The Mousetrap and Other Plays

by Agatha Christie

  RAYMOND. You see—she’s not very strong. She’s got a bad heart. We—we have to take care of her.

  SARAH. You seem a very devoted family.

  RAYMOND. (Turning away Left Centre) Oh, yes, we are a very devoted family.

  SARAH. Well, don’t sound so depressed about it. I’m sure it’s a very nice thing to be.

  RAYMOND. (Moving to Left of the table Centre) Oh, how I wish . . . I can’t say what I want to say. (Desperately) I’ve no time. And I may never have the chance of talking to you like this again.

  SARAH. Why ever not? You’re not leaving Jerusalem at once, are you?

  RAYMOND. No, but—my mother doesn’t like us talking to people outside the family.

  SARAH. But how absurd.

  RAYMOND. Yes, that’s what it must seem like—just absurd.

  SARAH. I’m sorry if I was rude. I know it’s awfully difficult sometimes for parents to realize that their children are grown up—and, of course, if your mother isn’t very strong . . . (She hesitates) But still, you know, it’s a pity to give in. One must stand up for one’s rights.

  RAYMOND. You don’t understand.

  SARAH. Even if it seems unkind one must be free to live one’s own life.

  RAYMOND. Free? None of us will ever be free.

  SARAH. What do you mean?

  RAYMOND. We’re not free.

  SARAH. Why don’t you leave home?

  RAYMOND. Because I wouldn’t know where to go or what to do. Oh, you don’t understand. None of us has ever left home. We’ve never been to school, we’ve never had any friends. We’ve no money.

  (The lift descends and the door opens.)

  SARAH. I suppose you could make some money.

  RAYMOND. How?

  (NADINE enters from the lift. The door closes and the lift ascends. SARAH and RAYMOND watch NADINE as she moves Left of RAYMOND.)

  NADINE. Mother is asking for you, Ray.

  RAYMOND. (Starting nervously) I’ll go.

  NADINE. Won’t you introduce me?

  RAYMOND. (To SARAH) This is my sister-in-law—Nadine.

  NADINE. (To SARAH) You were on the train last night, I think.

  SARAH. Yes. (To RAYMOND) I was just going out for a stroll. Why don’t you come?

  RAYMOND. I—come with you?

  NADINE. I think that’s a very good idea, Ray.

  RAYMOND. Oh. Yes, I’ll come.

  (SARAH and RAYMOND exit up Right. COPE enters up Right and passes them as they go.)

  COPE. (Crossing and standing down Right of the table Centre) Why, Nadine, all alone?

  NADINE. (Moving below the table Centre) I came down to fetch Mrs. Boynton’s spectacles. (She picks up the spectacles from the table Centre.) Here they are. (She turns to go.)

  COPE. Are you going up with them right away?

  NADINE. (Turning to him) Yes—Mrs. Boynton is waiting.

  COPE. (Moving to Right of her) I feel, you know, that you ought to think more of yourself. I don’t think Mrs. Boynton always realizes . . . (He breaks off.)

  NADINE. (With a queer smile) What doesn’t Mrs. Boynton always realize?

  COPE. Well, that you have—lives of your own.

  NADINE. (Bitterly) Lives of our own!

  COPE. (Anxiously) You—you know what I mean?

  NADINE. (With sudden warmth) You are such a nice person.

  (The lift descends and the door opens.)

  COPE. You know there’s nothing—at any time—that I wouldn’t do for you. (He takes her hand.)

  (LENNOX enters from the lift and stands watching.)

  (He looks at LENNOX, releases NADINE’s hand and steps away from her. Hurriedly) Excuse me. I’ll be going up to my room now.

  (COPE crosses and exits to the lift. The door closes and the lift ascends.)

  LENNOX. (Moving to left of NADINE) Nadine, why have you been so long? Where’s Raymond? Mother’s getting impatient.

  NADINE. (Crossing below him to Left centre) Is she?

  LENNOX. Yes. (Nervously) Please, Nadine—come up to her.

  NADINE. I’m coming.

  LENNOX. But where’s Ray?

  NADINE. Ray has gone out for a walk.

  LENNOX. (Astonished) For a walk! By himself?

  NADINE. No, with a girl.

  LENNOX. With a girl?

  NADINE. (Bitterly) Does that surprise you so much? (She moves to Left of him) Don’t you remember how once you sneaked out of the house and went to Fountain Springs—to a roadhouse? Do you remember, Lennox?

  LENNOX. Of course I do—but we must go up to Mother.

  NADINE. (With sudden vehemence) Lennox—let’s go away.

  LENNOX. What do you mean?

  NADINE. I want to live my own life—our own lives—together.

