Welcome to the classic Agatha Christie mystery thriller: a houseful of strangers trapped by a blizzard and stalked by an
750 78 51MB
English Pages 680 Year 1978
Table of contents :
Introduction vii
Ten Little Indians 1
Appointment With Death 73
The Hollow 159
The Mousetrap 261
Witness for the Prosecution 337
Towards Zero 423
Verdict 497
Go Back for Murder 573
^^^^««M#M^ and^Oih€f^4lh4UfA
INTRODUCTION BY
IRA LEVIN
—
3w
in its
26th year—
e longest-running play ever... jring her lifetime, Agatha Christie stead-
refused to publish her plays. Now much arduous negotiating readers
stly
—
ter
volume of eight brilDame int stage thrillers from the Grande suspense. Here, making their initial ap?arance, are some of the most ingenious n delight in this
id
first
whodunits ever
chilling
to
grace the
And heading the list is the recordreaking, phenomenally successful The age.
(ousetrap, us
now
performance
26th year of continu-
in its in
London.
HE MOUSETRAP. A superbly constructed suspenseful from the legendary drama about ight people snowbound with an avenging lurderer has been wearing out actors, jrniture and theatrical records ever since it lystery, rst
rst
irresistibly
moment,
opened
in
this
London
in
1952. The longest-
unning play in the history of the Englishpeaking stage, it appears here in print for he
first
time.
VITNESS FOR THE PROSECUTION. Classic, double-twist" stunner about a sensational nurder trial. International stage success, view York Drama Critics Award-winner and lit
motion picture.
[EN LITTLE INDIANS. ;tage in
A
great success
London and New York,
on
this farrious
locked-room" puzzler has also been seen n three film versions.
(continued on back
flap)
Book Club Edition
Digitized by the Internet Archive in
2010
http://www.archive.org/details/mousetrapotherplOOchri
THE MOUSETRAP & OTHER PLAYS
THE MOUSETRAP & OTHER PLAYS BY AGATHA CHRISTIE INTRODUCTION BY IRA LEVIN
Dodd, Mead
& Company New York *
Copyright
© 1978 by Dodd, Mead & Company, Inc. © 1978 by Ira Levin
Introduction copyright All rights reserved
Printed in the United States of America
TEN LITTLE INDIANS. Copyright
1944, 1946 by Agatha Christie.
Copyright renewed 1971, i974 by Agatha Christie. APPOINTMENT WITH DEATH. Copyright 1945 by Agatha Christie Mallowan. Copyright renewed 1972 by Agatha Christie Mallowan.
Copyright
© 1956 by Agatha Christie.
THE HOLLOW. Copyright 1952 by Samuel French Ltd. THE MOUSETRAP. Copyright 1954 by Agatha Christie. WITNESS FOR THE PROSECUTION. Copyright © 1954 ^y Agatha Christie.
TOWARDS ZERO.
Copyright 1944 by Agatha Christie.
Copyright renewed 1971 by Agatha Christie. Copyright
© 1956,
\TZRDICT. Copyright
1957 by Agatha Christie and Gerald Verner. 1958 by Agatha Christie.
©
GO BACK FOR MURDER.
Copyright
© i960 by Agatha Christie Ltd,
caution: Professionals and amateurs are hereby warned that the above-mentioned plays, being fully protected under the Copyright Law of the United States of America, the British Commonwealth, including the Dominion of Canada, and all other countries of the Copyright Union, the Berne Convention, the Pan-American Copyright Convention and the Universal Copyright Convention, are subject to license and royalty. All rights including, but not limited to, reproduction in whole or in part by any process or method, professional use, amateur use, film, recitation, lecturing, public reading, recording, taping, radio and television broadcasting, and the rights of translation into foreign languages, are stricdy reserved. Particular emphasis is laid on the matter of readings, permission for which must be obtained in writing from the aumors agent. Inquiries concerning permission to reprint from the text of the plays should be addressed to the pubhsher: Dodd, Mead & Company, Inc., 79 Madison Avenue, New York, N.Y. 10016. Inquiries concerning stock and amateur acting rights should be addressed to: Samuel French, Inc., 25 West 45th Street, New York, N.Y. 10036. All other inquiries should be addressed to: Harold Ober Associates, Inc., 40 East 49th Street, New York, N.Y. 100 17.
CONTENTS Introduction
Ten
vii
Little Indians
i
Appointment With Death
The Hollow
1
59
The Mousetrap
261
Witness for the Prosecution
Towards Zero Verdict
497
Go Back
for
73
423
Murder
573
337
Introduction to
AGATHA
CHRISTIE'S PLAYS Ira
An Agatha
Christie
is,
Levin
of course, a mystery novel, cleanly written,
and usually featuring Hercule Poirot or Miss Marple. One begins it, if one is sensible, around nine p.m., and some time after midnight one smites one's brow and says, "Of course! Why didn't I see it? It was staring me in the face!" One marvels awhile and falls into peaceful slimiber. As the New York Times understated in a
masterfully surprising,
funeral piece on
people
who have
There
Dame
Agatha, "She gave more pleasure than most other
written books."
are about sixty
Agatha
Christies,
which
in a
way
is
a pity, be-
cause their continuing popularity has overshadowed a second definition of the generic noun; for an Agatha Christie
is
also a mystery flay, cleanly
and not featuring Poirot or Miss Marple. It unfolds in two hours instead of four or five, and being both alive and more concentrated, produces a more intense pleasure. It runs for years, or in one instance forever. There are about a dozen of these other Agatha Christies, and in them, if one knows the turf, is an accomplishment even more awe-inspiring than those sixty-odd novels. Other novelists, after all, have given us large nimibers of first-rate mysteries; John Dickson Carr and George Simenon
written, masterfully surprising,
spring to mind.
more than one
No
playwright except Christie, however, has given us
great stage mystery.
Check any
critic's list
of the ten or
twelve masterworks in that trickiest and most demanding of genres and you'll find that
each play— Nigfet
Must
Fall,
Angel
Dial
"M"
for
One
real
stunner per playwright seems to be
for
want of
Street,
The Bad
Seed,
Murder, Sleuth, and so on— is the work of a different hand.
trying.
The
sole exception
is
all that's possible,
Dame
Agatha,
and not
who managed
to
INTRODUCTION
Viii
write not one, not two, but three of the great stage mysteries: Indians, Witness for the Prosecution,
and The Mousetrap.
Ten
Little
When
you
have read them— all three are in this volume, along uath five other Christie plays— perhaps you too will wonder that the second definition of an Agatha Christie isn't as widely known as the first. Agatha Christie turned to playwriting in the midst of her novel-writing career for a reason that was, like the lady herself, both modest and astute.
Other playwrights had adapted some of her novels to the stage; they had erred, she felt, in following the hooks too closely. A rare complaint for a believe me.
novelist,
play
.
."
.
But "a dectective story
is
particularly
unlike a
she explains in her autobiography. "It has such an intricate
and usually so many characters and false clues, that the thing is bound to be confusing and overladen. What was wanted was sim^lificaplot,
tion."
And
so,
with
Ten
Little Indians, she
decided to try the job herself.
She proved to be instinctively theatrical, and ruthless as no other playwright would have dared be with her work. Three of the plays in this vo\\im&—A^f ointment with Death, The Hollow, and Go Back for Murder —are adapted from Poirot novels, but you won't find Poirot listed in the dramatis personae; Dame Agatha deemed him unnecessary. In Appointment with Death she found a new murderer among the principal characters; the novel's murderer becomes the play's comic relief. Two of the dead bodies of Ten Little Indians survive and find love in the stage version, and somehow do so without disturbing the pattern of that most dazzling of all Christie plots. (The novel, in its American editions, is called And Then There Were None, if you care to compare, and I hope you do.)
Nowhere
Agatha Christie's remarkable ingenuity more evident than Witness for the Prosecution. The short story of the
is
in her adaptation of
same
title is
tion that
seemingly perfect and complete, with a stunning
final revela-
the reader in his chair. Yet for the stage version
lifts
Agatha devised
still
another revelation beyond that one,
plausible surprise that not only
makes
for
Dame
an entirely
an electrifying curtain but
at
the same time legitimitizes what would otherwise have been a necessary deception in the
list
of characters. Again
pare, especially if you're
Verdict
is
am
will read
and com-
an aspiring playwTright.
Dame Agatha
Witfiess for the Prosecution; I
hope you
the only play in this volume not adapted from another
Christie work.
but
I
I
considered
would put
here to introduce, not argue.
it
it
her best play except for
somewhat lower on the
scale,
INTRODUCTION The
Mousetra'p, based on a radio sketch written to
eightieth birthday of forever. It
furniture,
opened in and theatrical records ever
since.
Cynics attribute
to the smallness of the theater in which it was there long before 1952; why did none of
a tourist attraction as popular as
London? The Mousetrap suspenseful from
its
commemorate the
Queen Mary, is the Christie play that is nmning London in 1952 and has been wearing out actors,
run
its
IX
very
is
first
Madame
its
perpetual
plays, but that small theater its
previous tenants become
Tussaud's and the
Tower
of
a superbly constructed mystery, irresistibly
moment, and therein
lies
the real reason for
enduring success.
Playwriting was, for Agatha Christie, a holiday from the book-a-year routine of her professional life. Reading her plays— more concise than the novels, richer than the short stories— can
be the same
sort of holiday for
One word of advice to those not accustomed to reading plays: worry too much about the chairs and tables. It rarely matters
her readers.
Don't whether they're at stage right or stage left, or whether the doors are upstage or down. What does matter is the dialogue. Try to hear it, and try to hear the pauses too, that's where the shivers are. I was fifteen when my parents took me to see the New York production of Ten Little Indians. As those figurines vanished one by one from the mantlepiece and the actors vanished one by one from the stage, I fell in love—udth theater that grips and dazzles and surprises. I was already a
would-be novelist, thanks in part
to the other
That
15-year-old
a
would-be playwright
too.
Agatha Christies; now boy and I are pleased
I
was be
to
introducing these plays to you. Ira
New York June, 1978
City
Levin
TEN LITTLE INDIANS
Program of the produced
at the
first
'TEN LITTLE INDIANS" New York, June 27, 1944.
performance of
Broadhurst Theatre,
as
Messrs. Shubert and Albert deCourville
present
TEN LITTLE INDIANS by
AGATHA CHRISTIE Directed by Mr. deCourville
Scenery by
Howard Bay
CAST (In order of their appearance)
Rogers Mrs. Rogers Fred Narracott
Neil Fitzgerald Georgia Harvey Patrick
Vera Claythorne Philip Lombard Anthony Marston William Blore General Mackenzie Emily Brent Sir Lawrence Wargravb Dr. Armstrong
O'Connor
Claudia Morgan
Michael Whalen
Anthony Kemhle Cooper /.
Pat O'Malley
Nicholas Joy Estelle
Winwood
Halliwell
Hohhes
Harry Worth
SCENE The
scene of the flay off the coast of
Act Act
I.
A
in the living
summer evening
room
in August.
II.
Scene Scene
Act
is
Devon, England.
I.
II.
The following morning. The same day—afternoon.
III.
Scene Scene
I.
II.
The same day— evening. The following afternoon.
of a house
on Indian
Island,
Act
SCENE:
The
scene
is
One
room
the living
of the house
on Indian
Island. It
a very modern room, and luxuriously furnished. It is a hright sunlight evening. Nearly the whole of the hack of the stage is a window is
looking directly out to sea. French doors are ofen in Center to bal-
cony. It should give the impression of heing like the deck of a liner almost overhanging the sea. There is a chair out Ri^t on the balcony
and the main approach
to the
house
is
presumed
he up steps on the
to
Left side of the balcony. There is also presumed to be steps on the Right of the balcony, but these are not the direct way up from the
landing stage, but are supposed to lead around the house and
up
be built against the side of a steep hill. The French doors are wide so that a good area of the balcony is shown. In the Left, near windows, is a door to dining room. Doivn stage Left is a door communicating with hall. Pull cord below this door. behind
it,
since the house
Up Ri^t is a
door
is
supposed
to study.
to
Middle stage Right
is fireplace.
Over
it
hangs the reproduction of the "Ten Little Indians" nursery rhyme. On the mantelpiece are a group of ten china Indian figures. They are not
number is not easily seen. modern furniture. Center are two sofas with space between. Chair and small table up Left. Club chair with tabouret Right and above it, down Left, where there is also a bookcase. There is a window seat up Right and cocktail cabinet below mantelpiece. Tabouret down Ri^t. Before fireplace is a big white bearskin rug with a bear's head. There is an armchair and tabouret Right Center. A square ottoman at lower end of fireplace. A spaced out, but clustered so that the exact
The
settee
When
room,
is
barely furnished with
with table Left of
Curtain
rises,
Rogers
setting out bottles
Not a
Just a
specious
in front of
is
down
man-servant. tj'ifle
it
busy putting
Right. Rogers
butler,
and
window Right final is
at bofik.
touches to room.
He
but a house-parlourman. Quick and shifty.
There
is
is
a competent middle-aged
a noise of
deft.
SEAGULLS.
TEN LITTLE INDIANS
4
Motor boat HORN heard off. mrs. Rogers enters front dining room up Left. She is a thin, worrried, frightened-looking woman. Enter NARRACOTT at Center from Left. He carries a market basket piled vnth packages.
NARRACOTT.
be arriving in Jim's boat. Another
First lot to
behind. ^Crosses Left to
lot
not far
her.')
MRS. ROGERS. Good evening, Fred.
NARRACOTT. Good evening, Mrs. Rogers. MRS. ROGERS.
the boat?
Is that
NARRACOTT. YeS. MRS. ROGERS. Oh, dear, already? Have you remembered everything?
NARRACOTT. QGiving her basket)
I
think
Eggs, tomatoes and butter. That's
MRS. ROGERS. That's
maids
till
right.
So much
the morning, and
to
it,
do
so.
Lemons. Slip
wasn't I
soles.
Cream.
it?
don't
know where
to start.
No
these guests arriving today.
Calm down,
ROGERS. (At mantel)
Looks nice, don't
all
all,
Ethel, everything's shipshape
now.
Fred?
NARRACOTT. Looks neat enough for me. Kind of bare, but rich folks like places bare,
it
seems.
MRS. ROGERS. Rich folks
NARRACOTT.
is
And he was
Spent a wicked
lot of
puts the whole thing
MRS. ROGERS. Beats
queer.
a queer sort of gentleman as built this place.
money on it he up for sale.
me why
the
did,
and then
Owens wanted
to
buy
gets tired of
it,
living
it
and
on an
is-
land.
ROGERS. Oh, come off
it,
Ethel,
and take
all
that stuff out into the kitchen.
They'll be here any minute now.
MRS. ROGERS. Making that steep Like some others
I
dimb an
excuse for a drink, I suppose.
know.
CMotor boat
HORN heard off.)
NARRACOT. That be young Jim. I'll be getting along. There's two gentlemen arriving by car, I understand. QGoes up to balcony.) MRS. ROGERS. ^Calling to him) I shall want at least five loaves in the
morning and eight pints of milk, remember. NARRACOTT. Right. (mrs. ROGERS puts bosket on ROGERS. (Breaks
to
floor
up
Left; exits to hall Left i,)
Right of window) Don't forget the
oil for
the engine,
ACT ONE Fred. I ought to charge
down. NARRAcoTT. CGotfig tion
ROGERS.
now.
And
I'll
off at
bring
it
up tomorrow,
Left) 'Twas held
have the
I'll
up on
lights
railway.
running
It's
at the sta-
list
of guests,
across the first thing tomorrow.
hand with the luggage,
give a
5 or
will
you?
NARRACOTT. Right. MRS. ROGERS. Centers with
you the
I forgot to give
list')
Tom. ROGERS. Thanks, old
girl.
Crooks
be the
H'mm,
reflectively at list)
very classy lot to me. QRefers to
list)
Miss Claythome.
doesn't look a
She'll probably
secretary.
MRS. ROGERS.
I
don't hold
much with
nurses,
and diem giving themselves
on the
servants.
Worse than hospital and looking down
secretaries. airs
and
graces
ROGERS. Oh, stop grousing, Ethel, and cut along to that lovely up-to-date expensive kitchen of yours.
MRS. ROGERS. (Picfes wp hasket; going out Left 2) gadgets for
(VOICES
my
of VERA
Too many
ne^v-fangled
fancy!
and Lombard heard
doors ready to receive them.
manservant, vera and
He
Lombard
is
outside.
now
Rogers stands
at
Center
the well-trained, deferential
enter from Left
on halcony. She
is
a
good-looking girl of twenty-five. He is an attractive, lean man of thirty-four, well-tanned, with a touch of the adventurer about him. He is
already a good deal taken with vera.)
LOMBARD. (Gazing round room, very interested) So VERA.
this is
it!
How perfectly lovely!
ROGERS. Miss Claythome! VERA. You're— Rogers?
Good
ROGERS. Yes.
evening, Miss.
up my luggage and Captain Lombards? ROGERS. Very good, Miss. (He exits through Center windows to Left.) VERA. (To LOMBARD, coming Right Center into room) You've been here VERA.
Good
evening, Rogers. Will you bring
before?
LOMBARD.
No—but I've heard a lot
about the place.
From Mr. and Mrs. Owen? LOMBARD. (Crossing down Left) No, VERA.
built this
VERA.
old Johnny Brewer, house—it's a sad and poignant story.
A love story?
a pal of mine,
TEN LITTLE INDIANS ma'am-thc saddest of all. He was
6 LOMBARD. Yes,
love with the famous Lily
fell in
land and built
a wealthy old boy and
Logan—married her-bought
the
is-
this place for her.
VERA. Sounds most romantic
LOMBARD. Poor Johnny! He thought by cutting her off from the rest of the world—without even a telephone as means of communication—he could hold her. VERA. But of course the fair Lily tired of her ivory tower—and escaped? LOMBARD. U'huh. Johnny went back to Wall Street, made a few more millions,
and the place was
sold.
Cloving as if to go out of door Left i) Well, I VERA. And ought to find Mrs. Owen. The others wiU be up in a minute. LOMBARD. C^tappng her) It would be very rude to leave me here all by here
we
are.
myself.
Would it? Oh, well, I wonder where she is? LOMBARD. She'll come along when she's ready. While we're waiting. (Nodding towards cabinet down Ri^t) Do you think I could have a drink? I'm very dry. (Goes helow sofa to down Right and starts fte-
VERA.
faring drinks.)
Of course you could. LOMBARD. It's Certainly warm after that steep climb. What's yours? VERA. No, thanks, not for me— Not on duty. (To behind chair, Right VERA.
Center.)
LOMBARD.
A good Secretary is never off duty.
VERA. Really. (Looking round room) This
is
exciting!
(Goes helow sofa
to
up Center.) LOMBARD. What? VERA. All house.
The smell of the sea— the am going to enjoy myself.
this. I
gulls—the beach and this lovely
LOMBARD. (Smiling. Coming to her) I think you are. I think we both (Holding up drink) Here's to you—you're very lovely. Crogers enters Center from Left with two suitcases and comes
down
are.
Left
Center.) VERA.
(To Rogers) Where
ROGERS. Mr. and Mrs.
is
Owen
Mrs.
Owen? down from London
won't be
imtil tomorrow.
Miss. I thought you knew.
VERA.
Tomorrow—but—
ROGERS. I've got a to
have
it.
list
if you would (Holds out list.)
here of the guests expected. Miss,
The second boat load's just arriving.
like
ACT ONE VERA.
Thank
VERA.
Thank
7
Rogers goes into hall Left i) I say you will be sweet and help me, won't you? LOMBARD. I won't move from your side. silly to
you. (Takes
list.
How
awful—
you. (She reads list. They both move down Right") It seems have brought only us in the first boat and all the rest in the
second.
LOMBARD. That, I'm VERA. Design?
afraid,
was design, not accident
What do you mean?
LOMBARD. I suggested to the boatman that there was no need to wait for any more passengers. That and five shillings soon started up the engine.
VERA. CLaughing") Oh, you shouldn't have done that!
LOMBARD. Well, VERA.
I
they're not a very exciting
thought the young
man was
lot,
are they?
rather nice-looking.
LOMBARD. Callow, Definitely callow. And very, very young. I suppose you think a man in his thirties is more attractive. LOMBARD. I don't think, my darling—I know. VERA.
(marston
enters Center
three or
so.
from
Left. Good-looking
MARSTON. (Coming down Right (Pre-pares to greet
vera
young man of twenty-
Rich, sfoiled—not very intelligent.) to
them) Wizard place you've got
as his hostess.
Lombard
here.
stands heside her like a
host.)
VERA. (Shakes hands) I'm Mrs. Owen's secretary. Mrs. detained in London, I'm afraid, and won't be
down
Owens has been
until tomorrow.
MARSTON. (Vaguely) Oh, too bad. May I introduce Captain Lombard, Mr.— er— MARSTON. Marston, Anthony Marston. LOMBARD. Have a drink? MARSTON. Oh, thank you. VERA.
Cblore comes wp on halcony from Left, Middle-aged, thickset man. Is wearing rather loud clothes and is giving his impression of a South American gold magnate. His eyes dart about, making notes of everything.)
LOMBARD. What will you have? Gin, whiskey, sherry—? MARSTON. Whiskey, I think.
(They go down Right
to cabinet.)
TEN LITTLE INDIANS
8 BLORE. CComes
wringing
it
down
to
heartily')
vera at Right Center. Seizing vera's hand and Wonderful place you have here.
VERA. I'm Mrs. Owen's secretary. Mrs.
don, I'm afraid,
Owens
has been detained in Lxm-
and won't be down until tomorrow.
LOMBARD. Say when! MARSTON. Oh, wizard! BLORE.
How are you?
LOMBARD.
Crakes
Lombard. Have a drink, Mr.—
My name's
BLORE. Davis. Davis
for cocktail cabinet.')
is
the name.
LOMBARD. Mr. Davis—Mr. Marston! (vera BLORE.
How
Lombard.
on Ri^t
sofa.)
Mr. Marston? Pleased
are you, I
sits
to
meet you. Thanks, Mr.
up here. (He goes balcony) But whew! What a view and what a height!
don't
mind
if I
do. Bit of a stiff climb
uf Center to Reminds me of South Africa, this place. QCovies down Center.) LOMBARD. (^Staring at him) Does it? What part? BLORE. Oh— er— Natal, Durban, you know. LOMBARD. (Crosses Center) Really? Qrlands him drink) BLORE. Well, here's to temperance. Do you— er— know South Africa?
LOMBARD. Me? No. BLORE. (With renewed confidence) That's where
I
come from. That's my
Natal state— ha ha.
LOMBARD. Interesting country,
I
should think,
BLORE. Finest country in the world,
sir.
Gold,
silver,
diamonds, oranges,
everything a man could want. Talk about a land flowing with beer and skitdes. (Goes to cocktail cabinet down Right.)
(general MACKENZIE
arrives on balcony from man, with a gentle, tired
MACKENZIE. (Hesitating courteovsly)
(vera
rises;
VERA. General MacKenzie,
Left. U'pright soldierly old
face.)
Er— How do you
do?
meets him above sofa seat.)
isn't it?
I'm Mrs. Owen's secretary. Mrs.
Owen
has been detained in London, I'm afraid, and won't be dov^Ti until
morrow. Can
I
introduce Captain
(MACKENZIE
to-
Lombard— Mr. Marston and Mr.—
cTosscs
toward them.)
BLORE. (Approaching him) Davis, Davis
is
the name. (Shakes hands.)
ACT ONE
9
LOMBARD. Whiskey and soda, sir? MACKENZIE. Er-thanks. QGoes down Right;
stiuiies
lombabd) You
in the
service?
LOMBARD. Formerly in the King's African time. I chucked it. JVLACKENZIE. Pity. C-As
LOMBARD
Rifles.
Too tame
to
VERA. Miss Brent,
vera) Where
Mrs.
is
Owen?
tail,
peace
thin spinster,
(Vuts case on Left
I'm Mrs. Owen's secretary. Mrs.
isn't it?
me in
When.
'pouTs out sodo)
(miss EMILY BRENT onives Center from Left. She is a with a disagreeable, suspicious face.')
EMILY. (Sharply
for
Owen
sofa.')
has been
detained in London, I'm afraid.
(LOMBARD
Right of EMILY.)
to
LOMBARD and VERA. And won't be down (They
tail off,
imtil tomorrow.
rather emharrassed.')
EMILY. Indeed. Extraordinary. Did she miss the train? I expect so. Won't you have something? May I introduce Captain Lombard—General MacKenzie—Mr. Marston. I think you aU met on the boat. And Mr.—
VERA.
BLORE. Davis, Davis
is
LOMBARD.
Do
let
me
May
the name.
then goes hehind her give
I
take your case?
(Up
to
emily,
to Right.)
you a drink?
A
dry Martini?
A glass
of sherry?
Whiskey and soda? EMILY. (Coldly)
I
never touch alcohol,
LOMBARD. You never touched alcohol! EMILY. (She picks up case; goes below sofa to Left) I suppose you know, young man, that you left us standing there on the wharf? VERA. I'm afraid, Miss Brent, I was to blame for that I wanted to— EMILY. It seems to me most extraordinary that Mrs. Owen should not be here to receive her guests. VERA. (Smiling) Perhaps she's the kind of person
ing
who
just can't help miss-
trains.
BLORE. (Laughs) That's what
EMILY. Not at
all.
Mrs.
Owen
I
reckon she
isn't
is.
the least like that
LOMBARD. (Lightly) Perhaps it was her husband's fault EMILY. (Sharply) She hasn't got a husband, (vera stares. Enter Rogers Left 2.)
VERA.
Of
I
should like to go to
course.
I'll
my room.
take you there.
TEN LITTLE INDIANS
lO RCX^ERs.
CTo vera)
You'll find Mrs. Rogers upstairs, Miss.
She
will
show
you the room. CExit VERA and
i. Rogers exits Left r. wargrave enters Cenfrom Left; comes Center.')
emily Left ter
LOMBARD. (^Comes forward') I'm afraid our host and hostess haven't arrived, sir. My name's Lombard. WARGRAVE. Mine's Wargrave. How do you do? LOMBARD. How do you do? Have a drink, sir? WARGRAVE. Yes, please. A whiskey. BLORE. ^Crosses to wargrave) How are you? Da\^s, Davis is the name. (LOMBARD gets his drink. Affably to wargrave) I say, wonderful place you've got here. Quite unique.
wargrave. As you say— Quite unique. BLORE. Your drink, sir.
(wargrave ^ts
on sofa Left, takes his drink and Watches 'proceedings from there.)
coat
sits
Uf
Left.
MARSTON. (To Lombard) Old Badger Berkely rolled up yet? LOMBARD. Who did you say? MARSTON. Badger Berkely. He roped me in for this show. When's he coming?
LOMBARD. I don't think he is coming. Nobody of the name of Berkely. MARSTON. (Jaw drops) The dirty old double-crosser! He's let me down. Well,
a pretty wizard island. Rather a wizard
it's
She ought
to liven things
up a
bit. I say,
old man,
girl,
that seaetary.
what about dressing
for dinner if tliere's time?
LOMBARD.
Let's go and explore. MARSTON. Oh, wizard! LOMBARD. Things are a bit at sixes and sevens with the Owens not turning
up.
MARSTON. Tricky, what?
I say,
wizard place for a holiday, what?
Lombard
(Exit js/iARsroN and
Left i. blore wanders out on halcony, room and presently exits Right on halcony as general ivL^CKBNziE and wargrave talk, wargrave continues to sit like a looks sharply into
Buddha.
He
ing rather is
observes Mackenzie,
lost,
carrying a shooting-stick.
closes it.)
who
is
Right Center, standing look-
absent-mindedly pulling his moustache. Mackenzie
He
looks at
it
wistfully, half
opens and
ACT ONE
II
WARGRAVE. Aren't you going to sit down? MACKENZIE. Well, to tell you the truth, you seem to be in my chair. WARGRAVE. I am sorry. I didn't realize you were one of the family. MACKENZIE. Well, it's not that exactly. To tell you the truth, I've never been here before. But you see I live at the Benton Club—have for the last ten years. And my seat is just about there. Can't get used to sitting anywhere else. WARGRAVE. It becomes a bit of a habit. (He rises; hreaks to Right^ MACKENZIE. Ycs, it Certainly does. Thank you— (Sits wp Left) Well,
not quite as good as the Club's but
To
tell
you the
truth, I
was a
it's
it's
a nice chair. CConfidentially)
bit surprised
when
I
got this invitation.
Haven't had anything of the kind for well over four
years.
Very nice
of them, I thought.
ROGERS. Centers Left
your keys,
i.
Picks
wp wargrave's
coat from sofa)
Can
I
have
sir?
WARGRAVE.
Is Lady Constance Culmington expected here, can you tell me? CGives him keys.) ROGERS. QSurprised) Lady Constance Culmington? I don't think so, sir. Unless she's coming down with Mr. and Mrs. Owen. WARGRAVE. Oh. ROGERS. Allow me, sir. (JTakes general Mackenzie's coat) Can I have
your keys, sir? MACKENZIE. CRistfig. Crossing down Left) No, thanks.
I'll
unpack
for
myself.
ROGERS. Dinner is at eight MACKENZIE. Please.
o'clock,
sir.
Shall I
show you
to
your room?
(MACKENZIE goes to door Left i, which Rogers holds open for him. wargrave follows more deliberately, looking around room in an unsatisfied fashion. Rogers follows them out. Sound of SEAGULLS, then DR. ARMSTRONG arrives upon halcony from Left, followed hy narraCOTT carrying his suitcase. Armstrong is a fussy, good-looking man of forty-four.
He
looks rather tired.)
NARRACOTT. Here you
are, sir.
I'll
call
Rogers. (Exits Left i.)
(ARMSTRONG looks round; nods approval; looks out at sea. Then NARRACOTT rctums. ARMSTRONG tips him. NARRACOTT cxits to Center Left. ARMSTRONG sits scttce up Right, blore comes along halcony from Right; pauses at sight of Armstrong.) BLORE.
(To above
settee)
How are you? Davis.
Davis
is
the name.
TEN LITTLE INDIANS
12
ARMSTRONG. Mine's Armstrong. CRises.^ BLORE. Doctor Armstrong,
I believe.
ARMSTRONG. YcS. BLORE. Thought so. Never forget a face. ARMSTRONG. Don't tell me I've forgotten one of my patients! BLORE. No, no, nothing like that, but I once savi^ you in Court giving
ex-
pert evidence.
ARMSTRONG. Oh, really? Are you interested in the Lawr BLORE. Well, you see, I'm from South Africa. Naturally, this country are
bound
to interest
ARMSTRONG. Oh,
yes, of course.
BLORE. CCrossing
down Right) Have
legal processes in
a Colonial. a drink?
ARMSTRONG. No, thanks. I never touch it. BLORE. Do you mind if I do? Mine's empty. ARMSTRONG. Not a bit, BLORE. (Pours himself a drink) I've been having a look round the It's
a wonderful place, isn't
island.
it?
ARMSTRONG. (Crossing to Center) Wonderful. across the mainland what a haven of peace
I
thought as
I
was coming
this was.
BLORE. (L/j? to him, -putting his face close to his)
Too
peaceful for some,
I
daresay.
ARMSTRONG. C^ovcs
to
Left) Wonderfully restful. Wonderful for the
you know. Did you come down by train? (Goes to him.) ARMSTRONG. (17^ Left to vptndow) No, I motored down. Dropped in on a patient on the way. Great improvement,—wonderful response. BLORE. (L/p to him) Best part of two hundred miles, isn't it? How long nerves. I'm a nerve specialist,
BLORE. Yes,
I
know
that.
did it take you? ARMSTRONG. (To up Right Center) the nerves.
I
didn't hurry.
Some mannerless young
ditch near Amesbury. Shot past
me
I
never hurry. Bad for
fellow nearly drove
at
me
into the
about eighty miles an hour. Dis-
had his number. him) Yes, and if only more people would take the numbers of these young road hogs. ARMSTRONG. Ycs. You must cxcusc me. I must have a word vidth Mr. Owen. (He hustles out Left i.) BLORE. CFollowing down Left) Oh, but—Mr. Owen isn't coming down— graceful bit of driving. I'd like to have
BLORE. (Comes
(blore rings
to
hell heloxv Left
sofa.
i
door, finishes drink; puts glass
ROGERS enters almost immediately Left
i.)
on Left
ACT ONE You
ROGERS.
13
rang, sir?
my hat,
BLORE. Yes, take
you? (,Hands him his
will
cap")
What
time's sup-
per?
ROGERS. Dinner
is
at eight o'clock, sir.
(Pauses) In a quarter of an hour.
I
think tonight dressing will be optional.
BLORE. ^Familiarly') Got a good place, here. ROGERS. CJ^raxvs himself uf rather BLORE. Been here long? ROGERS. Just under a week,
BLORE.
Is that all? (P'^'^^e)
crowd
that's
ROGERS. No,
Yes, thank you,
stiffly)
sir.
sir.
So
I don't
suppose you
know much about
this
here?
sir.
BLORE. All old friends of the family? ROGERS.
I
really couldn't say,
sir.
BLORE. Oh, well— Oh, Rogers— ROGERS. Yes,
sir?
BLORE. Rogers, do you think you could put some sandwiches and a botde of beer in
my room
at night? I get
an
'el
of an appetite with this sea
air.
ROGERS.
I'll
see
what
I
can do,
sir.
BLORE. Rogers—I'll see you won't lose by ROGERS.
I'll
show you,
it.
Where's
my room?
sir.
BLORE. (As they go out) Good. straightaway. (Exits Left
i
I
can do with a wash and brush up
with rogers.)
2. She ficks wp ^ass from sofa and from them down Ri^t. Enter Rogers with tray of
(Enter mrs. Rogers Left
Uf
Left and takes
table
eight
glasses.)
MRS. ROGERS. (She takes glasses
Oh,
there you are, Rogers.
off tray
mtd Rogers futs on
You ought
to clear these dirty glasses.
You're always leaving the dirty work to me. Here course dinner on
my
hands and no one
dirty ones)
to
I
help me.
am
with a four-
You might come
and give me a hand vidth the dishing up. (To above Left sofa) Who was it that you were talking to, by the way? ROGERS. Davis, South African gendeman. No class if you ask me—and no
money
either.
MRS. ROGERS. (Comes
down Right
Don't like any of 'em much. boarding house,
I'd say.
of sofa to Center) I don't like
More
like that
him—
bunch we had in the
TEN LITTLE INDIANS
14
RCX3ERS. Davis gives out he's a millionaire or something.
underwear! Cheap
MRS. RCXJERS. Well, riving today
they
as
as I said,
make
see his
not treating us right. All these \asitors
it's
and the maids not coming
we are? Now, then— Anyway,
You should
'em.
What do
tomorrow.
till
ar-
they
think
ROGERS.
MRS. ROGERS. So
ought
it
the money's good.
Catch
to be!
money was good. ROGERS. CTo Center^ Well,
me
going into service again unless
the
MRS. ROGERS. Well,
Can
I
it is
good, so what are you going on about?
you
tell
this,
where I'm put upon. Cooking's ROGERS. CPkicatmg
Rogers. I'm not staying any place
my business!
MRS. ROGERS. But the kitchen's
my
place and housework's none of
business. All these guests! I've a good
and walk out now and go ROGERS.
I'm a good cook—
her') First rate, old girl.
(Gnwwmg) You
straight
can't
MRS. ROGERS. CBelUgerently)
do
mind
back
to
to
put
my
my
hat and coat on
Plymouth.
that, old girl.
Who says
I can't?
Why not,
I
should like to
know? ROGERS. Because you're on an island, old
MRS. ROGERS. Ycs, and ROGERS. Don't
know
pub, or going
Now, now,
And
be
girl.
Had you
as I fancy being
forgotten that?
on an
island.
come to that. No slipping down to a Oh, well, it's double wages on account
there's plenty of beer in the house.
all )'ou
ever think about—beer.
stop your nagging.
your dinner will be It'll
know
to the pictures.
MRS. ROGERS. That's
MRS. ROGERS.
don't
that I do, either,
of the difficulties.
ROGERS.
I
You
get back to the kitchen or
spoilt.
spoilt
anyway,
I
expect. Everybody's going to be late.
Wasted on them, anyway. Thank goodness, I didn't make a souffle. (Jbnter vera Left i. mrs. Rogers goes to Left 2 do(jr) Oh, dinner won't be a minute, Miss. Just a question of dishing up. (^Exits Left 2.) VERA.
(To above Left
sofa) Is everything all right, Rogers?
Can you man-
age between the two of you? ROGERS. CCrossing up Left) Yes, thank you, Miss.
but she gets
(vera goes VERA.
to
What
it
Right window, emily enters Left
talks a lot,
i,
having changed.)
a lovely evening!
EMILY. Yes, indeed.
dow.)
The Missus
done. (Exits Left 2.)
The
weatlier seems very settled.
(To Center
vn-nr
ACT ONE VERA.
CComes down
EMILY.
A
Right')
pleasant sound.
VERA. Hardly a breath o£ at
15
How plainly one can hear the sea.
CComes down Center.') wind—and deliciously warm. Not
like
England
all.
EivuLY. I should have thought
you might
feel a litde
uncomfortable in that
dress.
VERA. (_Not taking the foint) Oh, no.
BMDLY. (Nastily)
It's
rather tight, isn't
VERA. (Good-humored) Oh,
I
it?
don't think so.
EMILY. (Sits Left sofa; takes out gray knitting) You'll excuse me, but you're a young girl and you've got your living to earn— VERA. Yes? EMILY. A well-bred looks,
woman
you know,
as
my dear,
doesn't like her secretary to appear flashy. It
though you were trying
to attract the attention of
the opposite sex.
VERA.
(Coming
to
Right Center)
EMILY. That's beside the point. attention of
men
A
And would you say I do attract them? girl who deliberately sets out to get the
won't be likely to keep her job long.
VERA. (Laughing at her) Ah! Surely that depends on
who
she's
working
for?
EMILY. Really, Miss Claythorne! VERA. Aren't you being a
little unkind? EMILY. (Spitefully) Young people nowadays behave in the most disgust-
ing fashion. VERA. Disgusting?
(Carried away) Yes. Low-backed evening dresses. Lying half naked on beaches. All this so-called sun-bathing. An excuse for immodest conduct, nothing more. Familiarity! Christian names—drink-
E]vnLY.
And look at the young men nowadays. Decadent! Look young Marston. What good is he? And that Captain Lombard! VERA. What do you object to in Captain Lombard? I should say he was a man who'd led a very varied and interesting life. EMILY. The man's an adventurer. All this younger generation is no goodno good at all. VERA. (Brea'ks to Right) You don't like youth—I see. EMILY. (Sharply) What do you mean? VERA. I was just remarking that you don't like young people. EMILY. (Rises; moves up Left) And is there any reason why I should, ing cocktails! at that
pray?
6
TEN LITTLE INDIANS
1
VERA. Oh,
no—
CPaiises^ but
it
seems to
me
that
you must miss an awful
lot.
EMILY. You're very impertinent. VERA. (Qwietl)/) I'm sorry, but that's just what
EMILY. VERA.
The
(To
I
herself} Quite pathological.
EMILY. (Sharfly')
What
think.
we stamp (Goes dovm
world will never improve until
out immodesty. Right.')
did you say?
VERA. Nothing.
(emily
sits u-p Left.
Enter Armstrong and Lombard Left
They
cross
i,
talking.
Uf Right.)
LOMBARD. What about the old boy— ARMSTRONG. He looks rather like a tortoise, don't you think so? LOMBARD. All judges look like tortoises. They have that venomous way of darting their heads in and out. Mr. Justice Wargrave is no exception. ARMSTRONG. I hadn't realized he was a judge. LOMBARD. Oh, yes. (Cheerfully') He's probably been responsible for sending more innocent people to their death than anyone in England. (wargrave enters and looks at him) Hello, you. (To vera) Do you two know each other? Mr. Armstrong— Miss Claythome. Armstrong and I have just decided that the old boy— VERA. Yes,
I
heard you and so did he,
(wargrave moves over
to
I think.
emily. emily
rises
as she sees
wargrave
approaching.)
EMILY. Oh, Sir Lawrence.
WARGRAVE. Miss Brent,
isn't it?
EMILY. There's something
I want to ask you. (emily indicating she wants him on the balcony) Will you come out here? WARGRAVE. (As they go) A remarkably fine night! (They go out Center.)
to talk to
(LOMBARD up Center, marston
enters Left
i
with blore. They are in
conversation.)
MARSTON. Absolutely wizard car— a super-charged Sports Mulatti Carlotta. You don't see many of them on the road. I can get over a hundred out of her.
(vera
sits
on Right
BLORE. Did you come from London?
sofa.)
ACT ONE
17
MARSTON. Yes, two hundred and eight miles and I did it in a bit over four hours. (ARMSTRONG tums and looks at him) Too many cars on the road, though, to keep it up. Touched ninety going over Salisbury Plain.
Not
too bad, eh?
ARMSTRONG. I think you passed me on the road. MARSTON. Oh, yes? ARMSTRONG. You nearly drove me into the ditch. MARSTON. (Unmoved') Did I? Sorry. C^o above Left sofa.) ARMSTRONG. If I'd scen your number, I'd have reported you. MARSTON. But you Were fooding along in the middle of the road. ARMSTRONG. Fooding? Me footling? BLORB. OTo relieve atmosphere) Oh, well, what about a drink?
MARSTON. Good idea. O-hey move toward the drinks down Right) Will you have one, Miss Claythome?
Clombard drops down toward vera.) VERA. No, thank you.
LOMBARD. (Sitting beside vera on sofa) Good evening, Mrs. Owen. VERA.
Why
Mrs.
Owen?
LOMBARD. You'd make the most attractive wife for any wealthy business man. VERA. Do you always flirt so outrageously? LOMBARD. Always. VERA. Oh! Well, now we know. (She turns half away, smiling.) LOMBARD. Tell me, what's old Miss Brent talking to the Judge about? She tried to buttonhole
VERA.
I
him
upstairs.
Funny—she seemed
don't know.
Mr. Owen. LOMBARD. You don't think that Mrs.
so definite that there wasn't a
Owen—
I
mean
that there isn't—
that they aren't—
VERA.
What, married you mean?
(ROGERS enters Left study
up
rises to
MARSTON. you a
Right,
2,
switches on
LIGHTS,
marston comes
to
draws curtains and
Right end of Left
sofa.
eocits
to
Lombard
Left end sofa.)
Damn shame we
didn't
know each
other. I could
down. VERA. Yes, that would have been grand. MARSTON. Like to show you what I can do across Salisbury what— maybe we can drive back together?
have given
lift
Plain. Tell
you
8
TEN LITTLE INDL^^S
1
(Enter wargrave and emily Center. Mackenzie enters;
sits
down
chair
Left.')
VERA. (SuTfrised') But I— (Rising.') MARSTON. But it seems damn silly. I've got an empty car. LOMBARD. Yes, but she likes the way she's going back and— VERA. (Crosses to fireplace') Look! Aren't they sweet? Those ten
china Indians,
(marston and Lombard scowl
there's the old nursery
What
LOMBARD.
are
at each other)
little
Oh, and
rhyme.
you talking about?
What
figures?
What
nursery
rhyme?
and rhyme—reading) 'Ten
VERA. (She points at the figures
little
Indian
boys going out to dine
One choked
crosses Left,
rhyme, blorb crosses up
"Nine
One
and then there were nine—" (rogers vera continues reading nursery helow her; emily to above her)
his litde self
wp Right and
enters
to
litde Indian boys sat
overslept himself
up very
late.
and then there were
eight."
(Crosses Left.)
BLOKE. "Eight
One
little
Indian boys traveling in Devon.
and then there were seven—" from off up Right) Ladies and gendemen, silence, please! (all rise, everybody stops talking and stares round at each other, at the walls. As each name is mentioned that person reacts got left behind
VOICE. (Very slowly
and
clearly
hy a sudden movement or gesture) You are charged with these indictments: that you did respectively and at divers times commit the following:
Mary
Edward Armstrong, William Henry
Glees.
of James Stephen Lendor.
that
you did cause the death of Louisa
you brought about the death Emily Caroline Brent, that you were reBlore, that
sponsible for the death of Beatrice Taylor. Vera Elizabeth Claythome, that
you
killed Peter Ogilvie
Hamilton, (vera
sits
Left sofa) Philip
Lombard, that you were guilty of the deaths of twenty-one men,
members
of
John Gordon MacKenzie, that you Arthur Richmond, to his death. (Mackenzie
an East African
sent your wife's lover,
tribe.
down Left) Anthony James Marston, that you were guilty of the murder of John and Lucy Gombes. Thomas Rogers and Ethel Rogers, that you brought about the death of Jennifer Brady. Lawrence John sits
^
ACT ONE
19
Wargrave, that you were guilty o£ the murder of Edward Seton. oners at the bar, have you anything to say in your defense?
(There
is
a momentary 'paralyzed
Then
silence.
there
is
Pris-
a scream, outside
door Left 2. Lombard springs across the room to it. Indignant murmur hreaks out as feofle recover from, prst shock. Door Left 2 ofiens to
show MRS. ROGERS in a fallen heap, marston springs across to LOMBARD. They fick wp MRS. ROGERS and carry her in to Right sofa. ARMSTRONG comcs to her.") ARMSTRONG.
It's
nothing much. She's fainted,
that's all. She'll
be round in
a minute. Get some brandy—
BLORE. Rogers, get some brandy. (ROGERS, shaking
all over,
goes out Left 2.)
Who was that speaking? It sounded— MACKENZIE. (Ahove Left sofa. His hands shaking, 'pulling at his moustache^ What's going on here? What kind of practical joke was that?
VERA.
(blore wipes face with handkerchief, wargrave stands in the middle of room near sofas, thoughtfully stroking chin, his eyes peering suspiciously from one to the other.
LOMBARD. Where the round. VOICE.
vera.
Lombard
devil did that voice
goes into study
up
come from? (They Here we are.
stare all
Right')
You are charged with these indictments— Turn it oflF! Turn it off! It's horrible! (LOMBARD switches
it off.
MRS. ROGERS
grOflWS.)
ARMSTRONG. A disgraceful and heartless practical joke. WARGRAVE. (With significance) So you think it's a joke, do you? ARMSTRONG. What clsc could it be?
(emily
sits
down
Right.)
WARGRAVE. (With significance) At the moment I'm not prepared an opinion.
to give
table
up
MARSTON. Who the devil turned it on, though? And set it going? WARGRAVE. We must enquire into that. (He looks significantly
at
(ROGERS enters Left 2 with hrandy and
glass
on
tray.
Puts
it
on
Left.)
ROGERS.)
TEN LITTLE INDIANS
20 (LOMBARD
up Right with
enters
record; •puts
MRS. ROGERS hcgins
to
it
move and
on chair Right Center. twist.')
MRS. ROGERS. Oh, dear mel Oh, dear me!
(The OTHERS move
nearer, obscuring tahle tion
ROGERS. CAbove sir.
If I
ous)
is
where the brandy
Atten-
is.
focused on mrs. rogers.)
Allow me. Madam. CTo Armstrong) Allow me, is urgent and nerv-
sofa')
speak to her— Ethel— Ethel— CHis tone
It's all
right All right, do you hear? Pull yourself together.
(mrs. ROGERS begins
to
gasp and moan. She
tries to
pull herself up.
Her
frightened eyes stare round the room.)
ARMSTRONG. (Taking wrist) You'll be aU
right
now, Mrs. Rogers. Just a
nasty turn.
(blore pours out brandy up Left.) MRS. ROGERS. Did
I faint, sir?
ARMSTRONG. YeS. MRS. ROGERS. It was the voice— the awful voice—like a judgment— (ROGERS makes anxious movement, mrs. Roger's eyelids about
flutter.
She seems
to collapse again.)
