The Mousetrap

Written by Copter

Based on "The Mousetrap" by Agatha Christie

PITCH BLACK:

INT. MONKSWELL MANOR

The music of "Three Blind Mice" is heard. The music fades and
we hear a voice on the radio reporting the news.

RADIO
The crime took place at 24 Culver
Street, Paddington. The murdered
woman was Mrs. Maureen Lyon. In
connection with the murder, the
police saw a suspect in the
vicinity wearing a dark overcoat,
light scarf, and a soft felt hat.

The darkness fades away revealing a radio. Mollie Ralston

enters the scene. She is a tall pretty young woman with an
innocent air to her. She is in a slight hurry. She puts down
her handbag and gloves and switches the radio channel.

RADIO (CONT'D)
Motorists are warned against ice-
bound roads. The heavy snow is
expected to continue throughout
the country.

Mollie switches off the radio. And she goes to hang her
overcoat over the coat hanger.

MOLLIE
(rubbing her hands)
Brr! It's cold.

Mollie draws the curtains and moves to the sofa and switches
on the table lamp. She notices the sign on the couch. She
picks it and hangs it where it's supposed to go. She steps
back.

Mollie hurries into another room. Giles Ralston walks in the

house. He is Mollie's husband. He is rather arrogant but
attractive. He takes off his dark overcoat, light scarf, and
felt hat.

GILES
Mollie? Mollie, where are you?

Mollie enters and walks to Giles

 2.

MOLLIE

Doing all the work you brute.

GILES
Hello sweetheart. Your nose is
cold.

MOLLIE
I just came in.

GILES
Why? Where have you been? Surely
you weren't out in this weather?

MOLLIE
I had to go down to the village
for some stuff that I'd
forgotten. Did you get the
chicken netting?

GILES
They didn't have the right kind.
I went all around but didn't find
any. Basically wasted a whole
day. (rubbing his hands) I'm half
frozen.

MOLLIE
If only our heater wasn't broken.
(she points at the heater)

GILES
(checking out the
heater)
Not good. They hadn't sent us the
fuel for this thing.

MOLLIE
(panicking/stressed)
I really want this to go well.
First impressions are so
important. Giles, do you think
we'll be alright?

GILES
We'll be fine.

MOLLIE
Talking about guesthouse, look at
that! (she points at the sign)
 3.

GILES
Pretty good right? Wait. It's
missing an S. How did that
happen. Monkwell is a pretty good
name anyway.

MOLLIE
You're a DISGRACE. Go and stoke
up the central heating.

Giles exits the room. Mollie walks to the radio and switches
it on.

RADIO
The crime took place at 24 Culver
Street, Paddington. The murdered
woman was Mrs. Maureen Lyon. In
connection with the murder, the
police- Mollie walks to Giles
overcoat and scarf.

RADIO
- saw a suspect in the vicinity
wearing a dark overcoat - Mollie
picks up Giles' overcoat.

RADIO
- light scarf - Mollie picks up
his scarf.

RADIO
- and a soft felt hat - Mollie
picks up his hat. The doorbell
rings.

RADIO
Motorists are warned against ice-
bound roads. The heavy snow is
expected to continue throughout
the country.

Mollie walks to the door to greet the guest. Christopher Wren

enters. He is a wild looking neurotic young man. His hair is
long and untidy and wears an artistic tie. He has a childish
manner. They walk into the living room.

CHRISTOPHER
The weather is just awful. My
taxi gave up at your gate. Are
you Mrs. Ralston? So delightful.
My name is Wren.
 4.

MOLLIE
How are you doing Mr. Wren?

CHRISTOPHER
You know, you're not like how I
imagined at all. I thought you
would be an old retired widow who
was really mean. I thought the
place would be so.. Anyways this
is lovely! But that is fake
(points at a table) Oh! But this
is genuine. (walks over to a
different table) Well, do you
have a sideboard?

MOLLIE
Yes, we have it in the dining
room.

CHRISTOPHER
What a shame, why don't you just
place the sideboard in the main
room? Little tables spoil the
effect.

Giles enters the room.

MOLLIE
We thought that guests would
prefer them. This is my husband.

CHRISTOPHER
(moving to Giles and
shaking his hands)
How do you do? Terrible weather
isn't it? Of course, Mrs.
Ralston, you were right about the
little tables. I was just getting
carried away by my feelings.

GILES
(disliking him)
I'll take your suitcase upstairs
for you. (he takes the suitcase
and leaves the scene)

CHRISTOPHER
I don't think your husband is
going to like me. How long have
you been married?
 5.

MOLLIE
We've been married for only a
year. Would you like to go up to
see your room?

CHRISTOPHER
(sits on the couch)
I think people are so
interesting. You can never know
what one is thinking about. Do
you know what I'm thinking of
right now?

MOLLIE
Not in the slightest.

CHRISTOPHER
I'm an architect. My parents
named me Christopher in hopes I
would become the great
Christopher Wren! You know, the
famous architect. Sir Christopher
Wren.

Giles walks into the room.

CHRISTOPHER (CONT'D)
(to Giles)
I'm going to love it here! I find
your wife very interesting!

GILES
(coldly)
Indeed.

CHRISTOPHER
(looking at Mollie)
And very beautiful.

MOLLIE
(hastily)
Oh, don't be absurd. Let's go see
your room now.

Mollie leads Christopher up to his room. Giles stays

downstairs. The doorbell rings once. Then it rings again and
again repeatedly. Giles walks up to open the door.

Mrs. Boyle is carrying a suitcase, some magazines and her

gloves. She is a large, imposing woman in a very bad temper
 6.

MRS. BOYLE
This is Monkswell Manor, correct?

GILES
Yes ma'am

MRS. BOYLE
I am Mrs. Boyle.

GILES
I'm Giles Ralston. Awful weather,
isn't it? Is this your only
luggage?

MRS. BOYLE
A Major - Metcalf, I think? Is
seeing to it.

GILES
I'll leave the door open for him.

Mrs. Boyle hands him her coat and gloves.

MRS. BOYLE
We had to share the taxi here.
Nothing was ordered to meet us it
seems.

GILES
My apologies Mrs. Boyle. My wife
will be down any minute now. I'll
go help the Major with the bags.

Mollie walks down to the living room, a little breathless.

MRS. BOYLE
Mrs. Ralston?

MOLLIE
Yes, I.. (She puts out her hand,
then draws it back, uncertain
what guest house proprietors
should be doing.)

MRS. BOYLE
(displeasured)
Quite inexperienced I see. You're
quite young to be running this
type of establishment.

Mollie tries to defend herself.

 7.

MRS. BOYLE (CONT'D)

This is an old house. I hope you
haven't got dry rot.

GILES
(voice)
This way major.

Giles and Major Metcalf walks in. MAJOR METCALF is a

middleaged, square-shouldered man, very military in manner
and bearing. Mollie walks up to meet him.

GILES (CONT'D)
This is my wife.

MAJOR METCALF
Good evening. Absolute blizzard
outside.

GILES
I'll take these up (picking up
their cases) Major?

MAJOR METCALF
(instinctively the
soldier)
Yes sir!

