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100% found this document useful (1 vote)
11K views84 pagesPTGW Script
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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/ 84
THE PLAY
THAT GOES
WRONG
HIGH SCHOOL EDITION
sy HENRY LEWIS,
JONATHAN SAYER
& HENRY SHIELDS
*
DRAMATISTS
PLAY SERVICE ‘THE PLAY THAT GOES WRONG (HIGH SCHOOL EDITION)
‘Copyright © 2022 Mish! Wodldwide Led.
"URS RE
‘GOES WRONG", THE PLAY THAT GOES WRONG", 1G. miscerer
‘end MISCHIEE THEATRE? are trademarks ad registered trademarks of Michel
‘Worldwide Lid wneschierComady.com.
AURights Reserved
‘THB PLAY THAT GOES WRONG (HIGH SCHOOL EDITION) sul protected under
the copyright lw of the Unted States of America, and of al counties covered by the
Isterational Copyright Union (ncuding the Dominion of Canada and the resto the
Brith Common, and of al courses covered by the un~Amertan Copyright
Convention, the Univeral Copyright Corverion, the Berne Convention. and of ll,
counties with which the United States has reciprocal copycat lations, No part of ti
pblietion may be repcodiced in any form by any means (lecronle sechaniea,
pring, secordig or otherwise or sored in any retrieval system in any Wa
(electronic or mechaniea) without writen persion of the pub.
‘The Engl anguage tock and amateur age pecormance rights in he United States ie
terrier, postesoos and Cannds for THE PLAY THAT GOES WRONG (HIGH
SCHOOL EDITION) ate controled exclusively by Dramatists Pay Service, 440 Park
“Avenae South, New Yotk, NY 10016.No profesional ornonprofsiondl performance of
the Ply may be given without obtaining in advance the witen permission of
Dramutlts Play Service and payng the reqs fee
Al ote gts ican witht ition motion ptr eatin ening public
‘edn lo aden, eon, vee or sad coding nad the She of
train io frig angage tre sly ere
irs concrnng ll othe rights should be adeasie othe appropiate cron ot
cy indatedet wewatincetComedycon, eae
‘Additional coprrightinformatonconceringthe WestFadandBroadvay productions
‘STTHEPLAY HINT GOHS WRONG I indadeda te aco evolu
NOTE ON BILLING so
ne reehng persion to predice THE PLAY THAT GOES WRONG (HIGH
SCHOOL EDITION) troqed td gi crt othe Authors sate snd exc Atos
cf the Play onthe ile pag all programs dtd ia connection with peformanees of
{heFiayandinallinsuncts nw he te ofthe Pay appear ining ined ora
‘mater for advertising pobsng or otherwise exlotng he Pay andlor a rodcon
‘Beret Pleae sex your prodection xn for ot sae snd peice eames
Be advised tht there mayb ditional ces equredin al progam and promotions
‘aerial Sch lnguoge ible under the “Addition Bling: seton of predation
Teens Its the lentet responsiblity to ensure any anda egies bling ncoded
{nthe equbte places, per the terms of he iene.
SPECIAL NOTE ON SONGS/RECORDINGS
Dramatists Pay Service nether halas the rights to nor rants persoo to asc any songs
cerecordings mentions nthe 2 Permision fr ptforrance of eopyrighed Song,
ms or recordings mentened in th Pey isnot indaded to our Leene
‘geeeient The prmlslon of te copyright owner) mut be bane for any sch re.
Foran song andlor recordings mationed inthe Pay, othe songs, arranger, oF
recordings may be sated provided persion fom the copyright owe) of ich
‘logs, rangement or recordings obtsine or tongs, arrangements o recorings
‘hepublie domain maybe substated.
2 ‘THE PLAY THAT GOES WRONG was first presented by Mischief
‘Theatre under the title The Murder Before Christmason December 4,
2012, at the Old Red Lion Theatre, Islington, London. Itwas directed
bby Mark Bel the designer was Henry Lewis; the lighting design was by
Scott Pryce-Jones, the costume design was by Bryony Myers, the stage
manager was Thomas Platt, and the general manager was Nicholas
“Thompson. The cast was as follows:
CHRIS . Henry Shields
JONATHA? Stephen Leask
ROBERT Henry Lewis
DENNIS Jonathan Sayer
SANDRA . Charlie Russell
MAX. sennnnsnnnone Dave Hearn
Nancy Zamit
Rob Falconer
‘The production then extended under the title THE PLAY THAT
GOES WRONG on March 12, 2013, with the following cast changes:
JONATHAN .. 1» Henty Lewis
ROBERT w» Greg Tannabill
SANDRA . Lotti Maddox
‘The production then transferred to Trafalgar Studios on April 30,
2013, with the following cast changes:
JONATHAN ..
ROBERT
joshua Elliott
vo» Henty Lewis
“The production extended at Trafalgar Studios with the following
cast change:
JONATHAN .. (Greg Tannahill It subsequently opened in a two-act version under the title THE
PLAY THAT GOES WRONG at the Duchess Theatre, London, 2
Nimax Theatre, on September 14, 2014. Kenny Wax & Stage
Presence presented the Mischief Theatre production. It was directed
by Mark Bell, the set design was by Nigel Hook, the lighting design
wwas by Ric Mountjoy, the costume design was by Roberto Surace,
the original masic was by Rob Falconer, and the sound design was
by Andy Johnson. The opening night cast wes as follows:
TREVOR
CHRIS .
JONATHAN, Greg Tannehill
ROBERT sens Henry Lewis
DENNIS. Jonathan Sayer
SANDRA se Charlie Russell
MAX Dave Hearn
ANNIE ‘Nancy Zamit
JILL & FEMALE UNDERSTUDY .. Alys Metcalf
PHIL & MALE UNDERSTUDY .. Leonard Cook
‘THE PLAY THAT GOES WRONG opened on Broadway at the
Lyceum Theatre, a Shubert Theatre, in April 2017. It was produced
by Kevin MeCollum, JJ. Abrams, Kenay Wax, Stage Presence Ltd.,
Catherine Schreiber, Ken Davenport, Double Gemini Productions!
deRoy-Brunish, Damian Arnold/TC Beech, Greenleaf Productions!