ARMSTRONG. Where's the brandy? (They draxu back a little, disclosing it. BLORE gives glass to vera, who gives it to Armstrong, vera sits Left edge of sofa, holding cushion under mrs. Rogers head) Drink Mrs. Rogers. MRS. ROGERS. (She gidps a
now.
I
just— gave
ROGERS. (Quickly) was! I'd like to
(wargrave
at
stares at
me
Of
little.
Revives.
She
up again) I'm
right
all
a turn.
course
it
did.
Gave me
a turn too.
Wicked
lies it
know—
Center deliberately clears his
him
sits
this,
nervously,
wargrave
throat. It stops
Rogers,
clears his throat again,
who
looking
hard at Rogers.)
wargrave.
Who
was
it
put that record on the gramophone?
Rogers? I was just obeying WARGRAVE. Whose ordcrs?
ROGERS.
ROGERS. Mr. Owen's.
orders,
sir,
that's all.
Was
it
you,
ACT ONE WARGRAVE. Let
me
get this quite clear.
21
Mr. Owen's orders were—what
ex-
actly?
ROGERS.
I
was
to
put OH
SL
recoid on the gramaphone in the study. I'd find I was to start with some music.
the records in the drawer in there.
thought
WARGRAVE.
was
it
just to give
CSke'ptically')
ROGERS. ^Hysterically') didn't
know what
thought
it
was
A
was—not
looks towurd
MACKENZIE.
sir.
for a
Before Heaven,
moment.
sir. It's
thing
is
it.
must be done about
Then come back ARMSTRONG.
I'll
give
Left.)
is
exactly what we must go into very you get your wife to bed, Rogers.
you a hand.
ARMSTRONG. Ycs, quite OYid
This
here.
VERA. QRising) Will she be
(ARMSTRONG
it.
Who is he?
carefully. I should suggest that
sir.
record.')
preposterous— preposterous! Slinging ac-
WARGRAVE. (yjith authority) That
ROGERS. Yes,
it I
entided "Swan Song."
Owen, whoever he is— QAoves uf just
the truth. I
him, hut some of the others react nervously.)
The wholc
EMILY. That's
it's
had a name on
It
LOMBARD, wJto examines
cusations about like this. Something
fellow
sir. I
music
WARGRAVE. Is there a tide? LOMBARD. (jGrinning) A tide? Yes,
Qt amuses
that one,
very remarkable story.
just a piece of
CwARGRAVE
all
the truth,
It's it
you
all
ROGERS
all right.
Doctor?
right hel'p
MRS. ROGERS
Mj?
and tokc her out Left
MARSTON. (To wargrave) Dou't loiow about you,
sir,
but
I feel I
I.)
need
another drink.
WARGRAVE. I agree. MARSTON. I'll get them. (Goes dovm Right.) MACKENZIE. Cluttering angrily) Preposterous— that's what
wp MARSTON. Whiskey terous. CSits
for you, Sir
EMILY. (Sits Right sofa) VERA. Yes,
I'll
(vera takes
get
it. I'll
I
is—prepos-
Lawrence?
should like a glass of water, please.
have a
glass of water to
litde
whiskey
emily, then
They sip drinks without ARMSTRONG entcTS Left I.) drink.
it
Left.)
too.
sits
CCrosses
down
Right.)
Right Center with her
own
speaking, hut they eye each other.
TEN LITTLB INDIANS
22 ARMSTRONG.
She'll
BLORB. ^Crosses
be
all
down
right I've given her a sedative.
Now,
Left}
then, Doctor, you'll
want
a drink after
all this.
ARMSTRONG. No, thank you. I ne\'er touch it. CSits dovm Left.} BLORE. Oh, so you said. You have this one. General? QU'p Left MACKENZIE.)
to
Cmarston and Lombard refill their ghsses. Rogers enters Left i. WARGRAVE takes charge. Rogers stands near door Left i. He is nervous, everyone focuses attention on him.} WARGRAVE. (^Center above sofas') Now, then, Rogers, we must get bottom of this. Tell us what you know about Mr. Owen. ROGERS.
He owns
WARGRAVE.
am
I
to
the
this place, sir.
aware of that
fact.
What
I
want you
to tell
me
what
is
you yourself know about the man. ROGERS.
I can't say, sir.
You
see, I've
never seen him.
(JPaint stir of interest.}
What
MACKENZIE.
d'you mean, you've never seen him?
ROGERS. We've only been here just under a week,
were engaged by
letter
through a registry
my
sir,
office.
The
wife and
I.
We
Regina, in Ply-
mouth. BLORE. That's a high-class firm.
WARGRAVE. Have you got the ROGERS.
The
(Hunts WARGRAVE. ROGERS.
We can check on that.
letter?
letter
engaging us? Yes,
for
and hands
it
Go on
vdth your
to
it
sir.
WARcmAVE, who runs through
it.}
story.
We arrived here like the letter said, on the 4th. Everything was in
order, plenty of food in stock
and everything very
nice. Just
needed
dusting and that
WARGRAVE.
What
ROGERS. Nothing,
ncxt? sir.
That
house party—eight.
is,
Then
we
got orders to prepare the
yesterday,
by the morning
post,
room I
for a
recei^'ed
saying Mr. and Mrs. Owen might be detained and, if do the best we could, and it gave the instructions about dinner and putting on the gramophone record. Here it is, sir. (Crosses
another so,
letter
we was
to Cefiter.
to
Hands
over
letter.
Retires
uf Center.}
WARGRAVE. H'mm, Headed Ritz Hotel and typewritten.
ACT ONE (blore steps up to him and. of BLORE. MACKENZIE
23
takes letter out of his hands,
marston
to Left
looks oveT wargrave's shouldeT.')
Tises;
Number 5. Quiet now. No defects. Ensign paper—most common make. We shan't get much out of this. We might try it for fingerprints, but it's been handled too much. LOAiBARD. Quite the htde detective.
BLORE. Coronation machine
(wARGRAVB tiims and
looks at
him
pletely changed, so has his voice.
bard
sits
Left
manner has comup Left again. Lom-
sharply, blore's
Mackenzie
sits
sofa.")
marston. CTaking
letter,
moving down
names, hasn't he? Ulick
WARGRAVB. (Takes
letter
Rig^it)
Got some fancy Christian
Norman Owen. Quite
from marston;
obliged to you, Mr. Marston.
think the time has come
You have drawn my
Qie
ous and suggestive point.
a mouthful.
helow sofa)
crosses Left
looks around in his court
for all of us to pool
I
am
attention to a curi-
manner^ I It would
our information.
be well for everybody to come forward v\dth all the information they have regarding our unknown host. We are all his guests. I think it would be profitable if each one of us were to explain exacdy how that came about (There
is
a pause.')
EMILY. (^Rising) There's something very peculiar about
all this. I
a letter vwth a signature that was not very easy to read.
be from a
woman whom
three years ago.
I
I
took the
had met
name
to
at a certain
be Ogden.
I
It
summer
am
received
purported to resort
two or
quite certain that I
have never met or become friendly wdth anyone of the name of Owen. WARGRAVB. Have you got that letter, Miss Brent?
(Goes out Left i.) WARGRAVE. (JCo Left of vera) Miss Claythome? VERA. (Rises) I never actually met Mrs. Owen. I wanted a holiday post and I applied to a Secretarial Agency, Miss Grenfell's in London. I EMILY. Yes.
I vdll
fetch
it
for you.
was offered this post and accepted. WARGRAVE. And you were never interviewed by your prospective employer?
VERA. No. This
is
the
letter.
(Hands
it
to him. Sits again chair
Right Cen-
ter.)
WARGRAVE. (Reading) "Indian Island, Sticklehaven, Devon. I have received your name from Miss Grenfell's Agency. I understand she
TEN LITTLE INDIANS
24
knows you personally. I shall be glad to pay you the salary you ask, and shall expect you to take up your duties on August 8th. The train is the 12:10 from Paddington and you will be met at Oakbridge Station. I enclose five pounds for expenses. Yours
truly,
Una Nancy Owen." (marston
starts to
go wp Right^ Mr. Marston?
MARSTON. Don't actually know the Owens. Got a wire from a pal of mine, Badger Berkeley. Told me to roll up here. Surprised me a bit because I had an idea the old horse had gone to Norway. I haven't got the v\are. CTo Right window.^ WARGRAVE. Thank you. Doctor Armstrongf> ARMSTRONG. CAftcT a pause, rising and coming Left Center") In the circumstances, I think I may admit that my visit here was professional. Mr. Owen wrrote me that he was worried about his wife's health— her nerves, to be precise. He wanted a report without her being alarmed.
He
therefore suggested that
my
visit
should be regarded as that of an
ordinary guest.
WARGRAVE. You had no previous acquaintance with the family? ARMSTRONG. No. WARGRAVE. But you had no hesitation in obeying the summons? ARMSTRONG. A Colleague of mine was mentioned and a very handsome fee suggested. I was due for a hoUday, anyway. CRises; crosses to Right to mantelpiece for cigarette.)
WARGRAVE. (emily re-entcTs and hands letter to wargravb, who unfolds it and reads, emily sits down Left) "Dear Miss Brent: I do hope you remember me. We were together at Bell Haven guest-house in August some years ago and we seemed to have so much in common. I am
my ovm on an island ofiF the coast of Devon. an opening for a place where there is good plain
starting a guest-house of I
think there
is
really
English cooking, and a nice old-fashioned type of person. None of this nudity and gramophones half the night I shall be very glad if you could see your way to spending your summer holiday on Indian Island
—as
my
guest, of course. I suggest
August
8th, 12:40
from Padding-
ton to Oakbridge.
Yours sincerely,
U.N." H'm, yes, the signature is slightly ambiguous. LOMBARD. CRises; crosses to vera. Aside to her) I like the nudity touch!
ACT ONE WARGRAVE. (To obovc decoy
letter.
25 from pocket) Here
sofcis. ToJzes letter
From an
old friend of mine,
my own
is
Lady Constance Culming-
ton. She writes in her usual vague, incoherent way, urges me to join her here and refers to her host and hostess in the vaguest of terms.
(arjmstrong Right of wargrave, marston look at
letter.
Mackenzie
to
LOMBARD. (With sudden excitement, staring just thought of something— WARGRAVE. In a minute. LOMBARD. But I— WARGRAVE. We will take one thing at a time, Lombard. General MacKenzie? Cblore
sits
to
Right of Armstrong
to
Left of wargrave.) at
if
Right end of Left
blorb) Look here,
I've
you don't mind, Captain
sofa.")
MACKENZIE, (father incoherently, fulling at moustache^ Got a letter— from this fellow Owen— thought I must have met sometime at the Club—mentioned some old cronies of mine who were to be here-
hoped
I'd
excuse informal invitation. Haven't kept the
afraid. CSits
uf
letter,
I'm
Left.')
WARGRAVE. And you. Captain Lombard? LOMBARD. Same sort of thing. Invitation mentioning mutual
friends.
I
haven't kept the letter either. (JPause.
WARGRAVE
minutes.
turns his attention to blore.
When
he speaks,
his voice
is
He
silky
looks at hint for
some
and dangerous.)
WARGRAVE. Just now we had a somewhat disturbing experience. An apparendy disembodied voice spoke to us all by name, uttering certain definite accusations against us.
presendy. At the
moment
I
am
We
will deal with those accusations
interested in a
the names received was that of William
we know,
there
is
minor
Henry
point.
Amongst
But
as far as
Blore.
The name
of Davis no one named Blore amongst us. What have you to say about that, Mr. Davis?
was not mentioned.
blore. (Rises) Cat's out of the bag,
it
seems. I suppose I'd better admit
my name isn't Davis. WARGRAVE. You are William Henry Blore? blore. That's right.
LOMBARD. (To Right of blore) I will add something to that. Not only are you here under a false name, Mr. Blore, but in addition I've noticed this evening that you're a first-class liar. You claim to have come from
TEN LITTLE INDIANS
26
Natal, South Africa. I
know South
swear that youVe never
prepared to
Africa and Natal well, and I'm
set foot there in
(all turn toward blorb. Armstrong goes wp BLORE.
You gendemen have
me wrong.
got
to
your
life.
Ri^t window.')
I'm an ex-C.
I.
D. man.
LOMBARD. Oh, a copper!
my
BLORE. I've got
in Plymouth.
I
and
credentials
was put onto
can prove
I
it.
I
run a detective agency
this job.
WARGRAVE. By whomi" BLORE.
Why, Mr. Owen. Sent was
said I
of all your
to join the
names and
Any
WARGRAVE.
Right
that
order for expenses, and
said I
was
to
He
keep an eye on you
also sent a list
all.
Owen had
got
some valuable
foot! I don't believe there's
jewels.
QPause) Mrs.
any such person. QGoes down
to cabinet.)
WARGRAVE.
down
money
reason given?
BLORE. Said Mrs.
Owen, my
a very nice
house party, posing as a guest.
QSits Left sofa)
at letters) Ulick
is to
Your conclusions
U. N. Owen. Or, by a
say,
are, I think, justified. Cl-ooks
Norman Owen. Una Nancy Owen. Each
time,
slight stretch of fancy,
Un-
known. VERA. But it's fantastic! Mad! WARGRAVE. CRises. Quietly) Oh, yes, I've no doubt in my own mind that we have been invited here by a madman—probably a dangerous homicidal lunatic.
(There
is
an affailed
silence.)
ROGERS. Oh, my gawd! WARGRAVE. QTo hock of Left sofa) Whoever
it
is
who
has enticed us
here, that person has taken the trouble to find out a great deal about
A
us.
CPause)
us,
he has made
BLORE.
It's all
MACKENZIE. VERA.
It's
ROGERS,
very great deal.
out of his knowledge concerning
certain definite accusations.
make accusations. damn lies! Slander!
very well to
A
pack of
iniquitous!
A
And
Wicked!
lie— a wicked lie—we never did, neither of
us— ivLUisTON.
getting
(everybody more or less s-peaks
Don't
know what
the
damned
fool
at
once)
was
at—
WARGRAVE. (Raiscs a hand
for silence. Sits Left sofa) I vidsh to say this.
ACT ONE
me
27
murder of one Edward Seton. Our unknown perfectly well. He came Seton up before me for trial in I remember charged with the murder was of an elderly woman. He Jime, 1930. good and made a defended impression very ably on the jury in He was the witness box. Nevertheless, on the evidence he was certainly guilty. I summed up accordingly and the jury brought in a verdict of Guilty. friend accuses
In passing sentence of death,
of the
I fully
concurred with this verdict.
appeal was lodged on the grounds of misdirection.
The
The
appeal was
man was duly executed. QPause) I wish to say beyou all that my conscience is perfectly clear on the matter. I did duty and nothing more. I passed sentence on a rightly convicted
dismissed and the fore
my
murderer.
CThere
is
a pause.')
ARMSTRONG. (To obove wargrave) Did you know Seton
at all? I
mean,
personally.
wargrave. QLooks
at him.
Seton previous to the
LOMBARD. QLow
to
He
hesitates a
vera) The old boy's
(ARMSTRONG MACKENZIE.
moment)
I
knew nothing
of
trial.
tO
lying.
I'll
swear he's lying.
doWfl Right.)
madman. Absolute madman. Got a bee in Got hold of the wrong end of the stick all round. (To
C^^ises) Fcllow's a
his bonnet.
wargrave) Best
really to leave this sort of thing
unanswered.
How-
say—no truth—no truth whatever in what he said about— er— young Arthur Richmond. Richmond was one of my officers. I sent him on reconnaisance in 1917. He was killed. Also like to say—resent very much—slur on my vdfe. Been dead a long time. ever, feel I
Best
woman
ought
to
in the world. Absolutely—Caesar's wife.
(He
sits
down
again.)
MARSTON. C^ight Center) I've just been thinking—John and Lucy Combes. Must have been a couple of kids I ran over near Cambridge. Beastly bad luck. wargrave. CAcidly) For them or for you? MARSTON. Well, I was thinking— for me—but, of course, you're right, sir. It was damned bad luck for them too. Of course, it was pure accident. They rushed out of some cottage or other. I had my license suspended for a year. Beastly nuisanca ARMSTRONG. This spccdings all wrong— all wrong. Young men are a danger to the community.
like
you
TEN LITTLE INDIANS
28 MARSTON. (Wanders Well,
full')
ROGERS. Might
Go
LOxMBARD.
I I
to
Right window; picks up his
couldn't help
it.
Just
glass,
half-
say a word, sir?
Jennifer Brady. There
isn't
sir,
of
me and
Mrs. Rogers, and of Miss
a word of truth in
it.
We
Brady when she died. She was always in poor health,
The
is
ahead, Rogers.
ROGERS. There was a mention,
we came
the time
which
an accident.
to her.
There was a storm,
telephone was out of order.
We
sir,
were with Miss always from
sir,
the night she died.
couldn't get the doctor to her.
I
But he got there too late. We'd done everythina possible for her, sir. Devoted to her, we were. Anyone will tell you the same. There was never a word said against us. Never a word. BLORE. (Iw a hidlying manner') Came into a nice litde something at her
went
for him,
death,
I
sir,
on
foot.
suppose. Didn't you?
down Right
ROGERS. (.Crosses
to
blore.
Stiffly)
acy in recognition of our faithful service.
Miss Brady
And why
left
us a leg-
not, I'd like to
know? LOMBARD. (Right Center. With meaning)
What
about yourself, Mr.
Blore?
BLORE.
What
about me?
LOMBARD. Your name was on the list BLORE. I know, I know, Landor, you mean? That was the London mercial
Bank
& Com-
robbery.
WARGRAVE. (Ctossbs Right hclow sofa to mantelpiece. Lights pipe) I remember the name, though it didn't come before me. Lander was convicted on your evidence. You were the police officer in charge of the case.
(Up to him) I was, my Lud. WARGRAVE. Landor got penal servitude for life and died in Dartmoor a year later. He was a delicate man. BLORE. He was a crook. It was him put the nightwatchman out The case BLORE.
was clear from the start. WARGRAVE. (Slowly) You werc complimented,
I think,
on your able han-
dling of the case. I was only doing my duty. Convenient word—duty. (There is a general suspicious movement, vera rises, moves as if to cross Left, sees emily, turns. She sits again chair Right Center, wargrave moves up to windowseat. Armstrong to Center window) What about you, Doc-
BLORE.
I
got
LOMBARD.
tor?
my
promotion. (Pause)
(Sits Right SO fa)
ACT ONE
29
Ms head good-humoredly) I'm at a loss to understand the matter. The name meant nothing to me—what was it"? Close? Close? I really don't remember having a patient of that name— or its being connected with a death in any way. The thing's a complete mystery to me. Of course, it's a long time ago. (Pause) It might possibly be one of my operation cases in hospital. They come too late, so many of these people. Then, when the patient dies, it's always the
ARMSTRONG.
(S^flfees
surgeon's fault.
LOMBARD. And then it's better to take up nerve cases and give up surgery. Some, of course, give up drink. AEiMSTRONG. I protest You've no right to insinuate such things. I never touch alcohol.
LOMBARD.
My
known
is
dear fellow,
the only one
(wARGRAVE
I
never suggested you did. Anyway, Mr. Un-
who knows
all
to Left of VERA.
the facts.
BLORE
to
Right of her.)
WARGRAVE. Miss Claythome? VERA. (Starts. She has been sitting, staring in front of her. She speaks unemotionally and without feeling of any kind) I was nursery governess to Peter Hamilton. We were in Cornwall for the summer. He was forbidden to swim out far. One day, when my attention was distracted,
him.
I
WARGRAVE.
he
started off—as soon as I
couldn't get there in
Was
saw what happened
I
swam
after
time—
there an inquest?
VERA. (In the same dull voice) Yes,
I
was exonerated by the Coroner. His
mother didn't blame me, either. WARGRAVE. Thank you. (Crosses Left) Miss Brent? EMILY. I have nothing to say.
WARGRAVE. Nothing? EMILY. Nothing.
WARGRAVE. You reserve your defense? EMILY. (Sharply) There is no question of defense. cording to the dictates of
my conscience.
(blore
(Rises;
have always acted moves up Left.)
I
ac-
to fireplace.)
LOMBARD. What a law-abiding lot we seem to be! Myself excepted— WARGRAVE. We are waiting for your story. Captain Lombard. LOMBARD. I haven't got a story. WARGRAVE. (Sharply) What do you mean? LOMBARD, (Grinning and apparently enjoying himself) I'm sorry to
disap-
TEN LITTLE INDIANS
30 point
all
of you.
It's
just that I plead guilty. It's perfectly true. I left
those natives alone in the bush. Matter of self-preservation.
(His words cause a sensation, vera looks (Rtses. Sternly)
MACKENZIE.
to
all,
Ri^t; (There
is
act of a
self-preservation's a man's
sits
They
unbelievingly.')
window-seat uf lii^t.)
LOMBARD. (Coolly) Not quite the after
him
You abandoned your men?
(emily moves
dying, you know.
at
first
pukka mahib, I'm duty.
don't feel about
it
And
afraid.
But
mind Europeans do— (^o
as
natives don't
fire-place fender.)
a pause. Lombard looks around at everyone with amusement.
WARGRAVE WARGRAVE. Our inquiry
who
Rogers,
else
is
cleats throat disapprovingly.)
(rogers crossed
rests there,
to Left 1
there on this island besides ourselves
door)
Now,
and you and
your wife? ROGERS. Nobody,
sir.
Nobody
at all.
WARGRAVE. You'rc sure of that? ROGERS. Quite sure, sir. WARGRAVE. Thank you. (rogers moves as if to go) Don't go, Rogers. (To everybody) I am not yet clear as to the purpose of our unknown host in getting us to assemble here. But in my opinion he's not sane in the accepted sense of the word. He may be dangerous. In my opinion, it
would be well
that
we
for us to leave this place as
(General agreement. Mackenzie I beg your pardon, WARGRAVE. No boat at all?
ROGERS.
ROGERS. No,
WARGRAVE.
soon as possible.
I
suggest
leave tonight
sir,
but
there's
sits
up
Left.)
no boat on the
island.
sir.
Why don't you telephone to
the mainland?
ROGERS. There's no telephone. Fred Narracott, he comes over every morning,
sir.
papers,
(A
He
brings the milk
and takes the
chorus of "1 agree," "Quite so," "Only thing to he done.")
MARSTON. (Picks up drink from of
and the bread and the post and the
orders.
Ri^t
sofa.
windoT.v-seat; crosses
Raising his voice)
A
down
bit unsporting,
RigJit to front
what? Ought
to
ACT ONE ferret out the
we
mystery before
go.
31
Whole
thing's like a detective
story. Positively thrilling.
WARGRAVE. QAcidly') At
down
my
time of
life, I
have no desire for
thrills.
CSits
Left.^
(blore
to Left
end
sofa,
marston
grins; stretches out his legs.')
CWARJSI MARSTON. The Here's to
it.
Curtain.')
legal life's narrowing. I'm all for crime. Chaises his glass)
QDrinks
it
a
off at
gul-p,
affears to choke,
gas'ps,
falls from lent convulsion and sli'ps ARMSTRONG. (Rmms over to him, hends down, feels fulse, My God, he's dead!
onto sofa. Glass
his
has a vio-
hand.) raises eyelid)
(MACKENZIE to Left end sofa. The others can hardly take strong sniffs li'ps, then sniffs glass. Nods.)
it
in.
arm-
MACKENZIE. Dead? D'you mean the fellow just choked and—died? ARMSTRONG. You Can Call it choking if you like. He died of asphyxiation, right enough. MACKENZIE. Ncver knew a man could die like that—just a choking fit. EMILY. (Witl^ meaning) In the middle of life we are in death. QShe
sounds inspired.)
ARMSTRONG.
A man
Marston's death VERA.
Was
doesn't die of a isn't
what we
mere choking
fit,
General MacKenzie.
call a natural death.
there something in the whiskey?
ARMSTRONG. Ycs. By the smell of
it,
cyanide. Probably Potassium Cyanide.
Acts pretty well instantaneously.
LOMBARD. Then he must have put the BLORE. Suicide, eh? That's a
rum
stuff in the glass himself.
go.
VERA. You'd never think he'd commit suicide.
He was
so alive.
He
was en-
joying himself.
(emily comes down and picks Uf remains
of Indian from behind chair
Right Center.)
EMILY. Oh! Look— here's one of the broken. Ci^olds
it
little
wp.)
CURTAIN
Indians off the mantelpiece-
Act
Two
Scene
The
same.
The
I
following morning.
and the room has leen tidied. It is a fine mantelpiece. morning. There are only eight Indians on the are waiting for the hoat all halcony. the Suitcases are filed uf on
The windows
are Of en
a
Mackenzie is sitting uf Left in his chair, looking definitely Center, knitting, with her hat and little queer, emily is sitting Right window-seat uf Right, a little apart, and coat on. WARGRAVE is sitting scene, vera, hy winthroughout judicial is thoughtful. His manner is one as room the into if to sfeak, no comes dow Center, is restless. She sits. and takes any notice, goes down Left ARMSTRONG and blore come uf Right on halcony.
to arrive.
ARMSTRONG. We' ve been up VERA.
It's
very early
to the top.
No sign
of that boat yet
still.
all know. Still the fellow brings the milk and the bread and QOfens this. before here got that I should have diought he'd have Where's that door Right 2 and looks iw) No sign of breakfast yet-
BLORE. Oh,
I
fellow Rogers?
VERA. Oh, don't
let's
bother about breakfast—
WARGRAVE. How's the weather looking? BLORE. (To
window
Center')
The wind
has freshened a
mackeral sky. Old boy in the train yesterday said dirty weather. Shouldn't wonder if he wasn't right-
ARMSTRONG (Uf Center. Nervously) sooner
we
on the
island.
I
bit.
Rather a
we were due
for
wish that boat would come. The It's absurd not keeping a boat
get o£E this island the better.
a proper harbor. If the wind comes to blow from the southeast, rocks. the against pieces boat would get dashed to EMILY. But a boat would always be able to make us from the mainland?
BLORE.
No
BLORE.
(To
EMILY.
Do
EMILY) No, Miss Brent-that's just what you mean we should be cut oS from the land? Left of
it
wouldn't
ACT TWO SCENE BLORE. Yes. Condensed
blown EMILY.
I
itself out.
inilk, ryvita
I
and tinned
But you needn't worry. The
33 stuff sea's
the gale had
till
only a bit choppy.
think the pleasures of living on an island are rather ovenated.
ARMSTRONG. (_Restless^ I wonder if that boat's coming. Annoying the way the house is built slap up against the cliff. You can't see the mainland until you've climbed to the top. QTo blore) Shall we go up there again?
BLORE. CGnnning)
It's
no good, Doctor.
A watched pot never boils.
There
when we were up there just now. What can this man Narracott be doing?
wasn't a sign of a boat putting out
ARMSTRONG. CTo down Right)
BLORE. CPhiloso-phically) They're
all like
that in
Devon. Never hurry
themselves.
ARMSTRONG. And wherc's Rogers? He ought to be about. BLORE. If you ask me, Master Rogers was pretty badly rattled last night. ARMSTRONG. I loiow CShivers) Ghastly— the whole thing. BLORE. Got wind up properly. I'd take an even bet that he and his wife did do that old lady in. WARGRAVE. QncTedulous) You really think so? BLORE. Well, I never saw a man more scared. Guilty as hell, I should say. ARMSTRONG. Fantastic— the whole thing—fantastic BLORE. I say, suppose he's hopped it? ARMSTRONG. Who, Rogcrs? But there isn't any way he could. There's no boat on the island. You've just said so. BLORE. Yes, but I've been thinking. We've only Rogers' word for that. Suppose there is one and he's nipped off in the first thing. MACKENZIE Oh! No. He wouldn't be allowed to leave the island. CHis tone
is
so strange they stare at him.)
BLORE. Sleep well, General? (S^rosses Right of Mackenzie.)
MACKENZIE. BLORE.
I
I
don't
MACKENZIE.
dreamed—yes, I dreamed— wonder at that.
dreamed of Lesley— my wife, you know. Oh—er— yes—I wdsh Narracott CTurns wp to window.) MACKENZIE. Who is Narracott? I
would
CEmharrassed)
BLORE.
The
bloke
MACKENZIE.
Was
BLORE.
BLORE. CComes too.
who brought it
us over yesterday afternoon.
Only yesterday?
down
Center. Determinedly cheerful) Yes,
Batty gramophone records—suicides— it's about
stand.
word.
I
come.
I feel like that, all
a
man
shan't be sorry to see the back of Indian Island, I give
you
can
my
TEN LITTLE INDIANS
34
MACKENZIE. So you don't understand.
How
strangel
BLORE. What's that, General?
(MACKENZIE nods
his
head gently, blore looks qtiestioningly at abm-
STRONG, then taps his forehead
ARMSTRONG BLORE.
I
I
significantly.')
don't like the look of him.
reckon young Marston's suicide must have been a pretty bad
shock
to
him.
He
looks years older.
ARMSTRONG. Where is that poor young fellow now? BLORE. In the study— put him there myself. VERA. Doctor Armstrong, I suppose it was suicide? ARMSTRONG. QSharply') What
else
could
it
be?
VERA. CRises; crosses to Right sofa; sits) I don't
know. But suicide— (S/ze
shakes her head.)
BLORE. ^Crosses
to
behind Left sofa) You know
ing in the night. This Mr. land. Rogers mayn't luiow.
I
had
a pretty
funny
feel-
Unknown Owen, suppose he's on the isCPcitise) Or he may have told him to say
so. (Watches arjvistrong) Pretty nasty thought, isn't it? ARMSTRONG. But would it have been possible for anyone to tamper with Marston's drink without our seeing him? BLORE. Well, it was standing up there. Anyone could have slipped a dollop of cyanide in it if they'd wanted to. ARMSTRONG. But that— ROGER. CComes running wp from Right on halcony. He is out of hreath. Comes straight to Armstrong) Oh, there you are sir. I've been all over the place looking for you. Could you come up and have a look at
my
wife, sir?
ARMSTRONG. Yes, of der the weather
course.
CGoes toward door Left i)
Is
she feeling un-
still?
ROGERS. She's— she's— CSwallows convulsively; exits Left 2.)
ARMSTRONG. You won't leave the island without me?
(They go out Left VERA. (Rises; to Left of windows)
I
i.)
wish the boat would come.
I
hate this
place.
WARGRAVE. Ycs.
I
think the sooner
we can
get in touch with the police the
better.
VERA.
The
police?
WARGRAVE. The police have Miss Claythome.
to
be
notified in a case of suicide,
you know.
ACT TWO SCENE
I
35
wf Right toward
VEEA. Oh, yes— of course. CLoohs
the door of study
and
shivers.')
BLORE. cozening door Left z) What's going on here?
No
sign of any
breakfast.
VERA. Are you hungry, General? (macjkenzie does not answer. She sfeaks louder) Feeling like breakfast?
(Tums sharfly) Lesley—Lesley—my dear. No,—I'm not—I'm Vera Claythome. hand over his eyes) Of course. Forgive me. MACKENZIE. QPosses
MACKENZIE. VERA.
tt
you
for
my
I
took
wife,
VERA. Oh!
was waiting
you
MACKENZIE.
I
VERA. But
thought your wife was dead—long ago.
I
MACKENZIE. Yes.
I
for her,
thought
so, too.
see.
But
I
was wrong. She's
here.
On
this
island.
LOMBARD. CComes in from
hall Left i)
(vera
to
Good morning.
above Left sofa.)
to down Left) Good morning. Captain Lombard. Good morning. Seem to have overslept myself. Boat here yet?
BLORE. CComing LoaiBARD.
BLORE. No.
LOMBARD. Bit
late, isn't it?
BLORE. Yes.
LOMBARD. (To Vera) Good morning. You and before breakfast.
VERA.
Too bad aU
Too bad you overslept yourself. You must have good nerves to sleep
BLORE.
LOMBARD. Nothing makes
me lose my
(vera
I
could have had a swim
this.
to
like that.
sleep.
mantelpece.)
BLORE. Didn't dream of African natives, by any chance, did you?
LOMBARD. No. Did you dream of convicts on Dartmoor? BLORE (Angrily) Look here, I don't think that's fimny. Captain Lombard. LOMBARD. Well, you started it, you know. I'm hungry. What about breakfast?
CTo
Left sofa— sits.)
The whole
domestic staflf seems to have gone on strike. LOMBARD. Oh, well, we can alway forage for ourselves. VERA. (Examining Indian figures) Hullo, that's strange. LOMBARD. What is? BLORE.
TEN LITTLE INDIANS
26 VERA.
You remember we found one
of these
little
fellows smashed last
night?
LOMBARD. Yes— That ought to leave nine. VER/v. That ought to leave nine. I'm certain there were ten of them here
when we
arrived.
LOMBARD. Well? VERA. There are only eight. LOMBARD. CLooking) So there
are.
(They look VERA. I think
it's
CTo
mantelpiece.')
at each other.)
queer, don't you?
LOMBARD. Probably only were nine
to
begin with.
We assumed there were
ten because of the rhyme. (Armstrong enters Left i. He is ufset, hut striving to a'pfear calm. Shuts door and stands against it) Hullo,
Armstrong, what's the matter?
ARMSTRONG. Mrs. Rogers
dead.
is
Cwargravb
How?
BLORE and vera. No?
(vera
ARMSTRONG. Died in her
to
Right end Left sofa.)
sleep.
Rogers thought she was
influence of the sleeping draught disturbing her.
rises.)
Het
lit
the kitchen
I
gave her and came
fire
and did
this
still
under the
down without
room. Then, as she
hadn't appeared, he went up, was alarmed by the look of her and
went hunting
for
should say. (Sits
me. (Pause) She's been dead about
down
Left,
vera
sits
five hours, I
Left sofa.)
What was it? Heart? ARMSTRONG. Impossible to say. It may have been. BLORE. After all, she had a pretty bad shock last night ARMSTRONG. YeS. wargrave. (Comes down to Left end of Right sofa) She might have been BLORE.
poisoned,
I
suppose, Doctor?
ARMSTRONG. It is perfectly possible. WARGRAVE. With the same stuff as young Marston? ARMSTRONG. No, not Cyanide. It would have to have been some narcotic or hypnotic. One of the barbiturates, or chloral. Something like that. BLORE. You gave her some sleeping powders last night, didn't you? ARMSTRONG. (Rises, cTossing to cabinet Right for drink of water) Yes, I gave her a mild dose of Luminal.
ACT
TWO SCENE
I
37
BLORE. Didn't give her too much, did you? ARMSTRONG. Certainly not. What do you mean? BLORE. All right—no offense, no offense. I just though that perhaps i£ she'd had a weak heart— ARMSTRONG. The amount I gave her could not have hurt anyone. LOMBARD. Then what exactly did happen? ARMSTRONG. Impossible to say without an autopsy. WARGRAVE. If, for instance, this death had occurred in the case o£ one of your private patients, what would have been your procedure? ARMSTRONG. CCwsstng Left, sits down Left') Without any previous knowledge of the woman's state of health, I could certainly not give a certificate.
VERA. She was a very nervous-looldng creature. night. Perhaps
it
was heart
She had a bad
fright last
failure.
ARMSTRONG. Her heart certainly failed to beat—but what caused EMILY. CFirmly and with emphasis) Conscience.
(They ARMSTRONG.
You
all
jump and
look at her.
wargrave
What cxacdy do you mean by that,
it
to fail?
to Right.")
Miss Brent?
heard— She was accused, together with her husband, of having deliberately murdered her former employer—an old lady. BLORE. And you believe that's true, Miss Brent? EMILY. Certainly. You all saw her last night. She broke dovm completely and fainted. The shock of having her wdckedness brought home to her was too much for her. She literally died of fear. ARMSTRONG. CDoiihtfully) It is a possible theory. One cannot adopt it without more exact knowledge of her state of health. If there was a latent cardiac weakness— EMILY. Call it, if you prefer, An Act of God.
EJNOLY.
all
(everyone
is
shocked.)
BLORE. Oh, no, Miss Brent. CMoves up Left.)
(LOMBARD EMILY. (Evifhatically) struck
down by
WARGRAVE. (StTokes
My
You
regard
the wrath of his chin.
dear lady, in
my
to
it
window.)
as impossible that a sinner
God?
I
His voice
experience of
do
is ironic. ill
should be
not.
Coming down Right)
doing. Providence leaves the
work of conviction and chastisement to us mortals— and the process often fraught vidth difficulties. There are no short cuts.
is
TEN LITTLE INDIANS
38
What
BLORB. Let's be practical.
woman have
did the
to eat
and drink
last
night after she went to bed?
ARMSTRONG. Nothing. BLORE. Nothing at all? Not a cup of tea? Or a glass of water? I'll bet you she had a cup of tea. That sort always does. ARMSTRONG. Rogcrs assures me she had nothing whatever. BLORE. He might say so. LOMBARD. So that's your idea? BLORE. Well, why not? You all heard that accusation last night WTiat if it's true? Miss Brent thinks it is, for one. Rogers and his missus did the old lady in. They're feeling quite safe and happy about it— VERA.
Happy?
Well— they know
BLORE. CSits Left sofa)
them. Then,
there's
no immediate danger
night some lunatic goes and
last
spills
the beans.
to
What
happens? It's the woman cracks. Goes to pieces. Did you see him hanging round her when she was coming to? Not all husbandly solicitude? Not on your sweet life. He was like a cat on hot bricks. And that's the position. They've done a murder and got away with it But if it's all going to be raked up again now, it's the woman will give the
show away. She hadn't danger
to
got the nerve to brazen
it
out. She's a living
what she is, and him—he's all right the cows come home, but he can't be sure of her.
her husband,
that's
on lying till So what does he do? He drops a nice little dollop of something into a nice cup of tea, and when she's had it, he washes up the cup and saucer and tells the doctor she ain't had nothing. VERA. Oh, no. That's impossible. A man wouldn't do that—not to his He'll go
up
wife. (Rises; goes
Left.)
BLORE. You'd be surprised, Miss Claythome, what some husbands would do. Crises.)
ROGERS. Centers Left Just the
getting afraid.
be
mask
He
2.
is
dead-white and speaks like an automation,
To vera) Excuse me, Miss. I'm much of a hand as a cook, I'm worrying me. Would cold tongue and gelatine
of the trained servant.
on with It's lunch
satisfactory?
breakfast. I'm not that's
And
there's tinned fruit
VERA. That wiU be
fine,
BLORE. Lunch? Lunch?
I
could manage some fried potatoes.
and cheese and
And
then
biscuits.
Rogers.
We shan't be here for lunch!
And when
the hell's
that boat coming?
EMILY. Mr. Blore! CPicks up her case and marches up to Right windowseat—sits.)
ACT BLORB.
TWO SCENE
I
39
What?
ROGERS. ^Fatalistically') You'll pardon me,
sir,
but the boat won't be com-
ing.
BLORB. What? ROGERS. Fred Narracott's always here before eight (PaMse)
Is there
any-
thing else you require, Miss?
VERA. No, thank you, Rogers.
(ROGERS goes out Left 2.)
And
not Rogers! His wife lying dead upstairs and there he's cooking breakfast and calmly talking about lunch! Now he says the
BLORB.
it's
boat won't be coming.
How the 'ell does he know?
EMILY. Mr. Blore! BLORB.
What?
down
VERA. ^Crossing
Left) Oh, don't you see? He's dazed. He's just
carrying on automatically as a good servant would. It's—it's pathetic, really.
fast one, if you ask me. WARGRAVB. The really significant thing is the failure of the boat to arrive. It means that we are being deliberately cut oflF from help. MACKENZIE C^tsing) Very litde time. We mustn't waste it talking about
BLORB. He's pulling a
things that don't matter.
(He
turns to window, all look at
him dubiously
hefore resuming.)
LOMBARD. CDovm Right to wargrave) Why do you think Narracott hasn't turned up? wargrave. I think the ubiquitous Mr. Owen has given orders. LOMBARD. You mean, told him it's a practical joke or something of that kind?
BLORB. He's never fallen for that, would he?
LOMBARD.
Why
not? Indian Island's got a reputation for people having
crazy parties. This
knows it's all
is
just
there's plenty of
one more crazy
idea, that's
all.
Narracott
food and drink in the island. Probably thinks
a huge joke.
VERA. Couldn't they'd see
we
light a bonfire
up on the top
of the island? So that
it?
LOMBARD. That's probably been provided against. All signals are to be ignored. We're cut oflF all right VERA. (Impatiently) But can't v/e do something? LOMBARD. Oh, yes, we can do something. We can find the funny gende-
TEN LITTLE INDIANS
40
man
thing you like he's
hold of him the
And
Mr. somewhere on the
who's staged this
little
joke,
my
better. Because, in
Unknown Owen. island,
I'll
bet any-
and the sooner we get
opinion, he's
mad
as a hatter.
as dangerous a a rattlesnake.
WARGRAVE. Hardly a very good simile, Captain Lombard. The ratdesnake at least gives warning of its approach. LOMBARD. Warning? My God, yes! ^Indicating nursery rhyme') That's our warning. C^eading)
'Ten litde Indian boys—" There were ten of us after Narracott went, weren't 'Ten litde Indian boys going out to dine; One went and choked himself—" Marston choked himself, didn't he? And then— "Nine little Indians sat up very late.
there?
One overslept himself"—overslept himself— The last part fits Mrs. Rogers rather well, doesn't it? VERA. You don't think—? Do you mean that he wants LOMBARD. Yes,
I
to kill us all?
think he does.
And each one fits with the rhyme! ARMSTRONG. No, no, it's impossible. It's coincidence. VERA.
It
must be
coinci-
dence.
LOMBARD. Only eight little Indian boys too. What do you think, Blore? BLORB.
I
don't like
ARMSTRONG. But
here. I suppose that's coincidence
it.
there's
nobody on the
island.
BLORE. I'm not so sure of that
ARMSTRONG. This Is terrible. MACKENZIE. Nonc of US wdll ever leave this island. BLORE. Can't somebody shut up Grandpa? LOMBARD. Don't you agree wdth me, Sir Lawrence? WARGRAVE. (SJoti;/)/) Up to a point—yes. LOMBARD. Then the sooner we get to work the better. Come on, Armstrong. Come on, Blore. We'll make short work of it. BLORE. I'm ready. Nobody's got a revolver, by any chance? I suppose that's too much to hope for. LOMBARD. I've got One. CTakes it out of -pocket.') BLORE. (blore's cycs open rather wide. An idea occurs to him—not a pleasant one) Always carry that about with you? LOMBARD. Usually. I've been in some tight places, you know. BLORE. Oh. Well, you've probably never been in a tighter place than you
^
1
ACT TWO SCENE are today. If there's a homicidal
4
I
maniac hiding on
this island, he's
him—and he'll use it. ARMSTRONG. You may be wrong there, Blore. Many homicidal probably got a whole arsenal on
maniacs are
very quiet, unassuming people.
WARGRAVE. Delightful fellows! ARMSTRONG. You'd never guess there was anything wrong with them. BLORE. If Mr. Owen turns out to be one of that kind, we'll leave him you, Doctor.
Now,
then,
let's
make a
start I suggest Captain
to
Lombard
searches the house while we do the island. LOMBARD. Right House ought to be easy. No sliding panels or secret doors. (Goes up Right toward study. BLORE. Mind he doesn't get you before you get him! LOMBARD. Don't worry. But you two had better stick together—Remember
-"One got left behind." Come on, Armstrong.
BLORE.
(They go along and out uf WARGRAVE. VERA.
(Rises')
(To Uf
A very energetic yoimg man,
I
Captain Lombard.
Left) Don't you think he's right? If someone
the island, they'll be
WARGRAVE.
Right.')
bound
to find him.
It's
is
hiding on
practically bare rock.
think this problem needs brains to solve
Rather than
it.
brawn. (Goes wp Right on balcony.) VERA. Where are you going? WARGRAVE. I'm going to sit in the sim-and think, my dear young lady. (Goes up Right on halcony.) EMILY. Where did I put the skein of wool? (Gets up and comes dawn Right.)
VERA. Did you leave
EMILY. No,
I'll
it
go. I
upstairs? Shall I
go and see
know where
Hkely to be. (Goes out Left i.)
it's
if I
can find
it?
VERA. I'm glad Captain Lombard has got a revolver.
MACKENZIE. They're all wasting time—wasting time. VERA. Do you think so? MACKENZIE. Yes, it's much better to sit quiedy—and wait VERA. Wait for what? (Sits Left sofa.) MACKENZIE. For the end, of course. (There is a pause. Mackenzie opens and shuts both doors Left) I wish I could find Lesley. VERA. Your wife? MACKENZIE. (Cfosses up Right. Below Right sofa) Yes. known her. She was so pretty. So gay— VERA.
Was
she?
I
rises,
wish you'd
TEN LITTLE INDIANS
42 MACKENZIE.
I
Of
lovcd her very much.
course, I
was a
lot older
than she
was. She was only twenty-seven, you know. (Pfltise) Arthur Rich-
mond was twenty-six. He was my A.D.C. (PflMse) Lesley liked him. They used to talk of music and plays together, and she teased him and made fun of him. I was pleased. I thought she took a motherly interest in the boy.
wasn't
(Suddenly
D No fool like an
to
old fool.
vera, confidentially')
(A
Damn
fool,
long fause') Exactly like a book
us,
way I found out. When I was out in France. She wrote to both of and she put the letters in the wrong envelope. (He nods his head')
So
I
the
knew—
VERA. (In fity) Oh, no.
MACKENZIE. (Sits Ri^ts sofo) It's all right, my dear. It's a long time ago. But you see I loved her very much— and believed in her. I didn't say anything to him—I let it gather inside—here— (Strikes chest) a slow, murderous rage- Damned young hj^ante— I'd liked the boy—trusted him. \rERA.
(Trying
]MACKENZiE. \^RA.
I
to
Sent
I wonder what the others are doing? death—
hreak s^ell)
him
to his
Oh—
It was quite easy. Mistakes were being made all the time. All anyone could say was that I'd lost my nerve a bit, made a blunder, sacrificed one of my best men. Yes, it was quite easy— (Pause) Lesley never knew. I never told her I'd found out. We went on as usual—
MACKENZIE.
but somehow nothing was quite real any more. She died of pneumonia.
(Pause) She had a heartshaped face— and grey eyes—and brown
hair that curled.
VERA. Oh, don't.
MACKENZIE. (Rises) Yes, I suppose in a way—it was murder. Curious, murder—and I've always been such a law-abiding man. It didn't feel like that at the time. "Serves
him danm
well right!" that's what I
thought. But after— (Pause) Well, you know, don't you?
VERA. (At a loss) What do you mean? MACKENZIE. (States at her as though something puzzles him) You don't seem to imderstand— I thought you would. I thought you'd be glad, too, that the
end was coming—
VERA. (Draws hack, alarmed. Rises; hacks
down
Left)
\— (She
eyes
him
going
die,
you
warily.) jviACKENZiB.
(Follows her— Confidentially) We're
know. VERA. (Looking round
for help)
I— I
don't know.
all
to
ACT TWO SCENE
43
I
vera) You're very young—you haven't got to that yet. The relief! The blessed relief when you know that you've done with it all, that you haven't got to carry the burden any longer.
MACKENZIE. CVaguely
to
CMoves up Right.^ him—moved) General—
VERA. QFollcnvs
MACKENZIE. Don't talk to me that way. You don't understand. I want to sit here and wait— wait for Lesley to come for me. QGoes out on halcony and draws wp chair and sits. The hack of his head down to shoulders is visible through window. His position does not change throughout scene.') VERA. (^Stares after him.
Her composure
breaks down. Sits Left sofa) I'm
frightened— Oh! I'm frightened—
(LOMBARD comes LOMBARD. CCrosses Left) All
correct.
in
up
Right.)
No secret passage—one
corpse.
VERA. (Tensely) Don't!
LOMBARD.
I say,
you do look low.
How
about a drink to steady your
Two
corpses in the house at nine
nerves?
VERA. CRises, flaring up) o'clock in the
A
drink!
morning and
all
you
say,
going quite crackers—"Have a drink"! diat's all
"Have a
Ten
drink"!
