure, our scoffin's the easiest thing an}' one can do. f Crosby crosses down r. below table) If I could stop that even in one person, it would be a good job. What is it you want? Crosby. I want the window fastened. Mason. That's the idea. Crosby. (Coming in front of table r.J Then we will have the doors locked. Will that be all right? Rosalie. It will. Miss Eastwood. (Coming down x..c.) At the risk of seeming unnecessarily skeptical, I'm going to suggest that we search Madame La Grange — that is, of course, if she's willing. THE THIRTEENTH CHAIR 27 CMiss Erskine and Miss Standish back of table R.) Rosalie, (c.) Why not? There's no holes in my stockings. ("All laugh.) Mason. (Dozvn R.j I suppose it's going to be difficult for you to get results if we are all so an- tagonistic, Madame La Grange. ('Miss Eastwood goes up l.c.J Rosalie. Well, sur, it's up to them. If there's any who wants to communicate with any here, maybe they can reach us. I don't know. I don't under- stand ye. Sure, I showed ye all the tricks ; would I have done that, if I wanted to fool ye? I would not. Then why won't ye give me credit for bein' honest ? Wales. (Down l. Ad lib buss) I'm sure Madame La Grange is perfectly honest. We've made certain stipulations to which she has agreed. I think we've discussed matters enough already. We're ready if you are, Madame La Grange. Rosalie. I'm ready. fCROSBY looks at window fastenings.) Mrs. Crosby. (Seated at table over R.j Do you know, I don't believe it will be necessary to subject Madame La Grange to being searched. I'm quite sure we can spare her that indignity. Rosalie. Sure, I don't mind if you fine ladies won't be shocked at seeing plain, hand-sewed under- wear. CWales up L. Ad lib laugh. Erskine joining Will and HeleNj r.c.j 28 THE THIRTEENTH CHAIR Mrs. Crosby. (Xing to l. of Rosalie c.) Come with me then, please. I'm sure we won't be shocked. (Aside to RosalieJ I wear that kind myself. Rosalie. Do ye now, ma'am ? (They go to door at L.) Mrs. Crosby. (At door l.) We sha'n't be long. Rosalie. (At door l.) Ma'am, would ye mind if all the ladies came? Then they'll all be sure I ain't concealing nothing. (The Ladies all talk together and exit l., following Mrs. Crosby. Wales closes door down l. Crosby comes to hack of table s..) Will. (By table k.) Do you really want that window fastened? fSTANDisH back of chair below table R.j Wales, ^l.c. Crosby and Trent sit on settee corner) I don't care. Mason. (At table r.) I'd like to make the test that way. I've a queer feeling about that woman. I believe she really has power of some sort. I know it seems funny, but — well, you all saw her lift that table. I watched her carefully. There was no trick about it at all. I'm sure of it. Crosby. All right, then. You fasten the win- dow. Billy, you and Brad go and get some chairs out of the dining-room, we'll need a lot. ^Wales walks up and down l. stage. Will and Trent exit door R.c.^ You put them in a circle, don't you? (Begins to place chairs that are already in the room in a circle c. — armchair first l. of fireplace) What are you going to do, Wales? Ask her a lot of ques- tions ? Wales. (Over h.) I'm going to try to find out who killed Spencer Lee. THE THIRTEENTH CHAIR 29 Crosby. Still harping on the murder of Spen- cer Lee? CStandish places chairs above and below table in circle, then chair r. side of fireplace in circle.) Wales. Yes. Mason. (Over r., opening window curtains and raising windowshade) Who was Spencer Lee? Wales. The best friend I ever had. ('Trent and Will enter door r.c.j each carrying two chairs, bring them down r.c. and exit tl.c.) Standish. (Placing chairs c. with backs to audi- ence) We all knew Lee pretty well. And I know he was no good. Wales. (Crosses to l.c. outside of circle) You can't talk that way about him, Standish ! Crosby. (In circle, comes down c.) The man's dead, why not let him rest in peace. fSxANDiSH outside of circle, l.c. seat.) Standish. I didn't bring up the matter, you know, and I don't want to hurt Ned's feelings, but I know that the police found a lot of compromising letters and rotten things of that sort. ("Will and Trent re-enter from r.c. Will crosses and places two chairs r. side of circle — closes door.) Wales. (i..c.) I don't care what they found, or what anyone thinks of Lee, he was my best friend and if I can find out who killed him I'm going to do it. It was a damned brutal murder, stabbed in the 30 THE THIRTEENTH CHAIR back, poor chap, with never a chance to fight for his life. (Crosses over l J Mason. (By table r.) I don't seem to remem- ber anything about the case. Wales. It happened before you got back from France — no, by Jove, it didn't either. It was a day or two after. I remember you and I had lunch to- gether the day you got home, and I had dinner that night with Spencer. Funny you don't remember anything about it. ^WiLL sifting r. in circle.) Mason. Well, of course, I must have seen it in the papers, but I don't go in much for crimes, and not knowing the man I wasn't interested. Standish. (Sitting in circle l.c.J It was a good deal of sensation. The man knew a lot of nice peo- ple. Came here a good deal, didn't he, Mr. Crosby? Crosby. (Sitting in circle up c.) At one time. But after Helen married he rather dropped out of it. Fact is until Trent here appeared on the