Bard-Roth, Martian Entertainment/Jack Lane/John Yonover, Lucas
McMahon, and Mischief Theatre. It was directed by Mark Bell, the
scenic design was by Nigel Hook, the costume design was by Roberto
Surace, the lighting design was by Ric Mountjoy, the sound design
‘was by Andrew Johnson, the associate costume designer was Lisa
Zinni, the associate lighting designer was Jeremy Cunningham,
and the essociate sound designer was Beth Lake. The opening night
cast was as follows:
‘TREVOR Rob Falconer
MAX ww Dave Hearn
ROBERT ~ Henry Lewis SANDRA .. w» Charlie Russel
DENNIS . Jonathan Sayer
CHRIS Henry Shields
JONATHAN Greg Tannahill
‘ANNIE .. oe Nancy Zamit
UNDERSTUDIES ‘Matthew Cavendish (CHRIS, DENNIS,
JONATHAN, MAX, TREVOR)
Bryony Corrigan (ANNIE, SANDRA)
‘Adam Daveline (CHRIS, DENNIS, MAX, ROBERT, TREVOR)
Jonathan Fielding (CHRIS, DENNIS, JONATHAN, MAX, ROBERT)
‘Amelia McClain (ANNIE, SANDRA, TREVOR)
Greg Tannahill (ROBERT)
‘Michael Thatcher (JONATHAN, ROBERT, TREVOR)
‘THE PLAY THAT GOES WRONG (HIGH SCHOOL EDITION)
‘was piloted and first performed by The Woodlands High School in
‘The Woodlands, Texas, on November 4, 2021. It was directed by
Matthew Peters and Heather Collins, the set design was by Halle
Howard, the lighting design was by Alexis Hamer, the costume
design was by Mercer Sadlier, the sound design was by Audrey
Wertz and Maggie Hanson, the hair and makeup design was by
Luana Pangaio, the stage manager was Mallory Garver, the assistant
stage manager was Lucas Botero, the spot operator was Rylan
Niemeyer, the publicity design was by Abby Rust, and the props
‘mistresses were Autumn Simundson and Anneliese Pridgen. The
cast was as follows:
soso Abigail Colburn,
TREVOR Robben Montez,
CHRIS vo» Evan Troup
JONATHAN . ~ Santino Kallare
RACHEL Emily Morvant
DENISE McKenna Walter INTRODUCTION
‘Were so delighted that The Play That Goes Wrong is now available
to high schools, and we hope teachers and students alike enjoy
reading the play and getting it up on its feet.
Although performing this show requires technical precision and
rehearsal, the main thing we want to encourage is that you have fun
‘working on or studying this play. Comedy is always at its best when
created in a room full of laughter and explored in a space where
everyone is able to express themselves freely. So stay truthful,
support one another, and make sure you have a good time as you
{get to know the characters and the wonderful world of the Cornley
Drama Society. Good luck making Mischief,
—Henry Lewis, Jonathan Sayer & Henry Shields CHARACTERS
As with any play-within-a-play, you have the complication of the
characters of the actors doing the play-within-the-play and the
characters within the play-within-the play. To make it alittle simpler,
the names are laid out below in two lists: firstly the members of the
Cornley Drama Society who are putting on the play, and secondly
the characters of The Murder at Haversham Manor. The text always
uses the actors’ names rather than the characters’ names.
‘MeMmBers oF THE CoRNtEY DRAMA ScrETY
(in order of appearance)
ANNIE is the company's stage manager. American accent. (F)
‘STAGE CREW (6-8), the Cornley Drama Society stage crew. (MIF)
‘TREVOR (or TAYLOR, if female) is the company’ lighting and
sound operator. American accent. (M/F)
CHRIS (short for Christine, if fernale) is the head of the drama
society, directed the play and plays Inspector Carter. (MIF)
JONATHAN plays Charles Haversham. (M)
ROBERT (or RACHEL, if female) pleys Thomas Colleymoore (or
‘Mary Colleymoore). (M/F)
DENNIS (or DENISE, if female) plays Perkins. (M/F)
‘MAX plays Cecil Haversham and Arthur the Gardener. (M)
SANDRA plays Florence Colleymoore. (F)
‘The action takes place on the opening night of the Cornley Drama
Society’ production of The Murder at Haversham Manor by Susie H.
K Brideswell Present day (CHARACTERS IN Tae Murpar ar HAVERSHAM MANOR
(in order of appearance)
‘CHARLES HAVERSHAM, the deceased. (M)
THOMAS (or MARY) COLLEYMOORE, Charles’ old school
friend. (M/F)
PERKINS, Charles’ butler (or maid). (M/F)
(CECIL HAVERSHAM, Charles’ brother. (M)
FLORENCE COLLEYMOORE, Charles’ fiancée and Thomas’/
Mary’ sister. (F)
INSPECTOR CARTER, an esteemed local inspector. (M/F)
ARTHUR THE GARDENER, the gardener at Haversham Manor.
am
‘The action takes place in Charles’ private rooms at Haversham
Manor on the evening of Charles and Florence’ engagement party.
Winter 1922.
SCRIPT NOTE
‘The stage direction “vamp” indicates improvised dialogue or ection. PERFORMANCE NOTES
‘The preshow and interval activity should be subtle, incidental and
not draw the full attention of the audience. The show should not feel
like it’s begun until Trevor/Taylor addresses the whole audience.
A crucial thing to remember when performing this piece is to tell,
the story of The Murder at Haversham Manor. That is what the
actors of Cornley are setting out to do and as such should be what
the cast of The Play That Goes Wrong are setting out to do, The
characters of the actors you will no doubt work on in detail, but
their temperaments and flaws should shine through the cracks in
their performances and not suffocate the action, Always try to tell the
murder mystery story and play the Haversham Manor characters.
Without that solid structure to support the comedy, the show will
unravel,
Everything in the show must of course be played for truth and not
for laughs or parody. For Corley this show is not « comedy, its a
serious play, and itis so important to them all that it goes well, so
‘when it goes wrong it hurts.
‘We've also found it usefal to remember that the actors ofthe Cornley
Drama Society are not bad actors but the victims of unfortunate
circumstance. The comedy comes from their unwavering endeavour
to continue, their bad choices in trying to get out of the situations
they find themselves in and their optimistic belief that their luck
‘will change.
‘The same is true of the set, costumes, lighting, sound and all other
elements of the production. Everything that goes wrong should be
a choice, and everything that doesn't go wrong should go perfectly
or (inthe case of the physical production) look perfect. The better
the production looks, the more of journey there is to the complete
destruction that occurs in the later stages of the play.
In essence it is vital everyone works to present “the play thet goes
wrong” not “the play that’s being done badly.”
10 THE PLAY THAT
GOES WRONG
ACT ONE
‘The setting is the private rooms of Charles Hlaversham, a
‘young, wealthy man of the period. The room is a wing of
“Haversham Manor”
‘There is a fireplace s. x. with a picture of a King Charles
spaniel hanging above it. Two swords hang s. 2. ofthe fire~
place on a fat, and a coal scuttle stands s. 2. of the fireplace,
‘Theres a large window (open into the room) inthe centre of
the stage with red velvet curtains closed over it and a grand-
{father clock to the left of it, with the time set to five otlock.