An
old
man
people accused of murder—
right—just have a drink. Everything's fine so long as you
have a drink. LOMBARD. All right. All right— Stay
thirsty.
(Goes
to Left
2 door.)
you—you're nothing but a waster—an adventurer—you make me tired. Cloves to fireplace.) LOMBARD (Crossing to her) I say, you are het up. What's the matter, my
VERA. Oh,
sweet?
VERA. I'm not your sweet
LOMBARD. I'm
sorry. I rather
thought you were.
VERA. Well, you can think again. LOMBARD. Come now—you know you don't really feel like that. We've got something in common, you and I. Rogues and murderers can't fall out (He takes her hand— she draws away.) VERA, Rogues and murderers—! LOMBARD. Okay. You don't like the company of rogues and murderersand you won't have a drink. I'll go and finish searching— (Eodts Left I.)
Cemily
enters Left
1.
vera moves up
to
window.)
TEN LITTLE INDIANS
44
EMILY. Unpleasant young man!
I
face) Is anything the matter?
VERA.
{Low) I'm worried about
can't find
it
anywhere. (Sees vera's
CTo above Left sofa.)
He really is
the General.
ill,
think.
I
Mackenzie, then goes out on balcony and EMILY. CLooks from loud, him. In behind cheerful voice, as though talking to an stands idiot child) Looking out for the boat, General? (vera to down Left. \^era to
MACKENZIE docs not in.
ans:iver.
Unctuously) His
sin has
emily
waits a minute, then comes slowly
found him out
VERA. CAngrily) Oh, don't
EMILY.
One must
face facts.
Can any of us afford to throw stones? EMILY. (Cowes down Center; sits Right sofa) Even if his wife was no better than she should be— and she must have been a depraved womanhe had no right to take judgment into his own hands.
VERA.
What about— Beatrice
VERA. CColdly angry)
EMILY.
Taylor?
Who?
VERA. That was the name, wasn't
it?
(Looks
at her challengingly.)
EMILY. You are referring to that absurd accusation about myself? VERA. Yes
EMILY.
Now that we are
of the case—Indeed
was not a
alone, I
have no objection to
telling
you the
should like you to hear them, (vera
I
sits
facts
Left
gentlemen—so naturally I refused to say anything last night. That girl, Beatrice Taylor, was in my service. I was very much deceived in her. She had nice manners and was clean and willing. I was very pleased uith her. Of course, all that was sheerest hypocrisy. She was a loose girl with no morals. Disgusting! It was some time before I found out that she was what they call "in trouble." (Pause) It was a great shock to me. Her parents were decent folks too, who had brought her up stricdy. I'm glad to say they didn't condone her behavior. VERA. What happened? EMILY. (Self-righteously) Naturally, I refused to keep her an hour under my roof. No one shall ever say I condoned immorality. VERA. Did she drown herself? sofa) It
fit
subject to discuss before
EMILY. Yes. VERA. (Rises to Left)
How old was she?
EMILY. Seventeen. VERA. Only seventten.
EMILY. (With horrible fanaticism) Quite old enough to have.
I
told her
what
a
low depraved thing she was.
know how I told
to be-
her that she
ACT TWO SCENE
I
45
no decent person would take her into their house. I told her that her child would be the child o£ sin and would be branded all its life— and that the man would naturally not dream of marrying her. I told her that I felt soiled by ever having had her under my roof— was beyond the pale and
VERA. (_Shuddering)
You
EMILY. Yes, I'm glad
that
told a girl of seventeen all that?
to say I
broke her
down
utterly.
VERA. Poor litde devil.
EMILY.
I've
no patience
VERA. CMoves
up
indulgence toward
vidth this
Left to above sofa)
And
sin.
then, I suppose,
you turned her
out of the house?
EMILY. Of course.
And she didn't What did you feel
dare go
VERA.
like
EMILY. (Puzzled) Feel
home—
down Right
CCoines
when you found
she'd
drowned
to
Center)
herself?
like?
VERA. Yes. Didn't you blame yourself?
EMILY. Certainly not VERA.
I
I
had nothing with which
to reproach myself.
believe— I believe you really feel like that. That makes
more
horrible.
(Turns away
to Right,
it
even
then goes wp to center win-
dows.)
EMILY. That
girl's
unbalanced. (O'pens hag and takes out a smcdl Bihle.
in a low mutter) 'The heathen are sunk down in the made— (StO'ps and nods her head) In the net which they hid is their own foot taken." (rogers enters Left 2. emily stops and smiles approvingly) 'The Lord is known by the judgment He executeth, the wicked is snared in the work of his own hand."
Begins
to
read
it
pit that they
ROGERS. (Looks doubtfully at emily) Breakfast
EMILY. 'The wicked shall be turned into
hell."
is
ready.
(Turns head sharply) Be
quiet ROGERS.
Do you know where
(To above
the gentlemen are. Miss? Breakfast
is
ready.
Left sofa.)
VERA. Sir Lawrence Wargrave
is
sitting
out there in the sun. Doctor
Armstrong and Mr. Blore are searching the
island. I should bother
about them. (She comes in.)
(ROGERS goes out EMILY. "Shall not the
isles
to holcony.)
shake at the sound of the
fall,
when
wounded cry, when the slaughter is made in the midst of thee?" VERA. (To Left. Coldly. After waiting a minute or two) Shall we go in? EMILY.
I don't feel like eating.
the
TEN LITTLE INDLANS
46 ROGERS.
CTo MACKENZIE)
Breakfast
is
EMILY, cogens Bible again) 'Then
CGoes
ready.
all
Right on halcony.^
off
the princes of the sea shall
come
and lay away their robes, and put off their 'broidered garments." Center blorb up Right) 'They shall clothe themselves with trembling they shall sit upon the ground, and shall tremble at every moment, and be astonished at thee." QLooks up and
down from
their thrones,
sees BLORE, but her eyes are almost unseeing.)
BLORE QSfeaks
but watches her with a
readily,
new
interest)
Reading
aloud, Miss Brent?
EMILY.
It is
my
custom
to read a portion of the Bible every day.
BLORE. Very good habit, I'm sure.
(To down
Right.)
(ARMSTRONG comes Ri^t along balcony and
What luck did you have:* ARMSTRONG. There's no cover in the
in.)
VERA.
island.
No
caves.
No
one could hide
anywhere.
(WARN BLORE. That's right (lombard enters heft 2)
What
Curtain.)
about the house, Lom-
bard?
LOMBARD.
No
selves. I've
One.
I'll
Stake
been over
it
my
from
life there's
no one
in the
house but our-
attic to cellar.
(ROGERS enters from balcony, wargrave comes Right along balcony, slowly, and in to Right of window.) ROGERS. Breakfast
is
getting cold.
(emily
is still
reading.)
LOMBARD. CRoisterously) Breakfast! Come on, Blore, You've been yelping for breakfast ever since you got up. Let's eat, drink and be merry, for tomorrow we die. Or who knows, perhaps, even today! (vera and Armstrong
cross to Left 2 door.)
EMILY. CRises; drofs knitting, blore 'picks it up) You ought of such levity, Captain Lombard. CCrosses Right.)
to
be ashamed
LOMBARD. C^till in the same vein, with determination) Come on. General, can't have this. CCalls) Breakfast, I say, sir— CGoes out on balcony to MACKENZIE. Stops—stoops—comcs slowly back and stands in vHndow. His face is stern and dangerous) Good God! One got left behind— There's a knife in MacKenzie's bacL
ARMSTRONG (Gocs
to
him) He's dead—he's dead.
H
ACT TWO SCENE BLORB. But he can't
be—
Who
could have done
47
it?
There's only us on the
island.
WARGRAVE. Exacdy, my dear sir. Don't you realize that this clever and cunning criminal is always comfortably one stage ahead of us? That he
knows exacdy what we
are going to do next,
and makes
his plans ac-
cordingly? There's only one place, you know, where a successful murderer could hide and have a reasonable chance of getting
One place—where? WARGRAVE. Here in this room—Mr. Owen
away with
it.
BLORE.
is
one of
us!
CURTAIN End
of Scene
Scene There
a storm; the room
is
is
II
much darker— the windows
and WIND. WARGRAVE cowes in from Left
heating
1
closed
and
RAIN
2,
followed hy blorb.
BLORE. Sir Lawrence?
WARGRAVE. CCentBT^ Well, Mr. Blore? BLORE.
I
wanted
You were
you alone. Crooks over shoulder at dining room) what you said this morning. This damned murderer And I think I know which one. to get
right in
is one of us. WARGRAVE. Really?
BLORE. Ever hear of the Lizzie Borden case? In America. Old couple killed
with an axe in the middle of the morning. Only person
have done credible.
it
was the daughter, a
So incredible that they acquitted
any other explanation. WARGRAVE. Then your answer BLORE.
I tell
you that woman
you—she's
the one.
WARGRAVE. Really?
I
to the is
as
who
could
respectable, middle-aged spinster. In-
problem
mad
is
her.
But they never foimd
Miss Emily Brent?
as a hatter. Religious
And we must watch
mad,
I tell
her.
had formed the impression that your suspicions were
in a different quarter.
BLORE.
Yes— But
I've
changed
my
mind, and
I'll tell
you
for
why—she's
TEN LITTLE INDIANS
48
not scared and she's the only one
(wARGRAVE goes up
who
isn't.
Why?
Because she knows
no danger—hush—
quite well she's in
VERA and EMILY emily wp Center.')
Right.
carrying coffee tray,
enter from Left
2.
vera
is
We've made some coffee. CShe puts tray on tabouret Right Center. BLORE moves up to tabouret) Brr—it's cold in here. BLORE. You'd hardly believe it when you think what a beautiful day it was VERA.
this
morning.
Lombard and Rogers
VERA. Are Captain
BLORE. Yes.
No boat will
out?
still
put out in this— and
it
couldn't land, anyway.
VERA. Miss Brent's. C^i'^nds coffee cup to blore.)
(emily comes dawn;
sits
Left Sofa.)
WARGRAVE. Allow me. CTakes cup and hands it to emily) VERA. (To wargrave) You were right to insist on our going to Iimch—and drinking some brandy with it. I feel better. WARGRAVE. (Returns to coffee tray— takes his awn coffee; stands by mantelpiece)
The
court always adjourns for lunch.
VERA. All the same,
it's
a nightmare. It seems as though
What—what
we
going to do about
are
(blore
sits
it
can't
be
true.
it?
chair Right Center.)
We
must hold an informal court of inquiry. We may at least some innocent people. BLORE. You haven't got a hunch of any kind, have you, Miss Claythome? WARGRAVE. If Miss Claythome suspects one of us three, that is rather an WARGRAVE.
be able
to eliminate
awkward
question.
VERA. I'm sure
it isn't
any of you.
If
you ask
me who
I suspected, I'd
say
Doctor Armstrong. BLORE. Armstrong? VERA. Yes. Because, don't you see, he's had far and kill
away the
best chance to
Mrs. Rogers. Terribly easy for him, as a doctor, to give her an
overdose of sleeping
stuff.
BLORE. That's true. But someone else gave her brandy, remember.
(emily goes up Left and
sits.)
WARGRAVE. Her husband had a good opportunity of administering a drug. BLORE. It isn't Rogers. He wouldn't have the brains to fix all this stimt— nor the money. Besides you can see he's scared stiff.
ACT TWO SCENE
U
49
(ROGERS and Lombard, in mackintoshes, come wp Right on balcony and appear at vnndow. blore goes and lets them in. As he opens the winand RAIN comes in. emily half screams dow, a sivirl of loud
WIND
and turns around.^ LOMBARD.
My God,
EMILY. Oh, VERA.
it's
Who did
it's
only
something
like a storm.
you—
you think
it
was? (PaMse) Beatrice Taylor?
EMILY. QAngrily') Eh?
LOMBARD. Not a hope of rescue until this dies down. Is that coffee? Good. (To vera) I'm taking to coffee now, you see. VERA. CTakes him a cup^ Such restraint in the face of danger is nothing short of heroic. v
C^oving hclow the
f 1^—justice be done.
did quitc right,
And what
I feel is
.
.
my .
sofa.) Justice
be done.
girl.
and listens.) Someone's must hop it. I'm supposed to be
(Sfee breaks off
coming. (Sfce moves quickly wp c.)
I
coimting the laundry.
CShe
eodts
uf
c. to l.)
SERGEANT, (moving Uf c. and looking after doris) That's a useful She's the one who was hanging about for Miss Craye's autograph.
girl.
THE HOLLOW
236
(sir
henry
enters l.)
msPECTOR. Good morning, Sir Henry. SIR HENRY, (^crossing to L. of the sofa) Good morning, Inspector.
Good moming,
SERGEANT.
(sir SIR
sir.
HENRY nods
to the
sergeant.)
henry, (to the inspector) You wanted to see mer* wanted some further
inspector. Cc^-ossing to l.c.) Yes, Sir Henry.
We
in-
formation. sir henry. Yes?
inspector. Sir Henry, you have a considerable collection of firearms, mostly pistols and revolvers.
I
wanted
to
Imow
if
any of them are
miss-
ing.
SIR
on the sofa at the left end of W) I don't quite underyou that I took two revolvers and one pistol down to the target alley on Saturday moming, and that I subsequently found that one of them, a thirty-eight Smidi and Wesson, was missing. I identified this missing revolver as the one that Mrs. Cristow was
HENRY.
Csitting
stand. I have already told
holding just after the murder.
inspector. That
is
quite correct. Sir Henry. According to Mrs. Cristow's
statement, she picked
it
up from the
floor
by her husband's body.
We
assumed, perhaps naturally, that that was the gun with which Dr. Cristow was shot.
sm HENRY. Do you mean—it wasn't? We have now received the
INSPECTOR-
report of our ballistics expert Sir
Henry, the bullet that killed Dr. Cristow was not SIR HENRY. You astound me.
fired
from that gun.
it's extremely odd. The bullet was of the right calibre, but was definitely not the gun used. SIR HENRY. But may I ask, Inspector, why you should assume that the murder weapon came from my collection? INSPECTOR. I don't assume it, Sir Henry—but I must check up before
INSPECTOR. Yes, that
looking elsewhere. SIR
HENRY. Crising and crossing
what you want
to
know
to l.) Yes, I see that.
in a very
(He SERGEANT.
He
doesn't
know
few moments,
exits l.)
anything.
Well,
I
can
tell
you
ACT THREE INSPECTOR. Cmoving wp c.) So
it
237
(He
seems.
goes on to the terrace and
stands looking off l.)
What
SERGEANT.
time's the inquest?
INSPECTOR. Twelve o'clock. There's plenty of time. SERGEANT. Just routine evidence and an adjournment. vidth the Coroner, I
(midge enters
She wears her hat and coat, and gloves and suitcase.^
l.
It's
fixed
all
up
suppose? carries her
handbag,
INSPECTOR. Cturning') Are you leaving, Miss Harvey?
MIDGE. Qcrossing
to c.) I
have
up
to get
to
town immediately
after the in-
quest.
INSPECTOR, (inoving to
r. of
midge) I'm
afraid I
must ask you not
to leave
here today.
MIDGE. But
that's
very avv'kward.
You
see, I vjoxV in a dress shop.
And
if
I'm not back by two-thirty there'll be an awful to-do. INSPECTOR. I'm sorry. Miss Harvey. You can say you are acting on police instructions.
MIDGE. That won't go
down very well, I can tell you. (Sfee crosses helow the sofa to the writing table, jputs her handbag and gloves on it and stands the case on the floor above the writing table.') Oh well, I suppose I'd better ring up now and get it over. (.She lifts the telephone
receiver. Into the telephone.)
CThe OPERATOR.
voice of the
Number
HeUo
operator
.
is
.
.
reasonably audible.)
please.
MIDGE. Regent four-six-nine-two, please. OPERATOR. What is your number?
MIDGE. Dowfield two-two-one.
CThe INSPECTOR
eases to l. of the sofa
and
looks at the sergeant.)
OPERATOR. Dowfield two-two-one. There's a twenty-minute delay on the line.
MIDGE. Oh!
OPERATOR. Shall I keep the call in? MIDGE. Yes, keep the call in, please. You'll ring me? OPERATOR. Yes. MIDGE.
Thank
you.
CShe replaces the CsiR
HENRY
receiver.)
enters l.)
THE HOLLOW
238 SIR HENRY,
Do you mind
Of course— but
MIDGE.
and
I'll
about
give you a hail
call.
QShe pcks wp her
suitcase
when
it
comes through, unless they forget
it.
(midge
(He
I'm expecting a
crosses to l.)
sm HENRY. all
leaving us, Midge?
exits l. sir
henry
closes the door
crosses to l. of the inspector.)
Wesson
exhibit in a
brown
A
behind
her.")
second thirty-eight Smith and
leather holster
is
inspector. Ci^king a revolver from his fochet}
missing from
my
Would
this
it
be
study.
gun, Sir
Henry? (sir henry, surprised, takes the revolver from the inspector fully
sm HENRY. Yes—yes,
this is
it.
examines
Where
and
care-
it.)
did you find
it?
INSPECTOR. That doesn't matter for the moment. But the shot that killed Dr. Cristow was fired from that gun. May I speak to your buder, Sir Henry? (He holds out his hand for the revolver.') SIR HENRY, (handing the revolver to the inspector) Of course. (He turns, crosses to the fireplace and presses the hell-push.') Do you want to speak to him in here? INSPECTOR, (putting the revolver in his pocket) If you please, Sir Henry, sm HENRY. Do you want me to go away or to remain? I should prefer to remain. Gudgeon is a very old and valued servant INSPECTOR. I would prefer you to be here, Sir Henry.
(gudgeon
enters l.)
GUDGEON. You rang. Sir Henry? HENRY. Yes, Gudgeon. (He indicates the inspector.)
SIR
(gudgeon
looks politely at the inspector.)
INSPECTOR. Gudgeon, have you lately had a pistol or a revolver in your possession?
(sm HENRY gudgeon, (crossing so, sir. I
don't
sits
to l. of the
own any
in the armchair l.c.)
inspector; imperturhahly)
sergeant, (reading from his notehook) banisters
and
revolver—
I
I
don't think
firearms.
"I happened to glance over the saw Mr. Gudgeon standing in the front hall with a
ACT THREE Cgudgeon —in
his
reacts
hand and he looked ever
(The INSPECTOR GUDGEON. That
is
quite correct,
sir.
tell
his fists.^
so peculiar
loohs at the sergeant,
INSPECTOR. Perhaps you will
239
hy clenching
I'm sorry
.
who it
.
."
hreaks off ahrwptly.')
slipped
my
memory.
us exactly what occurred.
on Saturday. Normally owing to a murder having taken place a short time before, household routine was disorganized. As I was passing through the front hall, I noticed one of Sir Henry's pistols, a small Derringer it was, sir, lying on the oak chest there. I didn't think it should be left lying about, so I picked it up and subsequently took it to the master's study and put it back in its proper place. I may add, sir, that I have no recollection of having looked pe-
GUDGEON. Certainly,
sir.
It
was about one
o'clock
of course I should have been bringing in luncheon, but
culiar.
INSPECTOR, (moving
Henry's study? there
GUDGEON.
say you put the
the sofa
and
faces
up
gun
in Sir
stage.") Is it
now?
To
the best of
INSPECTOR, (moving focket)
It
no,
my
belief, sir. I
can easily ascertain.
and taking the
to l. of the sofa
revolver from his
wasn't— this gun?
GUDGEON, (moving in
On
You
to r. of the sofa)
(He moves below
to l. of the
inspector and looking at the revolver)
That's a thirty-eight Smith and
sir.
Wesson— this was
a small
pistol— a Derringer.
know
INSPECTOR.
You seem
GUDGEON.
served in the nineteen-fourteen-eighteen war,
I
to
a good deal about firearms.
INSPECTOR, (turning and moving
down
r.)
And you
sir.
say you found this
Derringer pistol—on the oak chest in the hall?
GUDGEON. Yes,
sir.
(lady angkatell enters up
c.
from
l.
end of the
The inspector
eases above the r.
sofa.)
How
nice to see you, Mr. Colquhoun. and Gudgeon? I found that child Doris in floods of tears. The girl was quite right to say what she saw if she thought she saw it. I find right and wrong bewdldering myself— easy when wrong is pleasant and right is unpleasant—but confusing the other way about, if you know what I mean. And what have you been
LADY ANGKATELL. (moving
What
telling
is all
this
about a
them about
c.)
pistol
this pistol,
Gudgeon?
THE HOLLOW
240
GUDGEON, (respectfully hut emphatically') I found the pistol in the hall, m'lady. I have no idea who put it there. I picked it up and put it back in its proper place. That is what I have told the Inspector and he quite understands.
LADY ANGKATELL, (gently shaking her head at gudgeon) You shouldn't have done that, Gudgeon. I'll talk to the Inspector myself. GUDGEON. But LADY ANGKATELL. I appreciate your motives, Gudgeon. I know you always try to save us trouble and annoyance. (Firmly.) That will do now. .
(gudgeon
.
.
throws a quick glance at sir henry, then hows and
hesitates,
exits L. SIR
(She
HENRY
crosses to the sofa, sits
looks Very grave.)
and smiles disarmingly
at the
inspector.)
That was really very charming of Gudgeon. Quite feudal, if you know what I mean. Yes, feudal is the right word. INSPECTOR. Am I to understand. Lady Angkatell, that you yourself have some further knowledge about the matter? LADY ANGKATELL. Of course. Gudgcon didn't find the gun in the hall at all. He found it when he took the eggs out.
The
INSPECTOR.
eggs?
LADY ANGKATELL. Ycs, out
of the basket
(She seems
to
think
all is
now
exflained.) SIR
HENRY. You must
tell
us a litde more, ray dear. Inspector Colquhoun
and I are still at sea. LADY ANGKATELL. Oh! The gun, you (sir
—under
see,
HENRY
was in the basket—
rises.)
the eggs.
What
basket? And what eggs, Lady Angkatell? LADY ANGKATELL. The basket I took down to the farm. The gun was in it and I put the eggs in on top of the gun and forgot about it. When we found poor John Cristow shot in here, it was such a shock that I let go the basket and Gudgeon caught it just in time—because of the eggs.
INSPECTOR.
(sir
Later
I
HENRY
'tnoves slowly to the fireplace.)
asked him about waiting the date on the eggs—so that one
shouldn't eat the fresh ones before the old
ones—and he said all that had already been attended to— and I remember now he was rather emphatic about it. He found the gun, you see, and put it back in
1
ACT THREE
24
Henry's study. Very nice and loyal of
him—but
cause, of course, Inspector, the truth
what you want
mspECTOR. CcTossing ahove the sofa
mean
to
is
c; grimly')
to
also very foolish, be-
The
to hear, isn't it?
truth
what
is
I
get
LADY ANGKATELL. Of
couTSB.
It's all
SO sad, all this
bounding people.
(Tfee iNSPEcrroR moves to l. of the sofa.) I don't
shoot
suppose whoever
it
(The INSPECTOR and —not fact,
was
that shot
John Cristow
meant
really
to
him—
seriously I
mean.
the sergeant look at each other.)
If it
was Gerda, I'm quite sure she
In
didn't.
I'm rather surprised she didn't miss—it's the sort of thing one
would expect of
her.
CThe INSPECTOR If she did shoot
crosses
above the sofa
to r.)
him, she's probably dreadfully sorry about
it
now.
It's
bad enough for children having their father murdered, without having their mother hanged for it (Accusingly.) I sometimes wonder if
you policemen think of these
things.
inspector, (crossing helow the sofa to
l. of
it;
taken ahack)
We are not
contemplating making an arrest just at present. Lady Angkatell.
LADY ANGKATELL. (with a dazzUng smile) Well, that's sensible. But I have always felt that you are a very sensible man, Mr. Colquhoun. INSPECTOR. Er—thank you. Lady Angkatell. (He breaks uf c. and turns.) Now I want to get this clear. (He moves dawn l.c.) You had been shooting with this revolver?
LADY ANGKATELL. INSPECTOR.
Pistol.
Ah yes,
so
Gudgeon
said.
You had been
shooting with
it
at the
targets?
LADY ANGKATELL. Oh, no, no.
I
took
it
out of Hcnry's study before
I
went
to the farm.
INSPECTOR, (looking at sir
henry and then
at the armchair l.c.)
May P
(sm HENRY nods)
(He sits.) Why, Lady Angkatell? LADY ANGKATELL. (with unexfBcted ttiumfh) I knew you'd ask me that And of course there must be some answer. (She looks at sir henry.) Mustn't there, Henry? SIR HENRY. I should Certainly have thought so, my dear.
THE HOLLOW
242
LADY ANGKATELL. Ycs, obviously
when
I
looks hopefully at sir SIR
HENRY.
must have had some idea in
I
took that httle Derringer and put
henry.)
I
wonder what
My wife is extremely absent-minded,
my
in
it
it
my
head
egg basket. (Sfee
could have been?
Inspector.
INSPECTOR. So it seems. LADY ANGKATELL. WHiy should I have taken that pistol? INSPECTOR. CT^ising and hreaking wp c.) I haven't the faintest
idea,
Lady
Angkatell.
LADY ANGKATELL.
CTtsitig') I
camc
in JteTe—this being your study,
with the window there and the fireplace here.
I
Henry—
had been talking to pillow cases— and I
Simmonds about pillow cases— let's hang on to remember crossing— (she moves to the writing tahW) over
distinctly
to the fireplace— and
thinking
not the rector— (s/ze
young
to
know what
we must
new poker— the
get a
the inspector)
at
loolis
curate,
you're probably too
that means.
(The inspector and the sergeant look
at each other.')
And
1 remember opening the drawer and taking out the Derringer— it was a nice handy little gun—I've always liked it—and dropping it in the egg basket. And then I No, there vv^ere so many things in my head—Cshe eases to the sofa and sits) what with bindweed in the border— and hoping Mrs. Medway would make a really rich Nigger .
.
.
in his Shirt. to contain himself) A Nigger in his Shirt? LADY ANGKATELL. Ycs, chocolate, cggs and cream. John Cristow loved a
SERGEANT. Qunahle
re-
ally rich sweet.
inspector, (jnoving to
LADY ANGKATELL. I can't
l.
Did you load the pistol? Ah, did I? Really, it's too ridiculous that should think I must have, don't you, Inspec-
of the sofa)
C^^houghtfully)
remember. But
I
tor?
INSPECTOR.
and
I
think
I'll
have a few more words with Gudgeon.
crosses to the door l.)
you'll let
When
you remember a
little
(He
turns
more, perhaps
me know. Lady Angkatell? (The SERGEANT
LADY ANGKATELL. Of
coursc.
CTOsses to the door l.)
Things come back to one quite suddenly
sometimes, don't they?
INSPECTOR. Yes.
(He
exits l.
The sergeant follows him
off.
The
clock strikes eleven.)
ACT THREE sm HENRY.
243
Why did you take the pistol,
Lucy? had some
Ccrossing to l. of the sofa)
LADY ANGKATELL. I'm really not quite sure, Henry— I suppose I vague idea about an accident. SIR HENRY. Accident? LADY ANGKATELL. Ycs, all those roots of tree sticking up—so easy to trip over one. I've always thought that an accident would be the simplest way to do a thing of that kind. One would be dreadfully sorry, of course, and blame oneself C^er voice trails off.) SIR HENRY. Who was to havc had the accident? LADY ANGKATELL. John Cristow, of course. SIR HENRY, ^sitting L. of her on the sofa) Good God, Lucy! .
.
.
Clady angkatell's manner suddenly changes. All, the vagueness goes and she is almost fanatical.)
lady ANGKATELL. Oh, Henry,
I've
been so dreadfully worried. About
Ainswick. SIR
HENRY.
I see.
So
it
was Ainswick. You've always cared too much about
Ainswick, Lucy.
LADY ANGKATELL. You and Edward are the last of the Angkatells. Unless Edward marries, the whole thing will die out— and he's so obstinate— that long head of his, just like my father. I felt that if only John were out of the way, Henrietta would marry Edward—she's really quite fond of him— and when a person's dead, you do forget. So, it all came to that— get rid of John Cristow. SIR HENRY, (flgliost) Lucy! It was you LADY ANGKATELL. (her elusive self again) Darling, darling, you don't imagine for a moment that I shot John? (She laughs, rises, crosses to the fireplace and ficks uf the box of chocolates from the mantelpiece.) I did have that silly idea about an accident. But then I remembered that he was our guest. (She eases c.) One doesn't ask someone to be a guest and then get behind a bush and have a pop at them. CShe moves above the sofa and leans over the hack of it.) So you mustn't worry, Henry, any more. sm HENRY, (hoarsely) I always worry about you, Lucy. LADY ANGKATELL, (taking a chocolatc from the hox) There's no need to, dear. (She holds wp the chocolate.) Look what's coming. Open, .
.
(sm HENRY opens (She pops the chocolate been got
rid of
into
sm
without our having
.
his
mouth.)
henry's mouth.) There! John has to do anything about it. It reminds
THE HOLLOW
244
me
man
of that
Bombay who was
in
CShe crosses to the window he was run over by a tram.
CShe
The
exits r.
telephone rings,
and operator. Your Regent
sm HE>fRY.
r.)
lifts
Do
so rude to me at a dinner party. you remember? Three days later
sm henry
rises,
moves
to the
telephone
the receiver.')
call, sir.
(into the telephone)
Hullo—yes— Regent
call?
Cmidge enters l.) RUDGE. For me? SIR
HENRY. Yes.
Cmidge
crosses to the telephone
and
who
MBDGE. Onto the telephone.) Hullo. VOICE.
No,
MIDGE.
Can Hold
(There
I
Is that
sm henry,
Madame?
speak to
Madame
herself?
on, will you.
a short pause, then another voice
is
from
Vera.
it's
VOICE.
takes the receiver
exits R.)
is
heard through the
tele-
phone.) is Madame Henri speaking. Miss Harvey. VOICE. Why are you not 'ere? You are coming back this afternoon, yes? MIDGE. No, no, I'm afraid I can't come back this afternoon.
VOICE. 'Alio. This
MIDGE.
It's
(edward VOICE.
enters
up
c.
from
l.
and moves
to l.c.)
Oh, always these excuses. it's not an excuse.
MIDGE. No, no,
(edward
asks hy a gesture whether she
(She puts her hand over the mouthpiece. go.
VOICE.
It's
only
What
MIDGE, (into
(edward
VOICE.
is it
tlie
picks
An
my
minds him
staying.)
To edward.) No—no,
don't
shop.
then? telephone) There's been an accident.
up a magazine from the coffee table, then at the left end of it.)
accident? Don't
tell
me
these
lies.
sits
on the sofa
Don't make these excuses.
ACT THREE
Tm
MIDGE. No,
not telling you
lies
today. I'm not allowed to leave.
VOICE.
The
or
245
making
It's
excuses. I can't
come back
the police.
police?
MIDGE. Yes, the police. VOICE.
MIDGE. VOICE.
What
Where
MIDGE. I'm VOICE.
'ave
you done?
my fault. One can't help
not
It's
Dowfield.
at
Where
there
a murder?
is
MIDGE. Yes, you read about VOICE.
Of
course.
This
tomers will say
MIDGE. VOICE.
hardly
It's
It's all
MIDGE.
It's
I
is
when
my
it
in the paper?
most inconvenient. they
know you
are
What do you
think
cus-
fault.
is.
very exciting for you. Very nice for you to be in the limelight.
think you are being rather unjust.
VOICE. If you do not return today, you will not 'ave any job.
plenty of
girls
who would be 'appy
to 'ave
You
will return
Cmidge
She
are
sorry.
tomorrow or don't dare
replaces the receiver.
There
it.
MIDGE. Please don't say such things. I'm very VOICE.
my
mixed up in a murder?
most upsetting.
MIDGE. Murder VOICE.
these things.
are you?
to
is
show your
near
face again.
to tears.')
Who was that? My employer.
EDWARD. MIDGE.
EDWARD. You should have MIDGE.
And
told her to go to hell.
get myself fired?
EDWARD. I can't bear to hear you so—subservient. MIDGE. You don't understand what you're talking about. (She vioves above the sofa.') To show an independent spirit one needs an independent income. EDWARD. My God, Midge, there are other jobs—interesting jobs. MIDGE. Yes—you read advertisements asking for them every day in The Times.
EDWARD. Yes. MIDGE, (moving wp c.) Sometimes, Edward, you make me lose my temper. What do you know about jobs? Getting them and keeping them? This job, as it happens, is fairly well paid, with reasonable hours.
EDWARD. Oh, money!
THE HOLLOW
246 MIDGE. O^oving
to
of the sofa) Yes,
J.
I've got to ha\'e a job that kee'ps
EDWARD. Henry and Lucy would
.
live on.
.
.
Of
MIDGE. We've been into that before. to the fire-place.)
money. That's what I use to me, do you understand
course they would. (Sfce crosses
no good, Edward. You're an Angkatell and Henry
It's
and Lucy are Angkatells, but I'm only half an Angkatell. My father was a plain little business man—honest and hardworking and probably not very clever. favours.
When
It's
from him
get the feeling
I
lings in the pound. I'm like him.
you
debts. Don't
I
don't like to accept
his business failed, his creditors got paid
Edward,
see,
it's
I
all
twenty
shil-
mind about money and about right for you and Lucy. Lucy
would have any of her friends to stay indefinitely and never think about it twice—and she could go and live on her friends if necessary. There would be no feeling of obligation. But I'm different. EDWARD, (rising) You dear ridiculous child. (He 'puts the magazine on the coffee table.) I may be ridiculous but I am not a child. EDWARD, (crossing to the fireplace and standing above midge). But
MIDGE.
it's all
wrong that you should have to put up with rudeness and insolence. My God, Midge, I'd like to take you out of it all—carry you off to Ainswick.
Why
midge, (furiously and half crying)
do you say these stupid things?
mean them. (She sits on the pouffe.) Do you think it makes any easier when I'm being bullied and shouted at to remember
You life
don't
Do you think I'm and babbling about how much It sounds so charming and means
that there are places like Ainswick in the world? grateful to
you
for standing there
you'd like to take
me
out of
it all?
absolutely nothing.
EDWARD. Midge! midge. Don't you
know
I'd sell
ute? I love Ainswick so
my
much
I
soul to be at Ainswick
now,
can hardly bear to think of
this it.
min-
You're
cruel, Edward, saying nice things you don't mean. EDWARD. But I do mean them. (He eases c., turns and faces midge.) Come on, Midge. We'll drive to Ainswick now in my car.
midge. Edward! EDWARD, (drawing midge Ainsvidck. Shall
midge, (laughing a
EDWARD.
to
her feet)
we? What about little
It isn't bluff.
it,
Come
on. Midge.
We're going
eh?
hysterically) I've called your bluff, haven't I?
to
ACT THREE MIDGE. Qpaiting Edward's arm then crossing
247 to l. oj the sofa)
Edward. In any case, the police would stop us. EDWABD. Yes, I suppose they would. MIDGE, chitting on the sofa at the left end of it; gently) All I'm sorry
shouted
I
EDWARD. Qquietly) You MIDGE. I'm resigned
to
Calm down,
right,
Edward,
at you.
really love Ainswick, don't your*
not going there, but don't rub
it
in.
EDWARD. I can see it wouldn't do to rush off there this moment— (fee moves to l. of the sofa) but I'm suggesting that you come to Ainswick for good.
MIDGE. For good?
EDWARD. I'm suggesting that you marry me, Midge. MIDGE. Marry
.
.
.
?
EDWARD. I'm not a very romantic proposition. I'm a dull dog. I read what I expect you would think are dull books, and I write a few dull articles and potter about the estate. But we've known each other a long time —and perhaps Ainswick would make up for me. Will you come.
Midge? MIDGE. Marry you? CShe
rises.)
EDWARD. Can you bear the idea? MIDGE, (kneeling at the left end of the sofa and leaning over the end of it towards edward; incoherently) Edward, oh, Edward— you offer me heaven like—like something on a plate.
Cedward
takes her hands
and
kisses
them, lady angkatell enters
b..).
LADY ANGKATELL. (as she entCTs) What I feel about rhododendrons is that unless you mass them in big clumps you don't get MIDGE, (rising and turning to lady angkatell) Edward and I are going .
to
.
.
be married.
lady angkatell. (dumbfounded) Married? You and Edward? But, (She recovers herself, moves to midge, kisses Midge, I never dre her, then holds out her hand to edward.) Oh, darling, I'm so happy. (She shakes Edward's hand and her face lights Uf.) I am so delighted. You'll stay on here and give up that horrid shop. You can be married from here— Henry can give you away. .
MIDGE. Darling Lucy,
I'd
.
.
love to be married from here.
LADY angkatell. (sitting on the sofa at the right end of it.) Off-white satin, and an ivor)' prayer book— no bouquet. Bridesmaids? MIDGE. Oh no, I don't want any fuss. EDWARD. Just a very quiet wedding, Lucy.
THE HOLLOW
248 LADY ANGKATELL. Ycs,
I
loiow cxactly what you mean, darling. Unless one
them, bridesmaids never match properly— there's
carefully chooses
nearly always one plain one
bridegroom's step
on the
sister.
train,
And
who
ruins the
whole e£Fect—usually the
children— children are the worst of
they howl for Naimie.
I
never
feel
all.
They up
a bride can go
the aisle in a proper frame of mind while she's so imcertain what's happening behind her. MIDGE. I don't need to have anything behind me, not even a train. I can be married in a coat and skirt. LADY ANGKATELL. (rising and crossing l.c.) Oh no. Midge— that's too
much hke MIDGE.
a vwdow. Off-white satin
and
I shall
take you to Mireille.
I can't possibly afford Mireille.
LADY ANGKATELL. Darling, Henry and I will give you your trousseau. MIDGE. Qcrossing to lady angkatell and kissing h&r) Darling. (She turns, crosses to edward and holds his hands.") LADY ANGKATELL. Deal Midge, dear Edward! I do hope that band on Henry's trousers won't be too tight. I'd like him to enjoy himself. As for me, I shall wear (She closes her eyes.) MIDGE. Yes, Lucy? LADY ANGKATELL. Hydrangea blue—and silver fox. That's settled. What a pity John Cristow's dead. Really quite unnecessary after all. But what an exciting weekend. (She moves to l. of midge and edward.) First a .
.
.
murder, then a marriage, then
this,
then that
(The INSPECTOR and the sergeant (She
turns.")
engaged
to
Come in—come
in.
enter l.)
These yoimg people have
just got
be married.
INSPECTOR, (easing l.c.) Indeed.
My congratulations.
EDWARD. Thank you very much. LADY ANGKATELL. (cTossing to the door L.) for the inquest. I
am so
I
suppose
I
ought to get ready
looking forward to it I've never been to an in-
quest before.
(She
eocits l.
The sergeant
closes the door,
edward and midge
cross
and
exit R.)
sergeant, (crossing
(He nods
to r.)
to^vards the
was her he was keen inspector. So
it
You may say what you like, she's a queer one. window r.) And what about those two? So it
on,
and not the other one.
seems now.
sergeant. Well, that about washes him out
Who have we got left?
ACT THREE
249
it that the gun in Lady what he says it was. It's still wide open. You know, we've forgotten one thing. Penny—the holster.
INSPECTOR. We've only got Gudgeon's word for Angkatell's basket
is
SERGEANT. Holster? INSPECTOR. Sir Henry told us that the gun was originally in a brown leather holster.
Where's the
holster?
Csm HENRY
we ought
SIR HENRY. I suppose
to
enters l.) to the windows some extraordinary Edward. Midge.
be starting— (^e crosses
R.) but everyone seems to have disappeared for
reason.
(He
looks out of the
window and
calls.^
Clady angkatell enters l. She wears her hat and coat. She 'prayer hook and one white glove and one grey glove.^
carries
a
LADY ANGKATELL. (moving L.c.) How do I look? Is this the sort of thing one wears? SIR HENRY. Qturning and moving to ^ of the sofa") You don't need a prayer book,
my
dear.
LADY ANGKATELL. But
I
INSPECTOR. Evidence
isn't
thought One swore things. usually taken on oath in a Coroner's court,
Lady Angkatell. In any today.
(He
case, the
crosses to the door l.)
(The SERGEANT Well,
if
proceeding will be purely formal
you'll excuse
(He
me,
exits l.
crosses to the door l.)
we'll
both be getting on our way.
The sergeant
follows
him
o/f.)
LADY ANGKATELL. (easing to the fireplace') You and I and Gerda can go in the Daimler, and Edward can take Midge and Henrietta. SIR HENRY, (moving c.) Where's Gerda? LADY ANGKATELL. Henrietta is with her.
(edward and midge
enter r.
midge picks up her hag and gloves from the
writing table, and moves below the sofa, sofa to R. of SIR
crosses
above the
HENRY.)
SIR HENRY. Well, what's this
with EDWARD.)
edward
Isn't this
I
hear about you two?
wonderful news?
and kisses her.) EDWARD. Thank you, Henry. midge. Thank you. Cousin Henry.
(He
(He
shakes hands
crosses to l. of
midge
THE HOLLOW
250
LADY ANGKATELL. Qooktng at her gloves') Now what made white glove and one grey glove? How very odd. (_She
EDWARD. Qmoving uf
c.)
I'll
get
(He
my
me
take one
l.)
escits
car roimd.
exits u-p c. to l.)
MIDGE. Csitting on the sofa) Are you really pleased? SIR HENRY. It's the bcst news I've heard for a long time.
You
don't
know
what it'll mean to Lucy. She's got Ainswick on the brain, as you know. MIDGE. She wanted Edward to marry Henrietta. (Troubled.) Will she mind that it's me? sm HENRY. Of course not. She only wanted Edward to marry. If you want my opinion, you'll make him a far better wife than Henrietta. MIDGE.
It's
always been Henrietta with Edward.
sm HENRY.
Ccrossing to the fireplace) Well, don't
(He
you
let
those police
from the hox on the mantelpece.) Best thing in the world from that point of view that he's got engaged to you. Takes suspicion right off him. MIDGE, (rising) Suspicion? Off Edward? SIR HENRY, (turning) Counting Gerda out of it, I should say he was susfellows hear
pect
number
you say
one.
MIDGE, (crosssing the
plls his cigarette case
To put it blundy, he loathed John
to c.
murder—so
so.
then moving uf l.)
that's
why
.
.
.
I
(Her
Cristow's guts.
remember— the evening
after
face grows desperately un-
happy.)
(HENRIETTA entevs
L.)
HENRIETTA. Oh, Henry, I'm taking Gerda with me. (She crosses to the drinks table and picks
ous state— and
I
up her
gloves
and bag.) She
is
in rather a nerv-
think that one of Lucy's conversations would just
about finish her. We're starting now. SIR
HENRY, (moving
to the
(He
door l.) Yes,
we ought to be starting too.
exits l., leaving the
door open.)
(Off; calling.) Are you ready, Lucy?
HENRIETTA, (putting OK her gloves) Congratulations, Midge. Did you stand on a table and shout at him? MIDGE, (solemnly) I rather think I did.
HENRIETTA.
I told
you that was what Edward needed.
1
ACT THREE MIDGE, (jnoving
to the radio) I don't
25 Edward
think
will ever really love
anyone but you. HEi«iRiETTA. Oh, don't be absurd, Midge. MIDGE. I'm not absurd.
It's
the sort of thing
HENRIETTA. Edward wouldn't ask you MIDGE, ^switching on the
radio')
HENRIETTA.
What
GERDA. (o/f
L.;
HENRIETTA.
(^CTOSsing to the
CShe
He may
do you mean? door L.) I'm coming, Gerda.
radio war-ms
uf and music
is
aux Cheveux de Lin." midge moves gloves on the mantelpiece and looks in the
The
heard.
tune
to the preflace,
Fille
c.
to.
have thought it— wise.
calling) Henrietta.
The
exits l.
one—knows.
marry him unless he wanted
to
mirror,
edward
is
"ha
^uts her enters
wp
from L.)
EDWARD, (moving
l.c.)
MIDGE, (turning)
If
The
car's outside.
you don't mind,
EDWARD. But why ? MIDGE. She loses things—and
I'll
go with Lucy.
.
.
.
flutters— I'll
be
useful.
(She moves down
L.)
EDWARD, (hurt) Midge, MIDGE, (crossing
to r.)
is
anything the matter?
Never mind now.
What
is it?
We must get to
the inquest
EDWARD. Something is the matter. MIDGE. Don't—don't bother me. EDWARD. Midge, have you changed your mind? Did I—rush you into things just now? (He moves helow the sofa.) You don't want to marry
me
after all?
no— we must keep on What do you mean?
MIDGE. No,
EDWARD.
with
it
now. Until
all this is
MIDGE. As things are— it's better you should be engaged can break
(edward
(She turns her hack
it off.
looks stunned for a
to
moment, then
to
over.
me. Later,
we
him.) controls himself
and speaks in
a monotone.)
EDWARD.
I
see—even
MIDGE, (turning)
EDWARD. No, better go.
1
I'll
for
Ainswick— you
others will .
can't go through with it
wouldn't work, Edward.
suppose you are right
The
MIDGE. Aren't you
EDWARD.
It
.
.
(He
turns
be waiting.
?
be along. I'm used to driving alone.
and
faces
up
1..)
You'd
THE HOLLOW
252 Cmidge he
exits
wp
re-enters.
edward
c. to l.
He
crosses
a revolver.
carries
and
He
After a jew moments,
exits l.
closes the door, crosses to the
moves to the fire'place, 'picks up midge's and puts them in his pocket. He then moves L.c. and opens the revolver to see if it is loaded. As he snaps the revolver shut, midge enters up c. from l.)
and
radio
^ves
MIDGE.
svintchs it off,
from the mantelpiece
Edward—are you
EDWARD.
still
here?
Cstriving to appear natural)
MIDGE. Q^noving above the sofa)
I
Why, Midge, you
came back
startled
my
for
me.
gloves. (,She leans
over the hack of the sofa and looks under the cushions.)
I left
them
somewhere. (Sfee looks towards the mantelpiece and sees the revolver in edwaed's hand.)
EDWARD.
I
thought
Edward, what are you doing with that revolver?
might have a shot or two down
I
at the targets.
MIDGE. At the targets? But there's the inquest
EDWARD. The inquest,
yes, of course. I forgot.
MIDGE, C^ith a step towards him) R.
of him.)
My God!
mantelpiece.) Give revolver
Edward—what
CShe snatches the
me
QShe moves in
is it?
to
gun from him,
crosses to the
must be mad.
(.She puts the
that revolver—you
on the upstage end of the mantelpiece.)
(EDWARD
sits
in the armchair l.c.)
(She turns.) How could you? (She kneels down l. of edwaed.) But why, Edward, but why? Because of Henrietta? EDWARD, (surprised) Henrietta? No. That's all over now. MIDGE.
Why— tell me why?
EDWARD.
It's all
so hopcless.
MIDGE. Tell me, darling.
Make me
understand.
It's men like Cristow— But I Even for Ainswick you couldn't bring yourself to marry me. MIDGE. You thought I was marrying you for Ainswick? EDWARD. Heaven on a plate—but you couldn't face the prospect of having me thrown in.
EDWARD. I'm no good. Midge. Never any good. they're successful—women admire them.
MIDGE. That's not true,
that's
not true. Oh, you
stand? It was you I wanted, not Ainswick.
adored you.
I've
loved you ever since
with love for you sometimes.
EDWARD. You love me?
.
I
I
fool!
.
.
Don't you under-
adore
you— I've always
can remember.
I've
been
sick
ACT THREE
253
Of course I love you, you darling idiot When you asked me to marry you I was in heaven. EDWARD. But then why ? MIDGE. I w as a fool. I got it into my head you were doing it because of the
MIDGE.
.
.
.
police.
