The Mousetrap and Other Plays (88 page)

NEVILE
. (
Angrily.
) Stop that, Kay.

KAY
. (
Moving on to the rostrum.
) That's what she is. A crafty, cunning, scheming, little . . .

NEVILE
. (
Moving to Kay and gripping her arms.
) Stop it!

KAY
. (
Releasing herself.
) Leave me alone! (
She moves slowly to
L
.
of the chaise.
) What the hell
do
you want?

NEVILE
. (
Turning and facing upstage.
) I can't go on. I'm every kind of worm you like to call me. But it's no good, Kay. I can't go on. (
Kay sits on the chaise. He turns.
) I think—really—I must have loved Audrey all the time. I've only just realized it. My love for you was—was a kind of madness. But it's no good—you and I don't
belong.
It's better to cut our losses. (
He moves above the chaise to
R
.
of it.
)

KAY
. (
In a deceptively quiet voice.
) What exactly are you suggesting, Nevile?

NEVILE
. We can get a divorce. You can divorce me for desertion.

KAY
. You'd have to wait three years for it.

NEVILE
. I'll wait.

KAY
. And then, I suppose, you'll ask dear, sweet, darling Audrey to marry you all over again? Is
that
the idea?

NEVILE
. If she'll have me.

KAY
. She'll have you all right. And where do I come in?

NEVILE
. Naturally, I'll see you're well provided for.

KAY
. (
Losing control of herself.
) Cut out the bribes. (
She rises and moves to Nevile.
) Listen to me, Nevile. I'll
not
divorce you. (
She beats her hands against his chest.
) You fell in love with me and you married me and I'm not going to let you go back to the sly little bitch who's got her hooks into you again.

NEVILE
. (
Throwing Kay on to the chaise.
) Shut up, Kay. For God's sake. You can't make this kind of scene here.

KAY
. She meant this to happen. It's what she's been playing for. She's probably gloating over her success now. But she's not going to bring it off. You'll see what I can do. (
She flings herself on the chaise in a paroxysm of hysterical sobbing. Nevile gives a despairing gesture. Treves enters by the French windows and stands watching. At the same moment there is a brilliant flash of lightning, a rolling peal of thunder and the storm bursts as—the curtain falls.
)

CURTAIN

ACT TWO

Scene I

SCENE
:
The same. Early the following morning.

When the curtain rises, it is a fine morning with the sun streaming in through the bay window. The French windows are open. The butler's tray has been removed. The room is empty. Royde enters by the French windows. He is sucking at his pipe which appears to have become stopped up. He looks around for an ashtray, sees one on the coffee table, moves to it and knocks out the ashes from his pipe. Finding it is still stopped up, he takes a penknife from his pocket and gently probes the bowl. Treves enters down
L
.

TREVES
. Good morning, Thomas.

ROYDE
. (
Moving above the coffee table.
) 'Morning. Going to be another lovely day by the look of it.

TREVES
. Yes. (
He goes on to the
L
.
end of the rostrum and looks out of the window.
) I thought possibly the storm might have broken up the spell of fine weather, but it has only removed that oppressive heat—which is all to the good. (
He moves to the
R
.
end of the rostrum.
) You've been up for hours as usual, I presume?

ROYDE
. Since just after six. Been for a walk along the cliffs. Only just got back, as a matter of fact.

TREVES
. Nobody else appears to be about yet. Not even Miss Aldin.

ROYDE
. Um.

TREVES
. Possibly she is fully occupied attending to Lady Tressilian. I should imagine she may be rather upset after that unfortunate incident last night. (
He moves to
L
.
of the chaise.
)

ROYDE
. (
Blowing down his pipe.
) Bit of a rumpus, wasn't there?

TREVES
. (
Moving down
R
.) You have a positive genius for understatement, Thomas. That unpleasant scene between Nevile and Kay . . .

ROYDE
. (
Surprised.
) Nevile and
Kay
? The row
I
heard was between Nevile and Lady Tressilian.

TREVES
. (
Moving
R
.
of the chaise.
) When was this?

ROYDE
. Must have been about twenty past ten. They were going at it hammer and tongs. Couldn't help hearing. My room's practically opposite hers, you know.

TREVES
. (
Moving above the chaise, troubled.
) Dear, dear, this is news to me.

ROYDE
. Thought that was what you meant.

TREVES
. (
Moving to
R
.
of Royde.
) No, no, I was referring to a most distressing scene that took place in here earlier, to part of which I was a reluctant witness. That unfortunate young woman—er—Kay, had a fit of violent hysterics.

ROYDE
. What was the row about?

TREVES
. I'm afraid it was Nevile's fault.

ROYDE
. That doesn't surprise me. He's been behaving like a damn fool. (
He moves on to the rostrum.
)

TREVES
. I entirely agree. His conduct has been most reprehensible. (
He sighs and sits on the chaise.
)

ROYDE
. Was—Audrey mixed up in the row?

TREVES
. She was the cause of it. (
Kay enters quickly
L
.
She looks subdued and tired. She carries her handbag.
)

KAY
. Oh! Good—good morning.

TREVES
. (
Rising.
) Good morning, Kay.

ROYDE
. Good morning.

KAY
. (
Moving
L
.
C
.;
nervous and ill at ease.
) We're—we're the only ones up, aren't we?

