ACT ONE Scene One (Darkness. Suddenty we hear a furious passage from the fourth movement of Beethoven's Sehing Quartet Opus 95. ing through the open front doo. The the room heave dust-cavers over them, and thas no lights or ornaments on it, A cand man runs on in pursuit. His ‘name is SHERLOCK HOLMES.) Ho assure you that in — but it’s not there! He pats '5 gone. MORIARTY smiles:) Doctor Watson's office I took the lib- (MORIARTY pulls out the gun, points it at HOLMES cand fruls the tigger.) "3. MORIARTY is shocked,KEN LUDWIG'S THE GAME’S AFOOT ‘and he sees the open window across the room. He makes a ind MARIAN rush into the too.) window.) MORIARTY. Abhhhieh! (He falls with a horrible thud onto the street below. At COUNT ZERLINSKY enters, He is dressed ALICE. Oh, Mr, (COUNT ZERLINSKY.KEN LUDWIG'S THE GAME'S AFOOT (At the mention of letters, ALICE. goes pale.) HOLMES. (quietly) The letters are not on the body. I secured (HOLMES shrugs.) He vill ruin your reputation! He vill have my hes vill - HOLMES. Get out! Ni ZERUNSKY. ...Zis iss not (COUNT ZERLINSKY leaves in a huff.) MARIAN. Count Zerlinsky! Wait! (She runs out after him, leaving ALICE and HOLMES ‘alone in the room ALICE, Then yor nt lo see you ever again! id promise to give hin details. Kiss me. Jove me, (He kisses her.) HOLMES. I... don't..KEN LUDWIG'S THE GAME’S AFOOT. (He takes her in his arms and kisses her passionately. ig music and the curtain falls. We hear the wild of an audience ~ and realize now that what HOLMES seps forward and holds up his hand to quiet the crowd.) then kneels ‘aver him, Her name is AGGTE:)KEN LUDWIG'S THE GAME'S AFOOT 19 AGGIE. William! William! Please somebody get « doctor! ‘THE OTHERS. Gillet! William? There he is! Stop him! Kind us a doctor! Bring down the curtain! (As the curtain falls and the stage goes black, we hear more of the furious Beethoven quartet. It sets our nerves ‘ajangle as we transition directly into:)KEN LUDWIG'S THE GAME’S AFOOT. Scene Two pme of WILLIAM arty evening on Christ twe saw in the Sherlock drut the dust covers have ‘are prlled back and living room of a mansion of glamorous women with hounds; ‘glamour by the bushel — as though colorful Erté print. Note: hhowse is owned by a hero of melodramas, Is and pistols placed dashingly on the (There are doors to the hallway stage right and a staircase leading up to-a landing [and om up tothe bedrooms} cone leading to the dining room, one to the library, and the other one isa closet door. This closet door will play a prominent role during Act One, Scene Two and should nol be slighted.)KEN LUDWIG'S THE GAME'S AFOOT transition from the I. locale to ing room, we hear a broadcast from a radio on the set. The paragraph in brackets should be cut ifthe will allow: id look forward 1 hearing aga “Watson! The Game's Afoot! (As the lights come up, MARTHA enters from the dining room, She is Gillette's mother, a smartly dressed, some- ‘what vague and dithering woman in her mid-7t (As she opens the door to enter the room, a dog starts barking furiously in the room that she has just Perhaps we see a bit of the dog's head darting in and out of the room.) PORTIA. Bark, bark, bark, bark, bark! MARTHA. Down girl!..Stop itl..Portia, I said stop! (The barking stops, MARTHA enters.)KEN LUDWIG'S THE GAME'S AFOOT “Tam not shaped fo ‘an amorous looking glass.” start on one of your rudely siamped and want love's majesty to strut before wanton, aambling a GILLETTE, “And that so lamely and unfashionable that dogs bark cat me asf halt by them!" iezzzzn )0u stop it and get the daor! the door in my bathrobe, Mother:KEN LUDWIG'S THE GAME'S AFOOT (He disappears jauntiby up the stairs.) MARTHA. (calling up the stairs) You're a big help! iadhouse while the gate- (She goes tothe desk, where she pushes an electric button