Giles and Major Metcalf go upstairs.

MRS. BOYLE
Do you have maids working here?

MOLLIE
No Mrs. Boyle. It's just us.

MRS. BOYLE
I would say that proper staff of
maids are essential to running a
place like this.

CHRISTOPHER WREN walks in humming a nursery rhyme.

CHRISTOPHER
I love nursery rhymes. They are
so tragic and... MACABRE.

MOLLIE
May I introduce. Mr. Wren - Mrs.
Boyle.

CHRISTOPHER bows.
 8.

MRS. BOYLE
How do you do?

CHRISTOPHER
This is a VERY beautiful house,
don't you think?

MRS. BOYLE
I had expected better. A
guesthouse fully equipped with
every home comfort.

Giles walks downstairs.

GILES
There's no reason for you to stay
here, Mrs. Boyle. I could ring up
the taxi to return.

MRS. BOYLE
I am not leaving until I've tried
what this place is like. Mrs.
Ralson, would you like to show me
up to my room?

MOLLIE
Certainly, Mrs. Boyle.

Mrs. Boyle walks upstairs and Mollie and Giles celebrate.

Mollie follows her up.

CHRISTOPHER
I don't like her at all.

GILES
Me too.

The door bell rings.

GILES (CONT'D)
(sighs)
There's another one.

GILES goes to open the door. CHRISTOPHER moves to the sofa

and sits.

GILES (CONT'D)
Come in. Come in.

MISS CASEWELL enters. She is a young woman of a manly type,

and carries a case. She has a long dark coat, a light scarf
and no hat
 9.

MISS CASEWELL
(masculine voice)
I'm afraid my car got stuck in
the snow half a mile down the
road.

GILES
Let me take this. (He takes her
case) Any more stuff in the car?

MISS CASEWELL
No, I travel light.

GILES
I'm Giles Ralston. This is Mr.
Wren, and you are Miss -

MISS CASEWELL
Casewell.

GILES
My wife will be here very soon.

MISS CASEWELL
I'm not in a hurry. Weather
forecasts say heavy fall is
expected. Hope you've plenty of
food stocked up.

GILES
Oh yes. My wife is great at
managing. Anyway, we can always
eat our hens.

MISS CASEWELL
Before we start eating each
other, eh?

She laughs and throws her overcoat at GILES. Who catches it

and sets it aside. She sits down and pulls out a paper.

CHRISTOPHER
Any news aside from the weather?

MISS CASEWELL
The usual politics. Oh yes, a
juicy murder!

CHRISTOPHER
A murder?
 10.

MISS CASEWELL
(hands him the paper)
Strangled a woman to death.

GILES
Who was the murdered woman?

CHRISTOPHER
Mrs. Maureen Lyon.

Mollie walks down.

GILES
Here's Miss Casewell. This is
Mollie, my wife.

MISS CASEWELL
How do you do? (She shakes
Mollie's hands vigorously)

MOLLIE
It's an awful night. Would you
like to come up to your room?

GILES and MOLLIE takes MISS CASEWELL upstairs. CHRISTOPHER

rises and makes an exploration. He chuckles to himself,
giving the impression that he is slightly unhinged mentally.
GILES and MOLLIE walks down the stairs talking. CHRISTOPHER
hides behind the curtains.

MOLLIE (CONT'D)
I'm worried about cooking dinner
tonight. Mrs. Boyle is so..
Annoying!

CHRISTOPHER
(comes from behind
the curtains)
Let me help with cooking! I love
cooking.

MOLLIE
Oh OK. Come on.

MOLLIE and CHRISTOPHER go to the kitchen. GILES sits down on

the couch and imitates CHRISTOPHER. He picks up the
newspaper. He reads it with full attention. He jumps as
MOLLIE returns and speaks.

MOLLIE (CONT'D)
Isn't he sweet? He told me to
leave everything to him.
 11.

GILES
I'd say he's... "special".

MOLLIE
Giles!

GILES
All our guests are "unique"

The door bell rings.

MOLLIE
Who can that be?

GILES
Probably the Culver Street
Murder.

MOLLIE
(angry)
Stop that!

GILES goes to open the door. MR. PARAVICINI enters. He is

foreign and dark and elderly with a rather flamboyant
moustache.

PARAVICINI
What a fortune! Madame! (He goes
over to MOLLIE and kisses her
hand)

PARAVICINI (CONT'D)
(mysteriously)
Such a fortune. A guest house! My
Rolls-Royce has run into a
snowdrift. I thought to myself,
perhaps, I shall freeze to death.
I staggered through the snow and
ended up here!
(mischievously)
What a wonderful place.
(changing his tone)
I can have a room, yes?

GILES
Oh yes.. What about your luggage?

PARAVICINI
It's in the car. I've locked it
securely.
 12.

GILES
Wouldn't it be better to get it?

PARAVICINI
No, no. All I need is in this
bag, all that I need.
(he pauses)
Do you have other guests?

MOLLIE
There’s Mrs. Boyle and Major
Metcalf and Miss Casewell and a
young man called Christopher
Wren— and now — you

PARAVICINI
Yes, the unexpected guest. The
guest that arrived from the
storm. Who am I? You may not
know. I am the man of mystery.
(he laughs)

MOLLIE and GILES laughs feebly.

PARAVICINI (CONT'D)
But now, I tell you this. I
complete the picture. From now
there will be no more arrivals,
no more departures. By tomorrow -
or maybe already - we are cut off
from civilization. My name, by
the way, is Paravicini. Mr. And
Mrs. Ralston, correct? And this..
Is Monkswell Manor Guest House,
you said? Very good. Monkswell
Manor Guest House. Perfect.
Perfect.

MOLLIE and GILES look at PARAVICINI with unease.

FADE TO BLACK

INT. MONKSWELL MANOR - THE FOLLOWING AFTERNOON

MAJOR METCALF is seated on the sofa. MRS BOYLE is writing on

a pad on her knee.

MRS. BOYLE
This place is way below my
expectations.
 13.

MAJOR METCALF
I'd say this place is very
comfortable. The food was nice,
too.

MRS. BOYLE
I expected a comfortable writing
room, and a much larger place
altogether and other amenities

MAJOR METCALF
Regular old aunties' delight

MRS. BOYLE
I beg you pardon?

MAJOR METCALF
Er - I mean, yes, I see what you
mean.

MRS. BOYLE
No, indeed. I shall not stay here
long.

MAJOR METCALF
(laughing)
No. No I don't suppose you will.

CHRISTOPHER walks by FUNNILY.

MRS. BOYLE
That boy seems unbalanced
mentally.

MAJOR METCALF
Do you think he escaped from a
lunatic asylum?

MRS. BOYLE
I wouldn't be surprised.

MOLLIE enter, calling GILES upstairs.

MOLLIE
Giles?

GILES
(making his way down)
Yes?
 14.

MOLLIE
Could you shovel the snow from
the back door?

GILES
Aight bet.

MAJOR METCALF
I'll give you a hand.

GILES and MAJOR METCALF walks out. MOLLIE sweeps the floor a
little bit and runs upstairs. She bumps into MISS CASEWELL.