scene, he was always hanging around. ^Trent comes down and sits in R. side of circle.) Standish. Funny they never found out who killed him. Wales. (Standing outside of circle, l. side) They may yet. They haven't stopped trying. Mason. (Seated on table s..) Oh, are the police still interested? Wales. Yes, they're interested. As a matter of fact, there's a reward of five thousand dollars for the discovery of the murderers. Standish. Are you sure of that ? Wales. I offered it. Trent. You ? THE THIRTEENTH CHAIR 31 Wales. Yes. What sort of a man do you think I am ? Do you expect me to sit still and let the mur- derers of Spencer Lee go free ? Why, I'd known the man all his life. We were the closest kind of friends. Will. But if he was the kind of a man that Standish says Wales. I don't give a damn what he was. He was my friend and I'm never going to rest till I find out who killed him. Trent. But Wales. I wouldn't care so much if they'd given the poor devil half a chance for his life, but they stabbed him in the back. Mason. Wasn't there any indications (Sit- ting on table R.) Wales. (Standing upper l. side — outside of cir- cle) There wasn't a thing to show who did it or how it was done. A knife wound between the shoul- der blades and no knife ever found. Nothing stolen, nothing disturbed. The police have found out that a young woman called to see him that afternoon, two or three hours before his body was discovered. That's all that we know. Trent. (With a laugh — still seated in circle) And now you're going to try spiritualism ? Wales. Why not ? (There is a pause) Do any of you object? Trent. Certainly not. I'm rather for it. Mason. (Rises. Still at l. table) You are do- ing this seriously ? This is not a joke ? Wales. Quite seriously. (There is a pause) Well, why don't somebody laugh ? Crosby. My dear fellow, why should anyone laugh? This queer old woman may have powers of which we know nothing at all. Personally, I haven't much belief in that sort of thing, but I'm not going to laugh at it. (Rises) Neither am I go- 32 THE THIRTEENTH CHAIR ing to have any trickery, or if there is any I'm go- ing to expose it. Wales. (Over l.) That's perfectly fair. Crosby. You've been at her seances or whatever they call them before? Wales. Yes. Crosby. In the dark? Wales. Invariably. Crosby. I may want light. (He turns to his son) Billy, if I call for lights you give them to me. Don't wait for anything, understand? Will. Perfectly, Dad. ('Will, goes up to small table R. of settee. Brings table with lamp on it down to between chair and his chair in circle.) Crosby. That's all right, then. (Still in circle. Door opens at l. — Mrs. Crosby enters, followed by Madame La Grange and other ladies. Wales crosses to r.c. outside circle. Standish crosses to upper end of table r. Trent crosses to L. side of circle.) Mrs. Crosby. I think it wasn't fair to us. Rosalie. Sure, ma'am, I didn't mind. fMRS. Crosby crosses back of settee to up R.C.) Miss Eastwood. (Coming down z,.) I can as- sure you there isn't anything up her sleeve. Rosalie. Well, what did you expect, burglar's tools ? CEastwood goes up l. end of settee. Helen and Mrs. Trent up l. Mrs. Trent closes door down L.J Wales. (Over r.^ Madame La Grange, we've fastened the windows. ^Miss Standish, Mrs. Trent, Helen over l. THE THIRTEENTH CHAIR 33 TliENT, Standish, Erskine by console table l. of settee.) Rosalie. Have ye now ? Crosby. And now if you don't mind, I'm going to lock the doOrs and keep the keys in my pocket. Rosalie. Anything at all, sir. Sure, it's all one to me. (Goes inside circle and sits down c. in cir- cle.) Mason. May I see that it's done, Mr. Crosby? rR.c.; Crosby, (l.c. With a laugh) Can't you trust me? Mason. It isn't that — I — well, I just want to be sure. To see for myself. Crosby. Lock that one yourself, then. (Indi- cating door R.c. Crosby goes to door at l.c, locks it, takes out the key and puts it in his pocket) Bet- ter try it. Mason. ('Mason crosses to door l.c. — shows it is locked) Now we'll do this one. (He starts to door down l. Then stops suddenly) No, I've got a better way than this. My dear, will you ring for Pollock ? Mrs. Crosby. (Upper end of table R.j What are you going to do now ? Crosby. Wait and see. (To Rosalie j You don't object to this? Rosalie. I do not. ("Butler enters from door l. — comes well on stage.) Crosby. Oh, Pollock, I want you to put these keys in your pocket. (Hands them to him. Pollock puts them in his waistcoat pocket. Mrs. Trent and Helen down l.j Pollock. Yes, sir. CROse'r, fl,.c.j Now then I want you to take 34 THE THIRTEENTH CHAIR the key out of that door, and lock it on the outside, understand ? Pollock. Perfectly, sir. Crosby. Then take the key from the lock and put that one in your pocket also, after that you are to stand outside that door, and you are not to un- lock it until I tell you to. Understand ? Pollock. Yes, sir, I'm to lock this door on the outside, keep the key in my pocket, and then stay just outside, and not open it for anyone until you tell me. Crosby. Exactly. (Ad lib. buzz of conversation, Pollock goes to door i.., takes out key, exits, clos- ing the door after him. The key is heard turning in the lock) Now then, Mason, you'd better try that door, too. fMASON goes over and tries the door l. Crosby follows him. Speaking