The Mousetrap and Other Plays

by Agatha Christie

  KARL. Yes, yes. But I never gave her any reason to believe that I cared for her. I didn’t, Lisa, I swear I didn’t.

  LISA. I don’t suppose you did. She’s the type of girl who would assume that whatever she wanted must be so. (She moves to the armchair and sits)

  KARL. My poor, brave Anya.

  There is a long pause.

  LISA. What are you going to do about it?

  KARL. (surprised) Do?

  LISA. Aren’t you going to report it to the police?

  KARL. (startled) Tell the police?

  LISA. (still calm) It’s murder, you know.

  KARL. Yes, it was murder.

  LISA. Well, you must report what she said to the police.

  KARL. I can’t do that.

  LISA. Why not? Do you condone murder?

  KARL rises, paces up C, turns slowly to L, then crosses above the armchair to L of it.

  KARL. But I can’t let that girl . . .

  LISA. (restraining herself; calmly) We’ve come of our own accord, as refugees, to a country where we live under the protection of its laws. I think we should respect its law, no matter what our own feelings on the subject may be.

  KARL. You seriously think I should go to the police?

  LISA. Yes.

  KARL. Why?

  LISA. It seems to me pure common sense.

  KARL. (sitting at the desk) Common sense! Common sense! Can one rule one’s life by common sense?

  LISA. You don’t, I know. You never have. You’re softhearted, Karl. I’m not.

  KARL. Is it wrong to feel pity? Can mercy ever be wrong?

  LISA. It can lead to a lot of unhappiness.

  KARL. One must be prepared to suffer for one’s principles.

  LISA. Perhaps. That is your business. (She rises and crosses to L of the table RC) But other people suffer for them as well. Anya suffered for them.

  KARL. I know, I know. But you don’t understand.

  LISA. (turning to face KARL) I understand very well.

  KARL. What do you want me to do?

  LISA. I have told you. Go to the police. Anya has been murdered. This girl has admitted to murdering her. The police must be told.

  KARL. (rising and crossing above the armchair to C) You haven’t thought, Lisa. The girl is so young. She is only twenty-three.

  LISA. Whereas Anya was thirty-eight.

  KARL. If she is tried 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 again.

  LISA. No. Anya is dead.

  KARL. (crossing to the sofa and sitting) I wish you could see it my way.

  LISA. (moving to L of the sofa) I can’t see it your way. I loved Anya. We were cousins and friends. We went about as girls together. I looked after her when she was ill. I know how she tried to be brave, how she tried not to complain. I know how difficult life was for her.

  KARL. Going to the police won’t bring Anya back.

  LISA does not answer but turns and moves up RC.

  And don’t you see, Lisa, I’m bound to feel responsible myself. I must in some way have encouraged the girl.

  LISA. You didn’t encourage her. (She moves to L of the sofa and kneels, facing KARL) Let’s speak plainly. She did her utmost to seduce you, and failed.

  KARL. No matter how you put it, I feel responsible. Love for me was her motive.

  LISA. Her motive was to get what she wanted, as she always has got everything she wanted all her life.

  KARL. That’s just what has been her tragedy. She has never had a chance.

  LISA. And she’s young and beautiful.

  KARL. (sharply) What do you mean?

  LISA. I wonder if you’d be so tender if she were one of your plain girl students.

  KARL. (rising) You can’t think . . .

  LISA. (rising) What can’t I think?

  KARL. That I want that girl . . .

  LISA. (moving slowly down L) Why not? Aren’t you attracted to her? Be honest with yourself. Are you sure you’re not really a little in love with the girl?

  KARL. (crossing to R of LISA) You can say that? You? When you know—when you’ve always known . . . ? It’s you I love. You! I lie awake at nights thinking about you, longing for you. Lisa, Lisa . . .