MOLLIE
Sorry!

MISS CASEWELL
That's alright.

MOLLIE exits and MISS CASEWELL walks towards CENTER.

MRS. BOYLE
Really! Doesn't she know anything
about housework? Aren't there any
back stairs?

MISS CASEWELL
Oh yes, they do. Very useful if
there is a fire.

MRS. BOYLE
Then she should use that! There
should be proper staff. Very
amateurish.

MISS CASEWELL
Not very easy to come by a maid
nowadays is it?

MRS. BOYLE
I suppose you're not from
England?

MISS CASEWELL
I live abroad. I will go back
when my business here is done.

MRS. BOYLE
To France?

MISS CASEWELL
No.
 15.

MRS. BOYLE
To Italy?

MISS CASEWELL
No. (She grins)

MRS BOYLE looks at her inquiringly, but MISS CASWELL remains

silent. MRS BOYLE goes back to writing. MISS CASWELL grins as
she looks at her and turns on the radio, increasing its
volume.

MRS. BOYLE
(annoyed)
Could you turn that down!

MISS CASEWELL
I love this music! There's a
writing room upstairs!

MRS BOYLE looks at her with anger and stomps her way out of
the living room. MISS CASEWELL grins and moves to whewre MRS
BOYLE was sitting. She picks up a magazine.

MISS CASEWELL (CONT'D)

Bloody old swine.

CHRISTOPHER walks down from upstairs.

MISS CASEWELL (CONT'D)

Hello! Would you mind turning
that down please? It's served its
purpose.

CHRISTOPHER
(turning down the
volume)
What purpos- Oh! You drove her
out. I'm very glad. Let's think
of ways to annoy her when the
snow melts, shall we?

MISS CASEWELL
Oh, when the snow melts, many
things may have happened.

CHRISTOPHER
That's true. Snow is lovely. It
makes one forget things.

MISS CASEWELL
It doesn't make me forget.
 16.

CHRISTOPHER
Hm?

MISS CASEWELL
Ice on a bedroom jug, chilblains,
raw and bleeding—one thin ragged
blanket—a child shivering with
cold and fear.

CHRISTOPHER
Oh dear, is it from a novel? Are
you a writer?

MISS CASEWELL
Sorry to disappoint, I'm not.

CHRISTOPHER looks at her doubtfully and exits. The telephone

rings. MOLLIE runs down the stairs with duster in hand and
picks up.

MOLLIE
Yes?... Yes, this is Monkswell
Manor.... Who..? The Berkshire
Police?... Oh yes, yes... I'm
afraid that's impossible. The
roads are snowed up. Yes.. Well..
But.. Hello? Hellooo?? (she hangs
up)

GILES walks into the room.

MOLLIE (CONT'D)
Giles, the police just called.

GILES
Police? What could we have done?

MISS CASEWELL
Trouble with the police, eh?

MISS CASEWELL goes upstairs.

MOLLIE
They're sending out an inspector
or a sergeant or something.

MRS BOYLE enters.

MRS. BOYLE
Mr. Ralston, did you know that
it's practically freezing in the
writing room?
 17.

GILES
I'll go stoke up the heating

GILES goes upstairs.

MRS. BOYLE
I would like to comment to you,
Mrs. Ralston, that the boy with
the messy hair seems to me, a
little unhinged. And also the
foreigner. He seems..

Paravicini enters softly.

PARAVICINI
Beware, lady.

MRS BOYLE jumps.

MRS. BOYLE
I didn't hear you come in.

PARAVICINI
I came in tiptoe. Like this (he
demonstrates) Nobody ever hears
me if I don't want them to.
(pause)
Now there was a young lady...

MRS. BOYLE
I'll head to the drawing room.

Mollie and Paravicini makes the expression of "who asked?"

MRS BOYLE exits.

PARAVICINI
You know, Mrs. Ralston, you and
your husband should not be very
trusting. For example, you know
nothing of me, I came in saying
my car was overturned. I could be
anything, a thief, a fugitive, a
madman, or even - a murderer!

MOLLIE backs away. MRS BOYLE comes back in.

MRS. BOYLE
The drawing room is far too cold.
I shall write my letters in here.
(she moves to sit in the large
chair)
 18.

MAJOR METCALF walks in.

MAJOR METCALF
Mrs. Ralston, I'm afraid your
pipes are frozen.

MOLLIE
Oh dear, what an awful day. First
the police and now the pipes.

PARAVICINI is stunned. MAJOR METCALF stands as if paralyzed.

MAJOR METCALF
Police?!

MOLLIE
They just rang up. They're
sending a sergeant here, but I
don't think he will ever get
here.

GILES enters carrying some logs

GILES
Um.. Hello, is anything the
matter?

MAJOR METCALF
I heard the police are coming
here. Why?

GILES
Oh that's alright. No one is
getting through the snow.

MOLLIE taps GILES on the shoulder and points to the window.

SERGEANT TROTTER presses his face to the pane and peers in.
SERGEANT TROTTER is on skis and is a cheerful and smart
looking detective. GILES opens the window.

TROTTER
Are you Mr. Ralston?

GILES
Yes.

TROTTER
Thank you sir. Detective Sergeant
Trotter. Berkshire police. Can i
get these skis off and place them
somewhere?
 19.

GILES
Go round that way to the front
door. I'll meet you there.

Giles leaves the window open and goes to the front door.

PARAVICINI
(fierce whisper to
Mollie)
Why did you call the police here,
Mrs. Ralston?

MOLLIE
But i didn't. (she closes the
window)

GILES
(voice)
I'll keep your skis under the
stairs.

CHRISTOPHER walks down from upstairs.

CHRISTOPHER
Who's that man? He's quite fine.

MRS. BOYLE
He's a policeman. Skiing!

GILES and TROTTER enters.

GILES
Er- this is Detective Sergeant
Trotter.

TROTTER
Good afternoon.

MRS. BOYLE
You're very young to be a
sergeant.

TROTTER
I'm not as young as I look, madam

CHRISTOPHER
But incredibly fine.

GILES
Come on sergeant. I'll show you
where I placed your skis.
 20.

GILES and TROTTER leaves.

MAJOR METCALF
Excuse me, Mrs. Ralston, may I
use your telephone?

MOLLIE
Of course, major.

MAJOR METCALF goes to the telephone and dials.

CHRISTOPHER
(to Mrs. Boyle,
almost drooling)
He's so fine, don't you think?

MAJOR METCALF
(into the phone)
Hello? Hello?!...
(to Mollie)
Mrs. Ralston, the phone is dead.

MOLLIE
It was alright half an hour ago.

MAJOR METCALF
The line's gone with the weight
of the snow, I suppose.

CHRISTOPHER
(laughing)
So, we're quite cut off now.
Quite cut off.

TROTTER enters, followed by GILES. TROTTER moves to the

CENTER.

TROTTER
Now, we can get to business.

MOLLIE
Please hurry up and tell us. What
have we done?

TROTTER
Done? Oh, no Mrs. Ralston, it's
not something of that kind. It's
something quite different. It's
more a matter of police
protection.
 21.