through the door l. j Are you there. Pollock ? Pollock. (Outside) Yes, sir. Crosby. And the keys are in your pocket? Pollock. Quite so, sir. Crosby. Now we're ready, Madame La Grange. Rosalie. Then if ye'll all sit in a circle and hold hands. Erskine. Hold hands? I'm going to love this. CAll laugh.) Mason. (Down to chair L. of circle) How shall we sit? I mean do you want us in any particular order ? Rosalie. Any way at all. Miss Eastwood, (i.. to Erskine, Mrs. Trentj And he said whose wife. Will. I'll sit here. (Takes chair and sits in reach of lamp on table r.c.) Rosalie. Any way will do. (Helen and Mrs. Trent come down l. The Oth- ers sit in a circle form the following order: THE THIRTEENTH CHAIR 35 Rosalie, c. ; Crosby l. of Rosalie; Erskine, Miss Standish, Trent, Miss Eastwood, Ma- son, Helen, Mrs. Trent, Standish and Mrs. Crosby. This brings Wales sitting at c. with his back to the audience. Rosalie directly op- posite up stage, facing him. As they are being seated ad lib. buzz of conversation.) Miss Erskine. I'm to sit next to you, Mr. Crosby. Crosby. I've always wanted to hold your hands, my dear. (Sitting in circle.) Mrs. Crosby. Don't trust him, Daisy. (At r. of circle — sits in circle r. side.) Miss Erskine. I won't, Mrs. Crosby. (Sits in circle.) Miss Standish. I'll chaperone them. (Sits in circle between Trent and Erskine.j Mason. (To Helen J Will you sit by me? (They sit in circle.) Trent. I'll take this place, then. (He sits in circle l. side.) Miss Eastwood. (As she sits in circle) I'm really getting quite a thrill. ^Rosalie laughs) What's the joke, Madame La Grange? ('Mrs. Trent crosses outside of circle to R.c. and sits in circle.) Rosalie. I didn't know anything could thrill you. Miss Eastwood. You don't like me, do you, Madame la Grange? Rosalie. Sure, Miss, I'm crazy about you. Wales. (Standing below circle s.c.j I think we're all ready. (The Others sit. Wales is about to sit.) Erskine. There are thirteen of us. Oh, don't 36 THE THIRTEENTH CHAIR sit there, Mr. Wales. (Counting hurriedly. She sits L. side of circle.) Wales. Oh, I don't mind those little supersti- tions. (Sits down stage side of circle.) Mrs. Crosby. What do we do now? READY LIGHTS Rosalie. I'd like for ye to join hands, and then sit quiet. Don't try to think of anything. Trent. By Jove, that'll be easy for me. (The Others laugh.) Wales. We can't get any results if you treat this as a joke. ^All laugh.) Standish. Oh, let's be serious. Miss Erskine. Why, Howard ! Standish. Well, there might be something in it. Anyhow, it's only fair to do what Madame La Grange wants. I suppose you'd like the lights out? I've always understood that was necessary. Rosalie. We'll get better results that way. LIGHTS Crosby. All right, then. (He rises — goes to door L., pushes light switch below door l. This leaves only the two table lamps r. and l. of settee c. still lit. All other lights on scene out. Crosses back to his chair — turns out table lamp h.) Will, you turn out that light as soon as we are ready, OUT Will. Right you are, Dad. Rosalie. That's all, then. Sure, you're not to be frightened, if I cry or moan when I go into a trance. I'm not in pain or anything like that. I don't even know that I do such things, but I've been told that it sometimes happens. Me spirit control is a sweet little child, named Laughing Eyes. When she begins to talk ye can ask her anything you want. If she don't answer ye, she don't want to talk to ye. Then whoever's speaking had better let someone else THE THIRTEENTH CHAIR 37 try it. That's all. (She settles back in her chair) Now, thin, sir, ye can put out that light. ('Will turns off the light, and the stage is in dark- ness, all hut spots on ceiling. House lights are all out, too.) Crosby. That won't do. Billy, pull down the blind, that light on the ceiling is too strong. ('Will turns on lights. Crosses, pulls hUnd down, closes curtains, resumes his seat and puts light out. Rosalie rises, crosses back of circle to back of Miss Eastwood's chair. There is a pause. Suddenly Miss Eastwood screams shrilly.) Miss Eastwood. There's a hand on my face, there's a hand on my face! Crosby. Lights, son ! (The light on the table goes up, showing Will lean- ing back in his chair with one hand on the switch, the other tightly clasped in his father's hand. Rosalie is seen standing back of Miss Eastwood, with her hand resting on Miss East- wooD^s cheek. All start to speak.) Mrs. Trent. It's a trick. Rosalie. Sure, it is a trick. (They stop and stare at her. Her manner is commanding, and a lit- tle stern) I was going to ask ye to tie me hands to the arm of the chair, but I thought I'd show ye this first. Mason. I don't see how you did it — even now. Rosalie. (Standing outside of circle l. j Things happen in the dark. 