EDWARD. The police? MIDGE. I thought—perhaps—you'd killed John Cristow. EDWARD. I ? MIDGE. For Henrietta—and I thought you'd got engaged to me to throw them ofiF the scent. Oh, I must have been crazy. (She rises.^ EDWARD. C^ising) I can't say I'm sorry that Cristow is dead— (fee crosses to the fire-place) but I should never have dreamed of killing hira. MIDGE, cloving in to r. of him) I know. I'm a fool. CShe lays her head on his chest.) But I was so jealous of Henrietta. EDWARD. Cpwttfng his arms around her) You needn't be, Midge. It was .
.
.
Henrietta, the
girl, I
ized Henrietta the
me
asked
tle girl,
But that day you
loved.
woman was
to look at you, I
but Midge the
I
me
the
didn't
fire for
know.
for the first time, not
woman—warm and
MIDGE. Oh, Edward. EDWARD. Midge, don't ever leave
MIDGE. Never.
a stranger
saw you
lit
me,
I real-
When
Midge
you
the
lit-
alive.
again.
promise you never.
I
(The sound Heavens, Edward,
of a motor horn
we must
go.
is
heard up c.)
They're waiting.
What
did
I
come
back for? Gloves!
(edward Oh, (She
takes the gloves
curtain
is
off.
The
closed.
One hour
is
from him, turns and
c.
from
L.
exits
lights fade to a hlack-out,
There
presumed
HENRIETTA
up
c. to l.
edward
to
is
fol-
during which the alcove
a pause of six seconds then the lights
is
come
have elapsed, during which the weather
has turned stormy and the sky
up
to her.)
darling!
lows her
up.
from his pocket and holds them out
takes midge's gloves
is
overcast,
gerda and Henrietta enter
Supporting gerda.
They hoth
carry hand-
hags.)
HENRIETTA.
Casses him') Darling,
you were wonderful
(mrs. BOYLE and mollie eodt l wp the CHRISTOPHER.
woman.
I
C^istfig;
childishly')
don't like her at
all.
I
think
that's
I'd love to see
To
Giles, softly,
.
.
.
statrs')
perfectly
a
horrible
you turn her out into the
snow. Serve her right GILES.
It's
a pleasure I've got to forgo, I'm afraid.
CThe door
hell 'peah)
Lord, there's another of them. (giles goes out to the front door')
CO/f)
Come in—come
in.
CcHRiSTOPHER moves to the sofa and sits, miss casewell enters wp r. She is a young woman of a mxmly type, and carries a case. She has a long dark coat, a light scarf and no hat. giles enters) MISS CASEWELL. (iM a deep, manly voice) Afraid half a mile
down
the road—ran into a
my
car's
bogged about
drift.
me take this. (He takes her case and puts it R of Any more stuff in the car? CASEWELL. Qmovtng down to the fire) No, I travel light
GILES. Let
the refectory
tahle)
MISS
Cgiles moves above the armchair c)
Ha, glad to see you've got a good manly fashion) GILES. Er-Mr. Wren-Miss
—
fire.
CShe
straddles in front of
it
in
a
"?
miss CASEWELL. CasewcU. CShe nods to Christopher) GILES. My wife will be down in a minute. miss CASEWELL. No huny. CShe takes off her overcoat) Got to get myself thawed out. Looks as though you're going to be snowed up here. CTaking an evening paper from her overcoat pocket) Weather forecast says
heavy
falls
expected. Motorists warned, etcetera.
plenty of provisions GILES.
Oh
yes.
My
wife's
you've got
we
can always
an excellent manager. Anyway,
eat our hens.
miss CASEWELL. Before
Hope
in.
we
start eating
each other, eh?
ACT ONE SCENE QShe laughs
stridently
275
I
and throws the overcoat at She sits in the armchair c)
C3HRISTOPHER, (rising and crossing to the pre')
Giles,
Any news
who
catches
it.
paper-
in the
apart from the weather?
MISS CASEWELL. Usual
A
CHRISTOPHER.
Oh yes,
political crisis.
(Turning
murder?
and a rather juicy murder! Miss CasewelV) Oh, I like
to
murder!
MISS CASEWELL. (handing him the 'pafer) They seem to think it was a homicidal maniac. Strangled a woman somewhere near Paddington.
Sex maniac,
I
suppose. (She looks at dies')
(GILES crosses tot. of the sofa table)
CHRISTOPHER. Doesn't say much, does
and reads) 'The
Culver Street
cinity of
(He
it?
in the small armchair
sits
police are anxious to interview a
overcoat, lightish scarf
at the time.
and
soft felt
Medium
man
seen in the
r
vi-
height, wearing darkish
hat Police messages
to this effect
have been broadcast throughout the day." MISS CASEWELL. Uscful description. Fit pretty well anyone, wouldn't it? CHRISTOPHER. When it says that the police are anxious to interview someone,
is
that a polite
way
of hinting that he's the murderer?
MISS CASEWELL. Could be.
Who was the woman who was murdered? CHRISTOPHER. Mrs. Lyon. Mrs. Maureen Lyon. CHLEs.
GILES.
Yotmg
or old?
CHRISTOPHER.
It doesn't say. It
MISS CASEv^^ELL. (to GUcs) (mot.t.ie
seem
doesn't
I told
comes down the
to
have been robbery
.
.
.
you—sex maniac and
stairs
crosses to
Miss Casewell)
Miss Casewell, MoUie. My vidfe. ^uss CASEvi^LL. (rising) How d'you do? (She shakes hands vHth Mollie
GILES. Here's
vigorously)
Cgiles picks
MOLLIE.
The
It's
wp her
an awful night. Would you
water's hot
if
case)
like to
come up
to
your room?
you'd like a bath.
miss casewell. You're
right, I
would.
(mollie and miss casew^ell
exit to the stairs l. Giles follows them, carrying the case. Left alone, Christopher rises and makes an exploration.
He
opens the door
down
l,
peeps in and then
eodts.
A moment
THE MOUSETRAP or two later he reappears on the stairs l. He crosses to the arch up r and looks off. He sings "Little Jack Horner" and chuckles to himself, giving the impression of heing slightly unhinged mentally. He moves
276
hehind the refectory table, giles and mollie enter from the stairs l, talking. CHRISTOPHER hides hehind the curtain, mollie moves ahove the armchair c and giles moves to the r end of the refectory tabled MOLLIE.
I
must hurry out
Metcalf
He
very nice.
is
won't be
We must have a
frightens me.
and
to the kitchen
on with
get
difficult.
nice dinner.
I
things.
Major
Mrs. Boyle really
It's
was thinking of opening
two tins of minced beef and cereal and a tin of peas, and mashing the potatoes.
be GILES.
And
stewed
there's
figs
and
custard.
Do you
think that wdll
right?
all
Oh— I
should think
Not— not
so.
very original, perhaps.
CHRISTOPHER. Qcoming from hehind the curtains and moving between Giles and Mollie^ Do let me help. I adore cooking. Why not an omelette? You've got eggs, haven't you?
MOLLIE.
Oh
yes,
we've got plenty of eggs.
We
don't lay as well as they should but we've put
keep
lots of fowls.
down
They
a lot of eggs.
(GILES breaks away l)
And
if you've got a bottle of cheap, any t)rpe wine, you the— "minced beef and cereals," did you say? Give it a Continental flavour. Show me where the kitchen is and what you've got, and I daresay I shall have an inspiration.
CHRISTOPHER.
could add
MOLLIE.
it
Come
to
on.
(mollie and Christopher
exit
through the archway r
to the kitchen.
GILES frowns, ejaculates something uncomplimentary to Christopher
and crosses to the small armchair down r. He picks up the newspaper and stands reading it with deep attention. He jumps as mollis returns to the room and speaks') Isn't
he sweet? (Sfee moves above the sofa table) He's put on an
apron and he's getting
him and
don't
the cooking themselves, GILES.
Why on
mollie. GILES.
I
He
all
come back it
the things together. for half
If
He
him the
best
he liked the fourposter.
liked the pretty fourposter.
Twerp!
says leave
it
all to
our guests want to do
will save a lot of trouble.
earth did you give
told you,
an hour.
room?
ACT ONE SCENE
277
I
MOLLIS. Giles! GILES. I've got
no use
for that kind. CSignificantly')
You
didn't handle his
suitcase, I did.
Had
it got bricks in it? CShe crosses to the armchair c and sits^ was no weight at all. If you ask me there was nothing inside it. He's probably one of those young men who go about bilking hotel
MOLLIS.
GILES. It
keepers.
MOLLIS.
GILES. Terrible
MOLLIS.
QShe pauses}
don't believe it I like him.
I
well's rather peculiar, don't
It
female— if she
is
seems very hard that
Anyway,
or odd.
I
I
think Miss Case-
you? a female. all
our guests should be either unpleasant
think Major Metcalf s
all right,
don't you?
GILES. Probably drinks!
MOLLIS. Oh, do you think so? GILES.
No,
we
I don't. I
was
just feeling rather depressed. Well, at
loiow the worst now. They've
(The door MOLLIS.
Who can
any
rate
all arrived.
hell rings^
that be?
GILES. Probably the Culver Street murderer.
MOLLIS,
(rising') Don't!
(GILES exits
wp R
to the front door,
mollis
crosses to the fire)
Oh.
GILES, (off)
(mr. paravicini staggers in uf r, carrying a small hag. He is foreign and dark and elderly with a rather flamboyant moustache. He is a slightly taller edition
of Hercule Poirot,
to the audience.
He
which mxiy give a wrong
wears a heavy fur-lined overcoat.
He
im'pression
leans
on the
L side of the arch and futs down the hag. giles enters) paravicini. GILES.
This
a thousand pardons. I am—where am I? is
Monkswell Manor Guest House.
paravicini. But what stupendous good fortune!
down
to Mollie, takes her
hand and
Madame! (He moves
kisses it)
Cgiles crosses above the armchair c)
What
My
an answer to prayer.
A
guest
house—and a charming hostess. snow ever)'-
Rolls Royce, alas, has run into a snowdrift. Blinding
where.
I
do not know where
I
am. Perhaps,
I
think to myself,
I shall
THE MOUSETRAP
278 freeze to death.
snow,
And then I take a me big iron gates.
little
A
see before
I
I fall into
snow
the
come up your
as I
bag, I stagger through the
habitation! drive,
immediately— (?ze looks round) despair turns to
manner) You can GILES.
Oh
MOLLiE.
yes
It's
.
.
let
me
am
I
but at
Twice and ^Changing his saved.
last I arrive
joy.
have a room—yes?
.
rather a small one, I'm afraid.
PARAVicna. Naturally—naturally— you have other guests. MOLLIE. We've only just opened
we're— we're rather new
at
PARAviciNi Clearing at Mollie) GILES.
What
house today, and so
Charming—charming
.
.
.
about your luggage?
PARAviciNi. That GILES.
this place as a guest
it.
of
is
But wouldn't
PARAVICINI. No, no.
a night as
this,
it
no consequence. be better
(He moves wp
there will be
I
have locked the car securely.
to get it in? to
no
are very simple. I have all I
r of Giles)
I
thieves abroad.
need—here—in
can assure you on such
And
for
me,
my
wants
this litde bag. Yes, all
that I need.
MOLLIE. You'd better get thoroughly warm. (pARAviciNi crosses to the I'll
fire)
C^he moves to the armchair c) I'm afraid it's room because it faces north, but all the others are occu-
see about your room.
rather a cold pied.
You have several guests, then? MOLLIE. There's Mrs. Boyle and Major Metcalf and Miss Casewell and a PARAVICINI.
young man called Christopher Wren— and now—you. Yes— the unexpected guest. The guest that you did not invite. The guest who just arrived— from nowhere—out of the storm. It sounds quite dramatic, does it not? Who am I? You do not know. Where do I come from? You do not know. Me, I am the man of mys-
PARAVICINI.
tery.
(He
laughs)
(mollie laughs and
looks at giles,
head
at
who
grins feebly, paravicini nods his
Mollie in high good hwnour)
But now, I tell you this. I complete the picture. From now on there be no more arrivals. And no departures either. By tomorrow—
will
perhaps even already—we are cut
no
baker,
ofiF
from
no milkman, no postman, no
civilization.
No
butcher,
daily papers—nobody
and
ACT ONE SCENE
279
II
nothing but ourselves. That is admirable—admirable. It could not suit me better. My name, by the way, is Paravicini. (He moves down to the small armchair r)
CcaLEs moves to l of Mollie') PARAVICINI. Mr. and Mrs. Ralstonr"
(He nods
his
head as they agree.
He
him and moves up to ^ of Mollie^ And this— is Monkswell Manor Guest House, you said? Good. Monkswell Manor Guest House. (He laughs') Perfect. (He laughs') Perfect. (He laughs and looks round
crosses to the fireplace)
MOLLIE
looks at GILES
and they look
at Paravicini uneasily
the CURTAIN
Scene
SCENE—Tfee same. The following
When
the curtain rises
it
is
falls
II
afternoon.
not snowing, hut snow can he seen
hanked high against the window, major metcalf sofa reading a hook, and mrs. boyle is sitting in the in front of the fire, writing on a fad on her knee. MRS. BOYLE.
I
Consider
only just starting
it
as—
most dishonest not
to
is
seated
on the r
large armchair
have told
me
they were
this place.
MAJOR METCALF. Well,
everything's got to have a beginning,
Excellent breakfast this morning.
made marmalade. And
all
Good
coffee.
you know.
Scrambled eggs, home-
nicely served, too. Little
woman
does
it
all
herself.
MRS. BOYLE. Amatcurs— there should be a proper
MAJOR METCALF.
staff.
Excellent lunch, too.
MRS. BOYLE. Combeef.
MAJOR METCALF. But
very well disguised combeef.
Ralston promised to
make
MRS. BOYLE, (rising and crossing really hot.
I
shall
speak about
MAJOR METCALF. Very yours was,
too.
Red wine
in
it.
Mrs.
a pie for us tonight. to the radiator)
These
radiators are not
least
mine was. Hope
it.
comfortable beds,
too.
At
THE MOUSETRAP
28o
was quitc adequate. (She returns to the large armchair r don't quite see why the best bedroom should have been given to that very peculiar young man. MAJOR METCAUF. Got here ahead of us. First come, first served.
MRS. BOYLE.
and
It
sits) I
MRS. BOYLE. From the advertisement
what
this place
would be
much larger place altogether— with MAJOR METCALF. Regular old tabbies' beg your pardon. MAJOR METCALF. Er—I mean, yes, MRS. BOYLE.
got quite a dififerent impression of
I
A
like.
comfortable writing-room, and a
bridge and other amenities.
delight
I
I quite see
(cHRisTOPER enters l from the MRS. BOYLE. No, indeed,
I shan't stay
CHRISTOPHER, (hughing) No. No,
(CHRISTOPHER MRS. BOYLE. Really that tally, I
is
I
what you mean.
stairs
unnoticed)
here long. don't suppose you wiU.
exits into the library
wp l)
a very peculiar yoimg man. Unbalanced men-
shouldn't wonder.
MAJOR METCALF. Think MRS. BOYLE.
I shouldn't
he's escaped
be
from a lunatic asylum.
at all surprised.
(mollie enters through the archway uf r) MOLLIS,
(^calling upstairs) Giles?
Qo^) Yes? MOLLiE. Can you shovel the snow away again from the back door? GILES, (o^) Coming. GILES.
(mollie disappears through the arch)
MAJOR METCALF. I'll give you a hand, what? (He the arch) Good exercise. Must have exercise.
rises
and
crosses
up r
(major METCALF cxits. GILES enters from the stairs, crosses and exits up R. MOLLIS returns, carrying a duster and a vacuum cleaner, crosses the Hall and runs upstairs. She collides with miss casewell who is coming down the stairs) MOLLIS. Sorry!
miss casewell. That's
(mollie
all right.
exits,
miss casewell com^s slowly c)
1
ACT ONE SCENE MRS. BOYLE. Really!
What an
incredible
H
28
young woman. Doesn't she know
anything about housework? Carrying a carpet sweeper through the front hall. Aren't there
MISS CASEWELL.
—nice
stairs.
CShe
fire.
stairs?
lights the cigarette)
Then why
MRS. BOYLE.
any back
C^i^king u ciguTette from a packet in her handbag') Oh yes (S/ie crosses to the pre) Very convenient if there was a
not use them? Anyway,
all
the housework should
have been done in the morning before lunch. MISS CASEWELL. I gather our hostess had to cook the lunch. MRS. BOYLE. All Very haphazard and amateurish. There should be a proper staff.
MISS CASEWELL. Not very easy
to get
nowadays,
is it?
MRS. BOYLE. No, indeed the lower classes seem to have no idea of their
re-
sponsibilities.
MISS CASEWELL. Poor old lower
classes.
Got the
bit
between
their teeth,
haven't they?
MRS. BOYLE.
CShe moves
much
I
wouldn't say
to the sofa
and
that.
I'm not a
Red—just
on the right arm) But
sits
pale pink.
I don't take
interest in politics— I live abroad.
MRS. BOYLE.
I
suppose Conditions are
MISS CASEvi^ELL.
have
gather you are a Socialist
Cfi'ostily) I
MISS CASEWELL. Oh,
to
do in
much
don't have to cook
I
easier abroad.
and clean—as
I gather
most people
this country.
MRS. BOYLE. This country has gone sadly downhill. Not what be. I sold
my house last year.
it
used to
Everything was too difficult
MISS CASEWELL. Hotcls and guest houses are
easier.
MRS. BOYLE. They certainly solve some of one's problems. Are you over in
England
for long?
MISS CASEWELL. Depends.
—I
shall
MRS. BOYLE.
I've got
some business
to see to.
When
it's
done
go back.
To
France?
MISS CASEWISLL. No. MRS. BOYLE.
Italy?
MISS CASEWELL. No. (Sfee grins) (mrs. BOYLE looks at her inquiringly hut miss casewell does not
spond MRS. BOYLE
Starts writing,
her, crosses to the radio, turns
volume)
it
re-
miss casevv^ll grins as she looks at
on
at
first softly,
then increases the
THE MOUSETRAP
282
MRS. BOYLB. ^annoyed, as she that
on quite so loud!
one is trying to write MISS CASEWELL. Do yOU?
I
Would you mind
uniting)
is
not having
always find the radio rather distracting
when
letters.
MRS. BOYLE. If you don't particularly want to listen just now Russ CASEWELL. It's my favourite music. There's a writing table in there. CShe nods towards the library door wp l) .
MRS. BOYLE.
I
Icnow.
MISS CASEWELL.
But it's much warmer here. warmer, I agree. (S/ie dances
Much
to the
.
.
mustc)
glare, rises and exits into the lihrary up L. moves to the sofa table, and stubs out her cigaShe moves up stage and picks up a magazine from the refectory
(mrs. BOYLB, after a moment's
ROSS CASEWELL rette.
grins,
table)
Bloody old bitch. (SJie moves
to the large
(CHRISTOPHER enters from the
library
armchair and ^ts)
up l and moves down l)
CHRISTOPHER. Oh!
MISS CASEWELL. HuUo. CHRISTOPHER, (^gesturing back
seems
to
hunt
to the library')
me down— and
MISS CASEWT.LL. (indicating the radio) Turn
(CHRISTOPHER turns the radio down until CHRISTOPHER.
it
down
it it is
I
go that
me—positively
woman
glares.
a bit
playing quite softly)
Is that all right?
MISS CASEWELL. CHRISTOPHER.
Wherever
then she glares at
Oh
ycs,
it's
served
its
purpose.
What purpose?
MISS CASEWELL. Tactics, boy.
(CHRISTOPHER looks puzdcd. MISS CASEWELL indicates the library) CHRISTOPHER. Oh, you mean her.
Rnss CASEWELL. She'd pinched the best chair. I've got it now. CHRISTOPHER. You drove her out. I'm glad. I'm very glad. I don't like her a bit.
do
(Crossing quichly to Miss Casewell) Let's think of things to
annoy
her, shall
we?
I
we
can
wish she'd go away from here.
MISS CASEw^ELL. In this? Not a hope. CHRISTOPHER. But when the snow melts. jvnss CASEWELL. Oh, when the snow melts
lots of things
may have
hap-
pened.
CHRISTOPHER. Yes—ycs— that's
true.
(He
goes to the
window) Snow's
ACT ONE SCENE rather lovely, isn't
H
283 ...
So peaceful— and pure
iti*
makes one forget
It
things.
MISS CASEWELL. CHRISTOPHER.
docsn't
It
make me forget
How fierce you
sound.
MISS CASEWELL. I was thinking. CHRISTOPHER, What sort of thinking;" (He
sits
on the window
seat")
MISS CASEWELL. Ice on a bedroom jug, chilblains, raw and bleeding—one thin ragged blanket— a child shivering with cold and fear. CHRISTOPHER,
My dear,
it
sounds
grim—what
too, too
is it?
A novel?
know I was a writer, did you? CHRISTOPHER. Are you? (He rises and moves down to her) MISS CASEWELL. You didn't
MISS CASEWELL. Sorry
I'm not. QShe futs the
to disappoint you. Actually
magazine wp in front of her face^
(CHRISTOPHER looks very loud and
at her doubtfully, then crosses l, turns
The
the drawing-room.
into
exits
MOLLIE runs down the phone^
duster in hand,
stairs,
wp
the radio
telephone rings.
and goes
to the tele-
receiver') Yes? (She turns off the radio) Yes— No, I'm What? Monkswell Manor Guest House Mr. Ralston can't come to the telephone just now. This is Mrs.
MOLLIE, (jpicking up the this is
afraid
.
Ralston speaking.
Who
.
.
?
.
The
.
.
.
Berkshire Police
.
.
.
.
.
?
(miss casewtell lowers her magazine)
Oh
Superintendent Hogben, I'm afraid
yes, yes,
He'd never get
roads are impassable
.
.
(miss CASEWELL
and
riscs
.
(giles enters
.
impossible.
.
.
up l)
crosses to the arch
Nothing can get through Very well Yes Hullo— hullo CShe replaces the receiver) .
that's
We're snowed up. Completely snowed up. The
here.
.
.
.
.
.
.
.
But what
.
.
.
.
up r wearing an hangs
overcoat.
it
up
He
removes the overcoat and
in the hall)
MoUie, do you know where there's another spade? MOLLIE, (^moving up c) Giles, the police have just rung up. GILES.
MISS CASEWELL. Trouble with
police,
eh? Serving liquor without a
cence?
(miss CASEWELL
cxits
L up the
stairs)
li-
THE MOUSETRAP
284
MOLLiE. They're sending out an inspector or a sergeant or something. (moving to ^ of Mollie) But he'll never get here.
GILES,
MOLLIE. That's what
I
told them.
But they seemed quite confident
that
he
would.
Even a jeep
GILES. Nonsense.
MOLLIE. That's what impress on
think
ter, I
Isn't
GILES,
couldn't get through today.
Anyway, what's
about?
it all
it
my
asked.
I
husband
But he wouldn't
was to what Sergeant Trot-
say. Just said I
to listen very carefully to
was, had to say, and to follow his instructions implicidy.
it
extraordinary?
(moving down
What on
to the pre)
earth do you think we've
done? MOLLIE. (moving to
of Giles)
l.
Do you
think
those nylons from
it's
Gibraltar? GILES. I did
remember
MOLLIS. Yes, GILES. I
car the other
day but
it
was en-
the other fellow's fault
We must have done something
GILES, (kneeling
and putting a
with running of
to get the wireless licence, didn't I?
in the kitchen dresser.
had rather a near shave with the
tirely
MOLLIE.
it's
log
.
.
.
on the pre) Probably something
this place. I expect
some Ministry or other. You rises and faces Mollie)
do
to
we've ignored some tinpot regulation practically can't avoid
it,
nowadays.
(He MOLLIE.
Oh
dear, I
snowed up
for days,
our reserve of GILES.
wdsh we'd never started
Cheer up,
and everyone
We're going
this place.
is cross,
and we
shall
to
be
go through
all
tins.
darling,
(he takes Mollie in his arms) everything's going
moment
I've filled up all the coalscuttles, and brought and stoked the Aga and done the hens. I'll go and do the boiler next, and chop some kindling (He breaks off) You know, Mollie, (he moves slowly up to r of the refectory table) come to think of it, it must be something pretty serious to send a police sergeant trekking out in aU this. It must be something really urgent all
right at the
in the wood,
.
.
.
.
.
.
(giles and mollie look at each other uneasily, mrs. boylb enters from the library
MRS. BOYLE, (coming Ralston.
to
L of the refectory table) Ah, there you
Do you know
stone cold?
up l)
the central heating in the library
is
are,
Mr.
practically
ACT ONE SCENE
285
II
and . MRS. BOYLE. I am paying seven guineas a week here—seven guineas and do not want to freeze. GILES. Ill go and stoke it up. GILES. Sorry, Mrs, Boyle, we're a bit short of coke
(GILES exits hy the archway
wp
r.
mollie
.
follows
.
him
I
to the arch')
if you don't mind my saying so, that is a very young man you have staying here. His manners— and his ties— and does he ever brush his hair? MOLLIE. He's an extremely brilliant young architect
MRS. BOYLE. Mrs. Ralston, extraordinary
MRS. BOYLE.
I
beg your pardon? Wren is an architect
MOLLIE. Christopher
My
MRS. BOYLE.
dear young
woman.
topher Wren. QShe crosses to the
He
built St. Paul's.
I
.
.
.
have naturally heard of
fire')
Of
course,
You young people seem
Sir Chris-
he was an
to think that
architect.
no-one
is
educated but yourselves.
MOLLIE.
him
I
Wren. His name is Christopher. His parents called hoped he'd be an architect. (Sfce crosses to the and takes a cigarette from the box) And he is— or nearly
meant
this
that because they
sofa table
one—so
it
MRS. BOYLE.
turned out
all right.
Humph. Sounds
armchair)
I
should
a fishy story to me. CShe
make some
inquiries about
sits
him
in the large
if I
were you.
What do you know of him? MOLLIE. Just as much as I know
about you, Mrs. Boyle—which is that you are both paying us seven guineas a week. (She lights her cigarette) That is really all I need to know, isn't it? And all that concerns me. It doesn't matter to me whether I like my guests, or whether Oneaningly) I don't
MRS. BOYLE. You are young and inexperienced and should welcome advice
from someone more knowledgeable than yourself.
And what
about
this foreigner?
What about him? MRS. BOYLE. You weren't expecting him, were you? MOLLIE. To turn away a bona fide traveller is against the law, Mrs. Boyle. MOLLIE.
You should know MRS. BOYLE.
that.
Why do you say that?
MOLLIE. Qmoving
down c) Weren't you
a magistrate, sitting
on the bench,
Mrs. Boyle? inRS.
BOYLE. All
seems to
me
I
say
.
.
.
is
that this Paravicini, or whatever
he
calls himself,
THE MOUSETRAP
286
(pARAviciNi enters softly from the PARAViciNi. Beware, dear lady.
You
stairs
l)
and there he
talk of the devil
Ha,
is.
ha.
CmRS. BOYLE jumps^
MRS. BOYLE.
I didn't
hear you come
in.
(mollie moves behind the PARAVICINI. I
came
in
down c) Nobody
on tiptoe—like
ever hears
me
sofa
QHe
this.
if I
tahW) demonstrates, moving
do not want them
to. I
find that
very amusing.
MRS. BOYLE. Indeed?
Now there was a young lady
PAEiAviciNi. chitting in the armchair c)
MRS. BOYLE. Casing) Well, little
warmer
(mrs. BOYLE
I
must get on with
my
letters. I'll
.
see if
.
.
it's
a
in the drawing-room.
eocits to
the drawing-room
down
l.
mollis follows her
to the
door')
PARAVICINI.
My charming hostess
looks upset.
What
dear lady? Qrie
is it,
leers at her)
MOLLIE. Everything's rather
morning. Because of the snow.
difficult this
Snow makes things difl&cult, makes them easy. (He moves uf to
PARAVICINI. Yes. else
it
Yes— very
does
it
not?
(He
the refectory table
rises')
and
Or
sits)
easy.
know what you mean. No, there is quite a lot you do not know. I think, for one thing, that you do not know very much about running a guest house. MOLLIE. (mofving to i. of the sofa table and stubbing out her cigarette) I daresay we don't. But we mean to make a go of it. PARAVICINI. Bravo—bravo! (He claps his hands and rises) MOLLIE. I'm not such a very bad cook MOLLIE.
I
don't
PARAVICINI.
.
PARAVICINI. (leering)
You
moves behind the sofa
(mollie draws
May
I
give you a
the sofa)
Have you
little
it
.
.
are vsdthout doubt an enchanting cook. table
and
takes Mollie's
(He
hand)
away and moves below the
sofa
down c)
word of warning, Mrs. Ralston? (Moving below too trusting, you know.
You and your husband must not be
references with these guests of yours?
H
ACT ONE SCENE MOLLiB.
Is that
287
usual? (Sfee turns to Paravicini) I always thought people
just—just came? PARAVICINI.
car at
is
advisable to Icnow a
It is
under your
roof.
Take,
overturned in a snowdrift.
may be
all! I
fugitive
little
sleep
up saying that my What do you know of me? Nothing
madman— even—a
MOLLiE. Chacking away^ Oh! PARAVICI^fI. You see! And perhaps you
I
turn
moves slowly towards Mollie^ a
a thief, a robber, (/le
from justice— a
who
about the people
for example, myself.
murderer.
know
your other
just as little of
guests.
MOLLIE. Well, as
far as
Mrs. Boyle goes
.
.
.
(mrs. Boyle enters from the drawing-room, mollie moves wp c
to the
refectory tabled
MRS. BOYLE.
The drawing-room (S^e
letters in here.
me
PARAVICINI. Allow
to
is
far too cold to sit in. I shall write
my
crosses to the large armchair^
poke the
(major metcalf
fire for
enters
MAJOR metcalf. Qo MolUe; with
(He moves R and does so')
you.
wp r through
the archway)
old-fashioned modesty) Mrs. Ralston,
is
your husband about? I'm afraid the pipes of the—er— the downstairs
cloakroom are frozen.
MOLLIE.
Oh
dear.
CShe moves
What an
to the
arch
awful day.
First the police
and then the
pipes.
up r)
(paravicini drops the poker with a
major metcalf
clatter,
stands as
though paralysed) MRS. BOYLE. Cstartlcd) Police?
major METCALF.
Qloiidly, as if incredidous) Police, did you say? QHe l end of the refectory table) MOLLIE. They rang up. Just now. To say they're sending a sergeant out here. QShe looks at the snow) But I don't think he'll ever get here.
moves
to the
(GILES enters from the archway GILES. is
The ruddy
more than half
stones.
basket of logs)
And
the price
.
.
.
Hullo,
anything the matter?
MAJOR METCALF. Oh, that's must be five
GILES.
coke's
up r with a
I
hear the police are on their
all right.
No-one can
feet deep.
The
way
here.
Why?
get through in this.
roads are
all
Why,
the drifts
banked up. Nobody
will get
THE MOUSETRAP
288
(He
here today.
May
Paravicini.
(pARAViciNi moves
Excuse me, Mr.
takes the logs to the pre'place')
put these down.
I
dovm
stage of the fireflace.
There are three shatf
ta'ps
on the window as sergeant trotter fresses his face to the 'pane and peers in. mollie gives a cry and points, giles crosses and throws open
trotter is on skis and young man with a slight cockney accent^
the window, sergeant
place
is
a cheerful, common-
TROTTER. Are you Mr. RalstonP GILES. Yes. Trotter. I
Thank
you,
Detective Sergeant Trotter. Berkshire Police.
sir.
and stow them somewhere? r) Go round that way to the front
Can
get these skis off
GILES, (jpointing
TROTTER.
Thank
you,
(GILES leaves the
MRS. BOYLE. to go
I
window open and
supposc
that's
crosses
PARAVICINI. C'f^oving Mollie')
MOLLIE. But
up
eodts to the front
what we pay our
round enjoying themselves
(mollie
I'll
meet you.
police force for, nowadays,
helow the refectory table to
door up r)
at winter sports.
c of the refectory
Why did you send for the police, I didn't.
door.
sir.
to the
table; in
window')
a fierce whisper to
Mrs. Ralston?
CShe shuts the window)
(CHRISTOPHER enters from the drawing-room l and comes to l of the PARAVICINI moves to the r end of the refectory table)
Where
CHRISTOPHER. Who's that man?
drawing-room window on
skis.
did he
All over
sofa.
come from? He passed the snow and looking terribly
hearty.
MRS. BOYLE. You
may
believe
or not, but the
it
man
is
a policeman.
A
policeman— ski-ing! (GILES and TROTTER enter from the front door, trotter has removed his skis
GILES.
and
is
carrying them)
Cmoving r of the arch up r) Er—this
is
Detective Sergeant Trotter.
L of the large armchair) Good afternoon. MRS. BOYLE. You Can't be a sergeant. You're too young. TROTTER, (^moving
to
TROTTER. I'm not quite as young as
CHRISTOPHER. But terribly hearty.
I
look,
madam.
ACT ONE SCENE U GILES. We'll stow your skis
away under the
289
stairs.
Cgiles and trotter exit through the archway
MAJOR METCALF. Excuse me, Mrs. Ralston, but may I MOLLiB. Of course, Major Metcalf. (major metcalf
up r)
use your telephone?
goes to the telephone and
dials')
CHRISTOPHER. Csttting at the r end of the sofa) He's very attractive, don't you think so? I always think that policemen are very attractive.
No
MRS. BOYLE.
You can
brains.
major METCALF. Qnto Mrs. Ralston,
MOLLIE.
was
It
all
this
see that at a glance.
the telephone) Hullo! Hullo!
telephone
is
right about half
major METCALF. The
line's
.
.
off.
That's funny,
(To Mollie)
an hour ago.
gone with the weight of the snow,
CHRISTOPHER, (landing hysterically) So we're quite cut cut
.
dead— quite dead.
off
I
suppose.
now. Quite
isn't it?
MAJOR METCALF. Qnioving to I. of sofa) I don't see anything to laugh at MRS. BOYLE. No, indeed. CHRISTOPHER. Ah, it's a private joke of my own. Hist, the sleuth is returning.
(trotter enters from the archway wp r, followed hy giles. trotter moves down c while giles crosses to l of the sofa table) trotter. Ci^king out his notebook) ston.
Now we
can get
to business,
Mr. Ral-
Mrs. Ralston?
(mollie moves down c) GILES.
Do
you want
to see us alone? If so,
TROTTER, (turning his back save time mxives
up
PARAViciNi.
TRorrER.
I
if
to the
r end
you.
library.
(He
I
It's
might
not necessary, sit
at this
sir.
table?
It'll
(He
of the refectory table)
beg your pardon.
Thank
can go into the
audience)
everybody's present. If
to the
we
up l)
points towards the library door
(He
(He moves behind
settles
the table to the l end)
himself in a judicial
manner c behind
the refectory table)
MOLLIE. Oh, do hurry up and refectory table)
What
have
tell us.
TROTTER, (surprised) Done? Oh, It's
something quite
you understand me.
(SJie
moves up the R end of the
we done? it's
different. It's
nothing of that kind, Mrs. Ralston.
more a matter of
police protection,
if
THE MOUSETRAP
290 MOLLiB. Police protection? TROTTER.
the death of Mrs. Lyori— Mrs.
It relates to
twenty-four Culver
Maureen Lyon
of
London, West two, who was murdered yesinstant You may have heard or read about the
Street,
terday, the fifteenth
case?
MOLLiE. Yes.
I
heard
it
TROTTER. That's right,
on the
wireless.
madam. CTo
you were acquainted with Never heard of her.
this
is if
GILES.
The woman who was strangled? The first thing I want to know
Giles^
Mrs. Lyon.
(mollbb shakes her head) TROTTER.
You mayn't have known
of her under the
name
Lyon
of Lyon.
wasn't her real name. She had a police record and her fingerprints file so we were able to identify her without difficulty. Her name was Maureen Stanning. Her husband was a farmer, John Stanning, who resided at Longridge Farm not very far from here.
were on real
GILES. Longridge Farm!
Wasn't that where those children
.
.
.
?
TROTTER. Yes, the Longridge Farm case.
(miss casemtell enters from the
MISS casew^ell. Three children
and
.
.
.
C^he
stairs
l)
down r
crosses to the armchair
sits)
(Everyone watches her) TROTTER. That's right, miss.
The
Corrigans.
Two
boys and a
before the court as in need of care and protection. for
them with Mr. and Mrs. Stanning
at
girl.
Brought
A home was
found
One
of the
Longridge Farm.
children subsequendy died as the result of criminal neglect and persistent ill-treatment.
MOLLIE. (very TROTTER.
The
Case made a
mmch shaken)
It
was
bit of a sensation at the time.
horrible.
Stannings were sentenced to terms of imprisonment Stan-
ning died in prison. Mrs. Stanning released. Yesterday, as I say, she
Culver Street MOLLIS. Who did
sen,^ed
her sentence and was duly
was found strangled
at twenty-four
it?
TROTTER. I'm coming to
that,
madam.
A
notebook was picked up near the
scene of the crime. In that notebook as written two addresses.
One
was twenty-four Culver Street The other (he pauses) was Monkswell Manor. GILES.
What?
1
ACT ONE SCENE TROTTER. Yes,
H
29
sir.
(During the next speech paraviceni moves slowly l to the on the wpstage side of the arch^ That's
why
stairs
and
leans
Superintendent Hogben, on receiving this information
it imperative for me to come out here and find out if you knew of any connexion between this house, or anyone in this house, and the Longridge Farm case. GILES, (moving to the l end of the refectory table') There's nothing— absolutely nothing. It must be a coincidence.
from Scotland Yard, thought
TROTTER. Superintendent Hogben doesn't think
(major metcalf
turns
and
looks at Trotter.
takes out his pipe
and
it is
a coincidence,
sir.
During the next speeches he fills it)
had been in any way possible. Under the as I can ski, he sent me with instructions to get full particulars of everyone in the house, to report back to him by phone, and to take what measures I thought fit to ensure the safety of
He'd have come himself weather conditions, and
if it
the household.
What
GILES. Safety?
danger does he think we're in? Good Lord, he's not is going to be killed here.
suggesting that somebody
trotter. is
GILES.
I
want
don't
to frighten
any of the ladies—but frankly,
yes, that
the idea.
But— why?
TROTTER. That's what I'm here
to find
out
But the whole thing's crazy! TROTTER. Yes, sir. It's because it's crazy that MRS. BOYLE. Nonscnsc! GILES.
MISS CASEvt^LL.
CHRISTOPHER.
I
I
must say
think
it's
it
seems a
wonderful.
it's
dangerous.
bit far-fetched.
(He
turns
and
looks at
Major Met-
calf)
(major METCALF Ughts MOLLiE.
his pipe)
something that you haven't told
Is there
us,
Sergeant?
trotter. Yes, Mrs. Ralston. Below the two addresses was written 'Three Blind Mice".
And on
the dead woman's body was a paper with "This
the First" written on
it, and below the words, a drawing of three litde mice and a bar of music. The music was the tune of the nursery rhyme Three Blind Mice. You know how it goes. (He sings) "Three
is
BHnd Mice
." .
.
THE MOUSETRAP
292
MOLLIS, (singiwg) "Three Blind Mice, See how They all
they run,
ran after the farmer's wife
." .
.
Oh, it's horrible. There were three children and one died? TROTTER. Yes, the youngest, a boy of eleven. GILES. What happened to the other two? TROTTER. The girl was adopted by someone. We haven't been able to trace her present whereabouts. The elder boy would now be about twentytwo. Deserted from the Army and has not been heard of since. According to the Army psychologist, was definitely schizophrenic (ExGILES.
A bit queer in
plaining)
MOLLiE. They think that
(She 'moves down
it
the head, that's to say.
was he who
to the
killed
Mr. Lyon—Mrs. Stanning?
armchair c)
TROTTER. Yes.
MOLLIE.
And
that he's a homicidal
up here and
try to kill
maniac (she
sits)
and that he
will turn
someone—but why?
TROTTER. That's what I've got to find out from you. As the Superintendent sees
there must be some connexion. (To Giles) Now you you yourself have never had any connexion with the
it,
state, sir, that
Longridge Farm case? GILES.
No.
And
TROTTER.
the same goes for you,
MOLLIS, (not at ease) I—no— I
What
TROTTER.
madam?
mean—no
connexion.
about servants?
Cmrs. BOYLE registers disapp'oval) MOLLIE.
We
haven't got any servants. (She rises
arch) That reminds me. to the kitchen?
I'll
TROTTER. That's quite
Cmollie
be there
I
have
all
and moves wp r
Sergeant Trotter,
to the
if I
went
you want me. Ralston.
all right, IVLrs.
is
r.
giles crosses
up r
to the arch,
hut he
stopped as trotter speaks)
your names, please?
We are merely staying in a kind of We only arrived yesterday. We've nothing to do wdth this place.
MRS. BOYLE. This hotel.
if
hy the archway up
exits
Now can
Would you mind.
is
quite ridiculous.
raoTTER. You'd planned to come here in advance, though. You'd booked
your rooms here ahead.
ACT ONE SCENE H MRS. BOYLE. Well,
ycs.
PARAViciNi. Paravicini.
My
293
All except Mr. } QShe looks at Paravicint) moves to the l end of the refectory table) (He
car overturned in a snowdrift
I see. What I'm getting at is that anyone who's been following you around might know very well that you were coming here. Now, there's just one thing I want to know and I want to know it quick. Which one of you is it that has some connexion with that business at Longridge Farm?
TROTTER.
(There
a dead silence)
is
One
You're not being very sensible, you know. deadly danger. I've got to
know which one
(There
is
that
of you
is
in
danger-
is.
another silence)
Al right, I'll ask you one by one. (To Paravicini) You, first, since you 7 seem to have arrived here more or less by accident, Mr. Pari PARAVICINI. Para— Paravicini. But, my dear Inspector, I know nothing, but nothing of what you have been talking about. I am a stranger in this country. I know nothing of these local affairs of bygone years.
down
TROTTER, (rising and moving
MRS. BOYLE. Boyle.
Why
to
? l of Mrs. Boyle) Mrs. it an impertinence
don't see—really I consider
I
on earth should
I
have anything
to
do with such— this
.
.
.
distress-
ing business?
(major metcalf TROTTER, (looking
at
looks sharply at her)
Miss Casewell) Miss
?
MISS CASEWELL. (slowly) Casewell. Leslie Casewell. Longridge Farm, and TROTTER, (moving
to
know nothing about
I
R of the
sofa; to
the time.
I
was stationed
at
sir?
the case in the papers at
Edinburgh then.
And
never heard of
Major Metcalf) You,
MAJOR METCALF. Mctcalf— Major. Read about TROTTER, (to Christofhet)
I
it.
No
personal knowledge.
you?
CHRISTOPHER. Christopher Wren.
remember even hearing about
was a mere child
I
at the time. I don't
it.
TROTTER, (moving behind the sofa table)
And
that's all
you have
to
say-
any of you?
(There
(Moving c) Well, blame.
Now then,
is
a silence)
if one of you gets murdered, you'll have yourself Mr. Ralston, can I have a look round the house?
to
2^
THE MOUSEI^JL?
CiMJiiai edts
atp
b
s^ ^ ^^ wJKdaw
vidb GOfS. pab.*vb-tvt
seat)
CEEsrarHES. C^^sai^ ^ir deais, haw nf.:.irirLi-c He's vaj attxacdve, I do athoBe the police. is:: : ~er CH« soses 17 to Ae refer: l^*il««ilwl 'r^Qsiness. Three Qmie 2 l So stem and '
Ham does £be tax ^-
BSml Mice,
:./«$ tt)
.
BGni£. ReaSr, Mr. Wren!
DoD't joa like it? CHe aos«s &> i. £^ Mrs. BoyU) But it's a tnae—die dy»jnn>' of d^e mnrderet. ]xst hncy w!^ a lock be nost be gettiE^ out of it. SCTLE. Mdodiamaiic idbbisii. I don't beliane a wocd of iL 'HII I (jaaOdmg hdumd her) Bat jaSt wak, Mrs, CEBcp 1^ bcsuud you, sDtu.yoa.fBsL^rnBBias on joat llitoai.
Bo^
Mas, BoiXE. Sbsp CS^ •MAjtm MgiT-ATj Tr:2rT! f.
bet, k's oot £
'
.
.
:>r
rises) '!"
-
-iiosjber. Iii
mofiLE,
necBOtic
Cmouje
:hose
A
K ^OQ cc _
:
pier ;c]s. anyvrav. In
Ae armdudr c) Tha^s jost wbat makes it so ddidoosly ^, looks rotmi emd pg^es)
Ot it is.
=
i:
:
_
CatmiMg ap & jfXB^ BOiL
eajBTs from iJbe
fo
Ae
ardt)
A
::^
£ngitXMB dovs b amd
sbimds hj
Ae door)
^^nr^ Vr-'^i Gdes? Takmg oar p Jirfiiiffli on a cuf durtcJ toor of die boose. lOB. BOTLE. Qmovimg itmm to Ae Wge mmduir) Toor fdend, the aidu-
jfss c^k^^rzLL.
i
IBC^ bas been bebaiii^ in
MAjOB
MEm^"
^T-z^r
-:
a most ahpoDnal maimer
:—
raem
newy noHada^ Dknesay
bell
ffOmOML Nerves? Ive 00 pafifnre witb people
BGFTLE. [iZzz^T.g^ BOBPz -
—
M&JQB WZT^.
-
:
-
,
MAjoB scEitLd:^^
>
-
-
_
_^ _^ ^ _j^^^ .
ve
tuamJuiu c) I
^Ao
saj tbey
Bat iMNT was I to ir
MBS. BOTTF. C
I en;
3JBS.BOTLZ.
_
-:
MISS O^SCWEU.
a«xiXB.Idcn and pofTc
And
\r cv: T TT.
vet
MATCS MZTCAIP.
Cnbere
•
pen? CS3b«
fiic
THE MOUSETRAP
296
Cmrs. BOYLE exits wp L to the library. There is the sound of a 'piano Toeing played from the drawing-room— the tune of "Three Blind Mice" picked out with one finger^
MOLLIS, (moving up httle tune that
window
to the
What
to close the curtains^
a horrid
is.
MISS CASEWELL. Don't you like
Reminds you
it?
of your childhood
perhaps— an unhappy childhood? MOLLiE. I was very happy as a child. (She moves round
to
c of the refec-
tory tabled
MISS CASEWELL. You were lucky. MOLLIE. Weren't you happy? MISS CASEWELL. QcTossing MOLLIE. I'm
i^ss CASEWELL. But MOLLIE.
I
to
the
fire')
No.
sorry.
suppose
all that's
a long time ago.
One gets
MISS CASEWELL. Or doesn't one?
Damned hard to say. when you're a
MOLLIE. They say that what happened than anything
over things.
so.
child matters
more
else.
MISS CASEWELL. They say— they
say.
Who says?
MOLLIE. Psychologists.
MISS CASEWELL. All humbug. Just a damned
and psychiatrists. MOLLIE. (moving down helow the sofa')
lot of
nonsense. I've no use
for psychologists
I've
never really had
much
to
do
with them.
MISS CASEWELL.
A good
thing for you you haven't.
the whole thing. Life's what you
make
of it
It's all
Go
hooey— ahead—don't
a lot of
straight
look back.
MOLLIE.
One
can't always help looking back.
MISS CASEWELL. Nonsense.
It's
a question of will power.
MOLLIE. Perhaps.
MISS CASEWELL. (forccfully) I know. (She moves down c) MOLLIE. I expect you're right (She sighs) But sometimes things hap.
.
pen—to make you remember MISS CASEviTELL. Don't give MOLLIE.
Is that really
in.
.
.
.
.
Turn your back on them.
the right
way?
I
wonder. Perhaps
that's all
wrong.
Perhaps one ought really to face them.
MISS CASEWELL. Depends what you're talking about. MOLLIE. (with a slight laugh) Sometimes, I hardly know what ing about (She
sits
on the sofa)
I
am
talk-
ACT ONE SCENE U MISS CASEWELL. Qf^oving affect
me—except in
to
way
the
297
Mollie) Nothing from the past I
want
all
right upstairs.
stairs
(He
l)
looks at the open din-
He
ing-room door, crosses and exits into the dining-room.