“There is a door in between the fireplace and window. A large
heraldic shield hangs above the door, and a jacket hook and
barometer hang on either side of it. Next to the clock flat is @
Bookcase packed with books (rotates) and s. 1. of that is a
blank flat. There isa door tothe study on thes. . side ofthe
blank fat,
A chaise longue littered with cushions stands p.s. 1; a small
table stands Ds. R. with a telephone and a vase on it... L.of
the study door is another small table set with a tray of glasses.
Set apart from the sage isa tech box complete with computer,
Jfacers and tttered with empty drinks cans, ec. The tech box
is visible to the audience and is where Trevor/Taylor will be
seen operating lights and sound forthe show.
Dramatic house music plays.
u Preshow Activiry:
As the audience enters, Trevor/ Taylor is finishing off harmer-
ing the set into place.
‘Two members of stage crew are searching the theatre for a
missing Duran Duran CD” and for Winston, a dog needed for
later in the show.
Gris greets members of the audience as they arrive, in his/
her bes tuexedo,
‘Annie is bythe fireplace, trying to stick a mantelpiece above it
‘and trying to stick an old journal to the mantelpiece. She
enlists the help ofan audience member and gets them to hold
the mantelpiece in place before disappearing offitage. Trevor!
‘Taylor appears and commanders the audience member to
sweep the stage. As they start sweeping, the head ofthe broom
{falls off. Annie reappears and brings the audience member
‘back to help with the mantelpiece. She sends them to get her
tool it.The mantelpiece i eventually stuck in position over the
feplace and the audience member is sent back to their set.
‘Trevor/ Taylor comes to v.s.c. Annie scuttles of
‘TREVOR/TAYLOR. Good evening, ladies and gentle—
‘The mantelpiece falls off the wall. Annie emerges from the
wing.
ANNIE, (To the audience member.) You said thet was fine.
TTREVOR/TAYLOR, (Aside to Annie.) Just leave it, leave it.
Annie and stagehands start to try and repair the mantelpiece
‘TrevorfTaylor address the audience.
(Okay, welcome to The Murder at Haversham Manor. Can I kindly
request that all your cell phones and other electronic devices are
switched off and please note that photography of any kind i strictly
prohibited. Also if anyone finds a Duran Duran” CD box set any-
where in the auditorium, that is a personal item and I want that
* fansite band iad on age and 7, ad thi acy appropri
tac bys ect banda used on pgs Sand 7 change "Duran Dae appopistely,
2 back, Please drop itat my tech box at the end of the show. Enjoy the
performance.
House and stage lights go down, Trevor/Taylor exits s.r.
(On his/her radio but broadcast to the whole theatre.) Alright, can
wwe prepare for lights up on Act One, note for the cast Winston is
still missing, we need to find him before the guard dog scene—
CHRIS, Trevor! Trevor!/Taylor! Taylor!
TREVOR/TAYLOR. (Still over the speakers.) —we need him back
in his cage as soon as possible. What’ Annie doing onstage? Get
her offs0 Chris can do his/her stupid speech—oop!
‘Trevori/Taylor’s microphone cuts off Annie and stagehands
haven't finished repairing the mantelpiece. Chris enters from
the s. R. wing in the darkness.
‘CHRIS. Leave it. Just leave it.
ANNIE. You need it.
CHRIS. We don't have time.
Annie hurries off into the wings, taking the mantelpiece and
toolkit with her Spotlight cones up on Chris, cutting off his/
her head,
Good evening, ladies and gentlemen, and...
(Chris steps forward into the spotlight
«welcome to the Cornley Drama Society's presentation of The
‘Murder at Haversham Manor. Please allow me to introduce myself
am Chris (Chris short for Christine if female), the director, and 1
‘would like to personally welcome you to what will be my directorial
debut and my first production as head of the drama society
Firstly, I would like to apologise to those of you involved in our
litte box office mix-up. I do hope the six hundred and seventeen
(Change house size as appropriate.) of you affected will enjoy our
little murder mystery just as much as you would have enjoyed
Hamilton, (Change to a name of a show playing ata theatre nearby.)
We are particularly excited to present this play because, forthe first
time in the society's history, we've managed to find a play that fits
the number of society members perfectly. If were honest a lack of
members has sometimes hampered past productions, such as last
13 year's Chekhov play... Two Sisters. Last Christmas’ The Lion and the
‘Wardrobe. Or indeed our summer musical, Cat.
‘Ofcourse, this will be the first time the society has been able to stage
a play ofthis scale and we are thrilled I’s no secret we usually have
to contend with a small budget, as was evident in our recent
production of Roald Dahl's classic James and the Peach. Of course
during the run of that particular show the peach we had went off,
and we were forced to present « hastily devised alternative entitled
James! Wheres Your Peach?
Anyway, om to the main event, which I am confident will be our
best show yet! So, ladies and gentlemen, without any further ado,
please put your hands together—
Ifthe audience starts to clap too early, Chris can say “not yet”
—for Susie H. K. Brideswells thrilling whodunit—The Murder at
Haversham Manor.
Chris exits into thes. x. wing. Spotlight down. Trevor/Tey
takes up his/her position in the tech box. Darkness. Music.
Jonathan (playing Charles Haversham) enters through the
darkness from the sn wing, He trips and falls over The lights
suddenly come up on Jonathan on the floor. He freezes. The
lights go out again, Jonathan takes up his position: dead on
the chaise longue, with his arin outstretched onto the floor.
‘The lights come up again just before he’ fully in position.
Knocking atthe s. n. door. Robert/Rachel (playing Thomnas/
Mary Colleymoore) and Dennis/Denise (playing Perkins the
Butler/Maid) can be heard behind it.
ROBERT/RACHEL. (Off) Chatley! Are you ready? Were all waiting
downstairs to raise a glass to your engagement. Charley?
Robert/Rachel knocks on the door
Come along now, Charley, you've been in there for hours now. If
didnit know better Ta say you were having second thoughts about
the wedding, (Chuckles.) Charley? Hang it all, Charley, ifyou wont
come out, we'll come in.
He/She tries handle,
Damn it, he locked the door. Hand me those keys, Perkins.
4 DENNIS/DENISE. (Off) Here they aré Mr/Miss Colleymoore.
ROBERT/RACHEL. (Off) Thank you, Perkins, Lets get this door
open. Were coming in, Charley! Were coming in!
Robert/Rachel tries to open the door, but it won't budge.
Dennis/Denise and Robert/Rachel hammer on the door to
try and open it
(Gill off) There we are. Were in
Robert/Rachel and Dennis/Denise dart around the side of
the set to enter.
But what’ this? Charles, unconscious?
DENNIS/DENISE. Asleep surely, Mr./Miss Colleymoore,
ROBERT/RACHEL. Damm it, Perkins, Lhope so.
DENNIS/DENISE. I'l take his pulse.