'The sense of touch isn't much developed except ye're blind. When this young gen- 38 THE THIRTEENTH CHAIR tleman let go my hand to turn out the light, I took my other hand away from Mr. Crosby and when we joined hands again the two gentlemen were holding hands as comfortable as you please. And I was free. It's an old trick. All the mediums use it. Anyone can do it. (Back to her chair and sits) Now, if someone will tie me in, we'll go on. Mason. How do we know that you can't get free even then? Rosalie. Tie me so I can't. Crosby. (Rising) I'll see to that. I want some- thing strong. Mason. Take handkerchiefs, they are strong enough. (Takes handkerchief.) Crosby. They'll do very well. (Takes out his own) I want three more. Will. Here's mine. (Hands his handkerchief to his father. Mason and Trent give Crosby theirs.) Crosby. Now, Madame La Grange, if you don't mind. (He goes, ties her hands to the arm of the chair) I don't see why you did that just now. Rosalie. I told you I wanted to be sure. Crosby. Why ? Rosalie. Because I think something's going to happen. I think there will be manifestations. I wanted you to know I wasn't faking. Miss Eastwood. Why should we think that you were? Rosalie. Sure, ye thought nothing else since I came into the room. Crosby. Mason, see if she can get free from that now. ("Mason comes over, inspects the knot, Crosby tying the other hand.) THE THIRTEENTH CHAIR 39 Mason. That seems pretty secure — someone esle look at it. ('Will and Trent rise and go to Rosalie's chair.) Crosby. I'm going to fasten your ankles now, Madame La Grange. Rosalie. That's right. ("Crosby ties Rosalie's ankles to leg of chair. The other two men look on.) Wales. I don't believe all this is necessary. Rosalie. Why not, if they want it? Crosby. Now I'm sure she can't get away. ^Ma- SON inspects knot.) Mason. So am I. (The men resume their places.) Rosalie. Well now, if ye'll all sit down, please — (Pause) — ye'll have to reach over and take my hands this time — are ye all satisfied now? Is there any- thing more ye want me to do? (There is no an- swer) Then, if ye'll all sit quiet, just keep yer minds free, that's all ye have to do. Now, sir, ye can turn out the lights. LAMP OFF (There is a long pause. Rosalie moans and whis- pers as if in pain.) Helen. I can't stand this, I # Wales. Please keep still — she asked us to keep still. fRosALiE moans again. After a short pause, she gives a choking sob. Another pause. Finally she speaks with frequent pauses, using the voice of a little child.) SET 40 THE THIRTEENTH CHAIR Rosalie. Laughing Eyes is sad, very sad. I'm a long way off — a long way. (Pcmse) Bad people, bad people, unhappy — ^he's unhappy (Pause. Knife is set down in sight of audience, seen sticking in ceiling) Spencer wants to tell Ned (She moans heavily) It hurts — terribly — like a knife- it burns — ^bums, in the back ^Man's voice from settee, facing fireplace, says) Voice. Ned, I want Ned — why in hell don't Ned answer ? Rosalie. (In child's voice) He wants to talk to Ned — ^is Ned here? Standish. Ned who? Who is it? Who does he want to speak to ? Rosalie. (In child's voice) Tell Ned it's Spen- cer — Spencer wants to tell Ned about the letters and the pain in the back — in the back. Standish. What was in the back? (There is no answer) Ask him what was in the back ! Rosalie. (Still using child's voice) The knife — Ned — ^he wants Ned. Wales. What do you want? Rosalie. A swimming pool — don't forget the swimming pool. Don't ever forget Wales. You mean the time he went in after me when I was drowning? When we were little boys? Is that what he wants me to remember? Rosalie. Spencer says he can't rest — ^he wants to tell you it's hard to reach — too far away — ^you promised Wales. Promised what? When did I promise? Rosalie. Your life saved Wales. Now I know — I told him I'd do any- thing in the world for him. Spencer, of course, I remember — what do you want me to do ? Rosalie. Find — find Wales. Do you want me to find the letters ? THE THIRTEENTH CHAIR 41 Rosalie. In the back — someone came — someone came. Wales. You're trying to tell who killed you? Rosalie. Ask — ask — ask. Wales. You want me to ask questions ? Is that it? You mean you can't talk much? Rosalie. Too far away. READY LIGHTS Crosby. You know who killed you? (There is a pause, but no answer.) Rosalie. He says, Ned, he wants Ned. Wales. You want me to ask? Rosalie. He wants Ned to ask. Wales. Do you know who killed you ? Mrs. Trent. (Hysterically) Oh, my God! Crosby. Keep still, daughter. Wales. Can you tell the name ? ('Rosalie sud- denly gives a long moan) Quick, the name, the name. Spencer, tell me who killed you — she's com- ing out of her trance. I want the name. ('Rosalie moans again. Her cry is over-topped by a shriek from Wales; Oh, my God. My back— Oh! (Then there is a dead silence that lasts as long as it will hold.) Crosby.' Wales, is anything the matter? Mrs. Trent. Father, he's pulling at my hand. TABLE LIGHT ON Crosby. Lights, son. ^WiLL suddenly turns on the light at table. Wales is discovered leaning forward, the circle is un- broken.) Mrs. Trent. Look at him! Father! Look at him! CCrosby drops Rosalie's hand and springs forward toward Wales. At the same instant Wales 42 THE THIRTEENTH CHAIR falls forward on his face to the floor. The others all rise, chairs are knocked over in the confusion which follows.) WARN Crosby. Stand back, please. (The Others move hack a little — Crosby leans over WalesJ Why, he — why — it's impossible. Mrs. Crosby. Roscoe. look at your hand. ('Crosby looks at his hand, takes out his handker- chief and wipes it hurriedly. He crosses sud- denly to the door at l. Rosalie has come out of her trance and sits staring at Wales as he lies on the floor in front of her. The two fig- ures are thrown out from the shadows of the room by the light on the table back