The Mousetrap and Other Plays (26 page)

GERARD
. Yes.

RAYMOND
. You know, I think one can attach too much regard to life. Death isn't really as important as we make out. Sometimes, I think a sacrifice is really necessary.

GERARD
. You mean—the sacrifice of human life?

RAYMOND
. Yes.

GERARD
. It is expedient that one man should die for the people? Is that your idea?

RAYMOND
. Yes, there's a great truth there.

(
The
ARAB
BOY
enters on to the rock from Right and unsuccessfully tries to rouse
MRS
.
BOYNTON
.)

GERARD
. A man may lay down his life, that is one thing—to be forcibly deprived of it is another. I doubt if that has ever advanced human progress or human happiness.

RAYMOND
. (
Rising, excitedly
) I don't agree with you. It might be the only thing to do. There are deaths that would result only in good—deaths that would set people free—deaths that would save misery and disaster. The kind of death that would only mean advancing the clock a little. All that is needed is courage—yes, courage.

(
The
ARAB
BOY
comes down to
GERARD
and whispers in his ear.
GERARD
and the
ARAB
BOY
exit Right. During the ensuing lines,
GERARD
enters on to the rock from Right and bends over
MRS
.
BOYNTON
.
LADY
WESTHOLME
finishes her drink, rises and exits to the marquee.
LENNOX
enters Right and moves to
RAYMOND
.)

HIGGS
. (
To
RAYMOND
) Courage is a funny thing, young man. There's men as'll face machine guns and run from mother-in-law.

(
MISS
PRYCE
enters Right.
)

MISS
PRYCE
. Oh, I do hope you haven't been waiting for me.

HIGGS
. (
Rising and placing a chair for
MISS
PRYCE
) 'Ow's t'cadache? (
He pours a drink for
MISS
PRYCE
.)

MISS
PRYCE
. (
Crossing and sitting Right of the table
) Quite gone now, thank you.

HIGGS
. Sorry you 'ad ter come back this afternoon. (
He resumes his seat.
) But yer didn't miss mooch—except a bit of an argument with 'er 'oity-toityness and old father Abraham.

MISS
PRYCE
. Oh—what about?

HIGGS
. Everything. And she was always right and he was always wrong.

MISS
PRYCE
. And do you agree, Mr. Higgs?

HIGGS
. Ah doan't know. Ancient 'Istory isn't mooch in my line. I started at ten sixty-six and went t'other way.

(
SARAH
enters Right, crosses and stands above the table.
)

SARAH
. (
Yawning
) Ooh—I've been asleep.

HIGGS
. Pleasant dreams, I 'ope.

SARAH
. No dreams at all.

HIGGS
. Ah 'ad a peculiar dream once.

MISS
PRYCE
. Oh, do tell us, Mr. Higgs.

HIGGS
. (
Chuckling
) Ah dreamt there was three of me—and only one glass of beer.

MISS
PRYCE
. Oh, Mr. Higgs! Well, I really did have a peculiar dream once. I dreamed that I was going to tea with the Archbishop of Canterbury—so I took a ticket to Walham Green, of all places—and then I found I was in my nightdress.

(
GERARD
comes down from the rock to
LENNOX
.)

GERARD
. Mr. Boynton. I fear I have some very bad news for you. Your mother—(
He pauses
) is dead.

CURTAIN

ACT THREE

Scene I

SCENE
:
The same. The following morning.

When Curtain rises, the
DRAGOMAN
is asleep in the chair Right of the table. The
ARAB
BOY
enters from the marquee, sweeping a small pile of rubbish before him with a long broom. He is not looking where he is going, and the broom strikes the
DRAGOMAN
's feet. The
DRAGOMAN
wakes with a yell and chases the
ARAB
BOY
off Right.
SARAH
and
RAYMOND
enter down the slope Left during this and watch with amusement. They move down Centre as the
DRAGOMAN
and the
ARAB
BOY
exit to the marquee.

RAYMOND
. Is it true, Sarah? Is it really true? You
do
care for me?

SARAH
. Idiot!

(
RAYMOND
takes
SARAH
in his arms and they kiss.
)

RAYMOND
. (
Crossing below the table
) The whole thing is like a dream. It seems rather awful in a way—so soon after last night.

SARAH
. (
Moving to Right of him
) Don't be morbid. What's the good of hypocrisy?

RAYMOND
. All the same, you know, Sarah, it's rather dreadful to be
glad
anyone is dead.

SARAH
. Yes, I know. Your stepmother was not only an unpleasant woman, but a dangerous woman. It's a mercy she died as she did. Frankly, it's almost too good to be true.

RAYMOND
. I know. I feel the same. It's like coming out of the shadow into sunlight. (
In a soft voice
) We're—free.

SARAH
. It's terrible that one human being should have been able to acquire such power over others.

RAYMOND
. We shouldn't have let it happen.

SARAH
. My dear, you hadn't any choice. She started in on you as young children. Believe me, I do know what I'm talking about.

(
They lean on the downstage side of the table.
)

RAYMOND
. My learned physician.

SARAH
. (
Anxiously
) You don't mind my being a doctor, do you?

RAYMOND
. Of course not, darling. Who am I to mind?

SARAH
. Well, I rather imagined you were going to be my husband—but, of course, you haven't really asked me.