Dennis/Denise takes Jonatharis pulse on his forehead, Jonatha:
lovey tilt his head to move Dennis /Denises fingers down onto
his neck.
ROBERT/RACHEL. Blast! I knew something must have been
‘wrong, its not like Charles to disappear like this.
DENNIS/DENISE. Sir/Meam, he’s dead!
Lights snap to red. Dramatic musical spike. Lights snap back
to the general state,
ROBERT/RACHEL. Damn it, Perkins, he can't be! Hes my oldest
friend.
DENNIS/DENISE. He’ not breething, sirfmeam, and theres no
hint ofa heartbeat.
ROBERT/RACHEL. Well 'm dumbfounded. He was right as—
Robert/Rachel crosses in front of the chaise longue, treading
‘on Jonathan's outstretched hand.
—rain an hour ago.
DENNIS/DENISE. I don't understand. He can't be dead. He was as
fit asa fiddle. It doesn't make sense,
ROBERT/RACHEL. Of course it makes sense. He's been murdered!
15 Lights snap to red again. The same dramatic musical spike
Lights snap back to the general state.
Good God. Where’ Florence?
DENNIS/DENISE. She's in the dining room, sit/mdam, Shall 1
fetch her?
ROBERT/RACHEL. At once, Perkins, and quickly.
DENNIS/DENISE. But she’s bound to have one of her hysterical
episodes.
ROBERT/RACHEL, Charles! Dead! What a horror,
Robert/Rachel crosses the stage and steps on Jonathan's hand
again. He/She removes his jacket/her shawl
But do you think it was murder, Perkins?
Robert/Rachel hangs the jacket/shavrl up on a hook on the wall.
(Ordo you think perhaps—
The hook holding the jacket/shaw falls to the floor.
it was suicide?
Lights snap to red. Dramatic musical spike, Lights snap back
to the general state,
DENNIS/DENISE. Suicide? Mr. Haversham? Not possible! Never
‘was there a man with more zest for life than Charles Haversham,
He was young, rich and soon to be married. Why on earth would
he commit suicide?
ROBERT/RACHEL. But why on earth would anybody want to
‘murder him? Charles was such a gentle fellow.
DENNIS/DENISE. Generous, kind, a true... (Reads a word written
‘on his/her hand.) philanthropist. (Pronounced “phill-an-throp-ist”)
He never had an enemy in his life
ROBERT/RACHEL. Until today, it seems.
DENNIS/DENISE. Shall I telephone the police, sirfmaam?
ROBERT/RACHEL. ‘The police? They wouldrit make it out here
for days in this snowstorm,
Robert/Rachel opens the curtains to reveal falling paper
snowflakes,
16 No.
Robert/Rachel closes the curtains again
Tiltelephone Inspector Carter, he/she lives just the other side of the
village.
‘He/She picks up receiver,
Hel/She'll be here in next to no time, Hand me the phone, Perkins,
Robert/Rachel realises he/she already has the receiver.
‘Thank you, Perkins,
Dennis/Denise sits on Jonathan.
Good evening. Give me Inspector Carter... Iknow its late... Damn,
it, I dont care about the weather. There’ been ¢ murder. Someone
murdered Charles Haversham!
Lights change to red. A musical spike plays again. The lights
shift back to the general state but the music continues. Itcuts
out briefly
‘Thats right.
‘The music continues. Dennis/Denise keeps trying to get up,
thinking the spike will stop, and repeatedly sits back down
‘on Jonathan until he pushes him/her off
‘Thats right!
‘TREVOR/TAYLOR. (Over the speakers.) Sound effect error on cue
four.
ROBERT/RACHEL, Thankyou.
HelShe hangs up.
He/She’ on his/her way.
DENNIS/DENISE. Inspector Carter?
ROBERT/RACHEL. They say he'/she's the best damn inspector in
the district, hl/she'll crack this case and quick,
Robert/Rackel croses the stage, stepping on Jonathan's hand
again.
DENNIS/DENISE, Very good, sir/malam, and what shall I do?
ROBERT/RACHEL. Lock every door, man /Lock every doot.
Robert/Rachel crosses the stage again. Dennis/Denise follows,
v Jonathan sharply moves his hand out of the way of Robert’/
Rachel’ foot. Once Robert/Rachel has passed, Jonathan
replaces his hand. Dennis/Denise treads on tas he/she follows
Robert/Rachel past the chaise longue.
Not a soul gets out of Haversham Manor until the killer is found.
DENNIS/DENISE. At once, si/mdam.
ROBERT/RACHEL. ...And assemble everyone in here,
DENNIS/DENISE, Right away, sit/me'am,
Dennis/Denise goes to leave through the. x. door, but it still
won't budge,
ROBERT/RACHEL. Good God! Charles Haversham murdered at
his own engagement party!
Robert/Rachel ses Dennis/Denise stuck onstage and repeats
his/her line to stall.
Good God! Charles Haversham murdered at his own engagement
pacty! What a grim, geim night,
He/She turns sharply tothe door.
Florence!
‘We hear a bang as Sandra tres to get in through the sn. door.
SANDRA. (Off) Charley! No! I cat believe what I'm seeing,
Robert/Rachel goes to try and open the door, Sandra appears
in the window, holding apart the curtains
My God, he looks so fral lying there. His skin is cold to the touch,
ROBERT/RACHEL. Dontt touch him, Florence.
SANDRA. Imust!
ROBERT/RACHEL. You mustrit!
SANDRA. You controlling brute/fiend, unhand me!
Robert/Rachel pretends to release Sandra’ hand.
‘Oh, who could do such a thing? The night of our engagement party.
Cecil, quick! Your brother's dead.
DENNIS/DENISE. This ways Mr. Haversham.
MAX. (Off) Ym coming, Miss Colleymoore!
‘We hear three loud bangs on the door. On the third, the door
18 suddenly bursts open, revealing Max, Annie and members
of stage crew who had all been attempting to open it
ROBERT/RACHEL. Get out, you idiots.
‘They all quickly run off
MAX. My brothert Dead? It cart bet
Sandra now enters through the door.
ROBERT/RACHEL. Calm yourself, Cecil, Pour him a stiff drink,
Perkins.
DENNIS/DENISE. Right away, siefmeam, Charles always kept his
scotch right there on the side table.
MAX, You know my brother had the finest collection of scotch in
all the county.
ROBERT/RACHEL, Dorit you think I know thet, Cecil? He was
my best friend.
MAX. Well he was my brother, Thomas/Mary.
ROBERT/RACHEL. Hang itll, Charley dead.
SANDRA. My fiancé dead, I cant bear it.
ROBERT/RACHEL, You arer‘t to leave my sight this evening,
Florence.
