The Mousetrap and Other Plays (19 page)

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
LENNOX
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
.)