  LENNOX. I don’t understand what you mean. (He looks nervously towards the lift.) Mother will be getting so upset.

  NADINE. Stop looking at that lift. Stop thinking about your mother. I want you to come away with me. It’s not too late.

  LENNOX. (Without looking at her; unhappy and frightened) Please, Nadine. Don’t let’s talk like this. (He crosses below her to Left.) Must we go into it all again?

  NADINE. (Following him) Let’s go away, Lennox, let’s go away.

  LENNOX. How can we? We’ve no money.

  NADINE. You can earn money.

  LENNOX. How can I earn money? I’m untrained—unqualified.

  NADINE. I could earn enough for both of us.

  LENNOX. (His voice rising) It’s impossible—hopeless—(His voice trails away) hopeless.

  NADINE. (Moving Left Centre; bitterly) It’s our present life that is hopeless.

  LENNOX. I don’t know what you mean. Mother is very good to us. She gives us everything we want.

  NADINE. Except liberty.

  LENNOX. You must remember she’s getting old and she’s in bad health. When she dies Father’s money will come to us.

  NADINE. (Desperately) When she dies it may be too late.

  LENNOX. Too late for what?

  NADINE. Too late for happiness. (Appealingly) Lennox, I still love you. It’s not too late. Won’t you do what I ask?

  LENNOX. I—I can’t. It isn’t possible.

  (NADINE draws away. Her manner changes back to its usual quiet reserve.)

  NADINE. I see. So it’s up to me. To do—what I want to do—with my own life. (She goes on to the terrace.)

  (LENNOX follows NADINE and stands behind her. LADY WESTHOLME and the DRAGOMAN enter up Right. He is thrusting curios upon her notice. LADY WESTHOLME moves down Centre.)

  DRAGOMAN. (Moving to Right of LADY WESTHOLME) No other dragoman got anything like these. Very special—I make for distinguished English lady very special price. The owner, he friend of mine. I get them very cheap.

  LADY WESTHOLME. Now let us understand each other, Mahommed. (Forcefully) I don’t buy rubbish.

  DRAGOMAN. (Howling in anguish) Rubbish? (He holds up a long rusty nail.) The original nail from the toe of Balaam’s ass.

  (NADINE moves along the terrace to Right of it. LENNOX follows her.)

  LADY WESTHOLME. I said rubbish. If I want to buy anything I will inform you of the fact and I will allow you a reasonable commission. The truth is that you have imposed upon tourists too much. I am not a tourist, and I have a very good sense of values.

  DRAGOMAN. (With a sudden ingratiating smile) You very clever English high-up lady. Not want buy cheap junk. You want enjoy yourself, see sights. You like see Gilly-Gilly men? Bring chickens out of everywhere—(He demonstrates on her) out of sleeves, out of hat, out of shoes—everything. (He twiches and lifts her skirt.)

  LADY WESTHOLME. (Hitting him with her folded newspaper) Certainly not. (She crosses, sits in the chair down Right and reads her paper.)

  (The DRAGOMAN crosses and exits up Left. SARAH and RAYMOND enter up Right. RAYMOND carries a small parcel.)

  RAYMOND. (As they enter) There is a moon. I noticed it last night from the train.

  (NADINE turns from LEN
NOX and stands with her back to him.)

  SARAH. It really will be simply heavenly. That curly street and the gate where the donkeys were.

  (LENNOX moves to Centre of the terrace.)

  RAYMOND. (Carelessly) Hullo, Len. (To SARAH) This is my brother Lennox. (He crosses to the lift.)

  SARAH. (Hardly noticing LENNOX) How d’you do? (She follows RAYMOND to the lift.)

  (The ITALIAN GIRL rises and exits on the terrace to Right.)

  Could we go to that courtyard place outside the mosque, or is it shut at night?

  (RAYMOND rings the lift bell.)

  RAYMOND. We can easily find out.

  SARAH. I must get my camera—you think there’s enough light, still?

  (The lift descends and the door opens. MRS. BOYNTON enters from the lift, leaning on her stick. RAYMOND stands paralysed. SARAH is taken aback.)

  RAYMOND. I—I . . . (He breaks off.)

  SARAH. (Loudly and firmly) Won’t you introduce me to your mother?

  MRS. BOYNTON. Where have you been, Raymond?

  RAYMOND. I—went out . . .

  SARAH. Won’t you introduce me, Raymond?

  RAYMOND. This is Miss King, Mother.

  SARAH. How do you do?

  MRS. BOYNTON. How do you do? You were wanting the lift? (She moves aside.)

  (SARAH looks once at RAYMOND to see if he is resenting MRS. BOYNTON’s rudeness, then slowly exits to the lift. RAYMOND is staring at MRS. BOYNTON. The door closes and the lift ascends.)