(miss CASEWELL to
reafpears in
wp r)
the archway
exits into the dining-room, leaving the
and hegins
rises
to
it to.
(GILES and TROTTER enter from the
TROTTER. Well, ever)'thing's
going
is
door open, mollis
up, rearranging the cushions, then moves
to tidy
the curtains, giles moves
up
h of Mollie. trotter
to
up
crosses
down l) (Opening the door down l) What's
(The sound trotter
of the piano
MRS. BOYLE, (o/f)
heard much louder while the door is open. drawing-room and shuts the door. Presently he
is
exits into the
reappears at the door
in here, drawing-room?
up l)
Would you mind
shutting that door. This place
is full
of draughts.
TROTTER. Sorry, madam, but I've got to get the lay of the land.
(trotter
closes the
door and exits up the
mollie moves above the
stairs,
armchair c) GILES,
(coming down
l of Mollie) Mollie, what's
to
(trotter reappears dawn the
all this
.
report
now
to
.
?
stairs)
TROTTER. Well, that completes the tour. Nothing suspicious.
make my
.
Superintendent Hogben.
(He
I
think
goes to the
I'll
tele-
phone) MOLLIE. (moving
The
to
of the refectory table)
l.
dead TROTTER, (swinging round sharply) What? line's
.
.
But you
can't telephone.
.
(He
picks
up the
receiver)
Since when?
MOLLIE. Major Metcalf
tried
TROTTER. But
right earlier. Superintendent
all
it
was
all
it
just after
you
arrived.
Hogben
got through
right
MOLLIE.
Oh yes.
TROTTER.
I
I
suppose, since then, the lines are
wonder.
It
may have been
and turns to them,) GILES. Cut? But who could cut
it?
cut.
(He
down with
the snow.
puts the receiver
down
THE MOUSETRAP
298
Just how much do you know about who are staying in your guest house? GILES. I—we— we don't really know anything about them. TROTTER. Ah. (He }nove5 above the sofa tabled
TROTTER. Mr. Ralston
.
.
.
these peo-
ple
Cloving to B. of Trotter') Mrs. Boyle wrote from a Bournemouth Major Metcalf from an address in— where was it? MOLLiE. Leamington. (She moves to h of Trotter) GILES. Wren wrote from Hampstead and the Casewell woman from a priGILES.
hotel,
up out
vate hotel in Kensington. Paravicini, as we've told you, turned
of the blue last night.
Still, I
suppose they've
all
got ration
books—
much
reliance
that sort of thing.
TROTTER. to
I
shall go into all that, of course.
be placed on that
MOLLiE. But even
if
But
there's not
sort of evidence.
this— this maniac
is
trying to get here
and kill us all No-one can
—or one
of us, we're quite safe now. Because of the snow.
get here
till it
melts.
TROTTER. Unless he's here already. GILES.
Here already?
Why
TROTTER.
evening.
Mr. Ralston? All these people arrived here yesterday after the murder of Mrs. Stanning. Plenty of
not,
Some hours
time to get here. GILES.
But except
TROTTER. Well,
for
why
Mr.
Paravicini, they'd all
booked beforehand.
not? These crimes were planned.
been one crime. In Culver Street. Why are you sure there vwll be another here? TROTTER. That it will happen here, no— I hope to prevent that That it GILES. Crimes? There's only
will be attempted, yes.
GILES. Ccrossing to the fire) I can't believe
TROTTER.
it. It's
so fantastic
It isn't fantastic. It's just facts.
MOLLIE. You've got a description of what this—man looked like in London? TROTTER.
Medium
height, indeterminate build, darkish overcoat, soft felt
hidden by a muffler. Spoke in a whisper. (He crosses to l of the armchair c. He 'pauses) There are three darkish overcoats hang-
hat, face
ing up in the hall now.
One
are three lightish felt hats
(giles
starts to
move towards
.
of .
them
I Still can't
believe it
yours,
Mr. Ralston
.
.
.
There
.
the arch
speaks)
MOLLIE.
is
up r but he
stops
when
Mollie
ACT ONE SCENE U You (He
TROTTER. .
.
.
MOLLiB.
See?
It's
crosses to the fhone,
(molldb
through
exits
the
London hus
archway uf
Mollie—then hack TROTTER.
Is there
ticket
it
r.
giles
wp
-j^icks
absently, smoothing
from the glove—stares
Mollie's
it
out.
He
at it—then after
to the ticket^
an extension?
Cgiles frovms at the hus GILES. I
been cut
vegetables.
glove from the armchair c and holds extracts a
it's
hends dovm and studies the wire^
must go and get on with the
I
299
telephone wire that worries me. If
this
ticket,
and does not answer^
beg your pardon. Did you say something?
TROTTER. Yes, Mr. Ralston,
I said "Is
there an extension?"
(He
crosses to
c) GILES. Yes,
TROTTER.
up
in our bedroom.
Go and
try
Cgiles exits to the
it
up
there for me, will you?
carrying the glove
stairs,
and hus
and looking
ticket
dazed, trotter continues to trace the wire to the window.
He
fulls
hack the curtain and ofens the window, trying to follow the wire. He crosses to the arch wp r, goes out and returns with a torch. He moves
window, jumps out and hends down, looking, then disappears out of sight. It is practically dark. mrs. boyle enters from the library up L, shivers and notices the open window^ to the
MRS. BOYLE,
(wovwg to the window") Who's left this window open? (SJie window and closes the curtain, then moves to the fire and
shuts the
puts another log on
moves up (There
is
She
it.
and turns it on. She up a magazine and looks at it)
crosses to the radio
to the refectory table, picks
a music programme on the radio, mrs. boyle frowns, moves
to
the radio and tunes in to a different programme^
VOICE
ON THE
RADIO.
.
.
.
to
Understand what
I
chanics of fear, you have to study the precise
human mind.
may term
as the
efiFect
Imagine, for instance, that you are alone in a room.
late in the afternoon.
(The door down r
MRS. BOYLE, (with
A door opens sofdy behind you
opens. tled.
The tune
of "Three Blind
MRS. BOYLE tums with a
reliefs
Oh,
it's
me-
produced on the
.
.
Mice"
It is
.
is
heard whis-
start^
you. I can't find any
programme worth
THE MOUSETRAP
300 listening
to.
(SJze
moves
to
the radio and tunes in to the
mime
frogramme)
(A hand shows through the open doorway and clicks The lights suddenly go out') Here—what QThe
radio
scuffle.
is
are
you doing?
at full volume,
MRS. boyle's body
Why
the light switch.
did you turn out the light?
and through it are heard gurgles and a mollis enters hy the archway wp r
falls,
and stands perplexed) MOLLiE.
Why is it all dark? What a noise!
She switches on the light at the sxvitch up r and crosses to the radio to turn it down. Then she sees Mrs. Boyle lying strangled in front of the sofa and screams as— the CURTAIN quickly falls
Act
SCENE—T/ze same. Ten minutes
When
the
eryone
is
curtain
rises,
Two
later.
Mrs. Boyle's body has heen removed and ev-
assembled in the room, trotter
the wpstage side of the refectory table, of the refectory table.
The
is
in charge
mollie
is
and
is sitting
on
standing at the r end
others are all sitting;
major metcalf
in
the large armchair r, Christopher in the dark chair, gdles on the stairs l,
miss casewell
at the
r end
and paravicini
of the sofa,
at
the L end.
Now, Mrs.
trotter.
Ralston, try
and thiak—think
.
.
.
My head's
numbed. TROTTER. Mrs. Boyle had only just been killed when you got to her. You came from the kitchen. Are you sure you didn't see or hear anybody as you came along the hallway? mollie. (at breaking
No— no,
mollie.
I
point') I can't think.
don't think
so.
couldn't think who'd turned
it
Just the radio blaring out in here. I
on so loud.
I
wouldn't hear anything
would I? TROTTER. That was clearly the murderer's idea—or Qmeaningly) murelse
with
that,
deress.
MOLLIE.
How could I
hear anything else?
TROTTER. You might have done. If the murderer had
way Qie
He
.
the Hall that
.
.
think— I'm not sure— I heard a door creak—and shut—just
I
came out I
as I
of the kitchen.
Which
TROTTER.
MOLLIE,
left
he might have heard you coming from the kitchen.
might have slipped up the back stairs—or into the dining-
room MOLLIE.
points l)
door?
don't know.
TROTTER. Think, Mrs.
Ralston— try and think. Upstairs? Downstairs?
Close at hand? Right? Left?
a
THE MOUSETRAP
302 MOLLiE. Ctearful^
I don't know, I tell you. I'm not even sure I heard anymoves down to the armchair c and sits^ GILES. Crising and moving to l of the refectory table; angrily^ Can't you stop bullying her? Can't you see she's all in? TROTTER. (sJzflrp/y) We're investigating a murder, Mr. Ralston. Up to now, nobody has taken this thing seriously. Mrs. Boyle didn't. She held out on me with information. You all held out on me. Well, Mrs. Boyle is dead. Unless we get to the bottom of this—and quickly,
thing. (S/ze
mind— there may be
another death.
GILES. Another? Nonsense.
Why?
TROTTER. Cgravely') Because there were three
A
GILES.
little
blind mice.
death for each of them? But there would have to be some con-
nexion—I mean another connexion—with the Longridge Farm business.
TROTTER. Yes, there would have GILES.
But
why
to
be
that.
another death here}
TROTTER. Because there were only two addresses in the notebook found.
Now,
at
we
twenty-four Culver Street there was only one possible
But here at Monkswell Manor there is a wider round the circle meaningly} MISS CASEWELL. Nonscnse. Surely it would be a most unlikely coincidence that there should be two people brought here by chance, both of them victim. She's dead. field.
(He
looks
with a share in the Longridge Farm case? TROTTER. Given certain circumstances, coincidence. get
down
killed.
Think
it
out.
quite clearly
I've already got
it
much of a (He rises') Now I want to was when Mrs. Boyle was
wouldn't be so
Miss Casewell.
where everyone
Mrs. Ralston's statement. You were in the
kitchen preparing vegetables.
You came
out of the kitchen, along the
and in here. (He foints archway r) The radio was blaring, but the light was switched and the hall was darL You switched the light on, saw Mrs. Boyle,
passage, through the swing door into the hall to the off,
and screamed. MOLLIE. Yes. I screamed and screamed. And at last— people came. TROTTER, ^moving down to l of Mollie) Yes. As you say, people came— lot of people from different directions— all arriving more or less at once.
(He
fjauses,
Now
then,
when
moves down c and turns his hack to the audience) got out of that window (he 'points) to trace the telephone wire, you, Mr. Ralston, went upstairs to the room you and I
Mrs. Ralston occupy, to try the extension telephone. (^Moving up c)
Where were you when Mrs.
Ralston screamed?
ACT TWO GILES. I
was
still
up
window
wires being cut there, but again,
I
The
in the bedroom.
looked out of the
too. I
303
Just after I closed the
I couldn't.
heard MoUie scream and
I
was dead, any sign of the
extension telephone
to see if I could see
window
rushed down.
table') Those simple actions took you Mr. Ralston? GILES. I don't think so. (He moves away to the stairs) TROTTER. I should Say you definitely— took your time over them. GILES. 1 was thinking about something. TROTTER. Very well. Now then, ]Vlr. Wren, I'll have your accoimt of where you were. CHRISTOPHER. (^T^sing and moving to L of Trotter) I'd been in the kitchen, seeing if there was anything I could do to help Mrs. Ralston. I adore cooking. After that I went upstairs to my bedroom.
TROTTER, (leaning on the refectory rather a long time, didn't they,
TROTTER.
Why?
CHRISTOPHER. think?
I
It's
quite a natural thing to go to one's bedroom, don't
mean—one
You wcnt
you
does want to be alone sometimes.
your bedroom because you wanted to be alone? Wanted to brush my hair—and—er— tidy up. TROTTER, (looking hotd at Christopher's dishevelled hair) You wanted TROTTER.
CHRISTOPHER.
And
to
I
to
brush your hair?
CHRISTOPHER. Anyway,
that's
where
(geles m
LADY TRESSILIAN. NevcT you mind. What an upbringing for a girl. Kay made a dead set at Nevile from the moment they met, and never rested until she got him to leave Audrey and go ofiE with her. I blame Kay entirely for the whole thing. TREVES. CRising and moving ahove the coffee table, fairly amused.) I'm sure you do. You're very fond of Nevile. LADY TRESSILIAN. Nevilc's SL fool. Breaking up his marriage for a silly infatuation. It nearly broke poor Audrey's heart. QTo Royde.) She went to your mother at the Vicarage and practically had a nervous breakdown. ROYDE.
Er—yes—I know.
TREVES.
When
the divorce
LADY TRESSILIAN.
went through, Nevile married Kay.
had been true them here.
If I
fused to receive
to
my
principles I should
have
re-
TREVES. If one sticks too rigidly to one's principles one would hardly see
anybody.
LADY TRESSILIAN. You'ie Very accepted Kay
But
I
cynical,
Mathew—but
it's
quite true. I've
wife— though I shall never really like her. was dumbfounded and very much upset, wasn't I,
as Nevile's
must say
I
Mary? MARY. Yes, you were, Camilla. LADY TRESSILIAN. When Nevile wrote asking if he could come home with Kay, under the pretext, if you please, that it would be nice if Audrey and Kay could be biends—CScom fully.) friends—I said I couldn't en-
TOWARDS ZERO
432 tertain
such a suggestion for a
ful for
Audrey.
moment and
TREVES. CPutting his glass on the coffee
that
table.')
it
would be very pain-
And what
did he say to
that?
He
LADY TREssiLiAN. she thought
it
replied that
he had already consulted Audrey and
a good idea.
TREVES. And did Audrey think it a good idea? LADY TRESSILIAN. Apparendy, yes. QShe tosses a knot of
Unravel
silk to Mary.')
that.
MARY. Well, she said she did, quite firmly. LADY TRESSILIAN. But Audrey is obviously embarrassed and unhappy. If you ask me, it's just Nevile being like Henry the Eighth. ROYDE. (Pwzzleci.) Henry the Eighth? LADY TRESSILIAN. Conscience. Nevile feels guilty about Audrey and is trying to justify himself. CMary rises, moves above the armchair l. c. and futs the silks in the work-hasket.) Oh! I don't understand any of this modem nonsense. (,To Mary.) Do you? QRoyde pits his glass on the coffee table.)
MARY. In a way. LADY TRESSILIAN. And you, Thomas? ROYDE. Understand Audrey—but I don't understand Nevile.
It's
not like
Nevile.
TREVES.
I agree.
Not
transfers Royde's
like
Nevile
and Treves'
at all, to
go looking for trouble. CMary
glasses to the butler's tray.)
MARY. Perhaps it was Audrey's suggestion. LADY TRESSILIAN. Oh, DO. Ncvile says it was entirely his idea. MARY. Perhaps he thinks it was. (Treves looks shar'ply at Mary.) LADY TRESSILIAN. What a fool the boy is, bringing two women together who are both in love with him. CRoyde looks sharply at Lady Tressilian.) Audrey has behaved perfecdy, but Nevile himself has paid far too much attention to her, and as a result Kay has become jealous, and as she has no kind of self-control, it is all most embarrassing— (To Treves.) isn't it? (Treves, gazing towards the French windows, does not hear.) Mathew? TREVES. There
is
undeniably a certain tension
.
.
.
LADY TRESSILIAN. I'm glad you admit it. (There is a knock on the door l.) Who's that? MARY. (Moving to the door l.) Mrs. Barrett, I expect, wanting to know something.
LADY TRESSILIAN.
(Irritably.) I
vwsh you could teach these
women
that
ACT ONE SCENE
I
433
they only knock on hedroom doors. C^^oving to the table rc and 'putting the sandwiches in front of lester) Finish them up, my boy. Always hungry at your age. LESTER, hy
now deep
in the hook, does not look
up hut
automatically
helps himself to a sandwich.
LESTER. Well, thanks.
mind
don't
I
if I
do.
LISA. Coff; calling) Karl.
KARL, (rising and putting his cup on the work-table) Excuse
ment (He
and
calls
KARL
exits
crosses to the door
down
LESTER. He's terribly cut-up,
DOCTOR, (taking out LESTER.
r, closing the
isn't he,
pose—what
I
Yes,
I
am
me
a
mo
coming.
door behind him.
Doctor?
his pipe) Yes.
seems odd in a way,
It
down r)
mean
is, it's
at least I don't
so difficult
mean
odd, because,
I
sup-
to understand what other people
feel like.
DOCTOR, (moving down c and lighting his pipe) Just what are you trying to say,
my
boy?
LESTER. Well, what that,
I
mean
is,
poor
Mrs Hendryk being an
invalid
and
all
you'd think, wouldn't you, that he'd get a bit impatient with her
or feel himself tied.
The DOCTOR
puts the matchstick in the ashtray on the table rc, then
on the
And a
bit.
you'd think that really, underneath, he'd be glad to be
He loved
her.
sits
sofa at the left end.
He really
loved her.
free.
Not
VERDICT
544 DOCTOR. Love
glamour, desire, sex appeal— all the things you
isn't just
young people
are so sure
ness. It's the
showy
That's nature's start of the whole busi-
it is.
you
flower, if
ground, out of sight, nothing
much
But
like.
Underwhere the Hfe
love's the root.
to look at,
but
it's
is.
LESTER.
I
suppose
But passion doesn't
SO, yes.
DOCTOR. (despflirrngZy)
God
give
me
last, sir,
does
it?
You young
strength.
people
know
nothing about these things. You read in the papers of divorces, of love tangles with a sex angle to everything. Study the columns of deaths
sometimes for a change. Plenty of records there of Emily
and
this
John that dying in their seventy-fourth year, beloved wife of So-andso, beloved husband of someone else. Unassuming records of Hves spent together, sustained by the root I've just talked about which still puts out its leaves and its flowers. Not showy flowers, but still flowers. LESTER.
suppose you're
I
moves and
getting married
a
girl
who
doctor. Yes,
.
is
(He
rises,
You meet
a girl—or you've
a girl—who's different.
LESTER. C^arnestly^ But really,
enters
it.
always thought that
taking a bit of a chance, unless, of course, you meet
doctor. Cgood-humouredly')
EARL
I've
.
yes, that's the recognized pattern.
met
already
.
never thought about
right. I've
r of the doctor on the sofa)
sits
down
r.
He
sir,
I see.
she
is
different
Well, good luck to you, young fellow.
carries a small pendant.
The doctor
rises,
karl
crosses to c, looking at the pendant.
KARL. Will you give this to your daughter. Doctor?
know
she would like Margaret to have
it.
(He
It
was Anya's and I and hands the
turns
-pendant to the doctor)
DOCTOR, (moved') gift.
(He
Thank
you, Karl.
up c) Well,
I
must be
off.
LESTER, (rising and moving there's
I
know Margaret
will appreciate the
futs the pendant in his wallet then tnoves towards the doors
nothing
I
Can't keep
up
rc; to
can do for you,
KARL. As a matter of fact there
my
surgery patients waiting.
karl)
I'll
go, too, if you're sure
sir.
is.
LESTER looks delighted. Lisa has been
—she
is
making up some
her to carry them to the post LESTER.
Of
parcels of clothes
and things like that If you would help
sending them to the East London Mission. course
I will.
office
.
.
.
ACT TWO SCENE
I
down
r.
LESTER
exits
545
DOCTOR. Good-bye, Karl.
The DOCTOR wraffed sellotape.
wp c. lester enters down r. He carries a large hox brown paper, which he takes to the desk and fastens with lisa enters down r. She carries a hrown paper parcel and a
exits
in
small drawer containing papers,
letters, etc.,
and a small
trinket box.
below the sofa') If you would look through these, Karl. CShe puts the drawer on the sofa} Sit down here and go through these, quietly and alone. It has to be done and the sooner the better. KARL. How wise you are, Lisa. One puts these things off and dreads them —dreads the hurt. As you say, it's better to do it and finish. LISA, (nioving
LISA. I shan't
be long.
LISA and LESTER exit
Come up
along, Lester.
c, closing
the doors behind them, karl collects
the waste-paper basket from the desk,
on
his
knee and
starts to
sits
go through the
on the
sofa,
puts the drawer
letters.
KARL, (^reading a letter) So long ago, so long ago.
The MRS
front door bell rings.
Oh, go away whoever you are. ROPER, (o/f) Would you come
MRS ROPER It's
enters
Miss Hollander,
inside, please.
up c from r and stands
to
one
side.
sir.
HELEN
enters up c from r and moves down c. karl rises and puts the drawer on the table rc. mrs roper exits up c to 1., leaving the door
open.
HELEN.
I do hope I'm not being a nuisance. I went to the inquest, you see, and afterwards I thought I must come on here and speak to you. But if you'd rather I went away KARL. No, no, it was kind of you. .
MRS ROPER MRS ROPER. closes.
I'll
We're
just
.
up c from
l,
putting on her coat.
pop out and get another quarter of
tea before
he
right out again.
KARL, (.fingering the Roper.
enters
.
letters in
the drawer; far away) Yes, of course,
Mrs
VERDICT
546 MRS ROPER. Oh,
My
is.
see
I
sister
what you're doing,
now,
she's a widder.
sir.
Kep'
And all
what he wrote her from the Middle out and cry over them, like as not.
a sad business
her husband's
And
East.
did,
HELEN, rather impatient about mrs roper's
it
always
letters,
she'll
she
them
take
moves above the
chatter,
armchair.
The
heart doesn't forget,
sir,
that's
what
The
I say.
heart doesn't for-
get KARL. Ccrossing below the sofa toil of
MRS ROPER. Must have been you expect KARL. No,
MRS
ROPER. Can't imagine
sir,
Mrs Roper.
say,
sir,
Or
wasn't iO
did
it.
how
fascinated, at the -place right,
As you
it?
did not expect
I
it)
a terrible shock to you,
not right at
she came to do such a thing. QShe stares,
where
ajnya's chair
used
seem
to be") It don't
all.
KARL. Csadly exasperated) Did you say you were going to get some
tea,
Mrs Roper?
MRS ROPER.
Cstill
Staring at the wheel-chair's place) That's right,
sir,
must hurry, sir— CShe backs slowly up c) because that grocer
he shuts
and
I
there,
at half past twelve.
MRS ROPER HELEN, (moving c) KARL, (moving
I
exits
was
up
c, closing
so sorry to hear
dawn r) Thank
HELEN. Of course she'd been
ill
the door behind her. .
.
.
you.
a long time, hadn't she? She must have
got terribly depressed.
KARL. Did she say anything to you before you
left
her that day?
HELEN, (nervously -moving above the armchair and round
I— I
to
l of
it)
No,
Nothing particular. KARL, (moving below the sofa) But she was depressed— in low spirits? HELEN, (rather grasping at a straw) Yes. (She moves below the armchair) don't think so.
Yes, she was.
KARL, (a shade accusingly)
You went away and
left
her—alone—before
Lisa returned.
HELEN, it
(sitting in the armchair; quickly) I'm sorry
didn't occur to me.
KARL moves up
c.
about that I'm afraid
ACT TWO SCENE
I
547
mean she said she was perfectly all right and she urged me not to and— well as a matter of fact, I— I thought she really wanted me to go— and so I did. Of course, now EARL. Cmoving dovm r) No, no. I understand. I can see that if my poor Anya had this in her mind she might have urged you to go. I
stay,
.
And
HELEN.
in a way, really,
it's
.
.
the best thing that could have happened,
isn't it?
What do you mean— the best thing happened? (He moves wp c) HELEN, (^rising') For you, I mean. And for her, too. She wanted to get out of it all, well, now she has. So everything is all right, isn't it? QShe moves wp lc, between the armchair and the desh) KARL, ^moving wp rc) It's difficult for me to believe that she did want to
KARL. Qmoving towards her; angrily^ that could have
get out of
it all.
HELEN. She said so— after
all,
she couldn't have been happy, could she?
KARL. C^houghtfidly') Sometimes she was very happy.
HELEN. Ccircling the armchair^ She couldn't have been, knowing she was
on you. below the
a burden
KARL.
C'f'f^T^i^g
sofa;
beginning
She was
to lose his temper')
never a burden to me.
HELEN. Oh, why must you be so hypocritical about it all? I know you were kind to her and good to her, but let's face facts, to be tied to a querulous invalid is a drag on any man. Now, you're free. You can go ahead. You can do anything— anything. Aren't you ambitious? KARL.
I
don't think so.
HELEN. But you
are, of course
you
heard people talk about you,
are. I've
heard people say that that book of yours was the most
I've
brilliant of
the century.
KARL,
on the sofa
(^sitting
HELEN.
And
at the left
they were people
the United States, to
them dowTi because
all
end) Fine words, indeed.
who knew. You've had sorts
wake
now
up. it's
of your wife
ought KARL.
HELEN. KARL.
to
Is this It's
The
Be be
you couldn't leave and who end of the sofa) You've been
whom
you hardly know what
over.
go to
of places. Haven't you? You turned
couldn't travel. (.She kneels at the left tied so long,
offers, too, to
it
is
to feel free.
Wake
up, Karl,
did the best you could for Anya. Well,
yourself.
You
You can
start to
enjoy yourself,
to live life as
lived.
a sermon you're preaching me, Helen?
only the present and the future that matter. made up of the past
present and the future are
it
really
VERDICT
548
HELEN. C^ising and moving lc) You're tending
we
free.
Why
we
go on pre-
and almost
harshly") I
should
don't love each other?
KARL. Qrising and crossing
the armchair; firmly
to
don't love you, Helen, you must get that into your head. I don't love
own making.
you. You're living in a fantasy of your
HELEN. I'm
not.
tell you now I've no feelyou imagine. (He sits in the armchair) HELEN. You must have. You must have. (S^e moves down rc) After what I've done for you. Some people wouldn't have had the courage, but I had. I loved you so much that I couldn't bear to see you tied to a useless querulous woman. You don't know what I'm talking about, do you? I killed her. Now, do you understand? I killed her. KARL, (^utterly stufified) You killed ... I don't know what you're saying. HELEN, (moving down r of karl) I killed your wife. I'm not ashamed of
KARL.
You
hate to be brutal, but I've got to
are. I
ings for you of the kind
it.
People
who
are sick and worn out and useless should be removed room for the ones who matter. and hacking away dawn l) You killed Anya?
so
as to leave
KARL, (rising
HELEN. She asked for her medicine.
I
gave
it
to her. I
gave her the whole
bottleful.
KARL, (hacking further away from her Uf HELEN, (moving c) Don't worry. Nobody erything.
(She sfeaks rather
fingers
first
all right,
you
you, but
I
see.
just
round the
You—you
know.
I
.
.
.
thought of ev-
moves
level
vdped
with karl) and put her
and then round the bottle. So that's r of him) I never really meant to tell that I couldn't bear there to be any se-
glass
(She moves
suddenly
aghast)
will ever
like a confident, pleased child) I
off all the fingerprints— (S^e
own
l;
felt
to
(She futs her hands on karl) KARL, (-pushing her away) You killed Anya. HELEN. If you once got used to the idea crets
between
us.
.
KARL.
You— killed— Anya.
sciousness of her act grows greater seizes
.
.
(Every time he repeats the words, his con-
and
his tone mx)re
menacing.
her suddenly hy the shotdders and shakes her like a
forces her above the left
rat,
He then
end of the sofa) You miserable immature
child— what have you done? Prating so glibly of your courage and your resource. You killed
my
wife— my Anya.
Do you
realize
what
you've done? Talking about things you don't understand, without con-
you by the neck and strangle you hy the throat and starts to strangle her)
science, vidthout pity. I could take
here and now.
(He
seizes her
ACT TWO SCENE HELEN
549
I
forced hackwards over the hack of the sofa,
is
her away and she
flings
karl eventually
downwards over the
face
falls
arm
left
of the
sofa, gas'ping for breath.
Get out of
HELEN
and
I
do
on the hack, near
leans
to
you what you did
and sohhing. karl
gas'ping for hreath
is still
chair
Get out before
here.
to
Anya.
staggers to the desk
collapse.
HELEN, (hroken and desperate^ Karl.
(He
KARL. Get out.
HELEN,
sohhing,
still
and
shouts')
and
gloves,
rises,
Get
out, I say.
as in a trance, exits
up c
to R.
karl sinks on
desk chair and buries his head in his hands. There front door
is
handbag
staggers to the armchair, collects her
is
heard closing, lisa enters the hall from
to the
a pause, then the r.
LISA. Ccalling') I'm back, Karl.
LISA exits to her bedroom, karl
rises, crosses
collapses
on
to
slowly to the sofa and almost
it.
My poor Anya.
KARL.
There
is
She
a pause, lisa enters from her bedroom and comes into the room.
is
tying an apron on as she enters,
LISA. C^asually') I
met Helen on the
and goes
stairs.
to look out the
She looked very
past
me
as
and
sees
karl) Karl, what has happened? QShe
window.
strange.
Went
though she didn't see me. (S/ze finishes her apron, turns crosses to
him)
KARL. C^uite simply) She killed Anya. LISA, ^startled)
What!
KARL. She killed Anya.
Anya asked
for her
medicine and that miserable
child gave her an overdose deliberately. LISA.
But Anya's fingerprints were on the
glass.
KARL. Helen put them there after she was dead. LISA,
(fl
calm, matter-of-fact
mind dealing with
the situation)
I
see—she
thought of everything. KARL.
I
knew.
I
always
LISA. She's in love
KARL. Yes, her.
I
yes.
knew
that
Anya wouldn't have
killed herself.
with you, of course.
But
I
never gave her any reason to believe that
didn't, Lisa, I
LISA. I don't suppose
swear
you
I
I
cared for
didn't.
did. She's the type of girl
who would assume
VERDICT
55°
wanted must be
that whatever she
so.
QShe moves
to the
armchair and
sits}
KABL.
My poor, brave Anya. There
LISA.
What
you going
are
KARL. Csur-prised^ LISA. Aren't
to
a long pause.
is
do about
it?
Do?
you going
to report
it
to the police?
KARL. Cstartled) Tell the police? LISA. Cstill calm')
LISA.
KARL.
murder, you know.
It's
was murder. Well, you must report what she
KARL. Yes,
it
I can't
do
LISA.
Why not? Do you
KARL
rises,
uf
faces
condone murder? slowly to l, then crosses above the armchair
c, turns
l of
to
KARL. But
I can't let
that girl
.
.
gees, to a country
we
the subject
KARL.
You
where we
should respect
may
its
it.
.
LISA, (restraining herself; calmly')
think
said to the police.
that.
We've come live
law,
of our
own
accord, as refu-
under the protection of
no matter what our own
its
laws.
feelings
I
on
be.
seriously think I should go to the police?
LISA. Yes.
KARL.
Why?
LISA. It
seems to
me
pure
common
KARL, (sitting at the desk)
sense.
Common
sense!
Common
sense!
Can one
by common sense? You don't, I know. You never have. You're softhearted,
rule
one's life LISA.
Karl. I'm
not.
KARL.
Is
LISA. It
KARL.
it
wrong
can lead
One must
Can mercy
to feel pity?
to a lot of
ever be wrong?
unhappiness.
be prepared
to suffer for one's principles.
That is your business. (She rises and crosses Rc) But other people suffer for them as well. Anya
LISA. Perhaps.
table
them. KARL.
I
know,
I
know. But you don't understand.
LISA, (turning to face
KARL.
karl)
What do you want me
I
understand very well.
to
do?
to
i.
of the
suffered for
1
ACT TWO SCENE USA,
I
have
Go
told you.
to the police.
55
I
Anya has been murdered. This
The
police
must be
girl
has admitted to murdering KARL. Qrising and crossing above the armchair to c) You haven't thought, Lisa. The girl is so young. She is only twenty-three. her.
Whereas Anya
LISA.
told.
u^as thirty-eight.
and condemned— what good will it do? Can it bring Anya back? Don't you see, Lisa, revenge can't bring Anya back to life
KARL. If she
tried
is
again.
No. Anya
LISA.
(moving
dead.
is
to the sofa
KARL. Ccrossing
and
sitting') I
l of the sofa) LISA, were cousins and friends.
We
after her tried
when
wish you could see
can't see
I
to
it
your way.
went about
I
my way.
it
loved Anya.
We
as girls together. I looked
ill. I know how she tried to be brave, how she know how difficult life was for her. won't bring Anya bade
she was
not to complain.
KARL. Going to the police
I
LISA does not answer hut turns and moves
up
rc.
don't you see, Lisa, I'm bound to feel responsible myself. I must some way have encouraged the girl. LISA. You didn't encourage her. (She moves to i. of the sofa and kneels, facing karl) Let's speak plainly. She did her utmost to seduce you,
And in
and
failed.
No
KARL.
matter
how you put
it,
I feel responsible.
Love
for
me was
her
motive. LISA.
Her motive was
thing she wanted
to get all
what she wanted,
her
as she always has got every-
life.
KARL. That's just what has been her tragedy. She has never had a chance. LISA.
And
she's
KARL. Csharfly)
LISA
I
wonder
young and beautiful. What do you mean?
if
you'd be so tender
if
she were one of your plain
girl stu-
dents.
KARL, (rising)
You
LISA, (rising)
What
can't think
KARL. That
.
.
.
can't I think?
I want that girl (moving slowly down l) Why not? Aren't you attracted to her? Be honest with yourself. Are you sure you're not really a litde in love .
.
.
LISA,
with the
girl?
You can always known ?
KARL, (crossing to
when
you've
"R
of Lisa)
.
.
.
say that? It's
you
You?
I love.
When You!
nights thinking about you, longing for you. Lisa, Lisa
.
.
I .
you knowHe awake at
VERDICT
552 KARL
takes LISA in his arms.
owy
figure in the
They embrace
doorway wp
c.
move
hang. This makes karl and lisa
They do
who
not see
it
The
lights
The curtain
Scene Scene: The same. Six hours the
CURTAIN
rises,
There
is
a shad-
and look at the door. unaware of the BLACK-OUT as— apart
was and the audience
identity of the eavesdropper.
When
'passionately.
After a pause, the door closes with a
are left
falls.
II
Evening.
later.
the lights
come up a very
leaving
little,
most of the room in darkness, lisa is seated on the sofa, at the right end, smoking. She is almost invisible. The front door is heard opening
and closing and there is the sound of voices in the hall, karl enters up c. He has a newspaper in his overcoat pocket. The doctor follows him on. KARL. Nobody's at home.
The DOCTOR
I
wonder
.
.
.
switches on the lights by the switch l of the double doors,
and he and karl
Why are you sitting here in the dark?
DOCTOR. Lisa!
KARL goes LISA. I
was
desk chair and puts his coat over the back of
to the
I
(He
it.
just thinking.
KARL DOCTOR.
see lisa.
met Karl
at the
sits
in the armchair.
end of the
street
and we came along
puts his coat on the chair above the table rc) D'you
prescribe for you, Karl?
A litde alcohol. A
stiflF
together.
know what
I
brandy, eh. Lisa?
LISA nwkes a slight move.
No— I know my way bookcase
about.
(He
goes to the cupboard under the
out a bottle of brandy and a glass, and pours a drink') He's had a shock, you know. bad shock. r, takes
A
KARL.
I
have
told
him about Helen.
stiff
ACT TWO SCENE DOCTOR. Yes, he LISA.
It's
told
II
553
me.
not been such a shock to you,
I
gather?
been worried, you know. I didn't think Anya was a suicidal DOCTOR. type and I couldn't see any possibility of an accident. (He crosses to r of KARL and gives him the hrcmdy') And then the inquest aroused my suspicions. Clearly the police were behind the verdict. (He sits l of I've
LISA on the sofa) Yes, closely
and
I
looked
it
The
fishy.
couldn't help seeing
police questioned
me
what they were driving
fairly
at.
Of
course, they didn't actually say anything. LISA.
So you were not surprised? really. That young
DOCTOR. No, not
woman
thought she could get away
with anything. Even murder. Well, she was wrong. KARL, (in a low voice)
I feel
responsible.
from me, you weren't responsible in any way. Compared to that young woman you're an innocent in arms. (He rises and moves uf c) Anyway, the whole thing's out of your hands now.
DOCTOR. Karl, take
LISA.
You
it
think he should go to the police?
DOCTOR. Yes. KARL. No.
DOCTOR. Because you
insist
on feeling partly responsible? You're too
sensi-
tive.
KARL. Poor wretched child.
down l) Callous, And I shouldn't worry come to an arrest. (He crosses
DOCTOR, (crossing above the armchair and standing
murdering
little
before you need.
helow KARL to
to
bitch! That's nearer the
Ten
to
one
be evidence, you know.
thing, but be unable to
portant person.
KARL. There
I
it'll
Rc) Presumably
One
The
never
she'll
mark.
deny everything—and there's got may be quite sure who's done a
police
make out
of the richest
a case.
men
The
girl's
in England.
If they've got a case they'll
And
is
That
is
a very im-
counts.
think you are wrong.
DOCTOR. Oh, I'm not saying anything against the police.
mean
father
(He moves up c)
go ahead, vdthout fear or favour. All
I
that they'll have to scrutinize their evidence with extra care.
on the face of
it
much evidence, you know. down and confesses the whole thing. much too hard-boiled for that.
there can't really be
Unless, of course, she breaks
And
I
should imagine she's
KARL. She confessed to me.
Though as a matter of fact I can't see why she (He moves and sits on the left arm of the sofa) Seems to me a damn silly thing to do.
DOCTOR. That's different. did.
VERDICT
554
Because she was proud of it. DOCTOR, (looking cuTiously at her^ You think so? LISA.
EARL.
true— that's what
It is
is
The
so terrible.
front-door hell rings.
Who can that he? One
DOCTOR.
o£ your boys or
(He
I expect.
girls,
rises)
I'll
get rid of
them.
The DOCTOR
OGDEN. (off) Could DOCTOR. (.00
up c
eodts I
and
-puts his glass
on the
desk.
see Professor Hendryk, please?
Would you come
The DOCTOR It's
ton. karl rises
enters
this
way, please.
up c from r and
stands to one side.
Inspector Ogden.
DETECTIVE INSPECTOR OGDEN and POLICE SERGEANT PEARCE enter up C from R. OGDEN has a pleasant manner and a poker face. The sergeant closes the doors, then stands
above the table rc.
I hope we're not disturbing you, Professor Hendryk. EARL, (moving down l) Not at all. OGDEN. Good evening, Miss Koletzky. I expect you didn't think you would
OGDEN. (very pleasantly)
see
me
verdict,
lady
EARL.
I
again—but we have a few more questions to ask. It was an open you understand. Insufficient evidence as to how the deceased
came
to take the fatal dose.
know.
OGDEN. Have your about
EARL
own
ideas
changed
as to that,
sir,
since
we
first
talked
it?
ogden and the sergeant note the look and change quick glances. There is a pause.
looks quickly at lisa.
EARL, (deliberately)
been some
sort
They have not changed.
I still
think
it
ex-
must have
of— accident
LISA turns away.
The doctor
almost snorts and turns aside.
ogden. But definitely not suicide. EARL. Definitely not suicide. OGDEN. Well, you're quite right as to suicide.
that, sir.
(With emphasis)
It
was not
ACT TWO SCENE
II
555
KARL and LISA turn to ogden.
How do you
LISA. Cquietly')
knowi'
OGDEN. By evidence that was not given at the inquest. Evidence as to the
found on the
fingerprints
bottle containing the fatal
drug—and on the
glass, also.
KARL.
You mean
didn't
.
.
.
But they were
my wife's
fingerprints, weren't they?
They were your wife's fingerprints. QSoftly^ But she make them. (He vwves the chair l of the table RC and sets it l
OGDEN. Oh,
yes,
sir.
of the sofa')
The DOCTOR and karl exchange KARL.
looks.
What do you mean?
OGDEN.
It's
the sort of thing that an amateur criminal thinks
pick
up a
ever
it
is
so easy.
To
hand and close it round a gun or a botde or what(He sits on the chair he has 'placed c) But actually it's
person's
may
be.
not so easy to do.
KARL
The
sits
in the armchair.
position of those fingerprints
is
such that they couldn't have been
made by
a living-woman grasping a bottle.
else took
your wdfe's hand and folded the fingers roimd the botde and
That means
somebody
that
the glass so as to give the impression that your wife committed suicide.
A rather childish sure of their
piece of reasoning and done by someone rather cock-
own
ability. Also, there
ought
to
have been plenty of
other prints on the bottle, but there weren't— it had been wiped clean
You see what that means? what it means. OGDEN. There would be no reason to do such a thing if it was an That only leaves one possibility. before your wife's were applied.
KARL.
see
I
accident.
KARL. Yes.
OGDEN.
I
wonder
if
you do
see,
sir. It
means— an ugly word—murder.
KARL. Murder.
OGDEN. Doesn't that seem very incredible
to you, sir?
You cannot know how incredible. My wife was a very sweet and gende woman. It will always seem to me both terrible and unbelievable that anyone should have—killed
KARL. Ctnore to himself than ogden)
her.
OGDEN. You, yourself
.
.
.
KARL. Qsharply) Are you accusing me?
VERDICT
556
Of
OGDEN. C^ising)
course not,
sir.
If I'd
any suspicions concerning you,
I
should give you the proper warning. No, Professor Hendryk, we've
checked your story and his seat)
You
that there
left
time
yoior
was no medicine
fully accounted for.
(He
resumes
on your wife's table at that and the time Miss Koletzky says she
bottle or glass
Between the time you
time.
is
here in the company of Dr. Stoner and he states
left
and found your wife dead, every moment of your time is You were lecturing to a group of students at the univerNo, there is no suggestion of your having been the person to put
arrived here
accounted sity.
for.
the fingerprints on the glass.
The DOCTOR moves dawn
What I am asking you, sir, who could have done so? There
is
whether you have any idea yourself
quite a long -pause,
is
KARL, (jpresently)
l.
karl
stares fixedly
I— (He pauses) cannot help
as to
ahead of him.
you.
ocaoEN rises and as he replaces the chair heside the table, he exchanges glances with the sergeant,
who moves
to the
door
OGDEN. (moving c) You will appreciate, of course, that
down
r.
this alters things. I
wonder if I might have a look round the flat. Round Mrs Hendryk's bedroom in particular. I can get a search warrant if necessary, but KARL. Of course. Look anywhere you please. (He rises) .
LISA
My
bedroom— (He
wife's
.
.
rises.
indicates the door dovra r)
is
through
there.
OGDEN.
Thank
you.
KARL. Miss Koletzky has been sorting through her things. LISA crosses to the door r and opens R.
it.
ogden and the sergeant
LISA turns and looks at karl, then
behind
eocits
down
eocit
r, closing
down
the door
her.
doctor. O^oving up l of the armchair) I've known you long enough, Karl, to tell you plainly that you're being a fool. KARL, (moving
up r
of the armchair)
I
can't
be the one
her track. They'll get her soon enough without
my
to
help.
put them on
ACT TWO SCENE
Fm
DOCTOR. sits
And
not so sure of that.
II
high-falutin' nonsense.
it's all
557 (He
in the armchair^
know what
KARL. She didn't
she was doing.
DOCTOR. She knew perfectly.
know what
KARL. She didn't
she was doing because
her understanding and compassion.
down
LISA enters
(moving
LISA,
DOCTOR. Not
Rc; to the
(He moves
r, closing the
life
has not yet taught
above the armchair^
door behind her.
doctor) Have you made him see sense?
yet.
LISA shivers.
You're cold. LISA.
No— I'm
shall
not cold. I'm afraid. (She moves towards the doors
make some
LISA exits
The doctor
c.
down l
KARL, (moving to see that
uf
I
happen
And
suppose our
to stand in
I
I
sofa.
could get you and Lisa
to life again.
little
beauty goes on disposing
her way?
will not believe that.
The SERGEANT and ogden table
OGDEN.
and moves below the
of the armchair^ I wish
DOCTOR, (moving up lc) KARL.
rises
revenge will not bring Anya back
of wives that
wp c)
coffee.
I
enter
down
r.
The
sergeant stands above the
RC and ogden stands down
r.
gather some of your wife's clothing and effects have already been
disposed of?
KARL. Yes.
They were
sent off to the East Lx)ndon Mission,
The SERGEANT makes OGDEN. (moving KARL, (crossing
(He
to to
r of the
indicates the
little
set
doubt
Still,
I
it.
expect you'll find
down
about papers,
.
.
.
One
never knows.
.
.
(He
-picks
up a bundle
bon) Will you need these? They are the
many
years ago.
Some
.
.
note, a
.
look through them, of course, .
letters?
I
vaguely)
issiie;
memorandum
What
a note.
was going through them this morning. drawer) Though what you expect to find
the table rc)
OGDEN. (evading the KARL.
sofa')
thinL
I
if
you must. I don't with rib-
of letters tied
letters 1
wrote to
my
wife
^^S
VERDICT
OGDEN. Cgsntly') I'm afraid
There
KARL.
must
I
(He
takes the
karl turns impatiently towards the doors up c.
quite a pause, then
is
through them.
just look
from kakl)
letters
be in the kitchen
I shall
The DOCTOR opens
Do
OGDEN. No,
you want me, Inspector Ogden.
up
the right half of the doors
DOCTOR follows him R of the table rc. SERGEANT.
if
off,
you think he was in on
I don't,
(He
karl
c.
closing the door behind him.
starts to
it?
go through the papers in the drawer^
Not beforehand. Hadn't the faintest idea. I should he knows now— and it's been a shock to him. SERGEANT.
C'^lso
exits up c. The ogd£n moves to
going through the papers,
etc.,
say.
QGrimly^ But
in the drawer") He's not
saying anything.
OGDEN. No. That would be too
Not
here.
SERGEANT.
If there
I'd say dirt.
And
Mop
had been, our Mrs
did she enjoy spilling
An
distaste')
SERGEANT. She'll do
all
on with the
down R
to
be much
would have known about it That kind always knows the
it!
unpleasant woman.
job.
it.
Well, nothing additional here.
(He moves
to the
Will you come in here, please.
LISA enters
mean
right in the witness-box.
OGDEN. Unless she overdoes
calls)
to expect. Doesn't
she was a pretty good snooper.
OGDEN. Qwith
get
much
under the circumstances.
likely to be,
doors
up
c,
(He moves below
We'd
better
opens one and the armchair)
c. The doctor enters up c and moves karl enters up c and stands up l of the sofa. The the doors up c, closes them and stands in front of
up c and moves down of the sofa,
SERGEANT moves
to
them.
Miss Koletzky, there are some additional questions you. less
LISA. I
You understand you
that
you are not forced
I
would
like to ask
answer anything un-
to
please.
do not want
to
answer any questions.
OGDEN. Perhaps you're wise. Lisa Koletzky, adiiunistcring poison to
I
arrest
you on the charge of
Anya Hendryk on March
KARL moves
to
R of LISA,
the hfth last—
TWO SCENE U
ACT
559
—and it is my duty to warn you that anything you down and may be used in evidence. KARL, (horror strudC) What's this?
What are you
doing?
say will be taken
What are you
say-
ing?
OGDEN. Please, Professor Hendryk, don't
let's
have a scene.
KARL, (moving behind lisa and holding her in his arms) But you can't rest Lisa,
you
LISA, (gently
murder
can't,
you
can't. She's
ar-
done nothing.
pushing karl away; in a loud,
clear,
calm voice)
I
did not
my cousin.
OGDEN. You'll have plenty of opportunity to say everything you want, later.
KARL, losing restraint, advances on ogden hut the doctor holds his arm, KARL, (pushing the doctor away; almost shouting)
You
can't
do
this.
You
can't
OGDEN. (to Lisa) LISA. I
If
you need a coat or a hat
.
.
.
need nothing.
LISA turns and looks at karl for a moment, then turns and goes
uf
c.