Dennis/Denise goes tothe o.s. . table and produces the full
bottle of scotch,
DENNIS/DENISE. Oh my God! He’ drunk the whole bottle, sit/
mam, There's not a drop left.
Realizing his/her mistake, he/she goes tothe coal scuttle and
empties the bottle into it.
Theres not a drop left!
‘The bottle is now empty.
ROBERT/RACHEL. Hang itall, there's another on the table,
Dennis/Denise produces the empty bottle he/she should have
‘got the first time,
DENNIS/DENISE. Yes, sirfmaam, of course you'te right, this ones
full
Dennis/Denise puts the bottle onto the tray of short glasses
19 on the Ds, 1. table and carries the tray past the window.
As Dennis/Denise passes the window, Annie/Stagehand leans
‘through and exchanges the empty bole fora full plastic bottle
labeled “PAINT THINNER’ with a large flammable symbol
on it. Dennis/Denise doesnt see the switch.
ROBERT/RACHEL, This is horrifying, I mean who on earth would
hhave e motivation to murder Charles Haversham?
SANDRA. Iccant imagine!
MAX, It’s madness! My brother was 2 good man. Who would kill
shim? I'm in shock, Thomas/Mary.
ROBERT/RACHEL. Asam I, Cecil. As am I.
‘MAX. My brother, murdered in his own home! This is unthinkable!
SANDRA. This is more than my nerves can take, I simply can't
stand it. Thomas/Mary, I think I'm becoming hysterical!
ROBERT/RACHEL. No, Florence! Not another one of your episodes.
Calm yourself. Here, take one of your pills.
‘MAX. Oh Florence, this is unbearable,
Sandra begins to seream and pound Jonathan’ chest, Jonathan
finches,
‘Thomas/Mary, I feel I shall pass out.
ROBERT/RACHEL. Perkins! Pour that man a stiff drink!
Dennis/Denise arrives at v.s. x. and offers a glass to Max.
MAX, Thank you, Perkins.
ROBERT/RACHEL. There, there, Florence, wel done, deep breaths.
Dennis/Denise pours the paint thinner into Max’ glass Sandra
becomes calmer.
SANDRA. This is terrible, just a week after our engagement.
MAX, Well heres to a good brother.
‘Max: raises his glass and drinks the paint thinner. He quickly
spits it back out.
‘That’ the best whiskey Ive ever tasted.
ROBERT/RACHEL. Have another, to calm your nerves.
MAX, Make ita double!
20 Dennis/Denise pours Max another glas of paint thinner.
SANDRA. Oh my Charles! My Charles! My head is spinning!
Max drinks it again, He spits it out again.
MAX. Calm down, Florence,
DENNIS/DENISE. Another scotch, sit?
MAX. Yes!
SANDRA. I car’t believe he sat up here alone, drinking, when he
‘was supposed to be downstairs with us.
‘Max drinks again and spits it out again, this time right into
Jonatharts face, who sits up in shock. Beat. Robert/Rachel
pushes Jonathan back down onto the chaise longue,
MAX. My... (Lets outa throaty squeak, the paint thinner burning his
mouth.) My brother wasnt as happy as people were led to believe.
Behind that cheery mask lay a darker side to the man that many
didnt know about.
DENNIS/DENISE, Its true, his smile was often merely (Reads from
hislher hard.) a facade. (Pronounced “fu-cayde”) 1 was fortunate
enough to be one of the few people who he really confided in, Damn
ital, 've lost a true friend today.
ROBERT/RACHEL, We all have, Perkins. Hang it, [knew Charley
ever since grade school
SANDRA. I don't know how I'l ever recover from this.
ROBERT/RACHEL. You'll move back home with me. Im your
brother/sister and P'l have itno other way.
MAX. Perkins is right, my brother was hiding a deep sense of mel-
ancholy and resentment. Ihave no doubt in my mind it was suicide,
Lights snap to red. Dransatic musical spike. Lights snap back
to the general state.
DENNIS/DENISE, Suicide, Mr. Haversham? How can you say
that! Of course not, its murder. Murder in the fist degree.
‘MAX. Nonsense!
‘Max performs a gesture for “nonsense” if the audience laughs,
‘Max can ackwowledge them here by smiling and repeating the
gesture.
a ‘Nonsense! My brother was paranoid and jealous and I can prove it.
Perkins, hand me his journal, its there on the mantelpiece,
Annie’ hand reaches through the door and holds the journal
‘against the wall where it should have been above the fireplace.
Dennis/Denise passes it to Max.
‘Thank you, Perkins. Why, look at the last entry. (Not looking at the
Journal.) “fear Florence coes not love me. The night of our engagement
‘party despair engulfs my soul”
SANDRA. But [loved Charles with all my heart.
Dennis/Denise takes the journal and puts it back where the
‘mantelpiece should be; it falls straight to the floor. Annies
hhand reaches back through the door to catch it, but she is
just too late.
MAX. As I said: driven mad with paranoia and jealousy.
All gasp and face out. Silence. The cast waits for a sound effect
that doesn't happen. Eventually Trevor/Taylor realises he’
she’s missed his/her cue.
"TREVOR/TAYLOR. Oh no!
Trevor/Taylor hits a button. A loud door chime sounds.
ALL, The Inspector!
SANDRA. Thank heavens he/she’ here,
Chris (now in costume, playing Inspector Carter) enters
through the door with paper snowflakes on his/her head and
shoulders. He/She carries an attaché case.
CHRIS. What a terrible snowstorm. Good evening, I'm Inspector
Carter. Take my case,
DENNIS/DENISE. Yes, Inspector.
Chris hands his/her case to Dennis/Denise, who places it on
the floor by the table,
CHRIS. ‘This must be Charles Heversham. im sorry. This must've
given you all a damn shock.
SANDRA. Itdid, were all stil reeling,
CHRIS. Naturally. Tell me, are any of you the deceased's immediate
family?
22 ‘MAX, I'm Cecil Havershamn, Im his brother.
SANDRA. (Smiling.) Tim Florence Colleymoore, I'm his fiancée.
‘Tonight was our engagement party.
(CHRIS. I take it everyone is assembled here?
ROBERT/RACHEL. Yes. The only other member of stafis Arthuc
the Gardener, but I saw him and Winston leaving for the weekend
hours ago.
CHRIS. Winston?
ROBERI/RACHEL. His guard dog.
‘CHRIS. Very well. Have you poured everyone a stif drink?
DENNIS/DENISE, Yes, Inspector.
Dennis/Denise holds out the tray and they all take a glass.
MAX, Well then let’ all raise a glass—
As the glasses ar ited, Dennis/Denise lowers the tay, hitting
Jonathan on the head.
‘To aman we all loved, to Charles.
ALL, Charest
‘They all raise their glasses and drink the paint thinner. They
all spit it out and try to recover. Max holds the paint thinner
in his mouth
CHRIS. Delicious.
