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Agatha ChristieA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
The second scene takes place the following afternoon in the same location. Major Metcalf and Mrs. Boyle discuss the guest house; she complains, but he has a more positive attitude. Christopher and Mollie pass through the hall. Giles and Metcalf go out to shovel snow. Miss Casewell enters the hall, and Mollie crashes into her while carrying cleaning tools to another offstage room.
Mrs. Boyle complains about how the Ralstons are running the accommodations to Miss Casewell. Miss Casewell disagrees, is evasive when questioned about her past, and turns on loud music until Mrs. Boyle leaves. Christopher enters, and they turn down the radio to talk about their shared dislike of Mrs. Boyle. Miss Casewell makes a few mysterious comments and then begins to read a magazine. Christopher leaves and Mollie enters, chasing after a ringing phone.
Mollie’s side of the telephone conversation indicates that someone on the other end is calling from a police station. She talks about the snow cutting off access to Monkswell Manor and then the phone call itself is abruptly cut off. Giles enters, and Mollie tells him that the police are sending a Sergeant Trotter (this turns out to be a con perpetuated by the murderer who disguises himself as this sergeant). After joking about a liquor license, Miss Casewell (who turns out to be the sister of the murderer) leaves the room. Once alone, the couple wonders what they could have done to merit this visit.
Mrs. Boyle returns, complaining about the lack of heat in the library. Giles leaves to adjust the heater. Mrs. Boyle asks Mollie about Christopher and Paravicini. Paravicini enters, notices that they are talking about him, and Mrs. Boyle leaves. Paravicini and Mollie talk about the snow and her inexperience, specifically her lack of knowledge about the guests. Mrs. Boyle comes back to the hall.
Major Metcalf enters the room, looking to talk to Giles about some frozen pipes. When Mollie mentions the call from the police, Paravicini drops the fire poker and Metcalf freezes (because he is a real detective in disguise). Giles comes in with logs for the fire and doesn’t think the police will be able to get through the snow.
Sergeant Trotter (whose real name is Georgie Corrigan) appears outside the window on skis. He introduces himself to Giles (hiding his identity as the killer behind the fake police phone call). Giles lets Trotter in, and Christopher returns. Mrs. Boyle says Trotter looks too young to be a sergeant, a clue that he is not who he says he is. Giles and Trotter leave to put away the skis, and Major Metcalf tries to make a phone call, but the line is dead (it was cut by Trotter).
Once Trotter and Giles return, Trotter begins questioning everyone about the murder in London. He clarifies that the victim was using a false name (foreshadowing the many false names used by the guests of Monkswell Manor) and discusses the victim’s life. Maureen Stanning had been released from prison for the death of a child and criminal neglect of two other children in her care. Trotter says there was a notebook at the scene of the crime with the address of Monkswell Manor in it.
Trotter claims that anyone associated with the case that convicted Maureen is at risk. Mollie guesses that the police are looking for one of the Corrigan children who lived and is seeking revenge, and Trotter confirms this theory (the irony is that he is this survivor). Everyone denies being connected to the case, and Mollie, looking uncomfortable (she was the Corrigan children’s schoolteacher, but this is not revealed until the end of the play), goes to the kitchen.
While Giles shows Trotter around Monkswell Manor offstage, Christopher whistles “Three Blind Mice” and jokes about killing Mrs. Boyle. Metcalf tells him to stop, and Christopher leaves the room. Mollie returns and learns that Giles is taking Trotter on a tour. Metcalf reveals that Mrs. Boyle was involved with the case, as a magistrate who sent the children to Longridge Farm. Mollie seems to recognize her, and Paravicini leaves the room laughing.
Mollie and Miss Casewell share suspicions about Paravicini, Metcalf leaves to get wood for the fire, and Mrs. Boyle goes to the library. Paravicini picks out “Three Blind Mice” on a piano offstage. Mollie and Miss Casewell talk about memory and moving on from the past (this foreshadows that Miss Casewell has overcome the trauma of her childhood at Longridge Farm while her brother has not).
Giles and Trotter return. Miss Casewell goes offstage to the dining room after Trotter has inspected it. He inspects the drawing room, offstage, then says he wants to call in a report to his superintendent. When Mollie tells him the phone is dead, Trotter suspects the line has been cut (the irony here is that he cut the line). He questions Giles and Mollie about the guests, hinting that one of them is the murderer; the couple admits they don’t know much about them.
Mollie heads to the kitchen to cook, and Giles—at Trotter’s request—goes to check the upstairs phone extension. On his way out, Giles notices a London bus ticket in Mollie’s glove (it turns out she was buying him an anniversary present, but he becomes suspicious). Trotter follows the phone wire out of the window.
Mrs. Boyle comes in and closes the window. She turns on the radio, and someone starts whistling “Three Blind Mice” offstage. A hand reaches into the room and turns out the lights. In the darkness, Mrs. Boyle’s the audience can hear Mrs. Boyle being murdered. Mollie reenters the room, turns on the light, and discovers the body. As she screams, the curtain falls for the end of Act I.
In the second scene of Act I, the theme of identity formation is developed. Mrs. Boyle questions about the identities of other guests: “What do you know of him?” (20) she asks Mollie about Christopher. Mollie replies: “Just as much as I know about you” (20). Mrs. Boyle is not forthcoming about her identity; this foreshadows the information that she hides later about her connection to the Longridge Farm case. Mrs. Boyle tries to cast suspicion on other people to divert attention from herself.
Once Trotter—the murderer disguised as the police officer—enters the play, the irony increases. In describing the murderer, he describes himself as “twenty-two. Deserted from the army [...] schizophrenic” (26). Other characters note how young he looks, but no one suspects he is the murderer because of the fake phone call he made to Mollie. Furthermore, everyone works so hard at hiding something about their own identity that they miss the con Trotter pulls to gain their trust.
As the characters are distracted by their own lies, Christie inserts several red herrings to lead the audience off track. For instance, the discovery of the London bus ticket in Mollie’s glove makes her suspicious to Giles, but more importantly to the audience. She is, in fact, hiding that she knew the children involved in the Longridge Farm case, but her suspicious behavior during the interrogation can support the theory that she is the killer.
Another theme of The Mousetrap is an exploration of how trauma impacts identity formation. The murderer’s motivation is revenge, which is revealed in Scene 2. Miss Casewell hides the fact that she was one of the children traumatized at Longridge Farm and, in her false persona, claims: “Nothing from the past is going to affect me—except in the way I want it to” (31). Unlike her murderous brother, she does not seek revenge for her sibling’s death and the abuse they suffered.
By Agatha Christie