The
SERGEANT opcns the door, lisa exits wp c. ogden and the sergeant follow her off. karl suddenly makes a decision and runs after them. KARL. Inspector Ogden!
Come
back.
I
must speak
to you.
(He moves rc) ogden. (off) Wait in the sergeant, (o^) Yes,
hall,
Sergeant
sir.
OGDEN
enters
wp
c The doctor crosses to lc.
ogden. Yes, Professor Hendryk? KARL, (moving killed
my
to
l of the sofa)
I have something was not Miss Koletzky. Who was it, then?
to tell you. I
know who
wife. It
OGDEN. (politely)
was a girl called Helen Rollander. She is one of my pupils. (He and sits in the armchair) She—she formed an unfortunate attachment to me.
KARL.
It
crosses
The doctor moves
to
l of the armchair.
She was alone with my wife on the day in question, and she gave her an overdose of the heart medicine.
VERDICT
560 OGDEN. (moving
down c)
How do you know this,
Professor
Hendiyk?
me herself, this morning. OGDEN. Indeed? Were there any witnesses? KARL. No, but I am telling you the truth. KARL. She told
You mean
OGDEN. (thoughtfully') Helen— RoUander.
the daughter of Sir
William Hollander?
Her father is William Hollander. He is an important man. Does that make any difference? OGDEN. (moving helow the left end of the sofa) No, it wouldn't make any
KARL. Yes.
difiFerence— if your story
KARL, (rising)
I
were
true.
swear to you that
it's
true.
OGDEN. You are very devoted to Miss Koletzky, aren't you? KARL. Do you think I would make up a story just to protect her? OGDEN. (moving c)
I
think
it is
quite possible— you are on terms of inti-
macy with Miss Koletzky, aren't you? KARL, (dumbfounded) What do you mean? OGDEN. Let
me
tell
you. Professor Hendryk, that your daily
woman, Mrs made a
Roper, came along to the police station this afternoon and
statement KARL.
Then
OGDEN.
It is
it
was Mrs Roper who
.
.
.
pardy because of that statement that Miss Koletzky has been
arrested.
KARL, (turning to the doctor for support) I. . .
You
OGDEN. Your wife was an invalid. Miss Koletzky
woman. You were thrown together. KARL. You think we planned together to OGDEN. No, I don't think you planned it. KARL I think all the
circles the
kill
I
believe that Lisa
is
an
attractive
and
young
Anya.
may be wrong
armchair
there, of course.
to c.
planning was done by Miss Koletzky. There was a pros-
pect of your wife's regaining her health owing to a
new
treatment
I
think Miss Koletzky was taking no chance of that happening.
KARL. But
I tell
OGDEN. You
tell
you that me, yes.
it
It
was Helen Hollander. seems to me a most unlikely
story.
(He moves
uf c) KARL Is
it
crosses
and stands down
r.
plausible that a girl like Miss Hollander who's got the world at
her feet and
who
hardly knows you, would do a thing like that?
Mak-
1
ACT TWO SCENE
56
II
ing up an accusation of that kind reflects little credit on you, Professor Hendryk— trumping it up on the spur of the moment because you think
it
cannot be contradicted.
KARL, (woviwg
R 0/ ogden)
to
woman has been know— know—that
Listen.
Go
Miss Hollander. Tell her that
to
another
arrested for the murder. Tell her, from me,
that I
with
est
I
up very KARL. What do you mean?
OGDEN. You've thought OGDEN.
all
her faults, she
swear that she will confirm what
What
I say.
it
But
there's
cleverly, haven't
no-one
is
decent and hon-
have told you.
I
who can
you?
confirm your story.
KARL. Only Helen herself.
OGDEN. Exactly. KARL.
And Dr
OGDEN.
Stoner knows.
He knows
DOCTOR.
I
believe
mentioned
to
I
told him.
because you told him, it
to
be the truth, Inspector Ogden.
you that when we
left
If
you remember,
Mrs Hendryk
that day.
I
Miss
Hollander remained behind to keep her company.
OGDEN.
A
kind offer on her
part.
(He
crosses to
r
of the
doctor)
We
in-
no reason to doubt her story. She stayed for a short time and then Mrs Hendryk asked her to leave since she felt tired. (He moves above the armchair^ KARL. Go to Helen now. Tell her what has happened. Tell her what I terviewed Miss Hollander at the time and
have asked you
I
see
to tell her.
OGDEN. Cto the doctor) Just when did Professor Hendryk
Miss Hollander had
killed his wife?
Within the
last
tell
you that
hour, I should
imagine.
DOCTOR. That KARL.
is so.
We met in
the street.
(He moves helow
the sofa)
was true, he would have come to us as soon as she admitted to him what she had done? DOCTOR. He's not that kind of man. OGDEN. C^uthlessly') I don't think you're really aware what kind of man he is. (He moves to karl's coat on the desk chair) He's a quick and clever thinker, and he's not over scrupulous.
OGDEN. Didn't
KARL
starts
This
is
it
strike
you that
if this
towards the inspector, hut the doctor crosses quickly to l of KARL and restrains him.
your coat and an evening paper,
faper from the pocket)
I see.
(He draws
the evening
VERDICT
562 EARL moves down r of the KARL. Yes,
I
bought
time to read
it,
it
The doctor moves up l
sofa.
on the comer,
just before I
of the sofa.
came
in. I
haven't had
yet.
OGDEN. (jmoving c) Are you sure? KARL.
Yes— (He moves rc)
OGDEN.
I
think you did.
I
am quite sure. (He reads from
the
William
"Sir
faper')
RoUander's only daughter, Helen Rollander, was the victim of a regrettable
accident
morning.
this
she
In crossing the road
was
knocked dowm by a lorry. The lorry driver claims that Miss Rollander gave him no time to brake. She walked straight into the road without looking right or
and was
left,
killed instantly."
KARL slumps on
to the sofa.
I think that when you saw that paragraph, Professor Hendryk, you saw a way out to save your mistress by accusing a girl who could never refute what you said—because she was dead.
The
lights
BLACK-OUT as—
The CURTAIN
Scene SCENE:
The same. Two months
When
the curtain
sofa.
The doctor
is
They
all start,
later.
Late afternoon.
come up. karl
is
seated
on the
leaning against the table rc, reading the "Walter
Savage Landor". lester rings.
III
the lights
rises,
falls.
is
pacing up and
lester,
who
is
down
lc.
The
telephone
nearest to the telephone,
lifts
the
receiver.
No. (He (He moves down l)
LESTER. Cinto the telephone") Hello?
These
reporters never stop.
The doctor
crosses
and
sits
.
I
wish
I
had stayed
.
in the armchair,
sofa to
KARL.
.
in court
karl
replaces the receiver")
rises
and
a
Why didn't you let me stay?
circles the
ACT TWO SCENE
563
III
DOCTOR. Lisa specially asked that you shouldn't remain in court to hear the
We've got to respect her You could have stayed.
wish.
verdict.
KARL.
DOCTOR. She wanted
once KARL.
.
.
me
to
The
be with you.
lawyers will
us
let
know
at
.
They can't
LESTER. (_moving
find her guilty.
down c)
They
(He moves wp r)
can't.
me
you'd like
If
to
go back there
.
.
.
DOCTOR. You stay here, Lester. LESTER. If I'm any use. If there's anything
DOCTOR. You can answer that
damn
I
could do
.
.
.
telephone that keeps ringing.
my
KARL, (^moving below the sofa) Yes,
dear boy. Stay. Your presence
here helps me. LESTER. Does
it?
Does
it,
really?
KARL. She must be, she will be acquitted.
go unrecognized.
(He
can't believe that innocence can
I
on the sofa)
sits
LESTER moves wp DOCTOR. Can't you? Karl, time
I
can. One's seen
and time
Mind
again.
c.
And
often enough.
it
you,
I
think she
you've seen
made
it,
a good impres-
sion on the jury.
LESTER. But the evidence was pretty damning.
that frightful
It's
Roper
woman. The things she said. (He sits l of the table rc) DOCTOR. She believed what she was saying, of course. That's what made her so unshakeable under cross-examination.
It's
particularly unfortu-
nate that she should have seen you and Lisa embracing each other on the day of the inquest. She did see
KARL. Yes, she must have seen it
It
I
it,
was
suppose.
true. It's the first
time
have ever
I
kissed Lisa.
DOCTOR.
And
a thoroughly
that snooping
woman
bad time
to choose. It's really a
thousand
pities
never saw or heard anything that passed be-
tween you and Helen. "A very nice young lady"— that's
all
she had to
say.
KARL.
It is so
odd
to tell the truth
DOCTOR. All you've done
is
and not be believed.
to bring
down
cooking up a scurrilous story about a KARL, Qrising and moving the
DOCTOR.
moment If
up c)
she'd told
only you had.
me
It's
.
If I'd .
a lot of
girl
who
odium on
is
yourself, for
dead.
only gone to the police right away,
.
particularly unfortunate that
you only came
out with the story after you'd bought a paper containing the news that
VERDICT
564
And
she's dead.
your reasons for not going
sound
to the police didn't
credible in the least.
KARL moves dovm
l.
they are to me, of course, because I know the incredible fool you are. The whole set of circumstances is thoroughly damnable. The Roper woman coming in to find Lisa standing by the body and holding the bottle in gloved fingers. The whole thing has built itself up in the most incredible fashion.
Though
KARL KARL.
There
Is
that
is
.
.
and stands down
crosses .
?
Can
it
...
r.
The
telephone rings.
?
a moment's agonizing •pause, then the doctor motions to lester
who
rises,
goes to the telephone and
LESTER. Ci«to the telephone') Yes?
dawn and
the receiver
DOCTOR Ghouls,
that's
stands
what they
.
.
r
.
the receiver.
lifts
Hello?
.
.
.
Go
to hell!
(He
slams
oj the desk)
are, ghouls.
KARL, (moving up r) If they find her guilty,
we can appeal, you know. (moving down c and then helow the
if
they
.
.
.
DOCTOR. Well, KARL,
go through
were in her place. DOCTOR. Yes, it's always KARL. After
all,
Why
all this?
easier
sofa)
Why should
when
it's
I've told
you
I
wish
that's
.
.
.
nonsense.
(He moves down c, then up r) DOCTOR (after a long pause; to lester) Go and make us some coffee if you know how. LESTER, (indignantly) Of course I know how. (He moves up c) KARL. But Lisa has done nothing. Nothing.
The
I
oneself.
I'm partly responsible for what happened
DOCTOR, (interrupting)
she have to
should she be the one to suffer?
telephone rings, lester makes a
move
to
answer
goes
boy,
it.
KARL, (stopping lester) Don't answer it
The
telephone goes on ringing, lester hesitates then eodts
up c
to l.
telephone goes on ringing solidly, karl eventually rushes to picks
up the
it
The and
receiver.
(Into the telephone) Leave
me
alone, can't you.
Leave
me
alone.
(He
ACT TWO SCENE HI slams I
down
can't bear
the receiver
What
565
sinks into the desk chair") I can't bear
it.
it.
DOCTOR, (risiwg and moving KARL.
and
good
is it
to
karl) Patience, Karl. Courage.
saying that to
me?
DOCTOR. Not much, but there's nothing else
There's noth-
to say, is there?
now except courage. Lisa. Of what she must be suffering.
ing that can help you
KARL.
I
keep thinking of
DOCTOR.
I
know.
I
know.
KARL. She's so brave. So wonderfully brave.
DOCTOR, (moving c) Lisa
known KARL.
I
is
a very wonderful person. I have always
that.
love her.
Did you know
DOCTOR. Yes, of course
I
I
loved her?
knew. You've loved her
KARL. Yes. Neither of us ever acknowledged
mean
that I didn't love
Anya.
I
for a long time.
it,
but
we knew.
It didn't
did love Anya. I shall always love her.
want her to die. I know. I've never doubted that. KARL. It's strange, perhaps, but one can love two women at the same time. DOCTOR. Not at all strange. It often happens. (He moves behind karl) And you know what Anya used to say to me? "When I'm gone, Karl must marry Lisa." That's what she used to say. 'Tou must make him do it. Doctor," she used to say. "Lisa will look after him and be good to him. If he doesn't think of it you must put it into his head." That's what she used to say to me. I promised her that I would. KARL, (rising) Tell me, really, Doctor. Do you think they'll acquit her? I
didn't
DOCTOR.
Do
I
know,
you?
DOCTOR, (gently)
I
think—you ought
to prepare yourself
.
.
.
KARL, (moving below the armchair) Even her counsel didn't believe me, did he?
He pretended
to,
of course, but
he
didn't believe me.
(He
sits
in the armchair)
DOCTOR. No,
I don't think he did, but there are one or two sensible people on the jury— I think. (He moves down l) That fat woman in the funny hat listened to every word you were saying about Helen, and I noticed her nodding her head in complete agreement. She probably has a husband who went off the rails with a young girl. You never know what queer things influence people.
KARL, (rising) This time
it
The
telephone rings.
must
be.
VERDICT
566
The DOCTOR moves
to the
telephone and
DOCTOR. C»wto ihe tele'phone') Hello?
LESTER enters wp c from
The
l,
the receiver.
.
.
.
lifts
carrying a tray with three
cii-ps
of coffee
on
it.
coffee has slopped into the saiicers.
KARL. Well? LESTER. Is that
.
.
coffee into the
(He
}
.
puts the tray on the table RC and pours the
cup from one of the saucers^
No
DOCTOR. Qnto the telephone")
down
.
.
.
No, I'm
afraid
(He
the receiver) Another of the ghouls.
he
can't.
(He
slams
crosses to the sofa
and
sits)
KARL.
What
can they hope to get out of
DOCTOR. Increased circulation,
I
it?
suppose.
LESTER, (handing a cup of coffee to karl)
some time KARL.
Thank
I
hope
it's
aU
right. It took
me
to find everything.
(He
you.
crosses to the desk chair
LESTER hands a cup of coffee RC.
They sip
to the
and
sits)
doctor, then takes his
their coffee.
There
is
own and
stands
quite a pause.
DOCTOR. Have you ever seen herons flying low over a river bank? LESTER. No,
I
DOCTOR.
No
LESTER.
What
don't think I have.
Why?
reason.
put
it
into your head?
no idea. Just wishing, I suppose, that all this wasn't true and that I was somewhere else. LESTER. Yes, I can see that (He moves up c) It's so awful, not being able DOCTOR.
to
I've
do anything.
DOCTOR. Nothing's so bad as waiting. LESTER, (after a pause)
I don't believe,
you know, that
I've ever seen a
heron.
DOCTOR. Very graceful KARL. Doctor,
I
birds.
want you
KARL.
I
want you
passes)
KARL. Yes,
I
No,
do something
for
me.
is it?
go back to the court.
to
DOCTOR, (crossing
to
What
DOCTOR, (rising) Yes?
karl and putting
to
his
cup on the work-table
as
he
Karl.
know
that
DOCTOR. Karl— Lisa
.
.
you promised. But
I
want you
to
go back.
.
KARL. If the worst happens,
I
would
like Lisa to
be able
to see
you
there.
ACT TWO SCENE
And
if it isn't
III
567
the worst—well, then she'll need someone to look after
her, to get her away, to bring her here.
The DOCTOR stares at karl I
know
for a
moment
or two.
I'm right.
DOCTOR. C'^eciding) Very well. LESTER, (to the doctor)
KARL looks
I
can stay and
doctor and shakes
at the
quick
his
a
man
.
.
head very
(He moves up
has got to be alone. That's right,
KARL. Don't worry about me.
I
slightly.
The doctor
is
to take the hint.
DOCTOR. No, you come with me, Lester.
when
.
want
to stay
DOCTOR. Cpidling round sharply as he
is
on
isn't
c) There are times Karl?
it,
here quietly with Anya. his
way
to the
door)
What
did
you say? With Anya? KARL. Did
I
say that? That's
answer the telephone LESTER
exits
up
c.
what
it
The doctor
follows
leans hack in his chair.
"While the
And in
seems
if it rings. I shall
him
The
like.
wait off
and
until
I shall
here. I shan't
you come.
closes the door,
clock chimes
light lasts I shall
the darkness
me
Leave
now
kakl
six.
remember, not forget."
There
is a pause then the telephone rings, karl rises, ignores the telephone, takes his coffee cup to the tray, at the same time collecting the doctor's cup as he passes the work-table. He then exits with the
tray
up c
enters
to l. While he is off, the telephone stops ringing, karl reand moves down l, leaving the door open. He pauses for a mo-
ment, staring
at the work-tahle,
then goes to the record cabinet and
Rachmaninoff record from it. He goes to the desk and sits, putting the record on the desk in front of him. lisa suddenly enters up c from R, shuts the door behind her and leans against it. karl rises takes the
and
turns.
KARL. Lisa! Lisa! his eyes') Is
LISA.
(We
it
They found me
KARL. Cattempting
goes towards her as though he can hardly believe
true? Is
it?
not guilty.
to take her in his arms) Oh, my darling, I'm so thankNo-one shall ever hurt you again, Lisa. LISA. Cpushing him away) No. KARL, ^realizing her coldness and aloofness) What do you mean? ful.
VERDICT
568 come here
LISA. I've
my
to get
things.
What do you mean— your Then I am going away.
KARL, (hacking above the armchair^ LISA. Just a few things that
KARL.
What
do you
I
need.
things?
mean—going away?
LISA. I'm leaving here.
mean because
KARL. But surely— that's ridiculous! D'you
would say? Does LISA.
You
am
don't understand. I
of
what people
now?
that matter
going away for good.
away— where? (^moving slowly down c) What
KARL. Going LISA,
does
it
matter? Somewhere.
a job. There'll be no difficulty about that. in England.
KARL.
A new
Wherever
life?
I
go I'm starting a
KARL.
I
I
can get
may
stay
other.
We
I
what
I
do mean. Without you.
down l) But why? Why?
R of the armchair^ Because
LISA, (u-p
abroad.
You mean— without me?
LISA. Yes. Yes, Karl. That's just
KARL, (hacking
may go new life. I
I've
had enough.
don't understand you.
We're not made to understand each same way, and I'm afraid of you. can you be afraid of me?
LISA, (leaving to the sofa')
don't see things the
KARL. LISA.
How
Because you're the kind of
man who
always brings suffering.
KARL. No. LISA.
It's
true.
KARL. No. LISA. I see people as they are.
judgement, but without
wonderful or
life to
wonderful myself.
Without malice and without entering
illusions, either. I don't
be wonderful, and
If there are fields of
other side of the grave as far as
KARL. Fields of amaranth?
What
I
am
into
expect people to be
don't particularly want to be amaranth— they can be on the
I
concerned.
are you talking about?
USA. I'm talking about you, Karl. You put ideas
first,
not people. Ideas of
and friendship and pity. And because of that the people who are near, suffer. (S^e moves to r of the armchair) You knew you'd lose your job if you befriended the Schultzes. And you knew, you must have known, what an unhappy life that would mean for Anya. But you didn't care about Anya. You only cared about your ideas of what was right. But people matter, Karl. They matter as much as
loyalty
ideas.
Anya
mattered,
I
matter. Because of your ideas, because of your
mercy and compassion for the girl who killed your wife, you sacrificed me. I was the one who paid for your compassion. But I'm not ready to
ACT TWO SCENE in do that any more.
I
love you, but love
isn't
569 enough. You've more in
common with the girl Helen than you have with me. She was like you— ruthless. She went all out for the things she believed in. She didn't care what happened to people as long as she got her own way. KARL, ^moving towards the armchair^ Lisa, you can't mean what you are saying. You can't. LISA. I
do mean
helow the
it.
been thinking it really for a long end of the sofa) I've thought of it
I've
left
court. I didn't really think they'd acquit did.
The
me.
judge didn't seem to think there was
I
time. all
don't
much
(She moves
these days in
know why
they
reasonable doubt
little man me as though he was sizing me up. Just a commonplace ordinary litde man—but he looked at me and thought I hadn't done it—or perhaps he thought I was the kind of woman that he'd like to go to bed with and he didn't want me to sufiFer. I don't
But
who
I
suppose some of the jury believed me. There was one
kept on looking at
know what he thought—but— he was son and he was on
my
a person looking at another per-
and perhaps he persuaded the
side
And
others.
so I'm free. I've been given a second chance to start life again. I'm starting
again—alone.
dovm
LISA exits
EARL. Cv^eadingly) Lisa.
must hsten.
karl
You
can't
She
r.
No,
Karl.
you and she
mean
and it.
sits
You
on the can't
sofa.
be so
carries a small silver -photo fram^.
down LISA.
crosses
cruel.
You
Lisa. I implore you.
down
LISA re-enters
r.
What happens
r, facing
to the
She remains
karl.
women who
love you?
Anya
loved
Helen loved you and she's dead. I— have been very near death. I've had enough. I want to be free of you—for ever. KARL. But where will you go? died.
There LISA.
You
what
told I'll
me
is
to
a pause as lisa crosses helow karl to
c.
go away and marry and have children. Perhaps
do. If so,
I'll
find
someone
like that little
man on
that's
the jury,
someone who'll be human and a person, like me. (She suddenly cries out) I've had enough. I've loved you for years and it's broken me. I'm going away and I shall never see you again. Never! KARL. Lisa! LISA,
(moving down l) Neverl
VERDICT
570
The DOCTOR DOCTOR,
suddenly heard calling from the halL
is
(off; calling) Karl! Karl!
The DOCTOR
enters
uf c from r and
-moves towards karl, without noticing
LISA. It's all
hreath')
and
God
my
right,
Do
boy. She's acquitted.
C^uring
this
he
is
you understand? She's acquitted. (He with outstretched arms') Lisa—my dear
quite out of
suddenly sees lisa
crosses to her
we've got you
safe. It's
LISA. Qtrying to respond to
Lisa.
Thank
wonderful. Wonderful!
him) Yes,
it's
wonderful.
DOCTOR, ^holding her away from him and looking her up and down) How are you? A little fine drawn— thinner— only natural with all you've been through. But we'll
make
it
up
to you.
As
the armchair to karl) We'll look after you.
imagine the state now. (He turns
Ah,
in.
to
What
thank
well,
crosses
God
above
you can
that's all
do you say— shall
A bottle of champagne— eh? (He
celebrate? LISA.
been karl)
he's
(He
for Karl here,
we
over
go out-
beams expectantly)
Qorcing a smile) No, Doctor—not tonight. I am. Of course not. You need rest (She moves towards the doors up c) I must
DOCTOR. Ah, what an old fool LISA. I
my
am
all right.
just get
things together.
DOCTOR C'^oving to lisa) Things? LISA. I am not— staying here. (Enlightened) Oh, I see— well, perhaps that is wise— DOCTOR. But with people like your Mrs Roper about, with their evil minds and tongues. But where will you go? To an hotel? Better come to us. Margaret will be delighted. It's a very tiny room that we have, but we'll .
.
.
look after you well. LISA.
How
kind you
garet that I will
are.
come
But
have
I
to see
all
my
plans made. Tell,— tell Mar-
her very soon.
LISA goes into the hall and exits to her bedroom.
KARL and begins
The doctor
to realize that all is
turns back to
not welL
doctor Cmomng c) Karl—is anything wrong? KARL. What should be wrong? DOCTOR, (semi-relieved) She has been through a terrible ordeal. It takes a litde time to— to come back to normal. (He looks around) When I think we sat here— waiting— with that damn telephone ringing all the time—hoping— fearing— and now—all over.
ACT TWO SCENE IH KARL. Ctonelessly^
Yes— all
DOCTOR. (roI^MStZy)
over.
sits
still,
hy the shoulder) Karl, snap out of
ately
CHe
decent jury would ever have convicted her.
l of karl on the sofa') I told you so. You look half Karl. Can't you believe it yet? (He takes karl affection-
•moves and
dazed
No
571
it.
We've got our Lisa back
again.
KARL tUTns
Oh,
know— I'm clumsy—it takes a
I
away.
sharfily
httle time to get
used to the
joy.
LISA enters from her bedroom and comes into the room. She carries a holdall
which she futs on the
floor
wp
c.
She avoids looking
at
karl and
stands u-p lc. LISA. I'm going
now.
DOCTOR, prising)
The DOCTOR
get a taxi for you.
I'll
No— please— I'd rather be alone.
LISA. Csharply) is
slightly taken aback.
and puts her hands on
Thank you— for
your kindness— for
all
LISA kisses the doctor, picks
moves
to the
doctor
all
you did
for
Anya—you
shall never forget.
up her
KARL to
relents,
his shoulders.
have been a good friend—I
DOCTOR, (moving
She
(She turns away l)
and without once looking up CtO'R.
hold-all
exits
karl) Karl—what does
this
mean. There
is
at
some-
thing wrong.
KARL. Lisa
is
going away.
DOCTOR. Yes, yes— temporarily. But— she is coming back. KARL, (jtuming to face the doctor) No, she is not coming bacL DOCTOR, (appalled) KARL,
(with
What do you mean?
complete
conviction
and
force)
She— is—not—coming-
back.
DOCTOR, (incredulously)
Do you mean— you
You saw her go— that was our DOCTOR. But—why? KARL.
have parted?
parting.
KARL. She had had enough.
DOCTOR. Talk sense, man. KARL.
It's
very simple. She has suffered. She doesn't want to suffer any
more.
DOCTOR.
Why should
she suffer?
VERDICT
572 KARL.
It
seems— I am a
man—who brings suffering to those who love him.
DOCTOR. Nonsense! KARL.
Is it?
Anya
me and
loved
DOCTOR. Did Lisa say that
Am
KARL. Yes.
What
to
such a man?
I
did she
she
is
dead. Helen loved
me and she
died.
you?
Do
mean when she
I
bring suffering to those
who
love
me?
talked of fields of amaranth?
(He thinks for a moment, then recollects, moves to the table rc, picks up the "Walter Savage Landor" and gives it to karl) Yes, I was reading there. (,He points to the quotation')
DOCTOR. Fields of amaranth.
KARL. Please leave me.
DOCTOR.
I'd like to stay.
must get used to being alone. DOCTOR, (moving up c, then hesitating and returning
KARL.
I
think
.
.
to
karl) You don't
?
.
KARL. She will not come back.
The DOCTOR
(He
rises, crosses to
tains,
then
sits at
exits reluctantly
up c
to r.
the desk, switches on the desk light, draws the cur-
the desk and reads') "There are no fields of
Ama-
ranth this side of the grave. There are no voices, oh Rhodope, that are not soon mute, howe\'er tuneful
:
.
.
."
(He
is no name, with whatever emwhich the echo is not faint at last
there
phasis of passionate love repeated, of
puts the hook gently on the desk,
rises,
picks
up
the record,
goes to the record player, puts on the record, switches on, then goes sloxvly to the
without you?
The
armchair and sinks into
(He
it)
c,
and puts her hand gently on looks
up
I live
drops his head into his hands)
door up c opens slowly, lisa enters up
(He
Lisa— Lisa—how can
at lisa) Lisa?
LISA, (kneeling at karl's side)
moves slowly
You've come back.
Because
I
am
up as—
The CURTAIN
^ of karl
Why?
a fool.
LISA rests her head on karl's lap, he rests his head on hers builds
to
his shoulder.
falls.
and the music
GO BACK FOR MURDER
Presented by Peter Saunders at the Duchess Theatre, London, on the
23rd March, i960, with the following cast of characters: (i« the order of their affsarance^
Justin Fogg
Robert Urquhart
TuRNBALL Carla
Peter Hutton
Ann
Firhank
Mark Eden
Jeff Rogers Philip Blake
Anthony Marlowe Laurence Hardy
Meredith Blake Lady Melksham Miss Williams Angela Warren Caroline Crale Ajviyas Crale
Lisa Daniely
Margot Boyd Dorothy Bromiley
Ann
Firhank
Nigel Green
Directed by
Hubert Gregg
Decor by Michael Weight
SYNOPSIS OF SCENES
ACT
I
London Scene i Scene 2 Scene 3 Scene 4 Scene 5
A lawyer's office A City office A A A
room
in an hotel suite
bed-sitting-room table in a restaurant
ACT
II
Alderbury, a house in the
Time— the
West
present.
of
England
Autumn
AUTHOR'S NOTES Carla and her mother, Caroline Crale, are played by the same actress.
As
regards the characters in Act
II,
Philip
is
not greatly changed, but
more slender, his manner is less pompous. Meredith is less vague, and more alert, his face is less red, and there is no grey in his hair. There is very little change in Miss Williams, except that she is also not so grey. Angela can have plaits, or long hair. Elsa must present the greatest change from Lady Melksham, young, and eager, with her hair on her neck. Caroline is distinguishable from Carla by a different hair style, as well as by an older make-up. Her voice, too, must be different, deeper in tone, and her manner more impulsive and intense. his hair
is
not grey at the temples, and he
Each scene of Act
I represents
is
a small portion of a room. In the
origi-
nal production the scenes were on trucks, but the whole of this Act can
be quite simply staged by lighting up different parts of the stage in turn, or
by
cut-outs.
One
Act
Scene
SCENE—Jwstm
Fogg's
Fogg, Solicitors.
The room
is
room
is
in the offices of Fogg, Fogg, Bamfylde
An early autumn
a sash
An
arch
window
and
afternoon in London.
and cramfed
rather old-fashioned
are lined with hooks.
and there
I
wp
The
for sface.
walls
lc leads to the rest of the building
across the corner
uf
r.
A
large desk
and
swivel chair stand in front of the window. There is a chair c for visitors, and a table covered with files is against the wall l. There is
a telephone on the desk.
When come
the
curtain
phone.
The nyindow
thirties, sober, staid,
the stage
rises,
wp. JUSTIN fogg
is
half-open,
is
justin
—we have to wait for
in the archway.
their solicitors to reply to
(To Turnball) Come be most inadvisable
in,
keep you informed.
Show
her
(He
places the
in,
(turnball
exits,
in the early
Mrs
Ross, but the
He
our
is
letter
carrying a .
file')
.
.
coughs')
to take
any
steps yourself
replaces the receiver)
on the desk
file
.
.
.
it
would
Yes,
we
Women!
in front of Justin)
sir.
Turnball.
anything urgent through
TURNBALL. Very good,
man
Turnball. (Into the telephone) No,
you
for
Miss Le Marchant? turnball. She's here now, JUSTIN.
a young
quite see your point,
I
(turnball
(turnball
is
you know
can't be hurried,
(turnball, an elderly clerk appears
will
in darkness, then the lights
but likeable.
JUSTIN, (into the telephone^
Law
is
seated at the desk, speaking into the tele-
to
I
don't
Mr
want any interruptions
at all.
Put
Grimes.
sir.
justin
rises, crosses to
the table l, selects a
file,
returns
GO BACK FOR MURDER
cyS
and 'puts Turnhall's and stands to one side^
to his desk, sits,
ball
(He (cARLA
re-enters
She
is
in the desk drawer,
turn-
Le Marchant.
announces') Miss
enters.
file
aged twenty-one,
'pretty,
and determined. She wears
a coat and carries bag and gloves. She speaks with a Canadian accent.
TURNBALL
CXits)
JUSTIN. C^ising, moving to Carla and offering his hand)
CARLA. How do you do, Mr Fogg? QShe looks his outstretched hand) But you're youngl
Thank
you. But
my
JUSTIN. Oh, you expected I see.
I'm sorry.
It
How do you do?
in dismay, ignoring
still
can assure you I'm a fully qualified
I
CARLA. I'm sorry— it's just— that CARLA.
him
moment, amused, although
( JUSTIN looks at Carla for a
JUSTIN.
at
expected you to
I
father?
He
be— rather
formal)
solicitor.
old.
died two years ago.
was stupid of me. CShe
offers
him her hand)
(jusTiN shakes hands with Carla) JUSTIN, (indicating the chair c)
Do
sit
down.
CCARLA ^tS C)
(He
returns to his desk
and
sits at it)
Now,
tell
me what
I
can do for
you.
(There
is
carla looks
a pause whilst
at Justin, a little uncertain
how
to
hegin) cabla.
Do
you know who
I
am?
JUSTIN. Miss Carla Le Marchant of Montreal.
carla. (looking away) JUSTIN. Oh, yes,
it is.
My name
carla. (leaning forward)
JUSTIN.
We
isn't really
Le Marchant
Legally.
have acted
So— you do know for
Mr
all
about me?
Robert Le Marchant over a number of
years. let's get down to it. My name may be legally Le Marchant by adoption— or deed poll— or habeas corpus—or whatever the legal jargon is. (She removes her gloves) But I was bom— (sKe pauses) Caroline Crale. Caroline was my mother's name, too. My fa-
CARLA. All right, then,
was Amyas Crale. Sixteen years ago my mother stood her trial for poisoning my father. They found her— guilty. (She takes a deep ther
breath. Defiantly) That's right, isn't
it?
ACT ONE SCENE JUSTIN. Yes, those are the CARLA.
I
579
facts.
only learned them six months ago.
When
JUSTIN.
I
you came of age?
wanted me to know. Uncle Robert and mean. They brought me up believing my parents were killed in an accident when I was five years old. But my mother left a letter for me— to be given me when I was twenty-one, so they had to
CARLA. Yes.
Aunt
Bess, I
me
tell
don't think they
I
about
all
it.
JUSTIN. Unfortunate.
Do
CAKLA.
you mean you think they ought not
JUSTIN. No, no,
don't
I
mean
you— it must have been CARLA. Finding out that
a
my
that at
all. I
to
have told me?
meant
it
was unfortunate
bad shock. father was murdered and that
my
for
mother did
it?
JUSTIN. Rafter a -pause; kindly') There were— extenuating circumstances,
you know. CARLA. (/irwZ)')
It's
not extenuating circumstances I'm interested
in. It's
facts. facts. Well, you've got your facts. Now— you can put the whole thing behind you. (He smiles encouragingly') It's your future that matters now, you know, not the past. (He rises and crosses above
JUSTIN. Yes,
the desk of the table l)
CARLA.
I think,
before
I
can go forward— I've got to—go back.
(jusTiN, arrested and puzzled, turns to Carla) JUSTIN.
CARLA.
I
beg your pardon? not as simple as you make it sound. CShe was engaged— to be married.
It's
—or
I
pauses') I'm
Cjustin picks up the
cigarette box from the table l and CARLA who takes a cigarette)
JUSTIN.
CARLA.
I see.
Of
JUSTIN.
And
course,
I
your fiancd found out about
engaged
offers
it
to
all this?
told him.
And he— er— reacted
unfavourably?
(He
replaces the
box on the
table)
CARLA. (^without enthusiasm) it
didn't matter at
Not
at
all.
He
was perfecdy splendid. Said
all.
JUSTIN. Cpuzzled) Well, then? CARLA. Cloaking up at Justin) it
at that)
It isn't
what a person
says
.
.
.
C^he
leaves
GO BACK FOR MURDER
580 JUSTIN. C«fter a
moment)
(He
Yes, I see.
lifter from the table l) At CAKLA. Anyone can say things.
It's
lights Curia's cigarette
think
least, I
what they
with the
do.
I
feel that matters.
JUSTIN. Don't you think that perhaps you're super-sensitive?
CARLA. Cprmly) No.
my
JUSTIN. But,
CARLA.
dear
Would you
girl
like to
.
.
.
marry the daughter of a murderess? QShe looks
at Justin)
CjusTiN looks down) CQuietly) JUSTIN. to
You
You
you wouldn't.
see,
me
didn't give
time to answer.
fiend or of anything else unpleasant.
it)
But what the
Jack the Ripper for
hell, if I
loved a
as
JefiF
does.
think your central heating's kind of low.
as
cold?
it
kind of non-existent, I'm
It's
box
cigarette
you would mind
don't believe
I
Do you
JUSTIN.
the cigarette hox,
and
(She shivers)
JUSTIN.
find
lighter
she could be the daughter of
girl,
CARLA.
I
wp
'picks
cared.
all I
CARLA. (looking around the room)
much
(He
and puts the
crosses above Carla to the desk
on
wouldn't particularly want
I
marry the daughter of a murderer, or of a drunkard or of a dope-
haven't any. Shall I get
them
afraid.
(He
we
smiles) I mean,
you?
to light the fire for
CARLA. No, please. C JUSTIN looks at the window, sees it is open, quickly closes over the desk to Carla)
JUSTIN. This
Mr—er
.
.
.
This
Jeff
.
.
CARLA. You'll see him. He's coming to
.
you about
my
love hfe. (Struck)
to find out the truth,
you
then leans
?
call for
me,
you don't mind. (She
if
looks at her wrist-watch) Hell, I'm wasting time. sult
it,
At
least, I
I
didn't
suppose
come
to con-
I did. I've
got
see.
I told you just now that there were extenuating circumstances. Your mother was found guilty, but the jury made a strong recommendation to mercy. Her sentence was commuted to imprisonment.
JUSTIN.
CARLA.
And
she died in prison three years
later.
JUSTIN, (sitting at the desk) Yes.
my mother wrote that she wanted me to know was innocent. (She looks defiantly at Justin) JUSTIN, (unimpressed) Yes.
CARLA. In her
letter,
nitely that she
defi-
1
ACT ONE SCENE
58
I
CARLA. You don't believe it? JUSTIN, (icarefully finding his words) I think— a devoted mother—might want to do the best she could for her daughter's peace of mind. CARLA. No, no, nol She wasn't Hke
How
JUSTIN.
that.
She never
You were a
can you know?
told lies.
child of five
when you saw
her
last.
CARLA. Qfossionately)
do know.
I
took a thorn out of
my
My
mother didn't tell lies. When she it would hurt. And going She was never one to sugar the pill. CShe rises quickly, and turns wp l)
finger once, she said
to the dentist. All those things.
What she said was always true. And if she says she was innocent
me—but
believe
it's
then she was innocent. You don't CShe takes a handkerchief front her hag and
so.
dabs her eyes) JUSTIN. Qrising)
It's
better, always, to face the truth.
CARLA. (^turning to him) That
is
the truth.
JUSTIN, Cshaking his head; quietly)
CARLA.
How can you be so sure?
It isn't
the truth.
Does a jury never make a mistake?
JUSTIN. There are probably several guilty people walking around
free, yes,
because they've been given the benefit of the doubt. But in your mother's case— there wasn't any doubt
was your father who attended the case JUSTIN, (interrupting) My father was the soHcitor in charge of the
CARLA.
You
weren't there.
It
.
.
.
defence, yes.
CARLA.
Well— ?ie thought her
innocent, didn't he?
JUSTIN. Yes. (Embarrassed) Yes, of course. these things
.
.
CARLA. (cynically)
You mean
(jusTiN
(She moves »
You
don't quite understand
.
is
that
it
was technical only?
slightly at a loss
c, in front
of her chair)
how
to explain)
But he himself, personally—what
did he think?
JUSTIN,
(stiffly) Really, I've
CARLA. Yes, you have.
And you it
that
think
He
so, too.
you remember
no
idea.
guilty. (She turns and faces l.) (She pauses, then turns to Justin) But how is
thought she was
it all
so well?
I was eighteen— just going up to Oxford yet— but—interested. (Remembering) I was in court
JUSTIN, (looking steadily at her)
—not
in the firm,
every day,
CARLA.
What
know.
did you think? Tell me. (She
sits c.
Eagerly)
I
have
to
GO BACK FOR MURDER
582
JUSTIN. Your mother loved your father desperately—but he gave her a
raw deal— he brought his mother to humiliation and
woman were
mistress insult.
could be expected to endure.
hand— try and
to
house—subjected your
the
into
Mrs Crale endured more than any
understand.
He
The means Understand and forgive. QHe drove her too
far.
and stands down l) forgive. She didn't do it.
crosses above the desk
CARLA.
don't need to
I
JUSTIN. Churning to
her')
Then who
the devil did?
(cARLA, taken ahack, looks Uf at ]ustin')
(He case
CARLA.
crosses
helow Carla
to
r) Well,
I
.
.
that's the point, isn't it?
If
you were
to read
files.
I've read
up
had the shghtest motive.
else
up the
Nobody
reports of the
.
have. I've gone to the
every single detail of the
trial.
CjusTiN crosses behind the desk and goes through the JUSTIN. Well, then, take the
facts.
file
he fut on
it)
Aside from your mother and father,
there were five people in the house that day.
There were the Blakes—
Philip and Meredith, two brothers, two of your father's closest friends.
There was a girl of fourteen, your mother's half-sister—Angela Warren, and her governess— Miss—something or other, and there was Elsa Greer, your father's mistress— and there wasn't the least suspicion against any of them—and besides, if you'd seen CHe breaks off) CARLA. (_eagerly) Yes— go on JUSTIN. Ci'^^'f^i^g to the window; with feeling) If you'd seen her standing there in the vdtness-box. So brave, so polite—bearing it all so patiently, but never— for one moment— fighting. (He looks at Carla) You're like her, you know, to look at. It might be her sitting there. There's only one difference. You're a fighter. (He looks in the file) CARLA. Clocking out front; -puzzled) She didn't fight—why? .
.
.
.
.
.
down l) Montagu Depleach led for the defence. I think may have been a mistake. He had an enormous reputation, but he was— theatrical. His client had to play up. But your mother
JUSTIN, ^crossing
now
that
didn't play up.
CARLA.
Why?
JUSTIN. She answered his questions with
all
the right answers—but
like a docile child repeating a lesson— it didn't give old
chance.
He
built
up
to the last
question— "I ask you,
Mrs
it
Monty
was his
Crale, did
ACT ONE SCENE
I
583
you kill your husband?" And she said: "No—er—no, really I d-didn't" She stammered. It was a complete anti-cHmax, utterly unconvincing. CARLA. And then what happened? JUSTIN, ^crossing above Carla to the desk') Then it was Asprey's turn. He was Attorney-General, later. Quiet, but quite deadly. Logic— after old Monty's fireworks. He made mincemeat of her. Brought out every
damning
I— I could hardly bear it You remember it all very
detail.
.
.
CARLA. Cstudying him)
.
well.
JUSTIN. Yes. CARLA.
Why?
JUSTIN, (tahen aback)
I
suppose
.
.
.
CARLA. Yes? JUSTIN.
CARLA.
I
was young, impressionable.
You
fell in
my mother.
love with
(jusTiN forces a laugh and
sits at
the desk)
JUSTIN. Something of the kind— she was so lovely— so helpless—she'd
been through so
much— I— I'd
have died
for her. (,He smiles)
Romantic
age— eighteen. CARLA. Cfrowning) You'd have died for her—but you thought her guilty. JUSTIN. Qfirmly) Yes,
(cARLA
is
I did.
really shaken.
TURNBALL TURNBALL.
A Mr
Rogcrs
She bends her head, fighting back her and moves to l of the desk)
tears.
entcTs is
here,
sir,
asking for Miss Le Marchant.
(He
looks at Carla)
CARLA.
Jeff.
(To Turnhall) Please—ask him
wait
to
TURNBALL. Certainly, Miss Le Marchant
(turnball
looks closely at Carla for a
CARLA. (looking after Turnball)
He
looked at
JUSTIN. Turnball was at your mother's
trial.
moment, then
me
.
.
.
(She breaks
forty years.
JUSTIN, (calling) Turnball.
and moves
off)
He's been with us for nearly
CARLA. Please, ask him bacL ( JUSTIN rises
exits)
to the
(He returns tORof (turnball enters)
arch)
the desk)
GO BACK FOR MURDER
584 TURNBALL. YcS,
sir?
Cjustin motions
Mr Tumball— I'm
CARLA.
turnball moves dawn l
to Carta,
Carla Crale.
I believe
you were
0/ Carld) at
my
mother's
trial.
TURNBALL. Ycs, Miss Crale, CARLA. Because I'm so like
I
Er— I knew
was.
my
at
once
who you
were.
mother?
TURNBALL. The dead spit of her, if I may put it so. CARLA. What did you think— at the trial? Did you think she was guilty?
(turnball
looTus at Justin,
justin nods
for
Turnball to answer)
TURNBALL. (kindly) You don't want to put it that way. She was a sweet, gentle lady— but she'd been pushed too far. As I've always seen it, she didn't rightly know what she was doing. CARLA. (to herself; ironically) Extenuating circumstances. (She looks at Justin)
(justin
TURNBALL.
the desk. After a while, carla looks hack at Turnball)
sits at
(_after
a 'pause) That's
Greer— she was the word.
And
a hussy
if
right.
ever there
The was
other
woman—that
one. Sexy,
if
Elsa
you'll excuse
your father was an artist— a really great painter;
derstand some of his pictures are in the Tate Gallery—and you
I
un-
know
what artists are. That Greer girl got her hooks into him good and proper— a kind of madness it must have been. Got him so he was going to leave his wife and child for her. Don't ever blame your mother. Miss Crale. Even the gentlest lady can be pushed too
JUSTIN.
Thank
(turnball CARLA.
He
JUSTIN.
far.
you, Tumball.
thinks as you
looks from Carla to Justin, then eodts)
do— guilty.
A gende creature— pushed too far. I— suppose so—yes. (y/ith sudden energy) No!
CARLA. (acquiescing) don't believe
it.
I
won't believe
To do what? Go back into the past and
it.
You— you've
I
got to help me.
JUSTIN.
CARLA.
JUSTIN.
You won't beheve
CARLA. Because
it isn't
find out the truth.
when you hear it. The defence was suicide,
the truth
the truth.
wasn't
it?
JUSTIN. Yes. It could have been suicide. My father could have felt that he'd messed up everything, and that he'd be better out of it all.
CARLA.
a
ACT ONE SCENE JUSTIN.
It
father
was the only defence possible—but was the
last
man
585
I it
wasn't convindng. Your
in the world to take his
own
life.
CARLA. (^doubtfully') Accident?
JUSTIN. Conine— a deadly poison, introduced into a glass of beer by accident?
CARLA. All right, then. There's only one answer. Someone
(jusTiN begins
One
the file on his desk, which contains on each person connected with the case)
thumb through
to
separate sheafs of notes
JUSTIN.
else.
Hardly Elsa Greer.
of the five people there in the house.
She'd got your father besotted about her, and he was going to get a
He
divorce from his wife and marry her. Philip Blake?
was devoted
to
your father and always had been. CARLA. C'^eakly) Perhaps he was in love with Elsa Greer, too.
JUSTIN.
He
certainly
friend, too,
was not Meredith Blake?
He
was your
one of the most amiable men that ever
lived.
father's
Imagination
boggles at the thought of his murdering anyone.
CARLA. All right. All right.
Who
else
do we have?
JUSTIN, Angela Warren, a schoolgirl of fourteen?
Whoever her name
And
the governess, Miss
is.
Whoever her name was? way your mind is working.
CARLA. C^uickly) Well, what about Miss
JUSTIN. Cafter a slight pause)
I
see the
tion, lonely spinster, repressed love for
that
Miss—Williams— (fee
looks in the file) yes, that
me
Frustra-
you was her name—
your father. Let
tell
like that, at all. She was a tartar, a woman of strong and sound commonsense. (He closes the fie) Go and see her for yourself if you don't believe me. CARLA, That's what I'm going to do. JUSTIN, (looking up) What?
Williams—wasn't character,
CARLA. (stubbing out her cigarette in the ashtray on the desk) I'm going to see
them
(She
all.
out where they JUSTIN.
With what
CARLA. (crossing
rises) That's
all are.
Make
what
I
want you
appointments for
me
to
do
for
me. Find
with them.
reason?
to
l) So that
I
can ask them questions, make them
remember. JUSTIN.
What can
CARLA.
(putting on her gloves)
they remember that could be useful after sixteen years?
Something, perhaps, that they never
thought of at the time. Something that wasn't evidence— not the of thing that
would come out
in court. It will
be
like
sort
patchwork—
^
GO BACK FOR MURDER
586 little
piece of this and a
knows,
it
might add up
little
piece of that
And
in the end,
who
something.
to
JUSTIN. Wishful thinking. You'll only give yourself more pain in the end.
(He
puts the
file
CAKLA. ^defiantly')
in the desk drawer^
My mother was
innocent I'm starting from there.
And
you're going to help me.
JUSTIN. Cstuhhornly') That's where you're wrong.