  KARL takes LISA in his arms. They embrace passionately. There is a shadowy figure in the doorway up C. After a pause, the door closes with a bang. This makes KARL and LISA move apart and look at the door. They do not see who it was and the audience are left unaware of the identity of the eavesdropper. The lights BLACK-OUT as—

  The CURTAIN falls.

  Scene II

  SCENE: The same. Six hours later. Evening.

  When the CURTAIN rises, the lights come up a very little, leaving 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. I wonder . . .

  The DOCTOR switches on the lights by the switch L of the double doors, and he and KARL see LISA.

  DOCTOR. Lisa! Why are you sitting here in the dark?

  KARL goes to the desk chair and puts his coat over the back of it.

  LISA. I was just thinking.

  KARL sits in the armchair.

  DOCTOR. I met Karl at the end of the street and we came along together. (He puts his coat on the chair above the table RC) D’you know what I prescribe for you, Karl? A little alcohol. A stiff brandy, eh. Lisa?

  LISA makes a slight move.

  No—I know my way about. (He goes to the cupboard under the bookcase R, takes out a bottle of brandy and a glass, and pours a stiff drink) He’s had a shock, you know. A bad shock.

  KARL. I have told him about Helen.

  DOCTOR. Yes, he told me.

  LISA. It’s not been such a shock to you, I gather?

  DOCTOR. I’ve been worried, you know. I didn’t think Anya was a suicidal type and I couldn’t see any possibility of an accident. (He crosses to R of KARL and gives him the brandy) And then the inquest aroused my suspicions. Clearly the police were behind the verdict. (He sits L of LISA on the sofa) Yes, it looked fishy. The police questioned me fairly closely and I couldn’t help seeing what they were driving at. Of course, they didn’t actually say anything.

  LISA. So you were not surprised?

  DOCTOR. No, not really. That young woman thought she could get away with anything. Even murder. Well, she was wrong.

  KARL. (in a low voice) I feel responsible.

  DOCTOR. Karl, take it from me, you weren’t responsible in any way. Compared to that young woman you’re an innocent in arms. (He rises and moves up C) Anyway, the whole thing’s out of your hands now.

  LISA. You think he should go to the police?

  DOCTOR. Yes.

  KARL. No.

  DOCTOR. Because you insist on feeling partly responsible? You’re too sensitive.

  KARL. Poor wretched child.

  DOCTOR. (crossing above the armchair and standing down L) Callous, murdering little bitch! That’s nearer the mark. And I shouldn’t worry before you need. Ten to one it’ll never come to an arrest. (He crosses below KARL to RC) Presumably she’ll deny everything—and there’s got to be evidence, you know. The police may be quite sure who’s done a thing, but be unable to make out a case. The girl’s father is a very important person. One of the richest men in England. That counts.

  KARL. There I think you are wrong.

  DOCTOR. Oh, I’m not saying anything against the police. (He moves up C) If they’ve got a case they’ll go ahead, without fear or favour. All I mean is that they’ll have to scrutinize their evidence with extra care. And on the face of it there can’t really be much evidence, you know. Unless, of course, she breaks down and confesses the whole thing. And I should imagine she’s much too hard-boiled for that.

  KARL. She
confessed to me.

  DOCTOR. That’s different. Though as a matter of fact I can’t see why she did. (He moves and sits on the left arm of the sofa) Seems to me a damn silly thing to do.

  LISA. Because she was proud of it.

  DOCTOR. (looking curiously at her) You think so?

  KARL. It is true—that’s what is so terrible.

  The front door bell rings.

  Who can that be?

  DOCTOR. One of your boys or girls, I expect. (He rises) I’ll get rid of them.

  The DOCTOR exits up C to R. KARL rises and puts his glass on the desk.

  OGDEN. (off) Could I see Professor Hendryk, please?

  DOCTOR. (off) Would you come this way, please.

  The DOCTOR enters up C from R and stands to one side.

  It’s 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.

  OGDEN. (very pleasantly) I hope we’re not disturbing you, Professor Hendryk.