and speaks into a microphone.) Hello, who is i? (We hear SIMON and AGGIE through the speaker until they enter on the next page.) to meet you, dear, Flash Gordon or some- AGGIE. Where are you, then? in the drawing room but ting dressed. SIMON. You're getting dressed in the drawing room?! Does it have a window so I can wat MARTHA. Oh stop it, AGGIE. The door seems to be unlocked. Shall we come straight in? (MARTHA gets her shoe on and checks her makeup, at which point SIMON and AGGIE enter. AGGIE, who played Alice in the play in Scene One, is a real product of her age: 25, beautiful, brighteyed and full of spunk.KEN LUDWIG'S THE GAME'S AFOOT fur trimmed cod SIMON, AGGIE, Mrs. C ase is aunazing! It must have costKEN LUDWIG'S THE GAMES AFOOT 5 MARTHA. My dear this house has everything. Watch this. (She pulls a lever and «a floortoceiling portion of the bookcase swivels around to create a bar complete with ‘two bar stools and a bar-table. In other wards, it's a sort of hidden room within the room that is only revealed when the lever is pulled.) ites ~ along wi ic snow shovel (She exits, leaving AGGIE and SIMON alone in the room. AGGIE (akes a derp breath.) SDMON. Are you holding up all right? (He makes a face and point, MADGE and FELIX enter. They played Marian ‘and Moriarty inthe play in Scene One. They've in theirKEN LUDWIG'S THE GAME'S AFOOT FELIX is histrionic and arch in ir Toby Belch sort of way. MADGE. @ Rosalind Russell smartKEN LUDWIG'S THE GAME'S AFOOT ow fell gently upon the litle stable. And was @ manger made of wood, and in the manger was a boy-child — FELIX. And his name was Sherlock Holmes. GILLETTE, “But even then the morning cock crew loud ‘And atthe sound it shrank in haste away.” 7KEN LUDWIG'S THE GAME'S AFOOT FELIX, “The knave turns fool that runs away.” ! Were you making fun of d and we hear voices coming through a speaker:) hy would he build a on the Connect Yay does GUAETTE do anything? The man is rughht he was your best friend.) nd I repeat, the man is insane.) (MARTHA enters with a tray of champagne glasses.)KEN LUDWIG'S THE GAME’S AFOOT 1ce he got shot ~ he’s so proud By the way, where's Barnes? anywhere, wgine, we have a GILLETTE. Oh of course I can, Look: I've been meaning to do this for two days now. (He takes af his sling. Handing it to FELIX:) wa? / What isi GHLLETTE. (pulling out an envelope) Do note that was left at the stage door0 KEN LUDWIG’S THE GAME'S AFOOT lost interest burner from under his desk an GILLETTE. Exactly. Av MADGE, “Once more unto the breach, dear friends, once more, cour English dead!” ine slips,KEN LUDWIG’S THE GAME’S AFOOT 3 FELIX & MADGE. “THE GAMES AFOOT!” AGGIE. So “H-V" is Henry the Fifth. pressed into the paper when it's otels do it, and busi- nesses, FELIX. Oh, Christ. SIMON. What?KEN LUDWIG'S THE GAME’S AFOOT (They all erupt happity ~ except GHLETTE.)KEN LUDWIG'S THE GAME’S AFOOT COLETTE. Hi MARTHA. (lo AGGIE:) And yo again after what happe Black Diamond slope, ‘most dangerous one at the resort. He got all dressedKEN LUDWIG'S THE GAME'S AFOOT. (FELIX turns om the radio and tries to find a good tune. But he only finds opera and news broadcasts...and ‘meanwhile, SIMON has found a ukulele ling about. He starts to play: and he and AGGHE sing a popular songKEN LUDWIG'S THE GAME’S AFOOT of the era ~ something upbeat and fuen, like “DeLavely or “Anything Ge ‘They all start dancing and en ‘actors, their dancing is joyful MARTHA. Willie, would you stop being © could at Miss Grawford came lowed by a lump of ro "Please see Music Use Note on Page 8 " by Cole Porter or “I Got Rhythm” by 38“ONT ANVaRIOO BULVSHL WNSYNSHLY THC TTT KEN LUDWIG'S THE GAME’S AFOOT layed Hamlet's mother looking like a tothe room ~ ad sets thal AGG has hinged tal to Caer privacy AGGIE, 1 know w He's easyKEN LUDWIG'S THE