MOLLIE
Police protection?

TROTTER
It relates to the death of Mrs.
Maureen Lyon of 24 Culver Street
who was murdered yesterday.

MOLLIE
The woman who was strangled?

TROTTER
That's right, madam. (to Giles)
The first thing I want to know is
if you're acquainted to Mrs.
Lyon.

GILES shakes his head.

TROTTER (CONT'D)
Maureen Lyon was not her real
name. Her real name was Maureen
Stanning. Her husband was a
farmer, John Stanning, who
resided at Longridge Farm.

GILES
The Longridge Farm! Wasn't that
where those children...

TROTTER
Yes, the Longridge Farm case.

MISS CASEWELL
Three children....

Everyone looks at her.

TROTTER
That's right, Miss. Two boys and
one girl. They were brought to
court in need of care and
protection. A home was found for
them at Longridge Farm. One of
the children died as a result of
criminal neglect and persistent
abuse.

MOLLIE
(very much shaken)
It was horrible
 22.

TROTTER
The Stannings were sentenced to
imprisonment. Mr. Stanning died
in prison. Mrs. Stanning served
her sentence and was released.
Yesterday, she was found
strangled. A notebook was picked
up near the scene of the crime.
The notebook had two addresses.
One was 24 Culver Street and the
other. (he pauses) was Monkswell
Manor.

GILES
What?

TROTTER
Yes, sir. That is why I was sent
out here to find out if any of
you had any connection to the
Longridge Farm case, and most
importantly, to ensure the safety
of the household.

GILES
Safety? Are you suggesting that
someone is going to be killed
here?

TROTTER
Yes, that's the idea

GILES
But, why?

TROTTER
I'm here to find out.

GILES
This is crazy!

TROTTER
Crazy dangerous, Mr. Ralston.

MRS. BOYLE
Nonsense!

CHRISTOPHER
I think this is wonderful. (he
looks at MAJOR METCALF)

MAJOR METCALF sips from a glass of water.

 23.

MOLLIE
Is there something you haven't
told us, Sergeant?

TROTTER
Yes. Below the two addresses was
written "Three Blind Mice." On
the woman's body was a paper with
"This is the First" written on
it. Below the words were a
drawing of three little mice with
a bar of music the tune of the
nursery rhyme Three Blind Mice.

GILES
There were three children and one
died?

TROTTER
Yes, the youngest, a boy of
eleven.

GILES
What happened to the other two?

TROTTER
The girl was adopted by someone.
We haven't been able to trace her
whereabouts. The elder boy would
now be 22. Deserted from the Army
and has not been heard of since.
According to the Army
psychologists, he was definitely
schizophrenic, meaning a little
unstable in the head. They think
he's the one who killed Mrs.
Stanning.

MOLLIE
So he's a homicidal maniac and
will turn up to kill someone -
but why?

TROTTER
That's what I'm going to find
out. (to GILES) Now, sir, do you
have any connections to the
Longridge Farm case?

GILES
No
 24.

TROTTER
(to MOLLIE)
And the same for you, madam?

MOLLIE
(not at ease)
I - no - I mean - no connection.

TROTTER
What about maids?

MRS BOYLE scoffs in disapproval.

MOLLIE
We have no servants. Will it be
alright if I head to the kitchen?

TROTTER
That's not a problem Mrs.
Ralston.

MOLLIE leaves to the kitchen.

TROTTER (CONT'D)
Now can I have all your names
please?

MRS. BOYLE
This is ridiculous! We've got
nothing to do with this place.

TROTTER
(smartly)
You all planned to come here in
advanced. You booked a room.

MRS. BOYLE
Well all except him. (points at
Paravicini)

PARAVICINI
My name is Paravicini. My car
overturned in a snowdrift.

TROTTER
I see. What I'm getting here is
which one of you is it that has a
connection to the Longridge Farm?
 25.

There is a dead silence.

(rising)
You're not being sensible. One of
you is in danger - deadly danger.
I've got to know who it is.

There is a dead silence

Alright, I'll ask you one by one.

You, first. (points at
Paravicini)

MONTAGE:

PARAVICINI
Paravicini. I know nothing of
what you were talking about. I'm
a stranger in this country.

MRS. BOYLE
Mrs. Boyle. I have nothing to do
with such distressing business.

MAJOR METCALF looks sharply at her.

MISS CASEWELL
(slowly)
Casewell. Leslie Casewell. I've
never heard of Longridge farm and
know nothing of it.

MAJOR METCALF
Metcalf-Major. Read about the
case in the papers. I was
stationed in Edinburgh then. No
personal knowledge.

CHRISTOPHER
Christopher Wren. I was a child
at the time. I don't think I've
ever heard of the case.

TROTTER
And that's all you have to say-
any of you?

There is a silence
 26.

Well, if one of you gets

murdered, you have yourselves to
blame. Mr. Ralston, can I have a
look around?

TROTTER and GILES exit.

CHRISTOPHER
How melodramatic. Quite a thrill,
this whole thing. Three Blind
Mice. How does it go? (he
whistles or hums it)

MRS. BOYLE
Stop it!

CHRISTOPHER
A tune of a madman.

MRS. BOYLE
Melodramatic rubbish. I don't
believe a word of it.

CHRISTOPHER
(stalking behind her)
Just wait, Mrs. Boyle. Till I
creep up behind you, and you feel
my hands grasping your throat.

MRS. BOYLE
STOP! (she rises)

Everyone disapproving of the joke.

CHRISTOPHER
(laughing)
You all should see your faces!

CHRISTOPHER exits up the stairs. Mollie enters.

MOLLIE
Where's Giles?

MISS CASEWELL
Giving our policeman a house
tour.

MRS. BOYLE
Your neurotic friend has been
behaving in the most abnormal
manner.
 27.

MAJOR METCALF
Mrs. Boyle, weren't you the one
who was responsible for sending
the three kids to the farm?

MRS. BOYLE
Really, Major. I can hardly be
held responsible. The farm people
seemed very nice and wanted to
have the children. It seemed like
a perfect place. Eggs and fresh
milk and a healthy outdoors life.

MAJOR METCALF
Kicks, blows, starvation, and a
thoroughly vicious couple.

MRS. BOYLE
(defensive)
How could I know? They were very
well spoken.

MOLLIE
Yes, I was right. It was you.

MAJOR METCALF looks sharply at MOLLIE.

PARAVICINI
(laughing heartily)
Please forgive me. I am quite
enjoying myself.

MR PARAVICINI exits to the drawing room.

MAJOR METCALF
You'll be wanting more wood. I'll
go get it.

Major Metcalf exits outside. Mrs. Boyle seems uncomfortable.

MRS. BOYLE
Now where did I leave my pen?

MRS BOYLE rises and exits LEFT to the library. The tune of
"Three Blind Mice" could be heard being played on the piano
from the drawing room.

MOLLIE
(moving to close the
curtains)
What a horrible tune.
 28.

MISS CASEWELL
Don't you like it? Maybe it
reminds you of your childhood.
Perhaps an unhappy childhood?