SANDRA. Excellent,
ROBERT/RACHEL. Lovely. Thatsa damn fine bot, Perkins, whats
the vintage?
DENNIS/DENISE, (Reads the label) Flammable and corrosive, sit!
méam,
CHRIS, Listen! You all must be distraught, bu forgive me, the sooner
ean begin my enquities—
‘Chris deposits his/her notebook on the . x. table.
—the sooner we can get to the bottom of this ghastly business,
‘Mas: spits out his paint thinner behind the couch. He turts back
looking as casual as he can but then gags, giving himself away.
23 Miss Colleymoore, Mr. Haversharn, please wait in the study as I
examine the body.
Sandra and Max exit through the s. 1. door.
DENNIS/DENISE. It’s such a tragedy for @ man to die just three
months before he is to be married.
ROBERT/RACHEL, I cant stand it. Just look at him lying there,
DENNIS/DENISE. ‘Thisis most (Checks hand,) morose. (Pronounced
“more-ous?)
ROBERT/RACHEL. Morose indeed.
DENNIS/DENISE, His stillness unnerves me,
CHRIS. Seeing a cadaver for the first time can be unsettling. Check
hhis pockets, Thomas/Maty.
ROBERT/RACHEL. Inspector.
Chris produces a tin of powder and a brush.
CHRIS. I need you to pall yourselves together and help me to dust
his body for fingerprints.
Chris passes Dennis/Denise the tin and brush,
DENNIS/DENISE. Yes, Inspector.
‘Robert/Rachel searches Jonathan’ trouser pocket but cannot
find the prop letter he/she is supposed to find. After a few
‘moments, Jonathan reaches into his inside jacket pocket and
produces the letter and passes it to Rabert/Rachel. Robert/
Rachel quickly pretends to have taken the letter from Jona
than’s trouser pocket and holds it up.
ROBERT/RACHEL. A letter?
Robert/Rachel pases the letter to Chris, who puts it in his/her
pocket
‘CHRIS. Now to dust the body for fingerprints.
ROBERT/RACHEL. What was that?
DENNIS/DENISE. Sir/Mam?
ROBERT/RACHEL. I could have sworn I just saw him breathing,
DENNIS/DENISE. Breathing, sir/ma’am—
24 Dennis/Denise drops the tin of powder onto Jonathan’ face.
Jonathan tries to hide his coughing.
CHRIS. Nonsense, Colleymoore/Miss Colleymoore. This man is dead.
Jonathan coughs.
“Thank you. Now that I have finished examining the body, perhaps
you would take it down to the service quarters for the coroner to
collect in the morning.
DENNIS/DENISE, Yes, Inspector,
Over the next few lines, Dennis/Denise brings in a stretcher.
Robert/Rachel and Dennis/Denise lay the stretcher on the
floor in front of the chaise longue,
CHRIS. (Goes to door ard shouts.) Miss Colleymoore and Mr.
Haversham, if you could please return.
Sandra and Max enter.
MAX, Any ideas as to the cause of death, Inspector?
CHRIS. Could be a number of things. Strangulation, suffocation,
poison. Before the coroner fully examines the body I wouldsit like
tosay.
SANDRA. Poison, Inspector? Surely not.
Robert/Rachel and Dennis/Denise try to lift Jonathan up
but can't; Jonathan i still coughing.
CHRIS. ‘Try not to think about it, Miss Colleymoore,
Robert/Rachel and Dennis/Denise slowly start to rollJonathan
Off of the chaise. Chris slows down his/her lines as he/she
watches.
As soon as I've..finished...
Jonathan opens his eyes and looks frightened. Eventually he
tips off ofthe chaise longue and falls hard face-down onto
the floor.
T'ilspeak to everyone individually and then you can get some space
to calm your nerves,
Robert/Rachel and Dennis/Denise lift the stretcher ups the
canvas tears off of the stretcher and Roberi/Rachel and Dennis!
Denise are left holding just the poles. Beat, Robert/Rachel
25 and Dennis/Denise then carry the poles off through the s. R.
door, leaving Jonathan on the floor.
SANDRA. Thank you, Inspector, this is all more than I can bear,
‘CHRIS. | shall return presently, as soon as we have called the coroner.
Perkins, please lock all the doors and be careful carrying the body.
Chris exits, slowly shutting the door behind him/her, staring
at Jonathan as he/she goes. Pause.
MAX. Well—
Jonathan: realises that he is meant to have been carried off
and suddenly starts to get up, making Max and Sandra
jump slightly. They stare at Jonathan, who, trying not to be
seen, exits towards the door, taking the stretcher canvas with
him. He tries the door but cartt get out, hides behind the
curtains, continues coughing.
‘Well thank God they’ve all gone.
During the following lines, Jonathan is trying to find exits,
still coughing.
SANDRA. Cecil, we must tread carefully. It would be easy for the
‘two of us to become implicated in Charles’ death. If they find out
about us, we'll be suspects.
MAX. We were having an affair, so what? It doesn't mean—
Max slips on a puddle of paint thinner he spit out earlier.
‘Tt doesn’t mean we killed the man.
SANDRA. Of course not, but that’s what the Inspector will think.
‘MAX. Its fine, we'll just carry on as if every-thing!
Max sits on the chaise longue but feels something hard under
the cushions.
—is just as it was. Bxcept—
‘Max lifis the cushions and discovers a ledger underneath.
‘Max puts it under the chaise longue,
Except now you wor't be forced to marry my beastly brother.
SANDRA. And soon we can be together and not keep secrets.
MAX. Soon, my love, but first, with Charley finally out of the picture
must ask you one question.
26 ‘Max goes down on one knee infront of Sandra,
Florence, wll you do me the honour of becoming my wife? Marry me!
Jonathan cannot control the cough anymore and sneezes right
in between Max and Sandra sitting on the chaise longue.
Charles is dead. He can never come between us again!
Annie opens thes. door and Jonathan slowly moves towards
the door. Exits,
Florence, Charles is gone and hes never coming back,
SANDRA. Oh Cecil, I cant resist you! I shall, shall marry you.
MAX. Oh Florence, come into my arms.
‘Max pushes Sandra away.
SANDRA. Ishall!
MAX. Kiss met
SANDRA. Oh Ci
‘Max and Sandra go to kiss with a dramatic dip, but Robert/
Rachel bursts in s.r. door
ROBERT/RACHEL, The Inspector requires a pencil. What on
earths going on in here?
SANDRA. Sorry, [felt flustered. Cecil was cooling my brow.
ROBERT/RACHEL. Very well, now Ihave the pencil 'lbe on my...
Robert/Rachel sees that there is no penciton the DS. R. table.
‘He/She picks up the set of keys instead.
‘Well now Ihave the... well now Ihave the... Now I have the pencil.