GAME’S AFOOT GILLETTE. Yes, I know. AGGIE. (in his arms) Oh, (almost breaking down) You treat everything as a joke! Even that horrible altempt on your life! ose gray faceless accountants, and I won't do it. 1 T don’t treat life as a joke - I treat it as the most glorious game ever invented, Love and heartbreak? Game. Life and death? a ULYDALE ATHENAEUM THEATRE COMPANY INC,ey KEN LUDWIG'S THE GAME'S AFOOT Her heart starts racing and we lines him. She leans tn nds fiom the terrace interrupt the FELIX. (off) Daria € (DARIA CHASE ters, followed by the others. DARIA is Guess who's here’ ‘help liking her or at least admiring her. She has a sense of humor and has invented herself from the ground up. which is no mean fat.)KEN LUDWIG'S THE GAME’S AFOOT FELIX, Just like that famous painting on the grass, but with you “Mother.” You didn't have any he. I was so upset. If I had ne of the biggest scoops ofKEN LUDWIG'S THE GAME'S AFOOTKEN LUDWIG'S THE GAME’S AFOOT (He embraces her all laugh.) is cast of yours gives 's like T invented ye a sorceress. A wave of the pen a a star: Poof you know about it? GILLETTE. I'm afraid 1 do, 1 was going to tell everyone after dinner, DARIA. Oops AGGIE. Who was murdered? GILLETTE. Noggs. (Shocked silence.) SIMON. Stage doorman Noggs? 1¢ to identify the body this night, apparently. GILLETTE, Excuse me?i f KEN LUDWIG'S THE GAME'S AFOOT. ‘way. Let's go everybody! (MARTHA opens the door to the dining room, and Portia slarts barking again. ) PORTIA. Bark, bark, bark, bark, bark! ia be quiet! ling into the dining room ARIA and FELIX go SIMON. (laking AGGIE’ arm, imitating Daria) AgKEN LUDWIG'S THE GAME’S AFOOT 3 top it! She'll hear you! (SIMON and AGGIE go in. GILLETTE goes to the radi GILLETTE. (aloud, so that everyone hears doors open so we cat (Everyone has gone by this time exept MAGE, who has sumes ferociously, goes black, we hear see a flash of light- another huge clap of thunder ning.) End of Scene$8 RE BE “4 KEN LUDWIG'S THE GAME'S AFOOT Scene Three coming from the dining room.) ‘moment, FELIX enters from the dining room.) FELIX. Does (Do we sense some jealously in FELIX'S reply ‘impossible, DARIA appears at the top of thKEN LUDWIG'S THE GAME’S AFOOT 45 talk about me instead, most about me? }00t him? I haven't slept with stoic and kiss me, him yet. Now stop FELIX I'm a marvied m:KEN LUDWIG'S THE GAME'S AFOOTKEN LUDWIG'S THE GAME'S AFOOT of thunder and the howl of wind.) nlikely under the circu ie?! You are so aggravating. tances. 9 you say to a...séance? AGGIE. A séance? GILLETTE, “When churchyards yawn and hell itself breathes out y dead, we say “passed over.” atic head of acting company forces jumatic evening.” a48 KEN LUDWIG'S THE GAME'S AFOOT Who are we contacKEN LUDWIG'S THE GAME’S AFOOT a9 (A bil of hubbub here: MADGE, MARTHA, FELIX and AGGIE, siart moving the fur / That's fine, / We conversation with FELIX. You ave creepy already. MADGE. Be quiet!SONI ANYAMIOO SHIVBHL INBHIN =0 30 KEN LUDWIG'S THE GAME'S AFOOT music on just to is very impo low volume and we hear a ings enter your bodies. (silence) DARIA. Now put your hands on the table. Fingers touching. dio, We hear another rumble of thunder ad see the ring against the windows. The room is dark.) wana dreath ana reins herself in. The atmo- sphere builds again. DARIA closes her eyes. The nasphere is thick with foreboding and uncertainty. Finaily:)KEN LUDWIG'S THE GAME’S AFOOT -cha."