MOLLIE
I was very happy as a child.

MISS CASEWELL
You're lucky

MOLLIE
Weren't you?

MISS CASEWELL
No.

MOLLIE
I'm sorry.

MISS CASEWELL
But that's a long time ago.
Nothing from my past is going to
affect me-except the way I want
it to.

GILES and TROTTER enter. TROTTER is observing every detail of

the house. MISS CASEWELL exits into the dining room. MOLLIE
begins to tidy up.

TROTTER
Well, that completes the tour.
Nothing suspicious. I'll make a
report to the station. (he goes
to the phone)

MOLLIE
The phone is not functioning. The
line is dead.

TROTTER
(swinging around
sharply)
What? It was alright earlier.

MOLLIE
Oh, yes. I suppose the lines are
down with snow.

TROTTER
Hm. It might have been cut.
 29.

GILES
Cut? But who would do that?

TROTTER
How much do you know about your
residents?

GILES
I- we- we don't really know
anything about them.

MOLLIE
But the killer won't be able to
reach here since the snow?

TROTTER
Unless he's here already.

GILES
Here already?

TROTTER
Well why not, Mr. Ralston? All
these people arrived here
yesterday evening. Some hours
after Mrs. Lyon's murder. Plenty
of time to get here. These crimes
are planned, sir.

GILES
I can't believe it, it's so
fantastic.

TROTTER
It's not fantastic. It's just
FACTS. As you can see there, Mr.
Ralston. There are 3 dark
overcoats hanging there. Same
with the description of the
suspect.

MOLLIE
I can't believe it.

TROTTER
It's the telephone wire that
worries me. It's been cut.

MOLLIE
I must go get on with the
vegetables.
 30.

MOLLIE exits upstairs RIGHT. GILES picks up MOLLIE's gloves

from the armchair and smooths it out. He extracts a London
bus ticket from the glove. He stares at it.

TROTTER
Is there an extension for the
phone?

GILES
(startled)
Y.. Yes. It's up in our bedroom.

TROTTER
Go try it up there for me, will
you?

GILES walks upstairs. TROTTER tries to follow the telephone

wire outside. He draws the curtains and opens the windows. He
walks outside, following the telephone line. He disappears
out of sight. MRS BOYLE enters from the library.

MRS. BOYLE
Brr. It's cold. (moving to the
window) Who left this window
open? (she closes the window) She
moves to the radio and turns it
on.

MRS BOYLE sits and pulls up a magazine.

RADIO
... to understand the term of
fear, you have to study the
effect produced in the human
mind. Imagine, for an instance,
that you're alone in a room. It's
late in the afternoon. A door
opens behind you...

A door opens up. The tune of "Three Blind Mice" is heard

whistled. MRS BOYLE turns, startled.

MRS. BOYLE
(relieved)
Oh, it's just you. I can't find a
program worth listening to. (she
moves to the radio and tunes into
the music program)

A hand shows through the open doorway and clicks off the
lightswitch. The lights suddenly go out.
 31.

What are you doing? Why did you

turn off the lights?

The radio is at full volume, and through it, we hear gurgles

and a scuffle. The body falls to the ground. MOLLIE enters.

MOLLIE
Why is it all dark?! What a
noise!

She sees the lifeless body of MRS BOYLE and screams.

FADE OUT.

INT. MONKSWELL MANOR - 10 MINUTES LATER

MOLLIE is seated in the center of the couch. Everyone is in

the room. TROTTER is standing up, tapping a pen to his face.

TROTTER
Think, Mrs. Ralston, think. Are
you sure you didn't see anybody
or hear anybody while walking
along the hallway?

MOLLIE
(shook)
No- no, i don't think so. The
radio was blaring in there. I
wouldn't be able to hear anything
with that.

TROTTER
That was clearly a murderer's
idea- or (with emphasis) a
murderess.

MOLLIE
I heard a door creak and shut.. I
think.

TROTTER
Which door?

MOLLIE
I don't know
 32.

TROTTER
Think, Mrs. Ralston- try to
think. Upstairs? Downstairs?
Close at hand? Right? Left?

MOLLIE
(tearful)
I don't know.

GILES rises up in anger.

GILES
(angry)
Can't you see she's had enough?

TROTTER
(defensive)
We're investigating a murder, Mr.
Ralston. No one was taking this
seriously, and now Mrs. Boyle is
dead. Unless we get to the bottom
of this, there may be another
death.

GILES
Another? Nonsense. Why?

TROTTER
Because there were Three Blind
Mice.

GILES
But why here?

TROTTER
There were only two addresses
written. 24 Culver Street.. And
here.
(he pauses)
We'll need a rundown of where
everybody was during the murder.

MONTAGE

MOLLIE
I was in the kitchen preparing
vegetables. I came in here and
the radio was blasting and the
light switched off. I switched it
on, saw Mrs. Boyle's body and I
screamed. At last, people came.
 33.

GILES
I was up in the bedroom checking
the extension telephone. It was
dead too. Then I heard Mollie's
scream and came down.

TROTTER
Those simple actions took you a
while it seems.

GILES
I was thinking about something.

CHRISTOPHER
I was in the kitchen, seeing what
I can do to help Mrs. Ralston.
Then I went to my room.

TROTTER
Why?

CHRISTOPHER
I wanted to be alone.

TROTTER
And you heard Mrs. Ralston scream
and came downstairs?

CHRISTOPHER
Yes.

TROTTER
Weird that you and Mr. Ralston
didn't meet on the stairs.

CHRISTOPHER and GILES look at each other.

CHRISTOPHER
I came down by the backstairs.
They're nearer to my room.

PARAVICINI
I was playing the piano in the
drawing room.

MOLLIE
You were playing Three Blind
Mice.

TROTTER
(sharply)
Is that so?
 34.

PARAVICINI
Yes. It's a very catchy tune.
Someone was whistling it too.

TROTTER
Whistling it? Where?

PARAVICINI
I am not sure.

TROTTER
Who was whistling Three Blind
Mice?

There is no answer.

So you were playing the piano,

then?

PARAVICINI
Then I heard the radio. It was
very loud. And after that, I
heard Mrs. Ralston Scream.

MISS CASEWELL
I was writing letters in the
library. I didn't hear anything
until Mrs. Ralston screamed.

TROTTER
So you were writing a letter in
the library and hurriedly came
here after you heard the scream?

MISS CASEWELL
Yes.

TROTTER
That doesn't explain why there is
no unfinished letter on the
writing table in the library.

MISS CASEWELL
I brought it with me (she opens
her handbag and takes out a
letter)
 35.

TROTTER
I don't think I would have the
time to pick up the unfinished
letter and place it in my handbag
after hearing someone screaming
out of the blue.

MISS CASEWELL
You wouldn't? How interesting.

MAJOR METCALF
I was in the cellar. Just looking
around. I opened the cupboard
under the stairs, a lot of junk
there. I noticed another door
inside it. I opened it and saw a
flight of stairs so I went down
it. Nice cellars.

TROTTER
Mrs. Ralston said that she heard
a door creak. That particular
door creaks. It could be possible
that the murderer saw Mrs.
Ralston coming and slipped into
the cupboard pulling the door
after him.