TREVES
. I think so. I haven't seen anyone else. I breakfasted in—er—solitary state.

ROYDE
. Haven't had mine yet. Think I'll go and hunt some up. (
To Kay.
) Have you had breakfast?

KAY
. No. I've only just come down. I—I don't want any breakfast. I feel like hell.

ROYDE
. Um—could eat a house, myself. (
He crosses below Kay to the door
L
.) See you later. (
Royde exits
L
.)

KAY
. (
With a step or two towards Treves, after a slight pause.
) Mr. Treves—I—I'm afraid I behaved—rather badly last night.

TREVES
. It was very natural that you should be upset.

KAY
. I lost my temper and I said a lot of—of foolish things.

TREVES
. We are all apt to do that at times. You had every provocation. Nevile was, in my opinion, very much to blame.

KAY
. He was led into it. Audrey's been determined to cause trouble between Nevile and me ever since we came here.

TREVES
. (
Moving above the coffee table.
) I don't think you're being quite fair to her.

KAY
. She planned this, I tell you. She knows that Nevile's always—always felt guilty at the way he treated her.

TREVES
. (
Moving to
R
.
of Kay.
) No, no, I'm sure you're wrong.

KAY
. No, no, I'm not wrong. You see, Mr. Treves, I went over it all in the night, and Audrey thought that if she could get us all here together and—(
She crosses to
R
.
of the coffee table.
) and pretend to be friendly and forgiving that she could get him back. She's worked on his conscience. Pale and aloof—creeping about like a—like a grey ghost. She knew what effect
that
would have on Nevile. He's always reproached himself because he thought he'd treated her badly. (
She sits on the chaise.
) Right from the beginning—or nearly the beginning—Audrey's shadow has been between us. Nevile couldn't quite forget about her—she was always there at the back of his mind.

TREVES
. You can hardly blame her for that.

KAY
. Oh, don't you
see?
She
knew
how Nevile felt. She
knew
what the result would be if they were thrown together again.

TREVES
. I think you are giving her credit for more cunning than she possesses.

KAY
. You're all on her side—all of you.

TREVES
. My dear Kay!

KAY
. (
Rising.
) You'd
like
to see Nevile go back to Audrey. I'm the interloper—I don't
belong
—Nevile said so last night and he was right. Camilla's always disliked me—she's put up with me for Nevile's sake. I'm supposed to see everyone's point of view but my own. What I feel or think doesn't matter. If
my
life is all smashed up it's just too bad, but it doesn't matter. It's only
Audrey
who matters.

TREVES
. No, no, no.

KAY
. (
Her voice rising.
) Well, she's not going to smash up my life. I don't care what I do to stop it, but I will. I'll make it impossible for Nevile to go back to her. (
Nevile enters
L
.)

NEVILE
. (
Taking in the situation.
) What's the matter
now?
More trouble?

KAY
. What do you expect after the way you behaved last night? (
She sits on the chaise and takes a handkerchief from her bag. Treves moves on to the
R
.
end of the rostrum.
)

NEVILE
. (
Crossing slowly and standing up
L
.
of Kay.
) It was you who made all the fuss, Kay. I was prepared to talk the matter over calmly.

KAY
. Calmly! Did you imagine that I was going to accept your suggestion that I should divorce you, and leave the way clear for Audrey, as if—as if you were inviting me to—to go to a dance? (
Treves crosses to the
L
.
of the rostrum.
)

NEVILE
. No, but at least you needn't behave in this hysterical fashion when you're staying in other people's houses. For goodness' sake control yourself and try to behave properly.

KAY
. Like
she
does, I suppose?

NEVILE
. At any rate, Audrey doesn't make an exhibition of herself.

KAY
. She's turning you against me—just as she intended.

NEVILE
. Look here, Kay, this isn't Audrey's fault. I told you that last night. I explained the situation. I was quite open and honest about it.

KAY
. (
Scornfully.
) Open and honest!

NEVILE
. Yes. I can't help feeling the way I do.

KAY
. How do you suppose I feel? You don't care about that, do you?

TREVES
. (
Moving down
C
.
and interposing.
) I really think, Nevile, that you should very seriously consider your attitude in this—er—matter. Kay is your wife. She has certain rights of which you cannot deprive her in this—this cavalier manner.

NEVILE
. I admit that, but—I'm willing to do the—the right thing.

KAY
. The
right
thing!

TREVES
. Furthermore it is hardly the—er—proper procedure to discuss this under Lady Tressilian's roof. It is bound to upset her very seriously. (
He crosses below Nevile to
L
.
of Kay.
) My sympathies are entirely with Kay, but I think you
both
have a duty to your hostess and to your fellow guests. I suggest that you postpone any further discussion of the matter until your visit here has terminated.

NEVILE
. (
A little shamefacedly.
) I suppose you're right, Mr. Treves—yes, of course, you're right. I'm willing. What do you say, Kay?

KAY
. As long as Audrey doesn't try and . . .

NEVILE
. (
Sharply.
) Audrey hasn't tried anything.

TREVES
. (
To Kay.
) Ssh! I think, my dear, you would be well advised to agree to my suggestion. It is only a question of a few more days.

KAY
. (
Rising, ungraciously.
) Oh, very well then. (
She moves to the French windows.
)