  (She crosses to the chair above the table Centre) Who is that girl, Ray?

  RAYMOND. I—I told you. Sarah King.

  MRS. BOYNTON. Oh, yes, the girl you were talking to on the train last night. (She sits.)

  (RAYMOND moves to Left of MRS. BOYNTON. HIGGS enters on the terrace from Left and sits Right of the table under the sunshade.)

  Have you made plans to see her again?

  (RAYMOND stands like a prisoner in the dock and speaks like an automaton.)

  RAYMOND. Yes, we were going out together after dinner.

  MRS. BOYNTON. (Watching him) I don’t think, you know, she is quite our style. We’ll keep ourselves to ourselves. That’s the best way. (She pauses) You understand, Ray?

  (NADINE turns, moves in a little and watches. LENNOX relapses into complete vacancy.)

  RAYMOND. (Automatically) Yes.

  MRS. BOYNTON. (With authority) So you won’t be meeting her this evening.

  RAYMOND. No—no . . .

  MRS. BOYNTON. That’s quite settled, isn’t it?

  RAYMOND. Yes.

  MRS. BOYNTON. You’ll have nothing more to do with that girl?

  RAYMOND. No.

  (The lift descends and the door opens. SARAH enters from the lift and crosses to RAYMOND.)

  SARAH. I forgot my parcel. Oh. You’ve got it in your hand.

  (RAYMOND looks down, stares at the parcel, then hands it to SARAH without looking at her.)

  (She turns to go. Cheerfully) See you later.

  MRS. BOYNTON. You’d better explain to Miss King, Raymond.

  (SARAH stops and turns.)

  RAYMOND. (With clenched hands; stiffly) I’m so sorry, Miss King. I shan’t be able to go out this evening.

  (SARAH gives a quick glance towards MRS. BOYNTON.)

  SARAH. (Belligerently) Why not?

  (RAYMOND opens his mouth to speak, then shakes his head.)

  MRS. BOYNTON. My son prefers to remain with his family.

  SARAH. Can’t your son speak for himself?

  MRS. BOYNTON. Tell her, son.

  RAYMOND. I—I prefer to be with—with my family.

  SARAH. (Angrily) Really? What devotion! (With a contemptuous glance at RAYMOND, she crosses below the table Centre to LADY WESTHOLME.) Thank you for suggesting that I should come to Petra with your party, Lady Westholme. I should like to very much.

  LADY WESTHOLME. Excellent.

  (MRS. BOYNTON turns her head and looks at LADY WESTHOLME and SARAH. Her face shows no expression.)

  On Tuesday, then, ten o’clock. So pleased you are joining us, Miss King.

  (SARAH crosses and exits quickly to the lift. The door closes and the lift ascends. LADY WESTHOLME rises and follows SARAH to the lift, but the door closes as she arrives. She angrily rings the bell. MRS. BOYNTON continues to observe LADY WESTHOLME. HIGGS rises and moves to the desk.)

  LENNOX. (Moving Left Centre) Do you want to go up now, Mother?

  MRS. BOYNTON. What?

  LENNOX. Do you want to go up now?

  MRS. BOYNTON. Not just now. You and Ray go. I want my spectacles. You two go on. Nadine and I will follow.

  (LENNOX and RAYMOND move to the lift door. The lift descends and the door opens. LADY WESTHOLME, LENNOX and RAYMOND exit to the lift. The door closes and the lift ascends. MRS. BOYNTON smiles to herself, then turns her head and looks at NADINE.)

  HIGGS. (To the CLERK) ’Ere! What floor’s ’er ladyship goin’ oop to?

  CLERK. Second floor, sir.

  HIGGS. Ho! And another thing. I’m goin’ on this trip to Petra. There’s room in the car?

  CLERK. Yes, sir. I’ve a seat reserved for you.

  HIGGS. Ho! And is ’er ladyship comin’?

  CLERK. Yes, sir.

  HIGGS. Ho! Well, I’m not ridin’ on t’roof, see.

  (HIGGS exits up Right.)

  MRS. BOYNTON. Nadine.

  NADINE. (Moving to Right of MRS. BOYNTON) Yes, Mother?

  MRS. BOYNTON. My spectacles.

  (The lift descends and the door opens. COPE enters from the lift and goes to the desk.)

  NADINE. (Holding out the spectacles) They were on the table.

  MRS. BOYNTON. Don’t give them to me. Take them upstairs. And will you see that Jinny has some hot milk?

  NADINE. She doesn’t like hot milk.

  MRS. BOYNTON. It’s good for her. Go along, my dear. I’ll just have a little talk with your friend Mr. Cope.

  (NADINE exits to the lift. The door closes and the lift ascends.)