MAJOR METCALF
Many things could be.

END MONTAGE.

TROTTER
We've got to establish
opportunity and motive. And let
me tell you this- You all had
opportunity. The vital fact was
that you were all alone during
the murder.

GILES
You speak as though we were all
under suspicion!

TROTTER
In a murder case, everyone is
under suspicion.
 36.

GILES
But you know who killed the woman
in Culver Street. A mentally
unstable young man who is now 23
years old. Well, damn it, there's
only one person here who fits
that! (looking at Christopher)

CHRISTOPHER
It's not true! You're all against
me! Everybody has always been
against me!

MOLLIE
(calming)
It's alright Chris, no one is
against you.

GILES
I think you're crazy, Mollie, and
you too, detective! (looking at
Trotter) There's only one person
who fits the bill.

MOLLIE
Wait, Giles, wait, Sergeant
Trotter, can I speak to you for a
minute?

TROTTER
Certainly, Mrs. Ralston. The rest
of you, please go to the dining
room.

The others rise up and move to the dining room. GILES stays
behind.

MOLLIE
(to Giles)
You too. Please, honey.

GILES
(furious)
I'm staying! What has gotten into
you, Mollie?!

MOLLIE
(sincere)
Please.

GILES exits furiously.

 37.

MOLLIE (CONT'D)
Sergeant Trotter, you don't know
for sure that the murderer is the
eldest son, right?

TROTTER
We actually don't know a thing,
Mrs. Ralston. But we know that
the woman who abused them, and
the woman who sent them to that
farm are killed. I'm going by
probability. It all points one
way.

MOLLIE
Oh, I know, it all points to
Christopher. But I think there
are other possibilities.

TROTTER
Such as?

MOLLIE
Do you have any information on
the father?

TROTTER
His wife died. He was an army
sergeant. Probably dispatched by
now. No information where he is
today.

MOLLIE
If the son is mentally unstable,
the father may be too right?

TROTTER
It's possible.

MOLLIE
(realization)
When the police rung up, Major
Metcalf was frightfully upset.

TROTTER
(considering)
Major Metcalf?

MOLLIE
A soldier. He seems nice and
perfectly normal, but, it might
not show might it?
 38.

TROTTER
(nodding)
Any other suggestions?

MOLLIE
Mr. Paravicini seems suspicious
too. He was also in shock when I
mentioned the police.

TROTTER
Mrs. Ralston, I'll tell you
something. I've had ALL
possibilities in mind since the
beginning. The boy Georgie, the
father, and the SISTER.

MOLLIE
Miss Casewell?

TROTTER
She looks a bit old for the part.
Oh yes, Mrs. Ralston, there's a
very wide field. There's
yourself, for instance. You're
about the right age.

MOLLIE is about to protest.

TROTTER (CONT'D)
(checking her)
No, no, I have no time to prove
what you're saying is true at the
moment. And then there's also
your husband.

MOLLIE
Giles? That's crazy!

TROTTER
How much do you really know about
him?

MOLLIE
Don't be silly.

TROTTER
You've been married for how long?

MOLLIE
Just a year.
 39.

TROTTER
Did you meet his family?

MOLLIE
They're all dead.

TROTTER
You're only telling me what HE
told you.

MOLLIE
Yes- but

TROTTER
You'd be surprised how many cases
like yours we get. Many young
people make up stories just so
they can attract a lady.

MOLLIE
But I know everything about
Giles. The type of person he is.
It's crazy to me that you're
suggesting he's a crazy homicidal
maniac. He wasn't even in London
yesterday when the murder took
place.

TROTTER
Where was he? Here?

MOLLIE
He went out to buy chicken
netting.

TROTTER
Did he bring it home?

MOLLIE
No, there wasn't the kind that we
needed. I'm telling you, he
wasn't in London yesterday.

TROTTER
Just a minute, Mrs. Ralston. (he
moves to Giles's overcoat and
brings it to Mollie) Is this your
husband's?

MOLLIE
(looks at the coat)
Yes.
 40.

Trotter takes out a newspaper from the coat pocket.

TROTTER
Evening News. Yesterday's. Sold
on the streets of London.

MOLLIE
I don't believe it.

TROTTER
Don't you?

TROTTER exits. MOLLIE sits on the couch, staring at the

newspaper. Deep in thought. CHRISTOPHER peeps in through the
door and sees that MOLLIE is inside alone. He makes his way
towards her.

CHRISTOPHER
Mollie!

Mollie jumps.

MOLLIE
Oh, you startled me.

CHRISTOPHER
Is there a place where I can hide
from him?

MOLLIE
Why?

CHRISTOPHER
Everyone thinks I'm the murderer,
particularly your husband.

MOLLIE
Never mind him. You can't keep
running away from things. You got
to grow up some time, Chris.

CHRISTOPHER
I wish I hadn't

MOLLIE
Your name isn't really
Christopher Wren is it?

CHRISTOPHER
No.
 41.

MOLLIE
And you're not really training to
be an architect?

CHRISTOPHER
No.

MOLLIE
Then why did you-

CHRISTOPHER
Call myself Christopher Wren? I
just thought it's funny. I ran
away during my service in the
Army. I hated it.

Mollie felt a wave of unease. Christopher notices.

CHRISTOPHER (CONT'D)
Yes, just like the murderer. If
only my mother hadn't died
everything would be alright.

MOLLIE
You've got to bear it.

CHRISTOPHER
Have you?

MOLLIE
Yes.

CHRISTOPHER
Was it to do with Giles?

MOLLIE
No, long before I met him. It was
very terrible. I try to never
think about it.

CHRISTOPHER
So you're running away too.

MOLLIE
I guess so.

There is a pause

MOLLIE (CONT'D)
Considering we only met
yesterday, it seems we have a
connection.
 42.

CHRISTOPHER
It's odd isn't it?
(he pauses)
I wish I could steal the
detective's skis and run away.

MOLLIE
I hate the detective. He puts
things into your head. Things
that can't be true. I don't
believe it.

CHRISTOPHER
What?

MOLLIE
(showing the paper)
You see that? He said that he
went around the countryside
finding chicken netting all day.
Why'd he pretend?

CHRISTOPHER
Mollie, you don't think... the
sergeant doesn't think...

GILES appears behind them.

GILES
I seem to be interrupting
something.

MOLLIE
No, we're just talking.
Christopher please leave us alone
for a while.

CHRISTOPHER
I'm staying.

MOLLIE
Please Chris.

Christopher leaves with protest.

GILES
What is all of this, Mollie?
You're going insane, backing up
that murderer.

MOLLIE
Giles, he isn't dangerous.
 43.

GILES
What is between you two?

MOLLIE
What?

GILES
It seems to me you two met
before. And you suggested to him
on coming here and pretending to
meet for the first time.

MOLLIE
Are you crazy? How can you
suggest these things?

GILES
Perhaps you've been running up to
London to meet him in secret.

MOLLIE
You know that I haven't been to
London in weeks.

GILES
Is that so? (he pulls out the
London Bus Ticket) Then what is
this?