of Madame La Grange. The rest of the room is in semi- darkness.) Crosby. fTRENT kneels by Wales^ body) Pol- lock! Pollock! Pollock. (Outside) Yes, Mr. Crosby. CTrent turns Wales' body over on back.) Crosby. Get on the phone at once and call up Police Headquarters. Get Inspector Donahue if you can. Tell him to come to the house at once. READY CURTAIN Pollock. Very good, sir. ('Crosby turns away from the door, and faces the Others, who have followed him over.) Will. Father, what do you suppose it is? Are you sure that Mrs. Trent. It can't be. He was talking and THE THIRTEENTH CHAIR 43 Mrs. Crosby. Roscoe, are you sure? Hadn't we better send for Doctor Griggs? ^Trent is leaning over Wales' body on floor.) Trent. It's no use. He's dead. Crosby. Murdered. Trent. (Rises) What ? Crosby. Mr. Wales was stabbed in the back, just as Spencer Lee was stabbed in the back. Standish. Just as he was asking — just when he was trying to find out who (There is a knock on the door down l.j Crosby. What is it ? Pollock. (Outside of door) Inspector Dona- hue was at the Fifty-first Street Station, sir. He's on his way here. (There is a pause) Shall I un- lock the door, sir? Crosby. No — not until the Inspector tells you. CURTAIN ACT II Scene : Same as Act I. Time: Ten minutes later. Discovered : Crosby is standing by door l. Rosa- lie is still tied in chair. Dumm,y supposed to represent Wales' body covered by a piece of drapery, has been placed on settee facing fire- place up c. Mrs. Trent seated below console table l. end of settee. Miss Eastwood seated next to Rosalie at r. end of console table R. of settee. Standish over r. by table. Helen and Will — standing above table r. Mrs. Crosby seated l., next to Rosalie. Miss Erskine seated next to Mrs. Crosby. Mason in front of fireplace c, looking at Wales' body. Trent walking up stage l. as curtain rises. All lamps on stage lit. Rose foots up full. Amber foots one-quarter up. No border light. Arrangement of chairs for Second Act. Big armchair up c, facing audience. Single chair R. of armchair. Chair upper end of table R. Armchair back of table r. Chair lower end of table R. Small chair in front of table R. Sm^l chairs down c, with space between; these two chairs turn sideways to audience. Chair down L. Armchair against flat below door l. Chair up L. Chair with upholstered seat l. of Rosa- lie's chair. Small chair R. corner of console table, l. of settee. Small chair l. side, a little 44 THE THIRTEENTH CHAIR 45 below console table L. end of settee. Book on table R. ef%d of settee. Console table moved up stage to r. end of settee. Standish teetering chair belozv table r.^ Erskine tapping chair, Eastwood rattling book leaves. Mason takes book away from her. Miss Standish sitting L.c. between Mrs. Crosby and Mrs. Trent. As curtain rises, Mrs. Trent rises, goes to Crosby l. Trent walks up stage l. at rise. Mrs. Trent. (Rises, goes l. to Crosby j Father, please let me go to my room. Crosby. It is impossible, my dear. Trent. But, Mr. Crosby- (Goes to Cros- by L. j Crosby. (In^rrupting him) It's quite impos- sible. ('Mrs. Trent sits in chair up l., followed by Trent, who stands r. side of Mrs. Trent. Standish is standing by table over R.J Standish. (Below table over r.) Mr. Crosby, I must Crosby. ("Will sits back of table r. Helen sits above table R.) Mr. Standish, I just refused to let my own daughter leave the room. (Slight pause.) Standish. But don't 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 move- ment from All; It's an awful thing to say — some- one of us in this room has killed W^les — which one of us? (Knock en door down l.J THREE KNOCKS 46 THE THIRTEENTH CHAIR Crosby. Yes. Pollock. (Outside) The police are here, sir. Crosby. Who is it? DoNOHUE. (Outside at door down l.) Inspec- tor Donohue. Crosby. f^WiLL rises) Pollock, you will give Inspector Donohue all the keys. Pollock. Yes, Mr. Crosby. (There is a pause.) Donohue. (Stil outside the door) What is all this? Pollock. (Outside door down l. j 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 Dono- HUEj in citizen's dress, comes well on stage l. Sergeant Dunn enters, drops below door l. He is seen to be a clean-cut, intelligent-looking man of fifty. It later develops that he is re- served and extremely quiet in manner. He speaks like a gentleman and acts like one. He is as little like the traditional stage police in- spector as it is possible to induce a tradition- bound manager to permit.) Donohue. Oh, Wales! Where's Mr. Wales? Crosby. Cl.c.^ How did you know that Wales Donohue. (u of Crosby. Interrupting him) I don't know anything. I was thinking of some- thing 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. DoNOFUE. Wales is what? THE THIRTEENTH CHAIR 47 Crosby. Wales is dead. Miss Eastwood. (Still seated e.c. j 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 iifteen minutes ago. (Other characters keep positions as at rise of curtain.) 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 sofa c.) There. fDoNOHUE goes up l. end of settee c, stands look- ing down on the body. There is a long pause and then, sloivly raising his head, looks with terrible deliberation at each person in the room. Mason goes to R. end of settee.) DoNOHUE. Who did this ? Crosby. We don't know. DoNOHUE. (Very quietly) Then I expect we'll have to find out. (He comes down R. end of settee, stops when he sees Rosalie. He gives a short laugh as he sees how she is tied to the chair) What's this? (■B..C.) Mrs. Crosby. (Rises) Good Heavens, we for- got to untie her. I'm so sorry. Rosalie. Thank ye, ma'am, I'm quite comfort- able as it is. I'll stay as I am if ye don't mind. Mrs. Crosby. But (Bus. unties.) 