} Are you (Then suddenly, finatt under the table, Everyone cries ALL. Oh! LILYDALE ATHENAEUM THEATRE COMPANY INC.KEN LUDWIG'S THE GAME'S AFOOT. he table stats wobbling surprised and frightened. ) ther hand and points straight at SIMON.) gt have nothing to confess!KEN LUDWIG'S THE GAME'S AFOOT AGGIE. She's nol pointing at you! She's pointing out the window! (They ail turn away from MADGE and look out the window) SIMON. Wher?! MADGE. AAAAAAAAAAAAAHHHHHHHHHHHHHH HHHHHHH! ud.) (Everyone is screaming by this time.) ALL Madge! Oh my God! Madge, darling! / Call an ambulance! Help her up! / Somebody do something! "T TOUGH HER! (Silence. Everyone stares at him in shock.) killed Noggs is ne Confess it, T beg you! Yo response.) No one? (beat) MADGE. Well (MADGE stands up and pulls the knife out of her chest.) ‘THE OTHERS. Ahhhhihhhhh! MADGE. That didn’t work very well, now did it. GILLETTE. It was a good try, th MADGE. Except now we're going FELIX. Madge...? so for God's sake confess5 KEN LUDWIG'S THE GAME'S AFOOT Twas entire ace jel dent!KEN LUDWIG'S THE GAME'S AFOOT Dania Am Ta figure of fi! stat what yo think of me?! 1 would like some privacy Everyone starts leaving the rom, SIMON hurries ou, {followed by AGGIE:) AGGIE. Simon, you know it’s not true, Simo (MADGE hurries oul with FELIX pursuing het.)56 FELIX, KEN LUDWIG'S THE GAME’S AFOOTKEN LUDWIG'S THE GAME’S AFOOT They spread unpopular ~ the entire pro- (MARTHA glares al her with fury, then marches out, stilt holding the teacup, shaking with rage. Almost immedi ately, there's a knock at the study door and SIMON comesKEN LUDWIG'S THE GAME'S AFOOT. (BOOM! A bang of thunder, a flash of lightning, and the lights licker on and off, remaining om but with less Uhunder is so loud and frightening that to begin barking in the stud.) Portia, who fea cup and ind they shatter offstage.) 1a the room in fury. There is another loud boom of thunder and the lights in the wom flicker then off for good.)KEN LUDWIG'S THE GAME’S AFOOT HALHELHIH ETHEL HELL (The scream is heart-stopping. DARIA has just been staipbed in the back with a very wicked-looking knife. She gasps and staggers from the door ~ at which moment the Ununder booms, the lights flicker back on an (After several seconds of stumbles to it. She manage ino the receiver:) up when GILLETTE enters from the dining room. ARIA is facing ‘him, 50 he can't see the Rife.) 960 KEN LUDWIG'S THE GAME'S AFOOT. hha the knife in her back, shake his head in selfdeprecation and DARIA. Nargi! GILLETTE, AU right, gooddye! (He storms out of the rom. DARIA is aghast. She stage gers forward with her arms i.) DARIA. Back! Back! (Suddenly, GILLETTE marches back into the room and lowards the kitchen.) DARIA. AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA, AAAAAAAAARGHHHHH!KEN LUDWIG'S THE GAME'S AFOOT a GILLETTE. Oh dear God. (He to her side and checks He looks up in shock.) She's (Thunder. Beethoven. Blackout, ) End of Act OneACT TWO Scene One wus. We hear the Becthowen quar {et and then a huge v GULETTE. ...dead! (A thousand thoughts are going through his brain, and hhis head darts from side to side, looking for a clue. This is a challenge worthy of HOLMES himself.) (He looks carefully at the hilt of the knife sticking out of DARIA, then looks at the wall of weapons and sees the empty space where the te used to hang.) (He springs up and looks down the hall, then through ‘he French doors and the door to the dining room, The gone.) ave to report a (AL this moment, MARTHA enters fom: the hall.)KEN LUDWIG'S THE GAME’S AFOOT ng I don’t wantKEN LUDWIG'S THE GAME'S AFOOT 65 GILLETTE. Oh my God. (AL this moment, FELIX appears at the top of the stairs and begins descending. He's angry and he doesn’t look up — s0 he doesn't see the body at first.) FELIX. ... What's the joke?GAME's AFOOT.KEN LUDWIG'S THE GAME'S AFOOT FELIX. Al (GILLETTE whips a magnifying glass out of his pocket (He hits the interes Hello, who is (He hits the switch, turning off the intercom. Then he notices the murder weapon in his other hand and he ‘reacts with another yip. He puts the knife in the top drawer of the desk aid slams it shut.) FELIX. Good God, what are the police dois GLETTE. | just remembered, I called them after I found the body. FELK. Oh, great.