  KARL. (moving down L) Not at all.

  OGDEN. Good evening, Miss Koletzky. I expect you didn’t think you would see me again—but we have a few more questions to ask. It was an open verdict, you understand. Insufficient evidence as to how the deceased lady came to take the fatal dose.

  KARL. I know.

  OGDEN. Have your own ideas changed as to that, sir, since we first talked about it?

  KARL looks quickly at LISA. OGDEN and the SERGEANT note the look and exchange quick glances. There is a pause.

  KARL. (deliberately) They have not changed. I still think it must have been some sort of—accident.

  LISA turns away. The DOCTOR almost snorts and turns aside.

  OGDEN. But definitely not suicide.

  KARL. Definitely not suicide.

  OGDEN. Well, you’re quite right as to that, sir. (With emphasis) It was not suicide.

  KARL and LISA turn to OGDEN.

  LISA. (quietly) How do you know?

  OGDEN. By evidence that was not given at the inquest. Evidence as to the fingerprints found on the bottle containing the fatal drug—and on the glass, also.

  KARL. You mean . . . But they were my wife’s fingerprints, weren’t they?

  OGDEN. Oh, yes, sir. They were your wife’s fingerprints. (Softly) But she didn’t make them. (He moves the chair L of the table RC and sets it L of the sofa)

  The DOCTOR and KARL exchange looks.

  KARL. What do you mean?

  OGDEN. It’s the sort of thing that an amateur criminal thinks is so easy. To pick up a person’s hand and close it round a gun or a bottle or whatever it may be. (He sits on the chair he has placed C) But actually it’s not so easy to do.

  KARL sits in the armchair.

  The position of those fingerprints is such that they couldn’t have been made by a living-woman grasping a bottle. That means that somebody else took your wife’s hand and folded the fingers round the bottle and the glass so as to give the impression that your wife committed suicide. A rather childish piece of reasoning and done by someone rather cocksure of their own ability. Also, there ought to have been plenty of other prints on the bottle, but there weren’t—it had been wiped clean before your wife’s were applied. You see what that means?

  KARL. I see what it means.

  OGDEN. There would be no reason to do such a thing if it was an accident. That only leaves one possibility.

  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?

  KARL. (more to himself than OGDEN) You cannot know how incredible. My wife was a very sweet and gentle woman. It will always seem to me both terrible and unbelievable that anyone should have—killed her.

  OGDEN. You, yourself . . .

  KARL. (sharply) Are you accusing me?

  OGDEN. (rising) Of 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 your time is fully accounted for. (He resumes his seat) You left here in the company of Dr. Stoner and he states that there was no medicine bottle or glass on your wife’s table at that time. Between the time you left and the time Miss Koletzky says she arrived here and found your wife dead, every moment of your time is accounted for. You were lecturing to a group of students at the university. No, there is no suggestion of your having been the person to put the fingerprints on the glass.

  The DOCTOR moves down L.

  What I am asking you, sir, is whether you have any idea yourself as to who could have done so?

  There is quite a long pause. KARL stares fixedly ahead of him.

  KARL. (presently) I—(He pauses) cannot help you.

  OGDEN rises and as he replaces the chair beside the table, he exchanges glances with the SERGEANT, who moves to the door down R.

  OGDEN. (moving C) You will appreciate, of course, that 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 rises.

  My wife’s bedroom—(He indicates the door down R) is through there.

  OGDEN. Thank you.

  KARL. Miss Koletzky has been sorting through her things.

  LISA crosses to the door R and opens it. OGDEN and the SERGEANT exit down R. LISA turns and looks at KARL, then exits down R, closing the door behind her.

  DOCTOR. (moving 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 to put them on her track. They’ll get her soon enough without my help.

  DOCTOR. I’m not so sure of that. And it’s all high-falutin’ nonsense. (He sits in the armchair)

  KARL. She didn’t know what she was doing.

  DOCTOR. She knew perfectly.