4G THE THIRTEENTH CHAIR DoNOHUE. I think we'll leave things as they are for the present. ('Mrs. Crosby resumes same seat as before.) Rosalie. Bless me soul, a cop with brains! DoNOHUE. (Goes to Crosby down l., standing R. side of Crosby^ Let's see if he can't use them then. Now, Mr. Crosby, tell me exactly what hap- pened. Crosby, ("l.c.j I know it sounds foolish, but we were having a spiritualistic seance. 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 be- tween, and all the rest of us were sitting around. DoNOHUE. (r. of Crosby^ All of you? Crosby. Yes. DoNOHUE. I thought you told your son to turn on the lights, (l.c.) Crosby. If 3'ou're implying that DoNOHUE. I'm not implying anything, and please answer my questions. Will. (Rises, and stands back of table R.) Why, 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. Go on, Mr. Crosby. (He turns again to Crosby.^ Crosby. Cl.c.j 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. THE THIRTEENTH CHAIR ^ 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 hap- pened, I sent for you. DoNOHUE. Why for mef Why not simply notify the police? I mean, was there any special reason for wanting mef 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. (Goes to 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 couldn't let him lie there on the floor. It was a little too much. You see, we were all locked in here 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 seance. Pol- lock 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. (Crosses c. There is a long pause, then he turns with a sweeping ges- ture.) Which one of you did? (Slight movement 50 THE THIRTEENTH CHAIR from Others — who are still seated. There is a long pause. No one speaks. Very quietly down r.c. Be- low table rJ Now, I'm not going to employ the usual police methods. There is to be no bulldozing or 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. He turns suddenly to Miss Eastwood, who is still seated up R.c.j Very well, then. 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 don't want to especially. But I think I ought to tell you this. No one else seems to have thought of it. When the seance started we were all sitting in a circle holding each other's 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. THE THIRTEENTH CHAIR 51 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? (With an air of triumph — Helen rises) That's what I wanted to tell you. Rosalie. If anyone of ye or all of ye can get me out of this chair without untying me or cutting me loose, I'll say I done that murder. ('Helen sits above table m.) 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? fDoNOHUE goes over and examines the way in which Rosalie is tied to the chair.) DoNOHUE. Why was she tied up? Crosby. (Down l.c.J 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. ("e. of Rosalie's chair) It's lucky for her that she did. Even if she had gotten out of those knots, there's no way in the world that she could get back in. Rosalie. I said the cop had brains. ('Donohue turns away from her) Get me loose. Inspector, dear, me foot's asleep. ('Donohue turns back, unties handkerchief with which she is tied. She gets up and stands in front of armchair c.) 52 THE THIRTEENTH CHAIR DONOHUE. Thank you very much, Miss East- wood, that eliminates one. Rosalie. Then I can go? (Starting for door l.) DoNOHUE. You cannot. ^'Rosalie goes r. of armchair and sits r. end of settee c.) Anyone else have anything they want to tell me? 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 starts to door L.) DoNOHUE. (Turning to Standish and Trent — ■ who start to go l.) That open door does not mean freedom for any of you yet. Trent. (Coming to Donohue c.) I'm awfully sorry, Inspector, but I've an important business en- gagement at ten o'clock. My father-in-law here will Donohue. That's quite impossible. fTRENT goes up l. again and stands l. side of Mrs. Trent.j Standish. (Crosses l.c.) This is all very well. Inspector, but you know you can't keep us in this room forever. If you want to take the consequences of accusing me of murder; well, that's your afifair. 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. I see. (c.) By the way, who are you? Standish. fL.c.j Howard Standish, of Stand- ish, Giles & Updegraff, 120 Broadway. My brother is judge Standish of the Supreme Court. Donohue. And you refuse to remain here any longer? (c.) THE THIRTEENTH CHAIR 53 StANDISH. I do. (L.C.J DoNOHUE. Very well, Mr. Standish, of Stand- ish, Giles & UpdegraflF. You are arrested as a ma- terial 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 — crosses r.) Are there any others who insist on leav- ing this room? Standish. Cl.c.j I beg your pardon, Inspec- tor, I acted like a fool. ('Mason r. of settee c.) DoNOHUE. Not at all, sir, your actions are en- tirely natural. ('Standish goes up l. Dunn's voice is heard out- side.) ■ 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- — ('Dono- hue