  COPE. (Moving Left Centre) Delighted, Mrs. Boynton.

  MRS. BOYNTON. Such a good daughter to me—quite like a real daughter. I don’t know what we should all do without Nadine.

  COPE. Yes, indeed, I can quite appreciate how you rely upon her.

  (The CLERK exits up Left.)

  MRS. BOYNTON. We’re a very devoted family.

  COPE. I know—I know . . .

  MRS. BOYNTON. (Looking sharply at him) What’s on your mind?

  COPE. Why—nothing.

  MRS. BOYNTON. Don’t mind saying it.

  COPE. Well—maybe you’ll think it great cheek on my part . . .

  MRS. BOYNTON. I like frankness.

  COPE. Well, frankly, then, I just wondered . . . Oh, don’t misunderstand me—I only meant that—well—one can shield people too much from the outside world.

  MRS. BOYNTON. You mean—(She smiles) I’m too fond of my children?

  COPE. Let’s say—you’re over-anxious about them. They—they’ve got to learn to stand on their own feet sometime, you know. (He sits Left of the table Centre.)

  MRS. BOYNTON. You’re probably quite right. That’s partly, you know, why I brought them abroad. I didn’t want them to become provincial. Travel, they say, broadens the mind.

  COPE. Yes, indeed.

  MRS. BOYNTON. It was very dull. (Reminiscently) Day after day—no savour to things. Yes, it was dull. (She chuckles) It’s not dull here.

  COPE. No, Jerusalem is a mighty interesting place.

  MRS. BOYNTON. And I’ve been thinking of what you said earlier—about Petra.

  COPE. Yes?

  MRS. BOYNTON. I feel—the children ought to see Petra.

  COPE. (Rising) Why, that’s grand. You’ll do as I suggested, split up. Someone’s got to stay and look after you, of course.

  MRS. BOYNTON. No, I’m going to Petra, too.

  COPE. Oh, but really, Mrs. Boynton, I don’t think you realize the difficulties. It’s right off the beaten track. Two long
days motoring and the last stage is on horses or mules.

  MRS. BOYNTON. I’m an old woman with many physical disabilities, but I don’t allow that to interfere with my—(She pauses) pleasures. These things can be arranged—by the expenditure of money. The last stage can be done in a carrying chair with bearers or a kind of litter.

  COPE. It sounds quite biblical.

  MRS. BOYNTON. Yes—quite biblical.

  COPE. But really, you know, I don’t think you’re wise. Your health isn’t too good, you know. Your heart . . .

  MRS. BOYNTON. I don’t take my heart into account when I’m planning a pleasure party for other people. It’s a bad plan to think too much of oneself. One should think of others. That’s settled, then?

  COPE. Well, I do really take my hat off to you, Mrs. Boynton. You’re the most unselfish woman. Always thinking of the youngsters.

  MRS. BOYNTON. It wouldn’t be the same for them if I wasn’t there. You’ll travel with us?

  COPE. Why, certainly, I shall be delighted.

  MRS. BOYNTON. That will give Nadine great pleasure, I’m sure. You’re very fond of Nadine, aren’t you?

  COPE. (Moving a little down Left; embarrassed) Well, I . . .

  MRS. BOYNTON. You’ll make the arrangements, won’t you?

  COPE. (Crossing up Right) Certainly. I’ll go and make enquiries now.

  (COPE exits Right. MRS. BOYNTON is left alone. Presently she begins to laugh, a silent laugh that shakes her like a jelly. Her face is malevolent and full of glee as—the Curtain falls.)

  CURTAIN

  ACT TWO

  Scene I

  SCENE: The Traveller’s Camp at Petra. Early afternoon, a week later. Fantastic scarlet rocks rise all round so that the stage has the appearance of an amphitheatre. On an upper level up Right there is a path, masked by rocks, giving access to a cave. An exit Right Centre leads to the sleeping tents. A slope of rock Left leads to the path out of the camp. Down Left is the entrance of a big marquee dining tent. A camp table and three chairs are set Left Centre, there is a camp armchair with a tea chest behind it down Left and a deckchair stands down Right. On the rock up Right, in front of the cave, are two camp stools.

  When the Curtain rises, RAYMOND is seated in the deckchair down Right, lost in thought. MRS. BOYNTON is sitting on a stool outside the cave on the rock up Right, her stick by her side, reading. She looks like a monstrous idol in a niche. The DRAGOMAN is standing Centre, looking benevolent. LADY WESTHOLME, MISS PRYCE and GERARD enter from the marquee Left. LADY WESTHOLME picks up a “Baedeker” from the table Left Centre and crosses to Right Centre. MISS PRYCE stands Left Centre. GERARD moves down Left.