Qie
I'm not
rises^
going to help you to chase a will-o'-the-wisp.
(cARLA and JUSTIN
stare at
each other.
JEFF ROGERS Suddenly strides in. turnball, indignantly protesting, follows him on. jeff is a big, slick, self-satisfied man of thirty-five, good-looking
and insensitive to others. He xoears an overcoat and which he throws on to the desk JEFF, ^standing above the desk') Sorry to bust
around
in waiting-rooms gives
me
in,
but
I
take
all
sitting
this
(To Carhi) Time
claustrophobia.
means nothing to you, honey. (To Justin) Pleased to meet you.
carries a hat,
it
you're
Mr
Fogg?
(jEFF and JUSTIN shake hands)
TURNBALL. (in the archway; —quite unable
to Justin) I'm
to restrain
JEFF, (cheerily) Forget
it.
extremely sorry,
sir.
I
was—er
this— gentleman.
Pop.
(He
sla-ps
Turnball on the back)
(turnball winces) JUSTIN.
It's
quite
all right,
Turnball.
(turnball JEFF, (calling)
No
exits)
hard feelings, Turnball. (To Carlo) Well,
I
suppose
you haven't finished your business, Carla? CARLA. But I have. I came to ask Mr Fogg something— (coWJ)') and
he's
answered me. JUSTIN. I'm sorry. CARLA.
AH
right, Jeff. Let's go.
(She moves
to the
arch)
JEFF. Oh, Carla
(carla stops and turns)
—I
rather
wanted
to
have a word with
Mr
Fogg, myself— about some
ACT ONE SCENE mine
of
aflFairs
Would you mind?
here.
(cARLA CARLA.
Mr
go and soothe
I'll
horrified
Tumball's
He
feelings.
was absolutely
by your behaviour.
the arch
C'>^^'^i^& *o
an overseas hick
That old
only be a few minutes.
I'll
hesitates)
(cARLA JEFF.
587
I
and
exits')
calling) That's right, darling. Tell
who knows no
better.
(He
him I'm
laughs loudly and turns)
boy's like something out of Dickens.
Come
JUSTIN. Cdryly)
in,
Mr— er
.
.
(.He looks unsuccessfully for
.
Jeff's
natne on the hand inside his hat) JEFF. C^ot listening)
moves down c)
I
wanted
It's
have a word with you,
to
Mr
about Carla's mother.
this business
Fogg. (He The whole
thing's given her a bit of a jolt.
JUSTIN, (very cold and legal) JEFF.
It's
Not
unnaturally.
was a cold-blooded of a jolt to me, too.
a shock to learn suddenly that your mother
poisoner.
I
don't
mind
telling
you that
it
was a
bit
JUSTIN. Indeed!
(jEFF moves and JEFF. There
I
was,
sits
on the uf stage end of the desk)
marry a nice
all set to
girl,
uncle and aunt some of the
nicest people in Montreal, a well-bred girl,
thing a
JUSTIN.
It
man
could want.
money
of the
of her own, every-
blue— this.
must have upset you.
JEFF, (witfe feeling) Oh,
it
did.
Mr— er
JUSTIN, (quietly) Sit down, JEFF.
And then—out
.
.
.
What?
On
JUSTIN, (nodding towards the chair c)
(jEFF looks JEFF. Oh,
I'll
at the chair c,
admit
that,
know, kids— things
then
rises,
just at
the chair.
moves
first,
I
to the chair
and sits on
it)
thought of backing out—you
like that?
You have strong views about heredity? You can't do any cattle breeding without
JUSTIN. JEFF.
strains repeat themselves. "Still", fault. She's a fine girl.
through with
it."
You
I
realizing that certain
said to myself, "it isn't the girl's
can't let her
down. You've
just got to
go
GO BACK FOR MURDER
588
(jusTiN picks up the box of
and
cigarettes to
lighter
and
crosses ahove Jeff
(He
takes a packet of
L of him')
JUSTIN. Cattle breeding. JEFF. So
I told
her
made no
it
American cigarettes and a JUSTIN. But it does?
difference at
lighter
from
all.
his pocket)
JEFF. Ctaking a cigarette from his packet) No, no, I've put
But Carla's got some morbid idea
(He
thing up. That's got to be stopped.
(He
JUSTIN. Yes? No.
it behind me. head of raking the whole
in her
offers ]nstin a cigarette)
puts the cigarette hox quickly on the table l)
JEFF, She'll only upset herself. Let her
down lighdy— but
let
your answer
be "No". See? Cjeff
At the same moment, justin
lights his cigarette.
he holds, sees Jeff has his own, so extinguishes the table l) JUSTIN.
it
flicks
quickly,
the lighter
and puts
it
on
I see.
Of course— I suppose making all these enquiries would be quite— er —good business for your firm. You know, fees, expenses, all that
JEFF.
.
JUSTIN,
(^crossing
below
Jeff to
We
r)
are a firm of solicitors,
.
.
you know,
not inquiry agents. JEFF. Sorry, must have explained myself clumsily.
JUSTIN. Yes. JEFF.
What I want
to say is— I'll
stump up the necessary—but drop You will excuse me, Mr— er
JUSTIN, (moving behind the desk)
Miss Le Marchant
is
my
JEFF, (rising) Yep, well, it's
it
And
up.
will
Once
.
.
but
client.
you're acting for Carla, you must agree that
best for her not to go harrowing herself raking
her give JUSTIN.
if
it. .
up the
we're married, she'll never think of
you never think of
JEFF. That's a good question. Yes,
I
it
past.
Make
again.
again?
it
dare say
I'll
have one or two nasty
moments. JUSTIN.
If the coffee
JEFF. That
JUSTIN.
should taste bitter
Which
.
?
won't be very pleasant for her.
JEFF, (cheerily) Well, what can a to
.
.
sort of thing.
have met you, Fogg.
(He
man
do? You can't undo the past. Glad
offers his
( JUSTIN looks at Jeff's hand, then picks
hand)
up
Jeff's
hat from the desk
and
ACT ONE SCENE H futs
in the outstretched hand,
it
window, opens
it
wide, then
come back
589 justin turns
exits,
to the
the telephone receiver')
Has Miss Le Marchant
JUSTIN, (into the telephone') ask her to
lifts
jeff
for a minute. I shan't
left yet?
.
.
(He
keep her long.
.
Well,
replaces
the receiver, crosses to the table l, takes a cigarette from the box, lights it,
then returns
to
r
of the desk)
(cARLA enters) CARLA. (looking coldly at Justin) Yes? JUSTIN. I've changed
CARLA. (startled)
JUSTIN. That's for
you
all.
to see
my
mind.
What? I've
changed
Mr Phihp
my
mind.
Blake here.
up an appointment you know when.
I vvill fix
I will let
(cARLA smiles)
Go on. Don't keep Mr— er don't keep him waiting. He wouldn't be pleased. You'll be hearing from me. (He ushers Carla to the arch) .
.
.
(cARLA
(He goes to me Kellway,
the desk
and
lifts
exits)
the receiver. Into the telephone) Get
Blake and Leverstein, will you?
Philip Blake personally.
The
(He
lights
dim
to
Scene
SCESE—Justin Fogg's room. It is a very handsome room.
Up
is
I.
I
want
to
speak to
Mr
replaces the receiver) Cattle breeding!
a cupboard for drinks,
A
black-out
II
door up r leads
let into
the wall.
to the outer office.
A
large
and ornate
L with a damask-covered swivel chair behind it. A chair, to match, for visitors is down r. There are shaded, electric wall-brackets R and L. On the desk there is an intercom in addition to the teledesk
is
phone.
When
the lights
come up, philip blake
ing and reading the "Financial Times".
is
He
sitting at the desk, is
a good-looking
smok-
man
of
— GO BACK FOR MURDER
59°
pfty odd, grey at the temples, with a slight •paunch. He is self-important, with traces of nervous irritability. He is very sure of himself. The
intercom buzzes, philip presses the switch.
PHILIP. Ci'^to the intercom") Yes?
VOICE. Ct^rough the intercom) Miss PHILIP.
Ask her
VOICE. Yes,
Mr
to
come
Le Marchant's
here,
Mr Blake.
in.
Blake.
(pHiLip releases the switch, frovms, folds his newspaper and lays
it
on the
moves down l of the desk, turns and faces the door. He shows slight traces of uneasiness while he waits, carla enters. She desk, rises,
wears a different PHILIP.
Good
coat,
and
carries different gloves
and handbag)
Lord.
Cphilip and carla look at each other for a moment, then carla closes the
down c)
door and moves
Well, so
it's
Carla.
(He
recovers himself
(With rather forced when I saw you last.
Little Carla!
years old
and shakes hands with her) You were—what— five
geniality)
I must have been just about (She screws up her eyes) I don't remember you PHILIP. I was never much of a children's man. Never knew what to say to them. Sit down, Carla.
CARLA. Yes. think
CcARLA
I
sits
.
.
.
on the chair down r and places her handbag on the
floor beside
the chair)
He
offers the
box of
cigarettes
from the desk) Cigarette?
(carla declines)
(He
replaces the box
on the desk, moves behind the desk and looks
at
(He sits at the desk) I haven't much time, but know you're a terribly busy person. It's good of you to see me. PHILIP. Not at all. You're the daughter of one of my oldest and closest friends. You remember your father? carla. Yes. Not very clearly. PHILIP. You should. Amyas Crale oughtn't to be forgotten. (He pauses) Now, what's this all about? This lawyer chap— Fogg— son of old Andrew Fogg, I suppose his
carla.
watch)
I
.
.
.
1
ACT ONE SCENE
n
59
(cARLA nods) —wasn't very clear about why you wanted to see me. (There is a trace of sarcasm in his voice during the following sentence) But I gathered that
it
wasn't just a case of looking
up your
father's old friends?
CARLA. No.
He
PHILIP.
me
told
that you'd only recendy learnt the facts about your fa-
ther's death. Is that right?
CARLA. Yes.
you ever had
PHILIP. Pity, really,
CARLA. C^fter a ^ause; ftrmly)
to
Mr
hear about Blake,
were starded. You said "Good Lord!" PHILIP. Well,
I
.
.
it
when
at all. I
came
it
was
in just
now you
Why?
.
CARLA. Did you think, just for the moment, that
my
mother stand-
ing there?
There
PHILIP.
is
an amazing resemblance.
You— you
CARLA.
It
starded me.
didn't like her?
Could you expect me to? She killed my best friend. could have been suicide. PHILIP. Don't run away with that idea. Amyas would never have killed himself. He enjoyed life far too much. CARLA. He was an artist, he could have had temperamental ups and
PHILIP. C^ryly)
CARLA. Qstung)
It
downs.
He didn't have that kind of temperament. Nothing morbid or neurotic about Amyas. He had his faults, yes—he chased women, I'll admit—but most of his affairs were quite short lived. He always went
PHILIP.
back
to Caroline.
CARLA. WTiat fun that must have been for her! PHILIP. She'd
known him
since she
was twelve years
old.
We
were
all
brought up together. CARLA.
I
know
so
little.
Tell me.
PHILIP (sitting hack comfortably in his chair) She used to come and stay at
Alderbury for the holidays with the Crales.
house next door.
We
all
My
ran wild together.
family had the big
Meredith,
my
elder
and Amyas were much of an age. I was a year or two younger. Caroline had no money of her own, you know. I was a younger son, out of the running, but both Meredith and Amyas were brother,
quite good catches.
CARLA. PHILIP.
How cold-blooded
you make her sound.
She was cold-blooded. Oh, she appeared impulsive, but behind
it
GO BACK FOR MURDER
592 there
was
a cold calculating devil.
know what
And
she had a wicked temper.
You
she did to her baby half-sister?
CARLA. Cquickly^
No?
PHUJP. Her mother had married again, and all the attention went to the new baby—Angela. Caroline was jealous as hell. She tried to kill the baby.
CARLA. No!
Went for her with a pair of scissors, I believe. The child was marked for life. CARLA. (joutraged) You make her sound a— a monster! PHILIP.
PHILIP, (^shrugging) Jealousy
PHILIP,
(^startled') it's
the devil.
You hated her— didn't you?
CARLA. (^studying him)
CARLA. No,
is
Ghastly business.
That's putting
it
rather strongly.
true.
I suppose I'm bitter. (He rises, moves and sits on the downstage comer of it) But it seems to me that you've come over here with the idea in your head that your mother was an injured innocent. That isn't so. There's Amyas's side of it, too. He was your father, girl, and he loved life
PHILIP. Qstuhhing out his cigarette)
tOR
of the desk
.
CARLA.
I
know.
I
know
PHILIP. You've got to see this thing as
it
was. Caroline was no good.
pauses) She poisoned her husband.
never will forget, CARLA.
How?
PHILIP.
My
.
.
all that.
And what
I
(He and
can't forget,
that / could have saved him.
is
brother Meredith had a strange hobby.
about with herbs and hemlock and
stuflF
He
used to fiddle
and Caroline had
one
stolen
of his patent brews.
CARLA.
How did
PHILIP. Cgrimly)
you know that I
waiting to talk
knew it
ize that Caroline
it
was she who had taken it? And I was fool enough to hang about
all right.
over with Meredith.
wouldn't wait,
I
Why
I
hadn't the sense to real-
can't think. She'd
pinched the
stuff
use— and by God, she used it at the first opportunity. CARLA. You can't be sure it was she who took it. to
PHILIP.
My
dear
away with
girl,
CARLA. That's possible, PHILIP. Is
it?
she admitted taking
it.
Said she'd taken
herself. isn't it?
CCaustically) Well, she didn't do
(cARLA shakes her head. There
away with is
herself.
a silence)
it
to
do
ACT ONE SCENE (He
U
593
and makes an effort to resume a normal manner") Have a (He moves helaxv and l of the desk to the cwphoard wp out a decanter of sherry and a glass and "puts them on the
rises
glass of sherry? L, tahes
iesfe)
Now,
suppose
I
I've
upset you?
(He
pours a glass of sherry)
CAKLA. I've got to find out about things. PHILIP. Ccrossing
and handing the
pathy for her
glass to Carla)
at the trial, of course.
Amyas behaved badly, derbury. (He replaces
I'll
There was a
(He moves behind
admit, bringing the Greer
girl
the desk)
down
And
the decanter in the cupboard)
sym-
lot of
to Al-
she was
pretty insolent to Caroline.
CARLA. Did you like her?
Young
PHILIP, (guardedly)
Elsa?
Not
particularly.
(He
turns to the cup-
and a glass and puts them on the damnably attractive, of course. Predatory.
board, takes out a bottle of whisky
desk) She wasn't
Grasping
All the same, did.
(He
my
type,
(He pours whisky for have suited Amyas better than
wanted.
at everything she
think she'd
I
himself)
Caroline
replaces the bottle in the cupboard)
my
mother and father happy together? laugh) They never stopped having rows. His married life PHILIP, (with a long hell if it hadn't been for the way of escape one have been would CARLA. Weren't
his painting gave him.
(He
squirts soda into his drink
and
sits at
the
desk)
How did
CARLA.
he meet Elsa?
PHILIP, (vaguely) to
Some Chelsea
me— told me
any
girl
he'd
met a
(He
party or other.
smiles)
Came
along
mar\^ellous girl— absolutely different from
he'd met before. Well, I'd heard that often enough. He'd
fall
and a month later, when you mentioned you and wonder who the hell you were talking
for a girl like a ton of bricks,
her, he'd stare at
about. But
Good
it
didn't turn out that
luck, m'dear.
(He
(cARLA CARLA. She's married now, PHILIP,
(dryly)
isn't
She's run
way with
sips
married
now
I
to old
Would
PHILIP.
Who
Lord Melksham,
she have gotten tired of
knows?
raises his glass)
she?
through three husbands.
whom a
my
A
test
pilot
who
she got bored with. She's
dreamy peer who writes mystical
should say she's about had him by now.
CARLA.
(He
her sherry)
crashed himself, some explorer chap
poetry.
Elsa.
drinks)
father, 1
(He
drinks)
wonder?
GO BACK FOR MURDER
594 CARLA.
must meet
I
her.
PHILIP. Can't you let things go?
CARLA. prising and putting her glass on the desk") No, I've got to understand.
PHILIP, (^rising) Determined, aren't you?
CARLA. Yes, I'm a fighter. But
CThe intercom PHILIP.
Where
my mother— wasn't
buzzes,
carla turns and
'picks
wp her hag)
did you get that idea? CaroHne was a
terrific fighter.
(He
presses the switch. Into the intercom) Yes?
VOICE, (through the intercom) PHILIP. Tell
VOICE. Yes,
him
I
Mr
Mr
Foster's here,
won't keep him a
Blake.
moment
sir.
Cphilip releases the switch) CARLA. (struck)
Was
she?
Was
But—she
she really?
didn't fight at her
trial.
PHILIP.
CARLA.
No.
Why didn't she? knew she was
PHILIP. Well, since she
guilty
.
.
.
(He
rises)
CARLA. (angrily) She wasn't guilty! PHILIP, (angrily) You're obstinate, aren't you? After
CARLA.
You
still
PHILIP. I've told you
CARLA. PHILIP.
CARLA.
Not I
all I've
told you!
hate her. Although she's been dead for years. .
Why?
.
.
the real reason. There's something
else.
don't think so.
You hate her—now why? Thank you.
I shall
have
to find
out Goodbye,
Mr
Blake.
PHILIP. Good-bye.
(cARLA moves
(He
to the
door and
exits,
leaving the door open)
moment, slightly perplexed, then he closes the door, sits at the desk and presses the intercom switch. Into the intercom) Ask Mr Foster to come in. stares after her for a
VOICE, (through the intercom) Yes,
PHILIP
sits
sir.
hack in his chair and picks up his drink as the lights dim to black-out
ACT ONE SCENE IH
Scene
595
III
SCENE—Tfee
sitting-room of an hotel suite. There is an arch hack c leading to a small entrance hall with a door L. There is a long window r. A french settee stands l with an armchair to match R. In front of the settee there is a long stool, and a small table with a house telephone stands under the window. There are electric wall-brackets r and l of the arch. In the hall there is a console table and a row of coathooks on the wall r.
When from coat
come wp, justin is by the armchair, placing some His coat is on the settee, carla enters the hall puts her gloves and handbag on the hall table, removes her
the lights
in his brief-case.
files
L,
and hangs
it
on the hooks.
carla. Oh, I'm so glad you're here.
JUSTIN, ^surprised and pleased^ Really:"
armchair and moves
CHe puts his brief-case on the down r) Meredith Blake will be here at three
o'clock.
CARLA. Good!
What about Lady Melksham? my letter.
JUSTIN. She didn't answer
CARLA. Perhaps she's away?
JUSTIN. CcTossing
to
L of the arch') No, she's not away.
home. CARLA. I suppose that means that JUSTIN. Oh, I wouldn't say that.
I
took steps to
as-
certain that she's at
What makes you women usually .
come
She'll
CARLA. C^ioving c) JUSTIN. Well,
going to ignore the whole thing.
she's
.
all
right
so sure?
.
CARLA. Cwith a touch of mischief) I see—you're an authority on women. JUSTIN. Cstiffly) Only in the legal sense. CARLA. And— strictly in the legal sense ? .
JUSTIN.
Women usually want
(carla sees CARLA.
I really
do
Justin's coat like
towards the hooks)
.
.
to satisfy their curiosity.
on the
settee, crosses
you—you make me
feel
and picks
much
it
up)
better. (Sfee
moves
GO BACK FOR MURDER
59^
CThe telephone CShe
and
thrusts the coat at Justin, crosses
Into the telephone') Hello?
.
rings)
the telephone receiver.
lifts
.
.
( JUSTIN hangs his coat in the hall)
Oh, ask him
come up,
to
turns to Justin)
JUSTIN, (moving c) A very need to feel better?
What? You said just now
CARLA.
you? CShe replaces the receiver and
will
Meredith Blake.
It's
JUSTIN.
I
he hke
Is
his hateful brother?
different temperament, 1 should say.
made you
feel better.
Do you
need
Do you
to feel bet-
ter?
CARLA. Sometimes
I do.
(She gestures (jusTiN
I didn't realize
JUSTIN. CARLA.
was
I
what
was
on the
to sit
on the
settee)
settee)
letting myself in for.
afraid of that.
could still— give
I
I
sits
him
to
it all
up— go
back
No— er—not now.
JUSTIN, (quickly) No!
to
Canada— forget.
Shall I?
You've got to go on.
CARLA. (sitting in the armchair) That's not what you advised in the
first
place.
You hadn't started then. You still think— that my mother was
JUSTIN. CARLA.
any other solution. CARLA. And yet you want me to go on? JUSTIN. I want you to go on until you are JUSTIN.
(There
I can't
guilty, don't
you?
see
satisfied.
a knock on the hall door, carla
is
and justin rise, carla goes to and steps back, justin crosses to r of the the hall, meredith blake enters the hall from l.
the hall, opens the door
armchair and faces
He
is
a pleasant, rather vague
man
vnth a thatch of grey
gives the impression of being rather ineffectual
and
hair.
irresolute.
He He
wears country tweeds with hat, coat and muffler)
MEREDITH. Carla.
May
I?
(He
My
dear Carla.
kisses
her)
It
(He
takes her hands)
seems incredible that the
should have grown up into a young lady. are,
my
dear.
How
My
time
flies.
knew
your mother you
My word!
carla. (slightly embarrassed; gesturing to Justin)
MEREDITH.
like
How
little girl I
word,
my
word!
(He
Do
you know
pulls himself together)
Mr Fogg?
What? (To
ACT ONE SCENE HI Justin')
Ah,
yes, I
knew your
597
D (He
father, didn't
steps into the
room')
(cARLA doses the door then moves into the room and stands l of ike arch) JUSTIN. C^noving
R of Meredith) Yes,
to
QHe
sir.
May
shakes hands)
I
take your coat?
MEREDITH, (unbuttoning yourself. You're over
his coat; to Carta)
And now— tell me
all
about
from the States—
(jusTiN takes Meredith's hat)
—thank you— no, Canada. For how long? CARLA. I'm not quite sure— yet.
(jusTiN eyes Carla) MEREDITH. But you are CARLA.
Well— I'm
definitely
making your home
overseas?
thinking of getting married.
MEREDITH, (removing
his coat)
Oh,
to a
Canadian?
CARLA. Yes.
(MEREDITH hands
his coat
and muffler
to
justin who hangs them with
the hat, in the hall)
MEREDITH. Well,
hope
I
he's a nice fellow
for you,
my
to sit in
the
and good enough
dear.
CARLA. Naturally
I
think
so.
(She gestures
to
Meredith
armchair)
(MEREDITH goes
to sit in
the armchair, sees Justin's hrief-case
up. JUSTIN
and
picks
it
And
so
moves above the armchair)
MEREDITH. Good. If you'rc happy, then I'm very happy would your mother have been. CARLA. (sitting on the settee at the upstage end)
Do
for you.
you know that
my
mother left a letter for me in which she said she was innocent? MEREDITH, (turning and looking at Carla; sharply) Your mother wrote that?
CARLA. Does
it
surprise
you
(justin sees meredith
is
so
much?
uncertain what
to
do with the hrief-case and
offers to take it)
MEREDITH. Well,
I
shouldn't have thought Caroline
brief-case to Justin)
.
.
.
(lie hands the
GO BACK FOR MURDER
598
on the
C JUSTIN -puts the brief-case I
know— I
don't
distress
you
less
suppose she felt— (fee .
.
CARLA. ^'passionately^
looks
up
it
It
If
she solemnly wrote that
stands to reason that
would
when
must be true— doesn't
it
me
she was it?
C^e
at Justin for support')
CARLA. What a rotten liar you MEREDITH. Cshocked) Carla!
know
I
hall
was meant
it
want you
to tell
is
a pause")
are. (Sfee rises)
(cARLA goes into the
help. I
it
you that what she wrote
doesn't occur to
(There
CARLA. Oh,
in the armchair^
.
might be true? MEREDITH. Well, yes— of course.
dying— well,
sits
table r)
me
and picks up her handbag) be kind. But kindness doesn't really
to
about
all
(She
it.
steps into the
room and
searches in her hag)
MEREDITH. You know the facts— (to Justin) doesn't she? down l) Yes, sir, she does.
JUSTIN, (crossing
MEREDITH. Going ovci them ter let the
whole thing
be married and ( JUSTIN sees offers
it
will
rest.
be painful— and quite unprofitable. Bet-
You're young and pretty and engaged to
that's all that really matters.
carla searching in her bag, takes out
to her.
meredith
JUSTIN, (to Carla)
takes a snuff-box
You looking
for
MEREDITH, (offering the snuff-box don't suppose you do, but I'll
.
will
(jusTiN
his cigarette case
and
from his waistcoat pocket)
one of these? to .
Carla) .
(He
Have
a pinch of
.
.
.
No, I Oh,
offers the
box
to Justin)
from justin
who
also takes
you? declines,
carla takes a
cigarette
one)
CARLA. I've asked your brother Philip, you know. (She puts her bag on the stool) ( JUSTIN lights the cigarettes
with his lighter)
Oh— Philip! You wouldn't get much from him. Philip's a busy man. So busy making money, that he hasn't time for anything else. If he did remember anything, he'd remember it all wrong. (He sniffs the
MEREDITH.
snuff)
ACT ONE SCENE HI CABLA. Csitting on the settee at the upstage end')
(jusTiN
sits
on the
settee at the
MEREDITH, (^guardedly) Well—you'd have
to
599 Then you
tell
me.
downstage end) understand a bit about your
father— first.
He had
CABLA. (matter-of-fact)
mother very unhappy. MEREDITH. Well—er— yes— (/le ally
afiFairs
sniffs)
with other
but these
women and made my
affairs of his
weren't re-
important until Elsa came along.
CARLA. He was painting her? MEREDITH. Ycs, my word— (fee sniffs) I can see her now. Sitting on the terrace where she posed. Dark— er—shorts and a yellow shirt. "Portrait of a girl in a yellow shirt", that's what he was going to call it. It was one of the best things Amyas ever did. (He puts his snuff-hox in
his -pocket)
CARLA.
What happened
MEREDITH. too.
I've got
Alderbury.
to the picture?
bought
I
it.
It
turned into a building
and the proceeds put CARLA.
I
didn't
know
MEREDITH. Well, just as
it
I
it
estate.
did.
to a
It's let
I
But you know
it
that, I expect.
Youth Hostel. But I keep one wing most of the furniture . .
sold off
.
Why?
though defending himself)
ever did-
want
Everything was sold by the executors
in trust for you.
was, for myself.
(fls
Amyas
bought the house,
I
property, you know. I didn't
you'd bought the house.
CARLA. But you kept the picture.
MEREDITH,
with the furniture.
my
adjoins
My
word, yes!
It
I tell
you,
it
was the best thing
goes to the nation
when
I die.
(He
pauses)
(cARLA Well,
stares at
Meredith)
try to tell you what you want to know. Amyas brought Elsa there-ostensibly because he was painting her. She hated the pretence. She-she was so wildly in love with him and wanted to have it out with Caroline then and there. She felt in a false position. I'll
down
I— I understood her point of view. You sound most sympathetic towards her. MEREDITH, (horrified) Not at all. My sympathies were all with CARLA. (coldly)
Caroline.
always been-vvell, in love with Caroline. I asked her to marry me —but she married Amyas instead. Oh, I can understand it-he was a brilliant person and very attractive to women, but he didn't look after her the way I'd have looked after her. I remained her friend. I'd
GO BACK FOR MURDER
600
And yet you believe she committed murder? MEREDITH. She didn't really know what she was doing. There was a . terrific scene— she was overwrought CARLA.
.
.
CARLA. Yes?
MEREDITH. And that same afternoon she took the conine from my laboratory. But I swear there was no thought of murder in her mind when she took it—she had some idea of—of—doing away with herself. CARLA. But as your brother Philip said, "She didn't do away with herself.** MEREDITH. Things always look better the next morning. And there was a lot of fuss going on, getting Angela's things ready for school— that was Angela Warren, Caroline's half-sister. She was a real litde devil, always scrapping vdth someone, or playing tricks. She and Amyas were forever fighting, but he was very fond of her—and Caroline adored her.
CARLA. ((^Mtcfely) After once trying to
MEREDITH, (looking story
was
kill
at Carla; quickly')
her? I've
always been sure that that
Most children
grossly exaggerated.
new
are jealous of the
baby.
My
CARLA. (after -puffing at her cigarette)
father
was found dead—after
lunch, wasn't he?
MEREDITH. Ycs.
We
left
him on the
terrace, painting.
He
often wouldn't
had brought him was there by his side—empty. I suppose the stuff was already beginning to work. There's no pain— just a slow—paralysis. Yes. When we came
The
go into lunch.
glass of beer that Caroline
out after lunch— he was dead.
CARLA. (rising^ upset)
A
MEREDITH, (rising) I'm you.
(He
The whole
nightmare sorry,
my
.
.
thing was a nightmare.
.
dear. I didn't
want
to talk
about
it
to
looks at Justin)
I could go down there— to where it happened. Could I? MEREDITH. Of coursc, my dear. You're only to say the word. CARLA. (moving c and turning to face Justin) If we could go over
CARLA. If
—all of us
MEREDITH.
.
.
it
there
.
What do you mean by
all
of us?
Meredith) Your brother Philip and you, and the governess, and Angela Warren, and—yes—even Elsa. MEREDITH. I hardly think Elsa would come. She's married, you know.
CARLA. (turning
to face
CARLA. (wryly) Several times,
I
hear.
MEREDITH. Shc's changed very much. Philip saw her night
at a theatre
one
ACT ONE SCENE HI CARLA. Nothing itr"
You
lasts.
my
loved
6oi
mother once—but that didn't
(^She stubs out her cigarette in the ashtray
on the
last,
did
stooV)
MEREDITH. What?
down l)
CARLA. Ccrossing
would
be. I can't
Everything's dififerent from
seem
to find
my
C JUSTIN If I
could go
down
to
Alderbury
MEREDITH. You're welcome
must
.
.
at
.
what
thought
it
I'm afraid
I
I
way. rises')
.
.
my
any time,
dear.
Now,
.
(cARLA gazes out front) JUSTIN, (^moving to the halV)
I'll
get your coat,
sir.
(He
sees Carla
is
in a
hrovm study) Carla's most grateful to you, sir. (He takes Meredith's coat, hat and muffler from the hooks) CARLA. (recollecting herself) Oh, yes. Yes, thank you for coming. (MEREDITH goes
to the hall
MEREDITH. Carla, the more
I
where justin
think of
it all
hel'ps
.
.
him on with
his coat)
.
CARLA. Yes?
MEREDITH, (movtng c) did commit suicide.
I believe,
He may
you know, that it's quite possible Amyas felt more remorseful than we know.
have
(He looks hofefully at Carla) CARLA. (unconvinced) It's a nice thought MEREDITH. Ycs, ycs— wcU, good-bye,
my
dear.
CARLA. Good-bye.
MEREDITH, (taking his hat from Justin) Good-bye, JUSTIN, (opening the door) Good-bye, sir. MEREDITH. (mumhUng) Good-bye. Good-bye.
(MEREDITH
cxits.
JUSTIN
closcs the door
Mr
Fogg.
and moves c)
CARLA. Well!
JUSTIN. Well! CARLA.
What
a fool!
JUSTIN. Quite a nice kindly
fool.
(The telephone CARLA. (crossing to the tele-phone)
(She
lifts
the receiver)
Why
He
rings)
doesn't believe anything of the sort.
does he say so? (Into the telephone)
GO BACK FOR MURDER
6o2 Yes?
.
.
.
C^he replaces the
Yes. I see.
receiver.
Disapfointed) She's
not coming.
JUSTIN. Lady Melkshami>
CARLA. Yes. Unavoidably prevented. ( JUSTIN goes into the hall
and
collects his coat^
JUSTIN. Don't worry, we'll think of something.
CARLA. (looking out of the window^ I've got to see her, she's the hub of
it
all.
JUSTIN, ^moving c and putting on his
Miss Williams, CARLA.
(fifltZy)
aren't
coat")
You're going to take tea with
you?
Yes.
JUSTIN, (rather eagerly)
Want me
to
come with you?
CARLA. (without interest) No, there's no need.
JUSTIN.
Maybe
post.
CARLA.
I'll
(still
there'll
phone you
be a
letter
from Angela Warren in tomorrow's
may? looking through the window) if I
JUSTIN, (after a pause)
What
Please.
a fool your father was.
(cARLA turns)
Not CARLA.
to recognize quality
when he had
it.
What do you mean?
JUSTIN. Elsa Greer was pretty brash, you know, crude allure, crude sex,
crude hero worship. CARLA. Hero worship?
JUSTIN. Yes.
Would
she have
made
been a celebrated painter? Look
a— (he
at
if
he hadn't
her subsequent husbands. Always
by a somebody— a big noise
attracted
himself.
a dead set at your father
in the
world— never the man
But Caroline, your mother, would have recognized quality
f)auses
and
self-consciously gives a boyish smile)
in
weU—even
in a solicitor.
(cARLA picks up CARLA.
I
Justin's brief-case
believe you're
still
and
in love with
looks at
my
him with
interest)
mother. (She holds out the
brief-case)
JUSTIN. Oh, no. times,
(He
takes the brief-case
and smiles)
I
move with the
you know. (cARLA
Good-bye.
is
taken aback, but
is
pleased and smiles)
603
ACT ONE SCENE IH Cjustin exits, carla looks after him, taking in what he has said. The phone rings, carla lifts the receiver. The light starts to dim as
tele-
twir
light falls^
Oh, it's you, JefF Yes CARLA. Onto the telephone') Hullo> the armchair with in and sits instrument whole (She takes the .
.
.
.
.
.
.
.
.
it,
It may be a silly waste of time, but it's my straightens the seam of her stocking) (She time and CCrossly) You're quite wrong about Justin. He's a good What? AH right, so I'm quarrelling friend—which is more than you are No, I don't want to dine with you ... I don't want to dine with
tucking one leg under her) if
.
.
I
.
.
.
.
.
.
.
.
.
.
you anywhere.
melksham
(elsa
enters the hall from l, quietly closes the door
stands in the hall, looking at Carla. elsa
up and extremely
is tall,
and
beautiful, very made-
She wears hat and gloves, and a red velvet and carries her handbag)
smart.
coat over a black dress,
At the moment your stock is pretty low with me. (She hangs the receiver down, rises and puts the instrument on the table r) ELSA. Miss Le Marchant—or do I say "Miss Crale"? (carla, CARLA. So you've come after ELSA.
I
startled, turns
quickly)
all?
always meant to come.
I just
waited until your legal adviser had
faded.
carla.
You
don't like lawyers?
woman to woman. Let's have some (She switches on the wall-brackets by the switch l of the arch then moves down c and looks hard at Carla) Well, you don't look very much like the child I remember.
ELSA.
I
prefer, occasionally, to talk
light.
carla. Qsimply) I'm like
my
mother.
ELSA. Ccoldly) Yes. That doesn't particularly prejudice
me
in your favour.
Your mother was one of the most loathsome women I've ever known. CARLA. Qtotly) I've no doubt she felt the same about you. ELSA. Csmiling) Oh, yes, the feeling was mutual. CShe sits on the settee at the upstage end) The trouble with Caroline was that she wasn't a very good
loser.
CARLA. Did you expect her to be?
amused) Really, you know, I believe I did. I must have been incredibly young, and naive. Because I myself couldn't understand clinging on to a man who didn't want me, I was
ELSA. (^removing her gloves;
GO BACK FOR MURDER
6o4
quite shocked that she didn't feel the same. But she'd
kill
Amyas
CARLA. She didn't
rather than let
kill
me
I
never dreamt that
have him.
him.
She
ELSA. (without interest') or less in front of
my
killed
him
all right.
eyes— in a
She poisoned him more
glass of iced beer.
And
never
I
(With a com'plete change of manner) dreamed— never guessed You think at the time that you vidll never forget— that the pain will always be there. And then— it's all gone— gone— like that. (She snaps .
.
.
her fingers)
How old were you? was no injured innocent. Amyas Crale didn't seduce a trusting young girl. It wasn't like that at all. I met him at a party and I fell for him right away. I knew he was the only man in the world for me. (She smiles) I think he felt the same.
CARLA. (sitting in the armchair) ELSA. Nineteen.
But
I
CARLA. Yes. ELSA.
He
asked him to paint me.
I
said
he didn't do
Mama
about the portrait he'd done of
circumstances had led to that.
cial
gether.
I said, "I
happen? said,
I
shall
want you
make
to paint
I
knew
me."
love to you."
I
He
me by
got that setded,
the shoulders and turned
me
over in a considering sort of way.
had an affair to'Tou know what'U "Why not?" And he
my
start
St. Paul's
Cathedral. If
I
wife." I said that
Then he
said, "I've often
same effect." (She pauses. Quickly) So CARLA. And you went down to Alderbury. removes her
me
thought of
macaws
alighting
painted you in your flamboyant youth
get the
rises,
took
towards the light and looked
against a background of nice traditional English scenery,
(elsa
He
the sittings?
painting a flight of outrageously coloured Australian
on
said spe-
said,
said,
when should we
He
they'd
"I'm a married man, and I'm very fond of
now we'd
what
portraits. I said
Vadaz, the dancer.
coat, puts
it
it
I
believe I'd
was setded.
on the downstage end of the
settee
and moves c) She could be, you know. Amyas was very circumspect. (She smiles) Never said a word to me his wife couldn't have overheard. I was polite and formal. Underneath, (She breaks off) though, we both knew
ELSA. Yes. Caroline was charming.
.
CARLA.
Go
.
.
on.
ELSA. (putting her hands on her hips) After ten days he told
go back
to
London.
me
I
was
to
ACT ONE SCENE lU
605
CARLA. Yes? ELSA.
I said,
truth
"The
He
picture isn't finished."
said, "It's barely
begun.
him why, and he why I'd got to clear out
can't paint you, Elsa." I asked
is I
knew very well "why" and that's So—you went back to London? ELSA. Yes, I went. (S/ze moves up c and
The
said that I
CARLA.
He
turns) I didn't write to him. I
And then—he came. was no use struggling against it, and he said, 'Tou haven't struggled much, have you, Elsa?" I said I hadn't struggled at all. It was wonderful and more frightening than mere didn't answer his letters.
I told
him
that
was
it
fate
held out for a week.
and
it
happiness. (Sfce frowns') If only we'd kept
away—if
only
we
hadn't
gone back. CARLA. ELSA.
Why
The
did you?
imfinished picture.
It
haunted Amyas. CShe
sits on the settee at time— Caroline had
the upstage end) But things were different this
caught on.
I
wanted
Amyas would
to
have the whole thing on an honest basis. All hell with honesty. I'm painting a picture."
"To
say was,
(cARLA laughs)
Why do you laugh? CARLA. Crising and turning to the window) Because I
know
just
how he
felt
ELSA. (,angrily) How should you know? CARLA. Csimply) Because I'm his daughter,
I suppose. ELSA. Cdistantly) Amyas's daughter. QShe looks at Carla with a
new
appraisement) CARLA. (turning and crossing ahove the armchair to c) I've just begun to know that. I hadn't thought about it before. I came over because I wanted to find out just what happened sixteen years ago. I am finding out. I'm
hke. ELSA.
beginning to
The whole
Coming
CARLA.
My
know
thing's
the people— what they
coming
alive? (Bitterly) I
alive, bit
wish
it
by
felt,
what they
are
bit.
would.
father-you-Philip
Blake-Meredith Blake. (She crosses down l) And there are two more. Angela Warren . ELSA. Angela? Oh, yes. She's quite a celebrity in her way—one of those .
tough it
women who
travel to inaccessible places
.
and write books about
She was only a tiresome teenager then.
CARLA. (turning)
How
ELSA. (uninterested)
I
did she feel about don't know.
They
it
all?
hustled her away,
I think.
Some
GO BACK FOR MURDER
6o6
idea of Caroline's that contact with
cent
mind— though
I
about damage to her
When
murder would damage her
adoles-
know why Caroline should have bothered mind when she had already damaged her face for don't
I ought to have realized what Caroline and when I actually saw her take the poison CARLA. C^uickly') You saw her? ELSA. Yes. Meredith was waiting to lock up his laboratory. Caroline was the last to come out. I was just before her. I looked over my shoulder
her.
heard that story
I
was capable
of,
.
and saw her standing in front of a shelf with a small hand. Of course, she might only have been looking at it.
.
.
bottle in her
How was
I to
know? CARLA. ^crossing to c) But you suspected? ELSA.
I
thought she meant
CARLA. Suicide?
And you
ELSA. Ccalmly^
thought
I
it
for herself.
didn't care? it
might be the best way
out.
CARLA. (^crossing above the armchair to the window') Oh, no
.
.
.
Amyas had been a failure from the start—if she'd really cared for him as much as she pretended, she'd have given him a divorce. There was plenty of money— and she'd probably have married someone else who would have suited her better. CARLA. How easily you arrange other people's lives. QShe moves down r) Meredith Blake says I may come dovm to Alderbury. I want to get ev-
ELSA.
Her marriage
to
eryone there. Will you come? ELSA. (_arrested, hut attracted hy the idea)
CARLA. Qeagerly) see
ELSA.
it
as
I
want
though
Happening
all
CARLA. Qjpolitely) If
it
to
Come down
to
Alderbury?
go over the whole thing on the
were happening
over again
.
.
all
spot. I
want
to
over again.
.
you There are worse things than pain. (Harshly) It's forgetting that's so horrible— it's as though you were dead yourself. (^Angrily) You— stand there so damned young and innocent— what do you know about loving a man? I loved Amyas. (With fire) He was so alive, so full of life and vigour, such a man. And she put an end to all that— your mother. (She rises) She put an end to Amyas so that I shouldn't have him. And they didn't even hang her. (She fauses. In an ordinary tone) I'll come to Alderbury. I'll join your circus. (She pcks wp her it's
too painful for
.
.
.
ELSA.
coat
and holds (cARLA
it
out to Carla)
crosses to Elsa
and helps her on with her coat)
ACT ONE SCENE IV PhUip, Meredith—Angela
Warren—all
607
four of us.
CARLA. Five. ELSA. Five?
CARLA. There was a governess. ELSA. ^collecting her hag
and gloves from the settee^ Oh, yes, the governVery disapproving me and Amyas. Devoted to Caroline. CARLA. Devoted to my mothei—she'll tell me. I'm going to see her next ess.
CShe goes
and cpens the
into the hall
door')
ELSA. (moving to the hall) Perhaps you'll get your legal friend to tele-
phone me,
will
(elsa CARLA.
The
you? exits.
CARLA
closes the door
and moves c)
governess!
The
LIGHTS dim
black-out
to
Scene IV
scene— Miss Williams' hed-sitting-room. It is an attic room with a small window door
is
presumed
with a gas
fire,
to
hack
in the sloping roof l.
he in the "fourth wall". There c.
There
is
is
a divan with cover and cushions
gate-legged table stands under the window.
A
The
a preplace, fitted r.
A
small tahle with a table-
lamp on it is R of the fireplace. Upright chairs stand l of the fireplace and down l and there is an old-fashioned armchair with a footstool under it, c. An electric kettle is plugged into the skirting, r of the fireplace.
When
the lights
are not yet closed.
come up, the lamp
A
tray of tea for
steaming and the teapot is
is
heside
seated in the armchair c.
She
is
two
it.
is
The
on, hut the
on the gas
window The
tahle l.
fire is
lit.
curtains kettle is
miss Williams
sixty odd, intelligent,
with dear enunciation and a pedagogic manner. She wears a tweed skirt and blouse, with a cardigan and a scarf round her shoulders, carla is is
seated on the divan, looking through a photograph album.
a brown dress.
She wears
GO BACK FOR MURDER
6o8
CARLA. I do remember you. It's all coming back. MISS WILLIAMS. You were only five years old.
You looked
CARLA.
after
makes the CARLA. I'm
tea)
fine,
didn't think I did.
me?
MISS WILLIAMS. No, you werc not Angela. Ah, the
I
kettle's boiling.
Now,
are
my
you going
was in charge of wp the teayot and
responsibility. I
(.She rises, ficks to
be happy there, dear?
thanks.
MISS WILLIAMS, (fointing
to the
alburn) That's Angela— you were only a
baby when that was taken. CARLA.
What was
she like?
MISS WILLIAMS, (flitting down the kettle) pupils
I
One
of the most interesting
She took a first and you may have read her book on the rock paintings
ever had. Undisciplined, but a
at Somerville
first-class brain.
of the Hazelpa?
CARLA.
Um?
MISS WILLIAMS.
It was vcry well reviewed. Yes, I'm very proud of Angela. (She futs the teapot on the tray l) Now, we'll just let that stand a minute, shall we?
CARLA. (putting the album on the upstage end of the divan) Williams, you know why I've come?
MISS WILLIAMS. Roughly,
yes.
(She moves
you want
fuller information
You have
just
father's life,
and
to the fireplace)
learnt the facts about the tragedy that
ended your
Miss
about the whole matter. (She switches
off
the kettle)
CARLA. And,
I
suppose, like everybody else, you think
whole thing? MISS WILLIAMS. Not
at all. It
I
ought
to forget the
appears to be perfecdy natural that you
should want to understand. Then, and only then, can you forget
about
it.
me
CARLA. Will you
tell
MISS WILLIAMS.
Any
full extent of
a
little
and
my
footstool
looks
everything?
me I will answer to the my little footstool? I have
questions you like to put to
knowledge.
Now,
where's
somewhere. (She turns the armchair
around
to face
the divan
for the footstool)
CARLA. (rising and drawing the footstool out from under the armchair)
Here we
are.
MISS WILLIAMS. Thank you, dear. (She seats herself comfortably in the armchair and puts her feet on the footstool) I like to keep my feet ofiE the ground.
ACT ONE SCENE IV
609
I think— first— that I'd like to know just what my father and mother were Hke— what you thought they were Hke, I mean. CS/ie sits
CABLA.
on the divan) MISS WILLIAMS. Your
you know, has been acclaimed
father, as
as a great
am not competent to judge. I do not, myself, admire his paintings. The drawing seems to me faulty and the colouring exaggerated. However, that may be, I have never seen why the possession of what is called the artistic temperament should excuse a man painter.
I,
of course,
from ordinary decent behaviour. Your mother had a great deal
put
to
up with where he was concerned. CARLA.
And
she minded?
MISS WILLIAMS. She minded very much.
Mr
Crale was not a faithful husand forgave him for them—but she did not take them meekly. She remonstrated—and with spirit
band. She put up with his CARLA.
You mean
infidelities
they gave each other hell?
MISS WILLIAMS. C^uietly) That would not be
and
crosses
helow the armchair
my
to the table
description. (_She rises
l) There were quarrels,
but your mother had dignity, and your father was in the wrong. CShe fours the tea) CARLA. Always? MISS WOLLIAMS. C^rmly) Always. I was—very fond of Mrs Crale. And yes,
very sorry for her. She had a wife, I should have left him. at
CARLA.
lot to bear. If I
No woman
had been
Mr
Crale s
should submit to humiliation
her husband's hands.
You
didn't like
MISS WILLIAMS,
my
father?
(tight-li-pfcd)
I
disliked
CARLA. But he was really fond of
my
him—very much.
mother?
(miss WILLIAMS ficks wp a cup of tea and the sugar howl and crosses to Carla)
MISS WILLIAMS.
CShe
believe honestly that he cared for
I
her—but men
.
.
.
!
then hands the cwp of tea to Carla) CARLA. Cslightly amused') You don't think much of men? sniffs,
MISS WILLIAMS, (with sUght fanaticism) world.
I
hope
it
will not always
be
so.
Men (She
still
have the best of
thrusts the sugar
this
howl
at
Carla) Sugar?
CARLA.
I
don't take
it,
thanks.