crosses and closes the door l.) — he doesn't want the case reported yet. Donohue. We needn't be bothered with that, anyway. (Crosses 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, gets pencil) With the exception of Mr. Crosby, who is known to nearly every one, 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 sofa, facing fireplace up c.) That's rather a gruesome thing there. I think we'll move it into another room. Will some of you gen- tlemen carry Mr. Wales' body into the other room ? (There is a pause. The Men all hesitate. Finally Mason starts to settee c. down stage R.c.j Thank you very much, we'll (Coming to c.) ("Dunn enters from l.) 54 THE THIRTEENTH CHAIR 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 to console table R. of settee. He gives a little laugh) Funny how these old superstitions cling to us. One of the first tests for guilt invented by de- tectives 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 impres- sively) Because you know I really am going to arrest the murderer of Edward Wales to-night. ('Dunn enters from l., followed by Pollock j Carry the sofa into another room, please. Crosby. (Down L.J Into that room, please. (Indicating door l.c.J ('Dunn goes up to door h.c, turns knob — discovers door is locked. Pollock crosses to R. end of sofa, 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) The door is locked. Donohue. (c.) Oh, yes, try these keys. fDuNN comes down l.c, gets keys, goes up and un- locks door. — He and Pollock pick up settee — Pollock taking his end of settee through door L.c. first.) Donohue. And Mike — -. — ■. ("Dunn turns his head.) THE THIRTEENTH CHAIR 55 Dunn. Yes, sir. DoNOHUE. Make as quick an examination as you can and report to me here. (The Men exit, carrying sofa info room l.c. Donohue crosses to chair below table r. — sits. Miss Standish sits in circle between Erskine and Trent. Trent places chair L.c. j If you will all come a little closer, please. ("Will back of table r. — Helen O'Neill seated above table, Miss Eastwood seated below console table R. end of settee, Rosalie seated c. settee, Mrs. Crosby seated in armchair up c. Mason standing upper end of table r.. Miss Erskine seated up l.c. Mrs. Trent seated, Standish l. of armchair, and Trent seated l.c. Crosby down l.c. J Now I can see you all quite comfortably. (Seated lower end of table R. Pollock enters door l.c, closes door — crosses to door l. — Exits, closing door) As I started to say a moment ago, I shall have to find out some- thing about each of you. You, Madame? (He turns to Mrs. Crosby. J Mrs. Crosby. (Seated in armchair c.) I'm Alicia Crosby. Mrs. Roscoe Crosby. (He makes notes, with pencil on paper in front of him.) Donohue. I'm sorry to trouble you, Miss (He points his pencil at Miss Erskine, l.c.) Miss Erskine. Elizabeth Erskine. I'm 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. (Sits l.c. j Donohue. I know him. Thank you. You are then merely a guest here? Miss Erskine. A friend. Donohue. Miss Eastwood, I already know. Donohue. And you, Miss ? Miss Standish. Grace Standish. Standish. My sister. Donohue. Oh ! And this young lady ? 56 THE THIRTEENTH CHAIR Crosby. (He puts his hand on Mrs. Trent's shoulder, l.c.J My daughter, Mrs. Trent. She and Trent, here, live with us. DoNOHUE. And you, sir? Mason. (There is a pause) Phillip Mason. (At upper end of fable R.j DoNOHUE. That doesn't tell me very much. Mason. (With a laugh) There isn't much to tell. I'm just a friend of the family's. 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 par- don that question, won't you? Mason. Quite all right, I assure you. No, I'm not poor. DoNOHUE. (He turns toward Will who is standing back of Helen's chair above table R.j Thank you. And you? Will. I'm young Crosby. DoNOHUE. I see. Live home, I suppose? Will. Certainly, where else should I live? DoNOHUE. I thought perhaps you might be mar- ried. Crosby, (l.c.) He's not, but if he were he'd live with us and Will. No, Father. When I marry I've 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 ? Will. My fiancee. Miss O'Neill. THE THIRTEENTH CHAIR 57 DoNOHUE. Well, that finishes that. (Rises- stands below table rJ Miss Eastwood. But, Inspector, you haven't asked anything about the medium? DoNOHUE. Perhaps I don't consider that neces- sary, 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 uc.) Dunn. Inspector. DoNOHUE. Well ? Dunn. (At door L.c.j 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 turns and starts toward door down L.J 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.j 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. R. of Crosby J 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? (c.) S8 THE THIRTEENTH CHAIR Crosby, (c.) I did. DoNOHUE. No one else touched him ? Crosby. ^l.c.J No one. DoNOHUE. What did you do, after you had car- ried 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- chairs, every- where 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? DoNOHUE. (There is a pause) 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. THE THIRTEENTH CHAIR 59 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. Will 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 e. He turns zvith a gesture which takes them all in) You see how in- evitably 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 con- tinue. (Crosses up l.