“ONT ANVaNNOO SHLV3HL WNWNSHLY STVOATN 68 KEN LUDWI (He heads for the door ~ but as he goes, the closet door rings open and the body starts to fall ow.) (FELIX catches ur.)KEN LUDWIG’S THE GAME'S AFOOT the door agen.) ‘and the door swings open ling out...) ody and wrestles with it again.) VOICE. I'm getting very wet out here. I could make a sn sorry, Pll be right there! (He turns the intercom off.) Wait! I have an idea, ULYDALE ATHENAEDM THEATRE COMPANY INC, GILLETTE. I forgot about it FELIX But it’s your house! (They drag the boy into the recess and get her onto a bar stool. stumped over the bar) GULETTE. There. How’ FELIX. She looks like soKEN LUDWIG'S THE GAME’S AFOOT Il get the Inspector, Just push the fa, however, would see it instantly, hte hides the body behind the sofa, the door to the place by itself, hiding the bar. FELIX ‘astonishment. Why is it when fhe wanted it to close earlier?! At this off into a world of her own. She gets things wrong with- out even knowing it, yet she also seems just the sort of person who can find you out when you've lying. ThatKEN LUDWIG'S THE GAME’S AFOOT n (During the following, FELIX does his best to shield the back of the sofa. He also tries to draw GILLETTE INSPECTOR. There is no means of escape, Moriarty! (GILLETTE and FELIX glance at each other. The IN- SPECTOR strolls around the room observing. GILLETTE. I'm sorry? INSPECTOR. The dagger fro can see the discoloration wo be. yur wall. This spot here 1m where the daggerKEN LUDWIG'S THE GAME’S AFOOT of you who eal fy turning to FELIX who has been GILLETTE to notice the dead boty on the floor )a KEN LUDWIG'S THE GAME'S AFOOT B (CHLETTE now GULEDTE is it 1a ofthe cadaver body behind the sofa. If (The INSPECTOR reenters unexpectedly ~ and the two ‘men jump at the sound of her voice ~ and shield the back of the sofa.)SNES KEN LUDWIG'S THE GAME'S AFOOT INSPECTOR. Excuse me ~ GILLETTE & FELIX. All! ere anyone else staying FELIX. (smiling through his ieth again) Is she gone this time? (GILLETTE pulls the handle: the recess opens and they spring into action. Once again, they try to hide the body in the recess and close it to hide her.) played a lot of supporting roles in my time, but vidi (GMLETTE hurries off and FELIX manages to get the ody over the bar again. His head is on the bar next to hers trapped by her arm —) (awhen she raises her head and groans. She's not dead.)KEN LUDWIG'S THE GAME’S AFOOT 6 (FELIX screams as the acess closes on both of them. FELIX is trapped inside the recess with the body.) (A moment later, GILLETTE and the INSPECTOR enter from the dining room ~ and GHAETTE notices immedi- ‘ately that FELIX is nowhere to be seen.) 1g happily, the INSPECTOR disappears down wing GILLETTE alone in the room.) FELIX. Because I'm not touching her! (GILLETTE (aes her pulse.) Well?6 KEN LUDWIG'S THE GAME'S AFOOT. up the stairs — and as soon as he's _gone, the INSPECTOR reenters.) thought: Do you FELIX.)KEN LUDWIG'S THE GAME’S AFOOT ho pretended to be Academy Award this 1g blood on her (She slaps him across the face again, ) Ow! (MADGE storms up the stairs. FELIX loses it and jumps up and down in frustration.) (He runs up the stairs after her and disappears, At which moment, AGGIE. appears from the library eating a stalk of celery.) AGGIE. What's going on? Was someon GILLETTE. Aggie, I thought AGGIE. I came down to the kite! INSPECTOR. Down? AGGIE. The back stairs, jc seems to have...disappeared on. INSPECTOR, That's odd. When did you last see AGGIE. T went upstairs earlier this evening, we7. KEN LUD 'S THE GAME’S AFOOT. INSPECTOR. You think, believe I'd know if there was a murder inKEN LUDWIG'S THE GAME’S AFOOT n FELIX, (entering at the top of the stairs) Whe GILLETTE, What