MOLLIE
(looking guilty)
Oh.. That... well I went to
London and so did you! (she hands
him the newspaper)

GILES
Where did you get that?

MOLLIE
From your overcoat pocket.

GILES
All right. Yes I was in London.
But I didn't go to meet a WOMAN
there.

MOLLIE
(in horror,
whispering)
Didn't you.. Are you sure you
didn't?
 44.

GILES
Eh? What do you mean? (he comes
closer to Mollie)

MOLLIE
Go away. Don't come near me.

GILES
(following her)
What's the matter?

MOLLIE
Don't touch me.

GILES
Did you go to London to meet
Christopher Wren?

MOLLIE
Of course not.

GILES
Then why did you go?

MOLLIE
(changing her manner,
she smiles dreamily)
I shall not tell you that. I even
forgot why I went.

GILES
What? You're different all of a
sudden. It's like I don't know
you anymore.

MOLLIE
Maybe you never knew anything
about me. What I'd done or
suffered before I met you.

GILES
Mollie, you're going crazy.

MOLLIE
Why not? Maybe it's fun to be
crazy!

Giles watches Mollie in horror. Trotter BURSTS into the room.

 45.

TROTTER
My skis! Someone stole my skis. I
was going to ski over to the
police station for
reinenforcement.

Paravicini enters.

MOLLIE
Christopher!

GILES
(to Mollie)
What do you mean, "Christopher"?

Christopher enters. Mollie feels a wave of relief.

TROTTER
Mr. Wren, did you take my skis?

CHRISTOPHER
Your skis? Why would i do that?

TROTTER
Mrs. Ralston seemed to think...
(he looks at Mollie) Nevermind.
Now listen people, this is a
serious matter. Somebody has
removed my only way of
communicating with the outside
world. I want everybody here, at
once.

MOLLIE
I'll go get Miss Casewell.

Mollie rushes out. Major Metcalf enters. Mollie and Miss

Casewell enter shortly.

TROTTER
(to Major Metcalf and
Miss Casewell)
Did either of you two take my
skis?

MISS CASEWELL
No, why should I?

MAJOR METCALF
I didn't touch them.
 46.

TROTTER
(to Major Metcalf)
Major, you said you were in the
cupboard where we placed the skis
today.

MAJOR METCALF
Yes.

TROTTER
At the time Mrs. Boyle was
killed.

MAJOR METCALF
At that time I'd gone down the
cellar.

TROTTER
Were the skis there when you
passed through?

MAJOR METCALF
Can't remember.

TROTTER
You must remember if the skis
were there then?

MAJOR METCALF
Young fellow, I wasn't thinking
about any stupid skis. I was
interested in the cellar.

Trotter is frustrated but keeps his composure.

TROTTER
Listen. Everybody. Two mice are
dead and there is one mouse left
to deal with. There are six of
you listening to me, and ONE of
you is a killer.

There is a pause. Everyone looks uneasily at each other.

 47.

TROTTER (CONT'D)
One of you is a killer. I don't
know who yet, but I WILL. And one
of you is going to be the victim.
Mrs. Boyle held out VITAL
information from me, and now
she's off in paradise. I suggest
you don't do the same. (he takes
a seat) The killer is enjoying
this. He's enjoying himself a
great deal.

There is another pause

TROTTER (CONT'D)
Alright, you're dismissed.

Everybody exits except Paravicini. He walks by Trotter who

stops him.

TROTTER (CONT'D)
I've been doing a little
wondering about you sir.

PARAVICINI
Hm.

TROTTER
I've been wondering how that car
of yours happened to overturn in
a snowdrift.. So conveniently.

PARAVICINI
Inconveniently, don't you mean,
Sergeant?

TROTTER
Where were you coming from last
night?

PARAVICINI
From London.

TROTTER
What address in London?

PARAVICINI
I always stay at Ritz Hotel.

TROTTER
What's your business or
profession?
 48.

PARAVICINI
I play the markets.

TROTTER
Stockbroker?

PARAVICINI
No, no, detective. You
misunderstand me.

TROTTER
Enjoying this little game are
you? You're mixed up in a murder
case, and don't forget. Murder
isn't all fun and games.

PARAVICINI
Not even this murder? (he
giggles) You're very serious,
Sergeant Trotter. I shall look
for your skis now.

Paravicini walks out of the room. Trotter deep in thought,

frowning. Miss Casewell walks in.

TROTTER
Miss Casewell, I'd like to have
some information from you too.

MISS CASEWELL
Well, what do you want?

TROTTER
Full name please.

MISS CASEWELL
Leslie Margaret (she pauses)
Katherine Casewell.

TROTTER
(with a nuance of
something different)
Katherine...

MISS CASEWELL
I spell it with a K.

TROTTER
Quite so. How long have you been
in England?
 49.

MISS CASEWELL
A week.

TROTTER
How long do you intend to stay
here? (he twirls his hair)

MISS CASEWELL
Until I've finished what I've
come here to do. (she notices the
twirling)

Trotter looks up, startled by a force in her words. She

stares at him.

TROTTER
(stops twirling)
And what was that?

MISS CASEWELL
(puzzled frown)
Huh?

TROTTER
What did you come here to do?

MISS CASEWELL
It's a strictly private affair.

TROTTER
Were you born abroad?

MISS CASEWELL
No, I left England when I was
thirteen.

There is a rise in tension. Miss Casewell seems to be more

and more uncomfortable.

TROTTER
Was your name Casewell then?

MISS CASEWELL
It's my name now.

TROTTER
What was your name before you
left London?

MISS CASEWELL
I don't remember.
 50.

TROTTER
What's your REAL name?

MISS CASEWELL
I told you, Leslie Margaret
Katherine Casewell.

TROTTER
(stressful)
Katherine... What. Are. You.
Doing here?

MISS CASEWELL
I... Oh no.. (she cries) I wish I
hadn't come here.

Trotter is startled. Christopher walks in and is a witness.

CHRISTOPHER
You seem to have upset her.

MISS CASEWELL
No, it's just.. This murder..
Everything that's going on.. It's
so horrible... It came over me
suddenly. I'll go up to my room.

TROTTER
It's impossible... I can't
believe it.

Christopher is puzzled. Trotter is thinking.

TROTTER (CONT'D)
(sharp realization)
I've been blind as a bat. Mr.
Wren, could you please gather
everybody here?

CHRISTOPHER
Ok

Christopher walks out and everyone comes in.

 51.

TROTTER
May I have your attention please.
You all made statements about
your whereabouts during the
murder of Mrs. Boyle. (he
consults his notebook) Mrs.
Ralston in the kitchen. Mr.
Paravicini playing the piano in
the drawing room. Mr. Ralston in
his bedroom. Mr. Wren in his.
Miss Casewell in the library.
Major Metcalf (he pauses and
looks at Major) in the cellar.
Those were the statements you
made. Five of those are true, but
one is false. I have a plan that
may help discover the liar.

GILES
But what's the idea?

TROTTER
Suppose everyone was to go
through their actions a second
time...

PARAVICINI
Ah, reconstruction of the crime.