^ gets chair — places it l. side of circle — then gets chair down l., places that in lower left-hand side of circle. Crosby crosses to c.) I'd like to visualize the scene a little more clearly. ^Trent paces 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 — places it lower right-hand side of circle. Mrs. Crosby^ Erskine, Mrs. Trent, Trent and Miss Standish rise, cross to l. of cir- cle) Of course, this time without Mr. Wales. ("Miss Eastwood rises, stands at e. end of settee. During these last few speeches of Donohue, Trent and Crosby have placed the remainder of chairs of the left-hand side in circle) Won't you all sit as you were sitting at the seance? (By this time circle is formed completely with chairs. There is a general movement of those on the stage. Standish crosses e. to above table r. The minute this suggestion is made Rosalie comes down, nearer to Donohue and looks at 5o THETTHIRTEENTH CHAIR him anxiously. Something in his suggestion greatly disturbs her.) Crosby. (In upper l. side of circle) Will, you were there by the lanip, and Madame La Grange was next to you, and I was next to her DoNOHUE. Then how did they sit? (Down R.j Crosby. (Next to Rosalie l.c.J 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 i..) 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. CHelen starts L.J That's all right, then. Who came next? (Down r. They all hesi- tate.) Rosalie. (Eagerly) Inspector, I can place them all for you. Mason. (Over end of table r.J But you said you didn't care how we sat. ('Helen r.c. in circle.) Rosalie. Nor did I, sorr. But I was mighty careful to know where ye were sittin'. Shall I show ye. Inspector? DoNOHUE. (After a pause) If you will be so kind. Rosalie. ('Miss Standish sits in circle) The young lady was here. Well, this gentleman was here. (Indicating Trent's chair.) Trent. (From l. — outside of circle) By George, rUJV 'lUlRikkNlH LHAll^ m- 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 shoul- der and putting her in the next seat) And this young lady was here. ^Helen looks at her for a moment and then sinks back in her chair. Rosalie points at Mason j He came next. Mason. (Over r.J 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. ("Will 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. Will. Then why did you say it? (Seated R.c.j Mason. My dear fellow, I've apologized. You are misunderstanding me. Mrs. Crosby. I think we're all pretty frazzled. fL. outside of 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 pos- sible. (Sits c. 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, Phillip? (Crossing inside of circle — to chair lower l. side of circle.) Mason. Yes. Donohue. Now then, who occupied this seat? D2 THE THIRTEENTH CHAIR 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. I was next to Mrs. Trent. (Upper end of table R. 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 arm- chair.) Donohue. You are all sure that's where you were sitting? Miss Eastwood. fRosALiE rises) There's some mix-up here. I know. 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, / sat where Miss Eastwood is. Miss Eastwood. Yes, and I was next to Mr. Trent, between Phillip and Mr. Trent. I felt sure I was in the wrong seat. (Rises.) Donohue. (Quite casually) Then if 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. 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 seance? Crosby. Yes. I think so. Donohue. (He puts his hand on the empty chair) We'll pretend that Mr. Wales is still sit- ting here. (Slight movement from Allj Now, Mr. Crosby, I'll ask you to tell me what happened THE THIRTEENTH CHAIR 63 after the seance began. But first I'll ask you this question : Was there any special arrangement about the seats ? Rosalie. (Hurriedly — rises) There was not, sorr. I towld them that they could sit anywhere they liked for all of me. Young Mr. Crosby must have sat by the light on purpose. And I'm sorry I made that mistake about the young ladies. I don't know how 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 armchair np c.) However, we're all right now. Now, Mr. Crosby. (Down n.) Crosby. Well, after Madame La Grange had shown how she broke out of ("All look at Donohue. j DoNOHUE. We'll start with the seance. I know how mediums break the circle and all that. And you needn't describe how she went into that trance of hers. Mason. (Seated in circle) 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.j DoNOHUE. Then you'd better tell me now. Mason. In order that there should be no decep- tion, we had Madame La Grange searched. DoNOHUE. I see. Mason. And while she was out of the room DoNOHUE. Oh, she left the room ? CAlL look at DONOHUE. j 64 THE THIRTEENTH CHAIR 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 communica- tion with Spencer Lee and see if we couldn't 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. CMrs. 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 expalin this any other way. Donohue. Madame La Grange went into a trance. We'll grant that much, anyway. What hap- pened then? Crosby. After a few minutes she began talking to us in the voice of a little child. Rosalie. That was Laughing Eyes, me 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 some- one to someone. She kept callim^ for Ned. Then ,.