  KARL. She didn’t know what she was doing because life has not yet taught her understanding and compassion. (He moves above the armchair)

  LISA enters down R, closing the door behind her.

  LISA. (moving RC; to the DOCTOR) Have you made him see sense?

  DOCTOR. Not yet.

  LISA shivers.

  You’re cold.

  LISA. No—I’m not cold. I’m afraid. (She moves towards the doors up C) I shall make some coffee.

  LISA exits up C. The DOCTOR rises and moves below the sofa.

  KARL. (moving down L of the armchair) I wish I could get you and Lisa to see that revenge will not bring Anya back to life again.

  DOCTOR. (moving up LC) And suppose our little beauty goes on disposing of wives that happen to stand in her way?

  KARL. I will not believe that.

  The SERGEANT and OGDEN enter down R. The sergeant stands above the table RC and OGDEN stands down R.

  OGDEN. I gather some of your wife’s clothing and effects have already been disposed of?

  KARL. Yes. They were sent off to the East London Mission, I think.

  The SERGEANT makes a note.

  OGDEN. (moving to R of the sofa) What about papers, letters?

  KARL. (crossing to the table RC) I was going through them this morning. (He indicates the little drawer) Though what you expect to find . . .

  OGDEN. (evading the issue; vaguely) One never knows. Some note, a memorandum set down . . .

  KARL. I doubt it. Still, look through them, of course, if you must. I don’t expect you’ll find . . . (He picks up a bundle of letters tied with ribbon) Will you need these? They are the letters I wrote to my wife many years ago.

  OGDEN. (gently) I’m afraid I must just look through them. (He takes the letters from KARL)

  There is quite a pause, then KARL turns impatiently towards the doors up C.

  KARL. I shall b
e in the kitchen if you want me, Inspector Ogden.

  The DOCTOR opens the right half of the doors up C. KARL exits up C. The DOCTOR follows him off, closing the door behind him. OGDEN moves to R of the table RC.

  SERGEANT. Do you think he was in on it?

  OGDEN. No, I don’t. (He starts to go through the papers in the drawer) Not beforehand. Hadn’t the faintest idea. I should say. (Grimly) But he knows now—and it’s been a shock to him.

  SERGEANT. (also going through the papers, etc., in the drawer) He’s not saying anything.

  OGDEN. No. That would be too much to expect. Doesn’t mean to be much here. Not likely to be, under the circumstances.

  SERGEANT. If there had been, our Mrs. Mop would have known about it. I’d say she was a pretty good snooper. That kind always knows the dirt. And did she enjoy spilling it!

  OGDEN. (with distaste) An unpleasant woman.

  SERGEANT. She’ll do all right in the witness-box.

  OGDEN. Unless she overdoes it. Well, nothing additional here. We’d better get on with the job. (He moves to the doors up C, opens one and calls) Will you come in here, please. (He moves below the armchair)

  LISA enters up C and moves down C. The DOCTOR enters up C and moves down R of the sofa. KARL enters up C and stands up L of the sofa. The SERGEANT moves to the doors up C, closes them and stands in front of them.

  Miss Koletzky, there are some additional questions I would like to ask you. You understand that you are not forced to answer anything unless you please.

  LISA. I do not want to answer any questions.

  OGDEN. Perhaps you’re wise. Lisa Koletzky, I arrest you on the charge of administering poison to Anya Hendryk on March the fifth last—

  KARL moves to R of LISA.

  —and it is my duty to warn you that anything you say will be taken down and may be used in evidence.

  KARL. (horror struck) What’s this? What are you doing? What are you saying?

  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 arrest Lisa, you can’t, you can’t. She’s done nothing.

  LISA. (gently pushing KARL away; in a loud, clear, calm voice) I did not murder my cousin.

  OGDEN. You’ll have plenty of opportunity to say everything you want, later.

  KARL, losing restraint, advances on OGDEN but the DOCTOR holds his arm.