Pilbe on my way.
Robert/Rachel exits, closing the door.
MAX. ‘Thank God he'/she’s gone!
SANDRA. Oh, Cecil! Kiss me a thousand times; Im yours.
Dennis/Denise bursts in,
DENNIS/DENISE. Sorry to interrupt, Miss Colleymoore, Mr.
Haversham. I've come to collect the keys to lock us all inside.
MAX. Thank you, Perkins,
Dennis/Denise sees the keys gone and instead he/she picks
up the Inspector's notebook.
2 DENNIS/DENISE. I shall lock the doors at once.
Dennis/Denise exits with the Inspector's notebook,
SANDRA. You don't think Perkins suspects us, do you?
MAX. That old fool, of course not.
SANDRA. Oh, enough words. Take me!
Robert/Rachel bursts in.
ROBERT/RACHEL, I forgot the Inspector's notebook... What in
Gods name?
SANDRA. Iwas about to feint, Cecil caught me.
ROBERT/RACHEL. I havent time for this. Now..
Inspector's notebook, I'll be on my way.
Robert/Rachel sees the notebook is gone. He/She picks up
the vase of flowers instead and exits.
MAX. Damn these blasted interruptions!
SANDRA. Kiss me, Cecil, I can't wait a second longer.
Pause. Dennis/Denise is supposed fo have burst in. Max and
Sandra look at the door.
Kiss me, Cecil, I can't wait a second longer.
Silence
Kiss me, Cecil, I carit wait a second longer.
‘Max and Sandra vamp, Sandra trying to convince Max to
iss her. Eventually Max kisses Sandra, putting his entire
wide open mouth over hers. Sandra recoils and falls of of
the chaise longue. Dennis/Denise then bursts in, holding
two candles in candlesticks
DENNIS/DENISE. Sorry to interrupt, Mr. Haversham, Miss Colley-
moore, Ihave come to prepare the room.
MAX. Thank you, Perkins. Just set them down on the mantelpiece,
Dennis/Denise goes tothe fireplace with the candlesticks, But
there is no mantelpiece to put them on. Suddenly Annie's
hands burst through the feplace. Denris/Denise puts a candle-
stick in each of her hands
‘That’s some good work, thank you, Perkins.
-chave.,.the
28 Dennis/Denise exits. He/She slams the door closed, and as
hhelshe does, the cartouche over the fireplace drops to the
‘Floor and reveals Annie’ face. She stares out atthe others.
Atlast were alone.
‘Annie pulls the candlesticks back, but they are too tall and
she cant pull them through the holes.
SANDRA. Oh Cecil, let’ run away from here, Far away! Together!
MAX. Soon, my love, but we must be careful. We mustn't arouse
suspicion.
SANDRA. Cecil, tell me, who do you think killed Charles?
MAX. Thave no doubt in my mind, he was killed by your brother/
sister: Thomas/Mary Colleymoore.
SANDRA. My brother/sistera murderer and Charles dead? What
2 devil ofa situation this is!
Jonathan suddenly bursts through thes. R. door, holding a gun
JONATHAN. Not so fest, Inspector!
‘Max and Sandra stare at Jonathan. Pause, Jonathan realises
Ihe has come in much too early. He exits.
SANDRA. But why would Thomas/Mary want Charles dead?
MAX. Isnt it obvious? He/She—
‘Max falls over the chaise longue.
Argh! He/She was always biter and possessive when it came to you!
‘Throughout the following dialogue, Max begins miming his
speech in a panic
He/She couldr't stand the idea of his/her best friend marrying his/
her sister. He/She saw you two together at tonight’ engagement
party and it drove him/her half mad and he/she snapped and killed
Charles!
SANDRA. Butifitis Thomas/Mary, what ifour affair is discovered?
‘MAX. Thave no doubt in my mind he/she would try and kill us as,
‘well, just like he/she killed Charles!
SANDRA. Oh I feel faint again!
MAX. Don't worry, Florence. Just follow my lead.
29 Chris opens the s. x. door.
CHRIS. I'm sorry to have kept you.
‘The heraldic shield over the door swings down and hits Chris,
Chris throws it oftage.
but now Thave finished examining the body our interviews can
proceed. (Calls off) Perkins! Bring in Charles’ personal effects.
Dennis/Denise enters s.R. with lots of bulky personal props.
DENNIS/DENISE. Where would you like them, Inspector?
CHRIS, Set them down on the mantelpiece,
Chris realises what he/she’ said.
DENNIS/DENISE. As you wish, Inspector.
Dennts/Denise carries the props over to Arnie, who is still
holding the candlesticks, Remaining stagehands run out and
become the mantel; Dennis/Denise carefully balances the
items on the stagehands. Dennis/Denise is supposed to leave
but doesn't, Silence.
CHRIS. Dortt go, Perkins.
Dennis/Denise goes to leave and then stops.
Ta like to ask you a few questions first. Mr. Haversham, Miss Colley-
_moote, if youd be so kind as to give us ¢ moment’ privacy.
‘MAX, Naturally.
‘Max and Sandra exit. Dennis/Denise sts down on the chaise
Tongue.
CHRIS, Don't just stand there, Perkins, take a seat,
Dennis/Denise sits down again,
Go ahead, How are you feeling, Perkins?
DENNIS/DENISE. A little shaken, sir/meam. But PU be fine.
CHRIS. You and Charles Haversham, you were close?
DENNIS/DENISE. Yes, sir/msam, very close.
Stagehands can hold the props up no more, and they come
crashing to the ground: stagehands and Annie all start picking
Lup the items loudly.
CHRIS. You don't appear very upset.
30 DENNIS/DENISE. On the contrary, I've barely taken it in. He was
such a kindly, charming man.
CHRIS. Its true,
DENNIS/DENISE, You met him?
CHRIS. Once atthe local police station, He was a consultant on a
fraud case I was working on,
DENNIS/DENISE. I see.
CHRIS. How long have you been working at Haversham Manor?
DENNIS/DENISE. Eighty years.
CHRIS. Eighty years?
DENNIS/DENISE. (Corrects him/herself) Bight years! Bight years
‘CHRIS, Eight years. And have you enjoyed your time here?
DENNIS/DENISE. My time with Mr. Havershar has been nothing.
but joy. I fee that since F've come here I have been seen not only as
abutler/matd but also asa friend and a confidant. If youneed meT'll
be in my quarters. Exits.
(Chris stares at him/her furiously.
CHRIS. Exi
Dennis/Denise realises and turns to goto s. x door.
“Thank you, Perkins! If yout be so kind as to send in Florence Colley-
moore on your way out.