RAYMOND
. Sarah. (
He catches at her.
)

(
SARAH
eludes
RAYMOND
.
NADINE
and
LENNOX
enter Right. They look quietly happy.
)

NADINE
. Oh, there you are, Sarah. I wanted to see you. I have been talking to Doctor Gerard about Ginevra.

SARAH
. Yes?

NADINE
. We are arranging for her to go into his clinic near Paris for treatment.

SARAH
. Yes, indeed. Doctor Gerard is absolutely at the top of the tree as a psychiatrist. You couldn't have a better man. He's absolutely first-class.

NADINE
. He tells us that she will be absolutely all right—a perfectly normal girl.

SARAH
. I think so, too. There's nothing fundamentally in the least wrong with Jinny. It was sheer escapism that was driving her into fantasy. But fortunately it's not too late.

NADINE
. No, it's not too late. (
She looks up at the cave mouth.
) The shadow's gone.

LENNOX
. It's like waking up from a dream.

NADINE
. One just doesn't believe it can be true.

RAYMOND
. But it is. She can't harm us now. She can't stop us from doing what we want.

(
SARAH
and
RAYMOND
move slowly up Centre during the following speech.
)

(
Seriously
) Look here, Sarah, I've got to do something with my life. I've got to work at something—something that matters. And I don't even know what capabilities I've got—I don't know what I can do—I don't even know if I've got any brains at all.

(
SARAH
and
RAYMOND
exit up Left.
)

LENNOX
. (
Catching
NADINE
's
hand) Nadine. You aren't going to leave me?

NADINE
. You think not?

LENNOX
. I shan't let you go.

NADINE
. Why did you never say that before?

LENNOX
. Why? Why? I can't imagine. (
He crosses to Left.
) What's been the matter with me? Why couldn't I feel like I feel today? How did she do it? Why did she have that effect on me—on all of us? Just an ordinary, rather tyrannical old woman.

NADINE
. No, Lennox, she was more than that. She had—(
Gropingly
)
power.
There is such a thing as positive Evil. We've seen it in the world—working on nations. This was a small private instance that happened in a family—but it's the same thing—a lust for power, a delight in cruelty and torture . . . (
She breaks off.
)

LENNOX
. (
Tenderly
) Nadine—my dear. It's all over. We've escaped.

NADINE
. Yes, we've escaped. She can't harm us now.

(
COLONEL
CARBERY
enters on the rock from Right. He is a tall, middle-aged Englishman in uniform. He has a vacant face and seems the huntin', shootin' and fishin' type, but every now and then shows disturbing shrewdness. He is carrying a small sheaf of papers. He examines the stools on the rock, looks into the cave and makes some notes. The
DRAGOMAN
enters from the marquee.
)

DRAGOMAN
. (
Crossing to Left Centre
) Good morning, sir and lady. I hope you sleep well in spite of sad and tragic occurrence. Very old lady, heat too much for her. You try not grieve too much. You have very fine funeral in Jerusalem—very nice cemetery there, very expensive. I take you to high-class monumental shop, have very nice memorial. You have big stone angel with wings? Or big slab Jerusalem stone and very fine text from Bible. My friend he make you very special price if I ask him. He very big man—all best dead people go to him.

NADINE
. (
Indicating
CARBERY
) Who is that up there?

DRAGOMAN
. That Colonel Carbery. Carbery Pasha. Big man Transjordania. He head of Transjordanian police.

(
CARBERY
exits up Right.
)

NADINE
. (
Sharply
)
Police.

DRAGOMAN
. (
Smiling
) I send policeman off last night—made report. Any death got to be reported.

LENNOX
. Eh? Oh, yes, of course.

DRAGOMAN
. So Carbery Pasha he come himself, arrange everything. (
He beams.
) All ver' official and first-class.

LENNOX
. (
Slowly
) I think—I ought to go and speak to him.

NADINE
. Yes—yes. I'll come with you.

(
LENNOX
and
NADINE
cross and exit Right.
HIGGS
strolls on from the marquee.
)

HIGGS
. Ee, what's to do?

DRAGOMAN
. Make arrangements take back old lady's body. Get horses for others. We leave camp this afternoon.

HIGGS
. We do, do we? Ee, lad, I paid down me money for four days. I'll want a rebate on that.

DRAGOMAN
. Very sad circumstances alter cases.

HIGGS
. Ee, I've not noticed anybody looking sad.

(
LADY
WESTHOLME
and
MISS
PRYCE
enter Right.
LADY
WESTHOLME
crosses to Centre.
)

(
To
LADY
WESTHOLME
) This chap says we're going back this afternoon.

DRAGOMAN
. (
Moving between
LADY
WESTHOLME
and
MISS
PRYCE
) I take you two ladies and gentleman nice walk this morning. Show you interesting architecture and more maiden hairyfern. You see best of Petra before you go back.

LADY
WESTHOLME
. I think it would be extremely
bad taste
to go on an expedition this morning.

DRAGOMAN
. (
Concerned
) Something you eat taste bad? You tell Abraham. Abraham scold cook.

HIGGS
. No use kicking our heels here. Might as well do a bit of sightseeing. Coom on. (
He moves to Left of
LADY
WESTHOLME
and takes her arm.
)