The Mousetrap

DOCTOR. (robustly) No decent jury would ever have convicted her. (He moves and sitsLofKARLon the sofa) I told you so. You look half dazed still, Karl. Can’t you believe it yet? (He takes KARL affectionately by the shoulder) Karl, snap out of it. We’ve got our Lisa back again.

KARLturns sharply away.

Oh, I know—I’m clumsy—it takes a little time to get used to the joy.

LISAenters from her bedroom and comes into the room. She carries a hold-all which she puts on the floor upC. She avoids looking atKARLand stands upLC.

LISA. I’m going now.

DOCTOR. (rising) I’ll get a taxi for you.

LISA. (sharply) No—please—I’d rather be alone. (She turns away L)

TheDOCTORis slightly taken aback. She relents, moves to theDOCTORand puts her hands on his shoulders.

Thank you—for all your kindness—for all you did for Anya—you have been a good friend—I shall never forget.

LISAkisses theDOCTOR, picks up her hold-all and without once looking atKARLexits upCtoR.

DOCTOR. (moving toKARL) Karl—what does this mean. There is something wrong.

KARL. Lisa is going away.

DOCTOR. Yes, yes—temporarily. But—she is coming back.

KARL. (turning to face theDOCTOR) No, she is not coming back.

DOCTOR. (appalled) What do you mean?

KARL. (with complete conviction and force) She—is—not—coming—back.

DOCTOR. (incredulously) Do you mean—you have parted?

KARL. You saw her go—that was our parting.

DOCTOR. But—why?

KARL. She had had enough.

DOCTOR. Talk sense, man.

KARL. It’s very simple. She has suffered. She doesn’t want to suffer any more.

DOCTOR. Why should she suffer?

KARL. It seems—I am a man—who brings suffering to those who love him.

DOCTOR. Nonsense!

KARL. Is it? Anya loved me and she is dead. Helen loved me and she died.

DOCTOR. Did Lisa say that to you?

KARL. Yes. Am I such a man? Do I bring suffering to those who love me? What did she mean when she talked of fields of amaranth?

DOCTOR. Fields of amaranth. (He thinks for a moment, then recollects, moves to the tableRC, picks up the “Walter Savage Landor” and gives it toKARL) Yes, I was reading there. (He points to the quotation)

KARL. Please leave me.

DOCTOR. I’d like to stay.

KARL. I must get used to being alone.

DOCTOR. (moving upC, then hesitating and returning toKARL) You don’t think . . . ?

KARL. She will not come back.

TheDOCTORexits reluctantly upCtoR.

(He rises, crosses to the desk, switches on the desk light, draws the curtains, then sits at the desk and reads) “There are no fields of Amaranth this side of the grave. There are no voices, oh Rhodope, that are not soon mute, however tuneful: there is no name, with whatever emphasis of passionate love repeated, of which the echo is not faint at last . . .” (He puts the book gently on the desk, rises, picks up the record, goes to the record player, puts on the record, switches on, then goes slowly to the armchair and sinks into it) Lisa—Lisa—how can I live without you? (He drops his head into his hands)

The door upCopens slowly.LISAenters upC, moves slowly toRofKARLand puts her hand gently on his shoulder.

(He looks up at LISA) Lisa? You’ve come back. Why?

LISA. (kneeling atKARL’s side) Because I am a fool.

LISArests her head onKARL’s lap, he rests his head on hers and the music builds up as—

TheCURTAINfalls.

Go Back for Murder

Presented by Peter Saunders at the Duchess Theatre, London, on the 23rd March, 1960, with the following cast of characters:

(in the order of their appearance)

 

JUSTIN FOGG

Robert Urquhart

 

 

TURNBALL

Peter Hutton