Sandra bursts in, followed by Robert/Rachel. In the door we
see stagehands with the props, and Sandra pushes past them,
‘making them drop the props again,
SANDRA. No need, I'm already here. Dor‘t ask too much of me,
Inspector I fel fragile as glass,
Dennis/Denise exits,
CHRIS. At last, Colleymoore/Miss Colleymoore, you managed to
find mea pencil?
ROBERT/RACHEL. Yes...Inspector.
Robert/Rachel holds out the keys, Pause. Chris takes them,
CHRIS. And my notebook?
Robert/Rachel holds out the vase. Pause. Chris takes it
31 knew Ti left them somewhere, I'm going to have to speak to your
sister alone.
ROBERT/RACHEL. Very well. ll be in the library, Florence.
Robert/Rachel opens the s. x. door. Dennis/Denise is knelt
down in the doorway, having collected all the props. Robert/
Rachel walks straight into him/her, causing Dennis/Denise to
drop them all again as Robert/Rachel loses the door behind
him/her.
Dennist/Denise!
CHRIS. Don't fret, Miss Colleymoore, my questions will be brief
and to the point and then you can get some rest. Firstly, how old are
you, Miss Colleymoore?
SANDRA. Twenty-one,
CHRIS. I'll make a note of thet.
Giiris tres to make a note by dragging one ofthe keys across
the side of the vase. Itclinks as it goes across the cut glass.
‘And when were you engaged to be married?
SANDRA. In the new year,
Gris writes on the vase again,
CHRIS. And when did you and your fiancé first meet?
SANDRA. Only seven months ago, but my brother/sister has
known him since school. He/She introduced us at local gala and
it was love at first sight. I knew from the very first moment I saw
him that he was the man I wished to marry.
Pause.
CHRIS. (Ad-lis,) Ah, Ive run out of paper.
Chris puts the keys and vase down on thes, . table, Sandra
comes in a line too early, causing the lines to go out of sync.
“The two become more frantic as they try to get back on track.
SANDRA. When you love someone there's no such thing as rushing,
Inspector.
CHRIS. Did you ever think you were rushing into this marriage?
SANDRA, Why wouldn't I love him?
CHRIS. Did you love him, then?
32 SANDRA. How could anyone have benefitted?
CHRIS. Can you think of anyone who might heve benefitted from
your fiancé’ death?
SANDRA. Cecil?
‘CHRIS. Not even Cecil?
SANDRA. I wasn't having an affair! Don't raise your voice to me,
Inspector!
‘CHRIS. YOU WERE HAVING AN AFFAIR!
SANDRA. (Slaps Chris.) Dortt tell me to calm down!
‘CHRIS. Calm down, Miss Colleymoore. (Reacts to slap.)
SANDRA, But where did you find it?
‘CHRIS. 1 found your letter; the one addressed to Cecil, written in,
your hand, declaring your love for him and saying that the thought
‘of marrying Charles repulsed you.
SANDRA. Charles reed it—
CHRIS. (Does Sandra line for her in @ high voice.) But where did
you find it? (Back to his/her normal voice.) ll tell you where I found
its in Chartes’ pocket!
SANDRA. Charles read it?! Then it was suicide!
Trevor/Taylor misses his/her cue, so Sandra repeats the line
three times, On the third time, lights snap to red. Dramatic
‘musical spike. Lights snap back fo the general state.
CHRIS. Indeed! (Returning to a calmer delivery.) Or a murder
conceived by yourself and Cecil Heversham so you could run away
together.
SANDRA. You diabolical beast. How can you? I wortt stand for
this, Inspector. Accuse me again and you'll be sorr...
Robert/Rachel bursts in s. x. followed by Max; the door hits
Sandra sharply on the head and she collapses, unconscious.
‘Trevor/Taylor picks up a first-aid kit and heads out of his!
her box.
ROBERT/RACHEL. What’ allthis shouting?
MAX. What i this, Inspector?
33 Robert/Rachel and Chris see that Sandra is on the floor. Max
looks at Chris and doest see whats happened to Sandra,
CHRIS. I'm merely interviewing Miss Colleymoore, nothing more.
MAX, Whats the matter, Florence?
‘Max turns to see Sandra on the floor.
Calm down! Stop shouting.
Sandra remains unconscious,
ROBERT/RACHEL. She’ having one of her episodes. Snap out of
i you're hysterical
Sandra remains unconscious
MAX, Florence! Where are you going?
Sandra remains unconscious.
ROBERIYRACHEL. Come back here this instant.
Sandra remains unconscious. Robert/Rachel looks back to
Max and Chris,
She’ run off. I'll fetch her back. You stay here, Ceci, I daresay the
Inspector has some questions for you. You were Charles’ brother
after all
Robert/Rachel exits s, 1.
MAX. I'm sorry about her, Inspector, she’s badly shaken, we all are
Its been—
‘Max almost walks into the chaise longue, but misses it.
—quite the night and its getting late,
CHRIS. Indeed. Eleven ctlock already.
Ghiris looks atthe clock. The hands are at five oefock.
MAX. Well do you have any questions for me, Inspector?
CHRIS. Yes, similar questions to those I asked Miss Colleymoore.
MAX, Fire away, Inspector, I'm at your service.
CHRIS. Indeed. You and your brother, did you get along well?
MAX. Upand down. There was rather more strain on our relation-
ship when father died, And it wasno secret that our father cared for
Charley more than myself,
CHRIS. I see. This is your father in the portrait is it not?
34 Chris turns to the portrait above the fireplace. It is of a dog.
MAX, Itis.
CCHIRIS. He was the spitting image of Charles, wasrit he?
MAX. He was ever since he was quite young, yes.
CHRIS. You were the junior by four years?
MAX. Almost four and didnt I know it.
Annie and castferew stick hands through the window and
drag Sandra towards them. Her body is slammed against the
bottom of the flat.
Charles patronised and embarrassed me throughout our entire
childhood. He always thought he knew best, and father always took
his side, Ifhe ever didn't get his way he was unbearable
Sandras body is hoisted roughly up behind the curtain and
then dropped back down.
CHRIS. He sounds far from the ideal brother. In fact it sounds ike
you hated one another.
‘More of the cast backstage joins in to help.
MAX. I wont lie, Inspector, Charles and I never truly sew—
‘Max turns and sees what is going on behind him as Sandra
is roughly ited and dropped again.
—eye to eye! Butt you're suggesting Thad something to do with his
murder then you're mistaken,
CHRIS. I see. I's 2 dark night, Cecil.
MAX. Inspector!
Chris pulls the curtains open, revealing Robert/Rachel, Annie,
Trevor/Taylor, Jonathan and stagehands. They all freeze and
try not tobe seen. Sandra is held unconscious, inan awkward
position
CHRIS, You can barely even make out the trees.
Silence. Then Chris and Max turn back downstage. As Max
continues with his next line, Robert/Rachel, Trevor/Taylor,