(miss WILLIAMS CTOsscs
And
then Elsa Greer came along?
to the table, puts
up her cup
down
of tea)
the sugar bowl
and picks
GO BACK FOR MURDER
6lO MISS WILLIAMS, (with
distaste')
made poor
painted; they
Doubtless they had other things to Crale was infatuated with the discourage him. (She
CABLA. jvuss
What
Ostensibly to have
Yes.
Tier
portrait
(She crosses to c) talk about It was obvious that Mr and that she was doing nothing to
progress with the picture.
girl
then
sniffs,
in the armchair^
sits
did you think of her?
WILLIAMS.
thought she was good-looking, but stupid. She had had,
I
presumably, an adequate education, but she never opened a book, and
was quite unable to converse on any intellectual subject All she ever thought about was her own personal appearance—and men, of course. CARL A. Go on. MISS vwDLLiAMS. Miss Greer went back to London, and very pleased we were to see her go. (She fauses and si^s her tea) Then Mr Crale went away and I knew, and so did Mrs Crale, that he had gone after the girl. They reappeared together. The sittings were to be continued, and we all knew what that meant. The girl's manner became increasingly insolent, and she finally came out into the open with some outrageous remarks about what she would do at Alderbury when she was mistress there.
CARLA. (horrified') Oh, no!
MISS WILLIAMS. Yes,
came
in,
and
yes, yes.
(She pauses and
his wife asked
him
outright
sips her tea) if
was
it
Mr
Crale
true that he
to marry Elsa. There he stood, a great giant of a man, looking naughty schoolboy. (She rises, goes to the table l, puts down her cup, picks up a plate of biscuits and crosses to Carla) My blood
planned like a
boiled. I really could
they're
Peek
carla. (taking a biscuit) jvuss
WILLIAMS.
to say all
have
killed him.
Do
have one of these
did
my mother do?
biscuits,
Frean's.
I
Thank you. What
think she just went out of the room.
something
to
her of what
I felt,
I
know I— I
but she stopped me.
tried
"We
must on the
behave as usual," she said. (She crosses and puts the plate l) They were all going over to tea with Mr Meredith Blake that
table
afternoon. Just as she kissed me.
a
She
was going,
said, "You're
I
remember she came back and to me." (Her voice breaks
such a comfort
little)
CARLA. (sweetly) I'm sure you were.
MISS WILLIAMS, (crossing
unplugging
to
the fireplace, picking
Never blame her for what she her daughter to understand and forgive. it)
up
the kettle
did, Carla. It
is
and
for you,
ACT ONE SCENE IV CARLA. Cslowly') So even you think she did
MISS WILLIAMS. Csodly^ CARLA. Did she
tell
MISS WILLIAMS, refills
CARLA, ikuss
know
I
you she did
she did
6ll
it.
it.
it?
(tafeiwg the kettle to the table
Of
l)
course not. C^he
the teapot^
What
did she say?
WILLIAMS. She took pains
to impress
upon me
that
it
must be
sui-
cide.
CARLA.
You didn't—believe
MISS WILLIAMS.
I Said,
her?
Mrs
"Certainly,
Crale,
it
must have been
suicide.**
CARLA. But you didn't believe what you were saying.
MISS WILLIAMS,
have got side.
My
(^crossifig to
and was
the fireplace
to understand, Carla, that I
re-placing the kettle^
entirely
You
on your mother's
sympathies were with her— not with the police. (S/ie
sits
in
the armchair')
QShe pauses) When she was charged, you wanted her acquitted? MISS WILLIAMS. Certainly. CARLA. On any pretext? MISS VJ7ILLIAMS. On any pretext CARLA. Cpleading) She might have been innocent. MISS VraLLIAMS. No. CARLA. Cdefiantly) She was innocent. MISS WILLIAMS. No, my dear. CARLA. She was—she was. She vio^ote it to me. In a letter she wrote when she was dying. She said I could be sure of that. CARLA. But murder
.
.
.
(There MISS WILLIAMS.
Qn
a stunned silence)
is
a low voice) That was
wrong—very wrong
write a lie— and at such a solemn moment. that Caroline Crale
truthful
CARLA.
I
of her.
To
should not have thought
would have done a thing
like that.
She was a
woman. could be the truth.
(.rising) It
MISS WILLIAMS, (definitely) No. CARLA.
You
can't
MISS WILLIAMS. case, I alone
something one.
(She
I
be I
positive.
can be
You
can'tl
positive.
Of
all
the people connected with the
can be sure that Caroline Crale was
saw.
rises)
I
withheld
it
guilty.
Because of
from the police— I have never told any-
But you must take
it
from me, Carla, quite
definitely,
GO BACK FOR MURDER
6l2
mother was
that your
guilty.
Now, can
We'll both have some, shall we?
I get
you some more
tea, dear"?
sometimes gets rather chilly in
It
this
room. CShe takes Carta's cu-p and crosses to the table l)
CARLA looks
distracted
the LIGHTS
and bewildered as—
dim
to
Scene
SCENE—A
The
When
is
in
an alcove decorated in
delicate
Oriental style,
with three banquettes.
come up, carla is seated r of the table and Angela and c of it. They are just finishing lunch. wearing a mink-trimmed coat. Angela is a tall woman of
the lights
WARREN carla
V
table in a restaurant.
table
equi'p'ped
black-out
is
is
seated above
thirty, of distinguished
mannish
hat.
There
is
appearance, well-dressed in a plain suit with a
a not too noticeable scar on her
ANGELA. Cputting down her brandy our meal, Carla, I'm prepared
glass')
Well,
to talk.
now
left
cheek.
that we've finished
should have been sorry
I
if
you'd gone back to Canada without our being able to meet. (,She offers
Carla a cigarette from a leather case)
(carla declines and takes a
cigarette
from an American pack on the
table)
one of her own cigarettes) I wanted to fix it before, but had a hundred and one things to do before leaving tomorrow. QShe lights Carla's cigarette and then her awn with a lifter which (_She takes
I've
matches her case) CARLA.
1
know how
ANGELA. Yes, much
it is.
You're going by sea?
easier
when
you're carting out a lot of
equipment
saw Miss Williams? ANGELA, (ismiling) Dear Miss Williams. What a life I used to lead her. Climbing trees and playing truant, and plaguing the life out of everyone all round me. I was jealous, of course. CARLA.
I
told
you
I
CARLA. Qstartled) Jealous?
ANGELA. Yes—of Amyas.
I'd
always come
first
with Caroline and
I
ACT ONE SCENE V couldn't bear her to be absorbed in him.
I
613
played
all sorts
of tricks on
him— put— what was
it, now— some filthy stuff— valerian, I think, in and once I put a hedgehog in his bed. CShe laughs) I must have been an absolute menace. How right they were to pack me ofiE to school. Though, of course, I was furious at the time. CARLA. How much do you remember of it all?
his beer,
ANGELA. Of the actual happening? Curiously little. We'd had lunch— and then Caroline and Miss Williams went into the garden room, and then we all came in and Amyas was dead and there was telephoning,
and
I
heard Elsa screaming somewhere— on the
terrace, I
think with
wandered about, getting in everyone's way. CARLA. I can't think why 1 don't remember anything. After all, I was five. Old enough to remember something. ANGELA. Oh, you weren't there. You'd gone away to stay with your godmother, old Lady Thorpe, about a week before. CARLA. Ah! ANGELA. Miss Williams took me into Caroline's room. She was lying down, looking very white and ill. I was frightened. She said I wasn't Caroline.
just
1
to think about it— I was to go to Miss Williams' sister in London, and then on to school in Zurich as planned. I said I didn't want to leave
her—and then Miss Williams chipped
way
in
and
of hers— (sfce mimics Miss Williams')
help your
Angela,
sister,
is
said in that authoritative
"The
best
do what she wants you her brandy)
to
way you can to
do without
making any fuss." CShe si'ps CARLA. Camused) I know just what you mean. There's something about Miss Williams which makes you feel you've just got to go along with her.
ANGELA.
The
me a few questions, but I didn't know why. I had been some kind of accident, and that Amyas had taken poison by mistake. I was abroad when they arrested Caroline, and they kept it from me as long as they could. Caroline police asked
just thought there
wouldn't
let
me
me
go and see her in prison. She did everyhing she could
to
keep
to
stand between
out of
it all.
That was
me and
just like Caroline.
CARLA. She must have been very fond of you. It wasn't that. (Sfce touches her scar)
ANGELA.
CARLA. That happened
She always
tried
the world.
when you were
It
was because of
this.
a baby.
ANGELA. Yes. You've heard about older child gets
mad
it. It's the sort of thing that happens-an with jealousy and chucks something. To a sensi-
tive person, like Caroline, the horror of
what she had done never quite
GO BACK FOR MURDER
6 14
Her whole life was one long effort to make up way she had injured me. Very bad for me, of course. CARLA. Did you ever feel vindictive about it? left her.
ANGELA. Towards Caroline? Because she had spoiled laughs^
I
never had
much
No,
to spoil.
my
to
for the
beauty? C^he
never gave
1
me
it
a second
thought.
CcARLA ficks up her hag from the seat heside hands it it Angehx) CARLA. She
(There
is
left
a letter for
me—I'd like you
a pause as Angela reads the
her, takes out
a
letter
and
to read it
letter,
cabla stubs out her
ciga-
rette')
I'm so confused about her. Everyone seems to have seen her differently.
ANGELA. She had a
and reads)
".
lot of contradictions in
.
want you
.
to
know
her nature. (Sfee turns a page
that I did not kill your father."
You might have wondered. QShe on the table) CARLA. You mean— you believe she wasn't guilty? Sensible of her.
puts
folds the letter
ANGELA. Of course she wasn't
have thought
guilty.
Nobody who knew Caroline could
one moment that she was
for
CARLA. (slightly hysterical) But they
do— they
guilty.
all
do— except
you.
ANGELA. More fool they. Oh, the evidence was damning enough,
who knew
you, but anybody couldn't
CARLA.
and
it
Caroline well should
commit murder. She hadn't got
What
about
ANGELA, (pointing
.
.
I
grant
that she
in her.
?
.
her scar) This?
to
it
know
How
can
I
explain? (She stubs out
her cigarette) Because of what she did to me, Caroline was always
watching herself
for violence. I think she decided that
lent in speech she
She'd say things
would have no temptation
like, "I'd like to
if
she was vio-
to violence in action.
cut So-and-so in pieces and boil
him
murder
Or she'd say to Amyas, "If you go on like this, I shall Amyas and she had the most fantastic quarrels, they said the most outrageous things to each other. They both loved it, CARLA. They liked quarrelling? ANGELA. Yes. They were that kind of couple. Living that way, with conin oil."
you."
tinual rows
and makings up, was
CARLA. (sitting back) the letter
ANGELA.
If
and puts
only
I
their idea of fun.
You make everything sound it
different
(She picks up
in her bag)
could have given evidence. But
I
suppose the sort o£
ACT ONE SCENE V thing
615
could have said wouldn't count as evidence. But you needn't
I
You can go back
worry, Carla.
to
Canada and be
quite sure that
Caroline didn't murder Amyas. CABLA. Csadly^ But then—who did? ANGELA. Does it matter?
CARLA.
Of
ANGELA,
you
course
(m
leave
CARLA. No,
ANGELA.
it
matters.
a hard voiced it
It
must have been some kind of accident. Can't
at that?
can't
I
Why not? (carla does not answer)
man? (S/ze si'ps her hrandy) Well— there is a man, yes.
Is it a
CARLA.
ANGELA. Are you engaged? (carla, slightly embarrassed, takes a cigarette from her jacket')
CARLA.
don't know.
I
ANGELA.
He
minds about
this?
CARLA. Qrovming) He's very magnanimous.
ANGELA.
How bloody!
Qaf'preciatively')
CARLA. I'm not sure that
I
want
I
shouldn't marry him.
to.
ANGELA. Another man? (S/ie li^ts Carla's cigarette) CARLA. ^irritably)
Must everything be a man?
ANGELA. Usually seems
to be. I prefer rock paintings.
CARLA. ^suddenly) I'm going
down
people concerned to be there.
I
to
Alderbury tomorrow.
wanted you
ANGELA. Not me. I'm sailing tomorrow. CARLA. I want to re-live it—as though I were CStrongly) ist at
ANGELA. CARLA.
her
want
all
the
my
didn't she fight for her life?
mother and not myself.
Why
was she
so defeat-
trial?
don't know.
I
It
Why
I
as well.
wasn't like her, was
it?
ANGELA. Cslowly) No, it wasn't like her. CARLA. It must have been one of those four other people. ANGELA. How persistent you are, Carla. CARLA.
I'll
find out the truth in the end.
ANGELA, entruck by Carla's sincerity) pauses) glass)
I'll
come
to
I almost believe you will. (Sfee Alderbury with you. CShe picks up her brandy
GO BACK FOR MURDER
6i6 CARLA. (.delighted')
ANGELA.
I'll
You
will?
But your boat
brandy? I'm going to
Now,
sails
tomorrow.
you sure you won't have some have some more i£ I can catch his eye. QShe
take a plane instead.
are
calls) Waiter!
CARLA. I'm so glad you're coming.
ANGELA, (sombrely) Are you? Don't hope for too much. Sixteen years. a long time ago.
ANGELA
drains her glass as the lights
the CURTAIN
dim
falls
to
black-out and—
It's
Act
SCENE— Alderhury,
a house in the
Two
West
of England.
scene shows a section of the house, with the Garden
The
Room r
l with communicating french windows between them. The room is at an angle, so that the terrace extends and takers at the upstage end of off helow it to r. Doors hack c, in the room, and
and the
terrace
the terrace, lead to the house.
covered fergola
l, leads to
An
the wpstage end of a vine-
exit, at
the garden. There
is
another door
down r
Above this door is a small alcove with shelves for decorative flates and ornaments. A console table stands under the shelves. There is a table l of the door c, on which there is a telephone and a carved wooden head. On the wall above the table is the portrait of Elsa, painted by Amyas. There is a sofa r of the door c, with a long stool in front of it. Armchairs stand r and l, and there is an occasional table L of the artnchair r. There is a stone bench c of the terrace. in the room.
When come
the u-p
curtain rises, the stage is in darkness, then the lights show the house shrouded in darkness and the terrace moonlight. The long stool is on the sofa and both are
to
bathed in
The
covered with a dust sheet. sheets.
The window
are heard off
up
armchairs are also covered with dust
curtains are closed. After a
CARLA. (o/f) Which way do we go? MEREDITH, (o^) This way, mind that I
always used to
JUSTIN,
(off;
few moments, voices
c.
fall
stumbling)
over
Good
MEREDITH, (o/f) Fcw things
little step.
(He
is
heard
to stumble")
it.
heavens! Shall
I
as depressing as
leave the door?
an unlived-in house,
I
do
apologize.
up c and the lights on the room snap up. He wears an and has an old fishing hat, pulled down. He moves dovm r. CARLA follows Meredith on. She wears a loose coat and a head scarf. She moves l. justin enters last. He carries his bowler hat. He moves down c, turns and looks around the room)
(MEREDITH
enters
overcoat,
GO BACK FOR MURDER
6l8 This
what we
is
morgue, e\ er
call
the garden room. Cold as a morgue. Looks
lilce
a
(He laughs and rubs his hands} Not that I've a— hum ... I'll just remove these. (He goes to
too, doesn't it?
seen the inside of
and removes the dust sheet} me help you. (He moves to l of the sofa and takes the dust sheet from Meredith')
the sofa
JUSTIN. Let
(cARLA moves
armchair l and removes the dust sheet which she
to the
gives to ]ustin}
MEREDITH. This .
.
.
(He
(He
indicates the long stool
on the sofa} Ah,
takes the stool from the sofa} Let
where
there.
alive, once,
(cARLA CARLA.
house has been shut up, you
bit of the
sits
Is that
(He
and now on the
the stool
•places it's
me
see, I
It's
sad,
that's
an old friend.
think it went somesomehow. It was so
dead.
end
left
Rc)
see, ever since
of the stool
and
looks at the portrait}
the picture?
MEREDITH. What? Ycs. Girl in a yellow shirt CARLA.
You
here?
left it
MEREDITH. Ycs. I— somchow couldu't bear too
much
.
.
(He
.
to look at
it.
It
reminded
recollects himself, crosses to the french
me
windows
and opens the curtains} CARLA.
How
she's
changed.
MEREDITH, (turning) You've seen her? CARLA. Yes.
MEREDITH, (cxossing
to the
armchair r and removing the dust sheet}
I
haven't seen her for years. still. But not like that. So alive and triumphant— and young. (She draws a breath and faces front} It's a wonderful por-
CARLA. She's beautiful
trait.
MEREDITH. Yes—(he points l) and that is where he painted her— out there on the terrace. Well, I'll just dispose of these— (^e takes the dust sheets from Justin} in the next room,
(MEREDITH extts R. CARLA and moves onto the
riscs,
I
think.
gocs to the french windows, unlocks them,
terrace,
justin looks
stands on the step just outside the
her,
CARLA. Justin— do you think this scheme of mine thinks I'm mad.
then follows and
windows} is
quite crazy?
JeflE
ACT TWO
619
JUSTIN. Ccfossing to the exit above the pergola and looking off^
(MEREDITH CARLA.
(_sitting
ikiEREDiTH.
I'll
enters
down r and
shouldn't
You
crosses to the french
windows^
on the hench^ I don't. go and meet the others.
just
(MEREDITH CARLA.
I
worry you.
let that
Wp c)
exitS
understand, don't you, just what
JUSTIN, (grossing to r)
You want
I
want done?
to reconstruct in
your mind's eye what
happened here sixteen years ago. You want each witness in turn to describe the scene in which they participated. Much of it may be trivial and irrelevant, but you want it in full. (He moves to her~) Their recollections, of course, will not be exact. In a scene where more than one witness was present, the two accounts may not agree. CARLA. That might be helpful. JUSTIN. Cdouhtfully') It might—but you must not build too much on it. People do recollect things differently. (He moves up stage and looks around^ CARLA.
What Fm
going to do
my
shall
imagine
off}
You know,
I
is
think
my
I
think
I
make
my
believe I see
it all
happening.
I
QShe suddenly breaks father must have been great fun.
JUSTIN, (^moving behind Carla')
CARLA.
to
mother and
father
.
.
.
What?
should have liked him a
lot.
JUSTIN, ^turning and peering off down l; dryly') Women usually did. CARLA. It's odd— I feel sorry for Elsa. In that picture in there she looks so
young and alive— and
when my
now— there's no
life left in her. I
think
it
died
father died.
JUSTIN, ^sitting below Carla on the bench) Are you casting her as Juliet?
CARLA.
You
JUSTIN. No.
don't?
(He
smiles')
I'm your mother's man.
CARLA. You're very faithful, aren't you?
(jusTiN looks JUSTIN,
(fl/ter
a pause)
I
Too
faithful,
maybe.
at Carla)
don't really quite
know what
we're talking about.
CARLA. prising; matter-of-fact) Let's get back to business. Your part
is
look hard for discrepancies— flaws— you've got to be very legal and tute.
JUSTIN. Yes, ma'am.
to as-
GO BACK FOR MURDER
6lO
MEREDrm
(yoices of the others arriving can he heard off up c, with ing them)
(He CARLA.
Here they
rises)
I'll
greet-
are.
go and meet them.
(cARLA goes into the room and exits c. The lights slowly dim to blackout, JUSTIN moves down l, then a spotlight comes up revealing his face. He acts as compere)
Now,
JUSTIN.
we
are
all
we
are
here.
all
ready?
We want
ings of sixteen years ago.
impress on you once more
I will just
to reconstruct, as far as
We
shall
endeavour
each person or persons to recount in turn their on,
we
do
to
own
why
can, the happenthis,
part in
by asking what went
and what they saw, or overheard. This should make an almost con-
tinuous picture. Sixteen years ago.
We
shall start
on the afternoon of
the sixteenth of August, the day before the tragedy took place, wdth a conversation that
Mr
Meredith Blake had with Caroline Crale in the
garden room. Out here on the terrace, Elsa Greer was posing for
Amyas Crale who was
painting her.
Greer's narrative,
the arrival of Philip Blake, and so on.
to
From
that
we
shall
go on to Elsa
Mr
Meredith Blake, will you begin?
CThe
spotlight fades.
MEREDITH.
was the afternoon of the sixteenth of August, did you say? was. I came over to Alderbury. Stopped in on my way to
It
Yes, yes,
Meredith's voice can he heard in the darkness)
it
Framley Abbott. Really
them
give
a lift— they
been cutting
room
.
.
roses,
could pick any of them up later to
were coming over
and when
I
to
me
for tea. Caroline
had
opened the door into the garden
.
CThe LIGHTS come is
to see if I
up.
It is
a glorious, hot summer's day. Caroline crale
standing in the french windows looking on to the terrace. She car-
ries
a trug with
roses, etc.,
and wears gardening
ELSA poses on the hench, facing
AMYAS CRALE
c.
gloves.
She wears a yellow
On
the terrace,
shirt
and hlack
on a stool c, facing l, hefore his easel, painting Elsa. His painthox is on the ground helow him. He is a hig, handsome man, wearing an old shirt and paint-stained slacks. There is
shorts.
is
Seated
a trolley l of the terrace with various hottles and glasses, including a hottle of heer in an ice-hucket. In the room, a landscape now hangs in place of the portrait,
meredith
enters
up c)
ACT TWO
621
Hullo, Caroline.
CAROLINE, churning) Merry! C^he crosses to the stool, removes her gloves and puts them in the trug)
MEREDITH,
(^closing the
door) How's the picture going?
french windows and looks out) stool
and
(He
smells the rose)
CAROLINE. Merry, do you think
MEREDITH. No, no,
Amyas
It's
a nice pose.
takes a rose from the trug)
Harkness."
'puts
(He
(He
What
the trug on
it,
crosses to the
ntoves to l of the
have
we
here? "Ena
My word, what a beauty.
Amyas
really cares for that girl?
You know what
he's just interested in painting her.
is.
CAROLINE, emitting in the armchair r) This time I'm afraid, Merry. I'm nearly thirty, you know.
We've been married over
six years,
and
in
looks, I can't hold a candle to Elsa.
MEREDITH, (replacing the rose in the trug and moving above the of Caroline) That's absurd, Caroline.
stool to
l
You know
that
Amyas
her and bending over her) I'm
still
devoted to you,
is
really
devoted to you and always will be.
CAROLINE. Does One ever
MEREDITH, (close
to
know with men?
Caroline.
CAROLINE, (affectionately) Dear Merry. (She touches his cheek) You're so
sweet
(There I
long to take a hatchet to that
is
a pause)
girl.
She's just helping herself to
my
husband in the coolest manner in the world. MEREDITH. My dear Caroline, the child probably doesn't realize in the least what she's doing. She's got an enormous admiration and hero worship for Amyas and she probably doesn't understand at all diat he's
maybe
falling in love
with her.
(CAROLINE looks pityingly CAROLINE. So there really are people
who
at
him)
can believe
six impossible things
before breakfast.
MEREDITH.
I don't understand. CAROLINE, (rising and crossing to l of the stool) You live in a nice world all your own. Merry, where everybody is just as nice as you are. (She looks at the roses. Cheerfully) My "Erythina Christo Galli" is in wonderful bloom this year. (She crosses to the french windows
and
goes on to the terrace)
GO BACK FOR MURDER
622
Cmeredith follows Caroline on
Come and
to the terrace')
it before you go into Framley Abbott. CShe crosses to end of the pergola) MEREDITH. Just you Wait till you see my "Tecoma Grandiflora". (He moves to Caroline) It's magnificent
see
the wpstage
(CAROLINE futs her
fingers to her lifs to quieten
Meredith)
CAROLINE. Ssh!
MEREDITH. What? (He looks through one of the arches of the fergola Elsa and Amyas) Oh, man at work. (CAROLINE and meredith
No—no, wait.
hy the upstage end of the pergola)
must have a break There—oh, well, if you must.
ELSA. Cstretching herself)
amyas.
exit
I
(elsa
(He
rises)
takes a cigarette from a packet in the paintbox,
Can't you stay
still
for
more than
five
ELSA. Five minutes! Half an hour. (Sfce to
at
and
lights it)
minutes?
moves down
l,)
Anyway,
I've got
change.
AMYAS. Change? Change what?
Change out of this. (Sfee crosses above Amyas and stands behind him) We're going out to tea, don't you remember? With Meredith
ELSA.
Blake.
AMYAS.
Q^if^cibly)
What
ELSA. (leaning over
you
a damned nuisance. Always something. Amyas and putting her arms around his neck)
AMYAS. (looking up
at her)
My tastes
are simple.
(As though qtwting)
pot of paint, a brush and thou beside me, not able to
minutes
.
(They both
.
sit still
laugh, elsa snatches
Amyas'
cigarette
and
About Caroline. Telling her about
AMYAS. (easily) Oh,
straightens
ELSA. But,
Amyas
.
.
us.
.
(CAROLINE enters dovm
l.)
up)
I said?
shouldn't worry your head about that just yet
I
A
for five
.
ELSA. (drawing on the cigarette) Have you thought about what AMYAS. (resuming painting) What did you say?
ELSA.
Aren't
sociable!
ACT TWO
623
CAROLINE. Merry's gone into Framley Abbott for something, but he's coming back here. (Sfee crosses helow the bench towards the french winr
dows^ I must change. AMYAS. Cwithout looking at her') You look all right. CAROLINE. I must do something about my hands, they're gardening. Are you going to change, Elsa? (elsa returns the cigarette ELSA. (^insolently) Yes. (She
moves
to
been
Amyas)
to the french
(philip enters
filthy. I've
windows)
wp c)
CAROLINE, (moving into the room) Philip!
The
train
must have been on
time for once.
Celsa comes into the room)
This
is
Meredith's brother Philip— Miss Greer.
elsa. Hullo. I'm
ofiE
to change.
Celsa crosses and
eodts
uf c)
CAROLINE. Well, Philip, good journey? (She kisses him)
How
are you all? (She gestures towards the terrace) Amyas is out there on the terrace. I must clean up, forgive me. We're going over to
PHILIP.
Not
CAROLINE.
too bad.
Oh— fine.
Merry's to
tea.
(CAROLINE smiles and exits wp c. philip closes the door after her, then wanders on to the terrace and stands in front of the bench)
AMYAS. (looking up and smiling) Hullo,
Phil.
Good
to see you.
What
a
summer. Best we've had for years. PHILIP, (crossing helow
Amyas
AMYAS. Yes. I'm on the
last lap.
to
PHILIP, (looking at the painting)
r)
Can
I
look?
Wow!
AMYAS. (stubbing out his cigarette) Like it? Not that you're any judge, you old Philistine. PHILIP. I buy pictures quite often. AMYAS. (looking up at him) As an investment? To get in on the ground floor? Because somebody tells you So-and-so is an up-and-coming man? (He grins) 1 know you, you old money hog. Anyway, you can't buy this. It's
pmup.
not for
sale.
She's quite something.
GO BACK FOR MURDER
624 AMYAS. (looking
Somerimes
I
She
at the portraW)
wash
I'd
certainly
PHILIP, (taking a cigarette from his case) D'you
me you
said.
Remember what
serious")
remember when you
were painting her? "No personal
told
(Suddenly
is.
never seen her.
I
said?
(He
interest in her,"
first
you
grins) 'Tell that to the Marines."
AMYAS. (overla'pfing) "Tell that to the Marines." All right— all right. So you were clever, you cold-blooded old fish. (He rises, crosses to the trolley,
and opens
takes the bottle of heer from the ice-hucket,
it)
Why don't you get yourself a woman? (He 'pours the heer) No
PHILIP.
Amyas, AMYAS.
time for 'em.
It's all
(He
lights his cigarette)
And
if
I
were you,
very well for you to
talk. I just can't leave
women
alone.
grins suddenly)
How about
PHILIP.
(He
wouldn't get tied up with any more.
I
Caroline? Is she cutting
What do you
up rough?
(He takes his glass, crosses to the hench and sits on the downstage end) Thank the Lord you've turned up, Phil. Living in this house with four women on your neck is enough to drive any man to the loony bin.
AMYAS.
think?
PHILIP. Four?
AMYAS. There's Caroline being bloody way. Elsa, being just plain bloody
There's
Angela,
to Elsa in a well-bred, polite sort of to Caroline.
Cphilip
sits
on the
hating
my
guts
easel stool)
because
at
last
I've
persuaded
Caroline to send her to boarding-school. She ought to have gone years ago. She's a nice kid, really, but Caroline spoils her, to
rim wild. She put a hedgehog in
my
bed
and
she's inclined
weeL
last
(philip laughs)
Oh, lot
yes, very
funny—but you wait
of ruddy prickles.
erness.
Hates
me
And
then
till
lastly,
you ram your but not
like poison. Sits there at
feet
down on
leastly, there's
meals with her
a
the gov-
lips set to-
gether, oozing disapproval.
MISS WILLIAMS,
(off;
down l) Angela, you must
ANGELA, (off) Oh, I'm all right PHILIP. They seem to have got you
MISS WILLIAMS, (off) You're not Blake in those jeans.
AMYAS. Nil desperanduml
(He
down
all right.
drinks)
get changed.
a bit
You
can't
go out to tea with
Mr
ACT TWO (ANGELA
ANGELA
C«s she enters)
fulls
him
down l)
Merry wouldn't mind.
to his feet)
(miss WILLIAMS entcrs
enters
625
and
(iShe crosses to Philip
Hullo, Philip.
down l and
crosses
above the bench
to the
french
windows) MISS WILLIAMS. Good aftcmoon, ney down from London? PHILIP. Quite good, thank you.
Mr
Blake. I
hope you had a good
Cmiss WILLIAMS gocs into the room, sees the trug on the stool, ficks returns to the terrace and exits by the garden door uf l) ANGELA, (crossing to L of Amy as) You've got paint on your AMYAS. (rubbing a fainty hand on his other ear) Eh?
ANGELA, (delighted)
Now
it
uf,
ear.
He
you've got paint on both ears.
jour-
can't go out
to tea like that, can he?
AMYAS. I'll go out to tea with ass's ears if I like. ANGELA, (putting her arms around Amyas's neck from behind and mocking him) Amyas is an AMYAS. (chanting) Amyas
ass! is
Amyas
an
is
an
ass!
ass.
(miss v^mLLiAMS enters wp l and moves
MISS WILLIAMS.
Comc
french windows)
to the
along, Angela.
(ANGELA jumps ovcr the bench and runs
to the easel)
ANGELA. You and your stupid painting. (Vindictively) I'm going to write
"Amyas is an ass" all over your picture down, grabs a brush and proceeds to rub
in scarlet paint. it
(She bends on the pal-
in the red paint
ette)
(amyas rises quickly, puts his glass downstage ANGELA and grabs her hand before she has time amyas.
If
you.
of the bench, crosses to to
damage the picture)
you ever tamper with any picture of xmnQ— (seriously)
Remember that (He
picks
up a
piece of rag
I'll kill
and cleans the
brush)
ANGELA. You're just
like
Caroline—she's always saying,
people— but she never does, why, she won't even I
"I'll
kill
lull
you"
wish you'd hurry up and finish painting Elsa— then she'd go away.
PHILIP. Don't you like her?
to
wasps. (Sulkily
GO BACK FOR MURDER
626 ANGELA.
I
imagine
I can't
(pHiLiP and I
No.
Csnap'pily')
tMrws)
think she's a terrible bore. C^he crosses to l and
why Amyas
AMYAS exchange
has her here.
suppose she's paying you a terrible
lot of
crosses to Angela")
money
for painting her,
is
Amyas?
she,
AMYAS.
arm around Angela's shoulders and guiding her
(jputting his
wards the french windows')
Go and
train
tomorrow, and good riddance.
turns
down
(ANGELA
hits
ANGELA.
AMYAS ow
I
hate
to school if
Mind
puts
it
you—I
QHe
gives her a 'playful shove
the hack.
He
and
on the hench,
collapses
his chest)
me away
(He
up
crosses to the hench, picks
the glass
and
trolley)
ANGELA. You just want .
and
turns
hate you. Caroline would never have sent
the beer.
.
to-
your packing. Four-fifteen
wasn't for you.
it
on the
-rii-ru
finish
stage)
and she pommels
PHILIP.
amyas
looks,
to get rid of
me. You wait—I'll get even with you
.
MISS WILLIAMS. C^^ith shoTp authority) Angela! Angela, come along. ANGELA, (near to tears; sulkily) Oh, all right (She runs into the room) (miss WILLIAMS follows Angela into the room, elsa enters up
c. She has changed into a dress and looks ravishing. Angela gives Elsa a venomous look and runs out up c. miss Williams follows Angela off, and
closes the door)
amyas.
and
up)
(sitting
Wham! Why
didn't
you stand up
me? I'm black
for
blue.
PHILIP, (leaning against the downstage
blue? You're
all
end of the pergola) Black and
the colours of the rainbow.
(elsa wanders on
to the terrace
and moves down
You've got enough paint on you to
.
.
.
(He
c,
heside the easel)
breaks off as he sees
Elsa)
amyas. Hullo,
Elsa. All dolled
up? You'll knock poor old Merry
all
of a
heap. PHILIP,
(dryly)
helow the
Yes—I— I've been admiring
easel to
elsa. I shall be glad
r of
it
when
and looks
it's
the
picture.
(He
crosses
at the portrait)
finished. 1 loathe
having
to sit
still.
Amyas
ACT TWO
627 and doesn't hear you when
grunts and sweats and bites his brushes
you speak to him. AMYAS. Q^layfully^ All models should have Celsa crosses and
(He
sits
out
helow Aniyas on the hencK)
looks af-praisingly at her)
fields to
their tongues cut
Anyway, you
can't
walk
across the
Merry's in those shoes.
ELSA. (turning her foot this
He's coming
to fetch
me
way and
that; demurely') I shan't
need
to.
in his car.
AMYAS. Preferential treatment, eh? (He grins) You've certainly got old Merry going. How do you do it, you little devil? ELSA. (playfully) I don't know what you mean.
(amyas and elsa
are immersed in each other, philep crosses to the french
windows) them) I'll go and have a vrash. AMYAS. (not hearing Philip; to Elsa) Yes, you do. You know damn well what I mean. (He moves to kiss Elsa's ear, realizes Philip has said something and turns to him) What?
PHILIP, (as he passes
PHILIP, (quietly)
A wash.
(pHiLip goes into the room and exits up
AMYAS. (lauding) Good old Phil. and crossing helow the
ELSA. (rising aren't
AMYAS.
c, closing the
easel to
r) You're very fond of him,
you?
Known him
my life.
all
He's a great guy.
ELSA. (turning and looking at the portrait)
AMYAS. Don't pretend you've any
know nothing
at
that paint
artistic
I
don't think
a bit like me.
it's
judgement, Elsa.
(He
rises)
You
all.
ELSA. (quite pleased)
(amyas
door "behind him')
How rude you are.
Are you going out
to tea
with
all
on your face?
crosses to the painthox, takes
AMYAS. Here, clean
me
oflF
up a piece
of rag
and moves
to Elsa)
a bit
(elsa takes the rag and rubs his face) Don't put the turps in elsa. Well, hold
waist)
still.
my
eye.
(After a second she puts hoth her arms around his
Who do you
love?
628
GO BACK FOR MURDER
AMYAS. C«ot -moving;
quietly')
Caroline's
room
faces this
way— so
does
Angela's. I want to talk to you about Caroline. AMYAS. ^taking the rag and sitting on the stool) Not now. I'm not in the
ELSA.
mood. ELSA.
It's
AMYAS.
no good putting
We
(^grinning)
it ofF.
She's got to
know sometime,
hasn't she?
could go off Victorian fashion and leave a note on
her pin-cushion. ELSA. (jnoving between
Amyas and
the easel)
But we've got
you'd like to do.
to
I
what and aboveboard
believe that's just
be absolutely
fair
about the whole thing.
AMYAS. ELSA.
Hoity-toity!
Oh, do be
AMYAS.
I
am
serious.
Now, mind
(He
yourself.
ELSA. (^moving r)
I
around) AMYAS. Cahsorhed in
When
a lot of fuss
and scenes and
hysterics.
pushes her gently aside)
why much
there should be scenes
don't see
Caroline should have too
ELSA.
want
serious. I don't
-painting)
dignity
and pride
and hysterics. (She fivots
for that.
Should she? You don't know Caroline.
a marriage has gone wrong,
it's
only sensible to face the fact
calmly.
AMYAS. (turning
to look at her)
me and
Caroline loves ELSA. (^moving
down r)
Advice from our marriage counsellor.
she'll kick
If
up the
hell of a row.
she really loved you, she'd want you to be
happy.
AMYAS. (grinning) With somebody stick a knife into
else? She'll probably poison
you and
me.
ELSA. Don't be ridiculous! AMYAS. (wiping his hands and nodding
at the picture)
Well,
that's that.
Nothing doing until tomorrow morning. (He drops the rag, rises and moves to Elsa) Lovely, lovely Elsa. (He takes her face in his hands) What a lot of bloody nonsense you talk. (He kisses her)
(ANGELA rushes
in
AMYAS break race
and looks
up
c,
apart, off
runs on to the terrace and
miss willli\ms enters up
exits c,
down
goes on
l.
elsa and
to the ter-
l)
MISS wncLLiAMs. (calling) Angela! AMYAS. (crossing down l) She went this-a-way. Shall I catch her for you? MISS WILLIAMS, (vioving down lc) No, it's all right. She'll come back of
ACT TWO her
own
629
accord as soon as she sees nobody
paying any
is
attention to
her.
Celsa goes into the room,
^ks wp a magazine from the sofa and sits in the armchair r)
AMYAS. There's something in
that.
MISS WILLIAMS. Shc's young for her age, you know. Growing up difficult business.
Angela
is
AMYAS. (moving up l) Don't
much
is
a
at the prickly stage.
talk to
me
of prickles.
Reminds me too
of that ruddy hedgehog.
MISS WILLIAMS. That was very naughty of Angela.
AMYAS. (moving to the french windows^ Sometimes I wonder how you can stick her. MISS WILLIAMS, (turning to face Amyas") I can see ahead. Angela will be a fine
AMYAS. to
woman one
I still
c of
day,
and
(He
goes into the
room and
crosses
it)
Cmiss WILLIAMS movcs ELSA. (in a whisper")
AMYAS.
a distinguished one.
say Caroline spoils her.
Who can
Did she
to the
french windows and listens^
see us?
say? I suppose I've got lipstick
on
my
face
now
as well
as paint
Camyas glances off l and exits quickly up c. miss williams comes the room and tnoves above the stool, uncertain whether to go or She decides to stay) miss wolliams. You haven't been over
to
Mr
into not.
Blake's house yet, have you.
Miss Greer? ELSA. (flatly) No.
miss WILLIAMS.
It's
a delightful walk there.
You can go by
the shore or
through the woods.
(CAROLINE and philip enter up then goes
to the
closes the door
CAROLINE. Are ELSA.
we
He needn't
and looks all
c.
Caroline glances around the room,
french windows and looks on
ready?
at the carved
Amyas
to the terrace,
philip
head on the table up lc)
has gone to clean the paint
Artists aren't like other people.
(CAROLINE pays no attention
to
Elsa)
oflF
himself.
GO BACK FOR MURDER
630
CAROLINE. Cloving to the armchair
You
l; to Philif')
haven't been
here since Merry started on his Hly pond, have you, Phil? QShe PHILIP. Don't think
down
sits^
so.
ELSA. People in the country talk of nothing but their gardens.
(There
is
a pause. Caroline takes her spectacles from her handbag and
puts them on. philip looks at Elsa, and then
sits
on the
stool facing
the head)
CAROLINE,
(jto
Miss Williams') Did you ring up the vet about Toby?
MISS viTELLiAMS. Yes, Mis Cralc. He'll come CAROLINE, (to Philip)
Do you hke
first
thing tomorrow.
that head, Phil?
Amyas bought
it last
month. PHILIP. Yes.
It's
good.
CAROLINE, (searching in her handbag for her cigarettes) It's the work of a young Norwegian sculptor, Amyas thinks very highly of him. We're thinking of going over to ELSA.
That
doesn't
CAROLINE. Doesn't ELSA.
it,
You know very
to
visit
him.
(miss WILLIAMS goes
mind—
very cryptic. Miss Williams, would you
my cigarette case— (she indicates and and
next year to
likely.
well.
How
CAROLINE, (lightly)
Norway
me very Elsa? Why?
seem
the table rc)
to the table rc, picks
it's
up the
on that Htde
cigarette case,
table.
opens
it
offers a cigarette to Caroline, philip takes out his cigarettes, rises
offers
them
(She takes a mind?
to
Caroline)
from her own case)
cigarette
I
prefer these—do
(miss WILLIAMS moves to the table up lc and puts the case on lights Caroline's cigarette,
then takes one of his
ovm and
it.
you
philip
lights it)
and moving below the stool) This would be quite a good was properly fixed. All this htter of old-fashioned stufiE cleared out
ELSA. (rising
room
if
it
(There CAROLINE.
We like
it
as
is
a pause, philip looks at Elsa)
it is. It
holds a
ELSA. (loudly and aggressively) this
lot
When
of memories.
I'm Hving here
I shall
rubbish out.
(philip crosses
to
Elsa and offers her a cigarette)
throw
all
ACT TWO
631
No, thank you. (PHiLiP crosses to r) Flame-coloured curtains,
think— and one of those French wallwould be rather striking?
I
Philif^ Don't you think that
(To
papers.
CAROLINE, (evenly') Are you thinking of buying Alderbury, Elsa?
me to buy it What do you mean? Must we pretend? (She moves c) Come now,
ELSA. It won't be necessary for CAROLi>fE.
ELSA.
perfecdy well what
I
Caroline, you
know
mean.
I've no idea. Oh, don't be such an ostrich, burying your head in the sand and pretending you don't know all about it. (She turns, moves to r of the stool, tosses the magazine on to the armchair r and moves up r) Amyas and I love each other. It's his house, not yours.
CAROLINE.
I
you
assure
ELSA. (aggressively)
(ANGELA runs on down
And
Oh,
much for
french windows, stops outside and
after we're married I shall live here
CAROLINE, (angrily) ELSA.
l, crosses to the
philip and miss williams are frozen)
listens,
I
no, I'm not.
simpler
you
to
if
with him.
think you must be crazy.
(She
sits
on the sofa
at the left
end)
It will
be
we're honest about it There's only one decent thing
do—give him
his freedom.
CAROLINE. Don't talk nonsense! ELSA. Nonsense,
Camyas CAROLINE.
is it?
Ask him.
enters u-p c. angela, unseen, exits hy the door
I will.
amyas. (after a
Amyas, Elsa says you want slight pause; to Elsa)
to
Why
marry
her. Is
it
up
iJ)
true?
the devil couldn't you hold
your tongue?
CAROLINE.
Is
it
true?
(amyas, leaving the door open, crosses
to the
magazine and
amyas.
We don't have to talk about
CAROLINE. But ELSA.
It's
only
we
(She
rises
and
now. (He looks
are going to talk about
fair to
CAROLINE, (icily)
it
I
Caroline to
tell
armchair
r, picks
up the
sits)
it
at the
magazine)
now.
her the truth.
don't think you need bother about being fair to me.
crosses to
Amyas)
Is it true,
Amyas?
GO BACK FOR MURDER
632 Camyas AMYAS. (to
looks
hunted and glances from Elsa
Is it true?
AMYAS. Cdefiantly) All
don't
I
You
see?
enough.
right. It's true
(elsa
But
Caroline^
Women.
Philip')
CAROLINE. Cfuriously')
ELSA.
to
rises,
triumfhant)
want to talk about it now. It's no good your adopting a dog-in-the-manger
attitude.
These things happen. It's nobody's fault One just has to be rational about it. CShe sits on the stool, facing uf stage) You and Amyas will always be good friends,
CAROLINE, ^crossing ELSA.
to the
hope.
I
door wp c)
Good
Over
friends!
dead body.
his
What do you mean?
CAROLINE, ^turning in the open doorway) fore I'd give
CcAROLiNE
him up
up
exits
C'''ising
and
I
mean
that I'd kill
There
a frozen silence, miss
is
l, picks
it
crossing to the french
We'll have scenes and ructions and
up and
was
williams sees up c)
windows)
God knows
Now
you've done it
what.
ELSA.
to the
stands hehind the bench)
women
lot of
You
the pic-
french windows)
How
the hell can a
man
paint with a
buzzing about his ears like wasps.
think nothing's important but your painting.
AMYAS. (shouting) Nothing ELSA. Well,
I
think
it
is
to
me.
matters to be honest about things.
(elsa rushes angrily out up
AMYAS. Give
me
c.
amyas comes
into the
room)
a cigarette, Phil.
(pHiLiP offers his cigarettes and
(He
till
finished.
(elsa moves
(He
be-
exits hurriedly
ELSA. (rising) She had to know some time. amyas. (moving on to the terrace) She needn't have known ture
Amyas
you.
on the armchair
Caroline's hag
amyas.
c.
to
sits astride
the stool)
Women
are
amyas
all alike.
takes one)
Revel in scenes.
Why
the devil couldn't she hold her tongue? I've got to finish that picture, Phil.
It's
the best thing I've ever done.
And
a couple of
damn women
ACT TWO want
muck
to
633
up between them. (He
it
takes out his matches
and
lights his cigarette^
PHILIP. Suppose she refuses to give
you a divorce?
AMYAS. ^abstracted) What? PHILIP.
said— suppose Caroline refuses to divorce you. Suppose she digs
I
her toes
in.
AMYAS. Oh, that. Carohne would never be vindictive. (He tosses the S'pent match out of the french windows) You don't understand, old boy. PHILIP.
And
the child. There's the child to consider.
AMYAS. Look, raven,
Phil, I
know you mean well, but don't go on croaking like a my own affairs. Everything will turn out all
can manage
I
right, you'll see.
PHILIP. Optimist!
(MEREDITH
enters
up
c, closing
the door behind him)
MEREDITH. Qcheerily) Hullo, Phil. Just got down from London? CTo Amyas) Hope you haven't forgotten you're all coming over to me this afternoon. I've got the car here. I thought Caroline and Elsa might prefer it to walking this hot weather. (He crosses to lc) AMYAS. C^ising) Not Caroline and Elsa. If Caroline drives Elsa will walk, and if Elsa rides, Caroline will walk. Take your pick. (He goes on to the terrace, sits on the stool and busies himself with painting) MEREDITH. C^tartled) What's the matter with him? Something happened?
PHILIP.
It's
just
come out
MEREDITH. What? PHILIP. Elsa broke the
news
to Caroline that
she and
Amyas planned
to
marry. CMaliciously) Quite a shock for Caroline.
MEREDITH. No! You'ie joking! (pHiLip shrugs, moves
to the
armchair
r,
picks
up
the magazine,
sits
and
reads)
(He
goes on to the terrace and turns to
Amyas) Amyas! You— this— it
can't be true? I don't know yet what you're talking about. WTiat MEREDITH. You and Elsa. Caroline . AMYAS. ^cleaning his brush) Oh, that.
AMYAS.
.
MEREDITH. Look here, Amyas, you fatuation, break tive
.
.
can't
be true?
.
can't just for the sake of a
up your whole married
life. I
know
.
AMYAS. Cgrinning) So you've noticed
that,
have you?
sudden
in-
Elsa's very attrac-
GO BACK FOR MURDER
634 MEREDITH.
helow Amyos
CcTossifig
derstand a
like Elsa
girl
much concerned) I can man over, yes, but
you know. She might regret
fcer— she's very young,
on. Can't
to r;
quite un-
bowling any
it
think of
bitterly later
you pull yourself together? For little Carla's sake? and now, and go back to your wife.
Make
a
clean break here
(amyas
(He crosses know it AMYAS.
(jafter
looks wjp thoughtfully)
hench and turns) Believe me,
to the
the right thing. I
it's
a fause; quietly) You're a good chap, Merry. But you're
too sentimental.
MEREDITH. Look
down
AMYAS. Well,
MEREDITH.
I
wanted
C