TROTTER
I want everyone to reconstruct
the movements during the crime.

PARAVICINI
Then I will go to play the piano.
Once again I will play the
signature tune of the murderer.
(gesturing with his fingers)

TROTTER
Not so fast, Mr. Paravicini. (to
Mollie) Do you play the piano,
Mrs. Ralston?

Mollie nods.

TROTTER (CONT'D)
Good. Please go to the drawing
room, and be ready to play when I
give the signal.
 52.

PARAVICINI
But Sergeant, I understood we are
to repeat our former actions.

TROTTER
The same actions will be
performed, but not by the same
people.

GILES
I don't see the point

TROTTER
There is a point. It's checking
how true each of your statements
were. Now, please pay attention.
I will assign you to your new
stations. Mr. Wren, you play the
role of Mrs. Ralston in the
kitchen.

Christopher Wren leaves.

TROTTER (CONT'D)
Mr. Paravicini, go to Mr. Wren's
room. Major Metcalf, go to Mr.
Ralston's room and examine the
telephone there. Miss Casewell,
please head down the cellars.
Unfortunately, someone will have
to reproduce my actions. I'm
sorry Mr. Ralston, but would you
go outside and follow the
telephone line? It's rather cold
outside.

MAJOR METCALF
And what are you going to do?

TROTTER
(crossing to the
radio)
I am enacting the part of Mrs.
Boyle. (he switches on the radio)
Go remain in your positions until
you hear me call you.

Everybody leaves to their destinations. Giles puts on his

overcoat and leaves through the window, same as Trotter did.

TROTTER (CONT'D)
Mrs. Ralston, start playing!
 53.

Three Blind Mice begins to play. Trotter closes the window

and curtains, and turns off the lights. He moves to the big
armchair and turns on the table lamp. He sits in the chair
and seems to realize something.

TROTTER (CONT'D)
Mrs. Ralston! Mrs. Ralston!

Mollie stops playing the piano and comes to the living room.

MOLLIE
Yes, what is it?
(she observes him)
You seem pleased. Have you got
what you wanted?

TROTTER
I got exactly what I wanted.

MOLLIE
You know who the murderer is?

TROTTER
Yes, I know

MOLLIE
Which one of them?

TROTTER
YOU should know, Mrs. Ralston.

MOLLIE
Me?

TROTTER
You've been extraordinarily
foolish you know. You've run a
good chance of getting killed
because you're holding
information from me.

MOLLIE
I don't understand
 54.

TROTTER
(natural & friendly)
Come on now, Mrs. Ralston. We
policemen aren't as dumb as you
think. All along I've realized
that you had first hand knowledge
about the Longridge Farm case.
You knew all about it. Why didn't
you speak up?

MOLLIE
(very much affected)
I don't understand. I wanted to
forget..

TROTTER
You taught the school where
little Jimmy went. The child who
died. Is it true that the letter
begging for help was sent to you?
You never answered the letter.

MOLLIE
I couldn't. I never got it.

TROTTER
You just didnt bother.

MOLLIE
That's not true. I was ill. I had
pneumonia that day. All my
letters were given to me after I
felt better, and by that time,
Jimmy was.. Jimmy was dead... if
only I wasn't ill. If only I had
known. It's monstrous that such
things happen..

TROTTER
(his voice suddenly
thick)
Yes, it's monstrous. (he pulls
out a revolver)

MOLLIE
I thought police didn't carry
revolvers... (she sees Trotter's
face and gasps in horror)
 55.

TROTTER
They don't. I'm not a policeman,
Mrs. Ralston. You thought I was a
policeman because I rang from my
own phone and I said I was
speaking from police headquarters
and that Sergeant Trotter was on
his way. I cut the telephone
wires just before I came in. Do
you know who I am, Mrs. Ralston?
I'm Georgie. I'm Jimmy's brother.

Mollie looks at Trotter with fear.

TROTTER (CONT'D)
You better not scream, because if
you do, I am not afraid to kill
three blind mice.. I just want to
talk to you a little. That nasty
cruel woman killed him. I swore
on that day that I'll kill her
too. And (he chuckles) I did.

MOLLIE
You'll never get away safely

TROTTER
(pettishly)
Someone's hidden my skis! But I
don't mind. I'm tired. It's been
so fun, watching you all, and
pretending to be a policeman.

MOLLIE
That revolver will make a lot of
noise.

TROTTER
That's true. I should take you
out the usual way, by neck.

Trotter goes up to Mollie who is sitting on the couch,

whistling Three Blind Mice. He places his left hand on her
mouth and his right on her neck. Miss Casewell and Major
Metcalf quickly walks down the stairs.

MISS CASEWELL
Georgie, Georgie, Georgie. You
remember me, don't you? Don't you
remember the farm? The animals,
the fat pig, and the dogs?
 56.

TROTTER
Dogs?

MISS CASEWELL
Yes, Spot and Plain.

TROTTER
...Kathy?

MISS CASEWELL
Yes, it's me.

TROTTER
Kathy? What are you doing here?
(he rises and lets Mollie go)

MISS CASEWELL
I came to England to find you. I
didn't recognize you until you
twirled your hair the way you
always did.

There is a pause

MISS CASEWELL (CONT'D)

Come with me Georgie. (she firmly
holds Georgie)

TROTTER
Where are we going?

MISS CASEWELL
(gently as if to a
child)
It's alright Georgie. We're going
to a place where they will look
after you.

Miss Casewell and Georgie exit up the stairs. Major Metcalf

turns on the lights.

MAJOR METCALF
Ralston! Ralston!

Giles rushes into the room.

GILES
Mollie!

Giles and Mollie embrace

 57.

GILES (CONT'D)
Mollie are you alright?

MOLLIE
Who would've thought it was
Trotter.

GILES
But you..

MOLLIE
I taught the school, but I didn't
tell you because I wanted to
forget.

MAJOR METCALF
Everything will be alright now.
He's received some sedatives.
He'll be unconscious soon. I had
suspicions of him all along.

MOLLIE
You did? Didn't he say he was a
policeman?

MAJOR METCALF
I knew he wasn't one. Mrs.
Ralston, I'm a policeman.

MOLLIE
What

MAJOR METCALF
As soon as we saw the notebook
with Monkswell Manor written on
it. We saw it was vital to have
someone on the spot. The real
Major Metcalf agreed to let me
have his place. I couldn't
understand why they would send
Trotter here. (he pulls out the
three blind mice drawing and
places it on the table)

Major Metcalf starts walking upstairs.

MAJOR METCALF (CONT'D)

Oh, and by the way Mrs. Ralston,
I hid the skis on your
fourposter.

Major Metcalf walks up the stairs.

 58.

MOLLIE
I thought it was Paravicini.

GILES
I guess they'll have to examine
his car. They'll probably find a
thousand Swiss watches in the
trunk.

MOLLIE
(remembers)
Giles, what were you doing in
London?

GILES
I was buying you a gift for our
anniversary, honey. It's today.

MOLLIE
(gasps)
I was doing the same!

Giles pulls out his gift. Mollie pulls out her gift. They
embrace.

The End.