do you mean, “Where's with you. Madge? jadge.” she was ing worse and worse. The lights ime they come up even lower INSPECTOR. What about the phon “operator...” Dead. (A frisson of concern passes through the room, They all sglance at each other.) “Hello? Hello, AGGIE. I's just the electricity FELIX. Excuse me, but I would know if my wife is missing or not and she is definitely missing! (MADGE appears from the hallway eating an apple.) be very popular people, by the way, where's SIMON. Speaking of Martha? GILLETTE, Upstairs asleep.KEN LUDWIG'S THE GAME'S AFOOT know where I'd have put her, of yours.KEN LUDWIG'S THE GAME'S AFOOT 81 (GILLETTE and FELIX wince...but the recess is empty. There's no DARIA. ) (GULETTE. and FELIX look at each other, pussled. AGGIE goes into the recess and stands in front of the bar) {At which moment, DARIA’s arm and then her whole body shoot out from behind the bar and she grabs AGGIE with a horrible gasp.) DARIA. Ahhhhhhhhhhhhhhihhh! AGGIE. (terrified) AHHHHHHHHHHHHHHHHHHHH HHHHHHHHHHHBH! (AGGIE screams and screams.) (Thender and lightning.) (Blackout) End of SceneKEN LUDWIG'S THE GAME’S AFOOT Scene Two about Mr. Boggs. GILLETTE, SIMON, FELIX. Noggs.KEN LUDWIG'S THE GAME’S AFOOT INSPECTOR. (cont. assume that this d some assistance, but I phone is still dead. motives. INSPECTOR. What are you talking about? Gi GILLETTE. Surely /'m not a suspect. Int and pretends to sort things out when in fact she intends to murder someone for some hideous crime that happened twenty years ago. INSPECTOR. Oh nonsense. GILETTE. I don’t see a badge. INSPECTOR. I left it at the office.“ KEN LUDWIG'S THE GAME'S AFOOT GILLETTE, MARTHA walks her dressing gown. She is ay from her sleping pills.)KEN LUDWIG'S THE GaME’s AFOOT 8 both be quiet (MARTHA breaks down in tears.) MARTHA. Oh, Willi, how could I do such « thing! And I dictn’t ‘mean to kill her made me so angry! (She sobs in his arms. GILLETTE looks up. There's some- ‘thing wrong her.) her sick and teach her a (GILLETTE prtis his mother aside and whispers to her:) have realized it weat my son%6 KEN LUDWIG'S THE GAME’S Al “ONT ANWAINOO SHLV3HL WSWNSHLY STAT at's the point. ig the dog in. her arms. Poor ‘The crisis has made MARTHAKEN LUDWIG'S THE GAME’S AFOOT 1ave realized that wicked GILLETTE, Mother, wait! Earlier, (He does the stabbing gesture again, kis arm moving tp ‘and down from the elbow MARTHA. I thought you were cheeri poison. (She makes the gesture.) ), Mother! Go, Mother: (She hurries out of the room with Portia ) GILLETTE. (exuberant; at the top of his game) Ha 87 LILYDALE ATHENAEUM THEATRE COMPANY INC.THE GAME'S AFOOT mantelpiece and cakes Up sping on a Holmes: ike nat we know so far: we know GALLETTE. Now let's review have been ing the meerschauum he very was in.KEN LUDWIG'S THE GAME'S AFOOT INSPECTOR. “Swimsu SIMON. I wore a swi it was...t00 loose. INSPECTOR. Loose? But how could she in the play and she husband Hugo was a big wheel, Oh my it happened I calle (SIMON glances uncomfortably at AGGIE.) AGGIE, Tamsin McGregor,KEN LUDWIG'S THE GAME’S AFOOT SIMON. Righ GILLETTE. Excey SIMON. I ago? INSPECTOR, ns to be working ag (Brving! GILLETTE pricks it up.) GILLETTE, Hello? (He listens; then offer the phone to SIMON:) Tamsin. (SIMON fakes the phone.) yes of course I... (He looks at AGGIE. and lowers his voice)KEN LUDWIG'S THE GAME’S AFOOT (He hangs up. To the INSPECTOR:) May L...? (The INSPECTOR nods and SIMON hurries selves, Beat) this case. It could ave fingerprints on it, it ould be broken in some way (wiped clean or any one of a= please stop bal (The INSPECTOR rushes to the drawer, opens it and rls out the knife.) INSPECTOR. Good God! Why didn't you tell me?!..Mr. Gilete! (At which moment, FELIX bursts into the room followed by MADGE. ) (They've both buoyant MADGE. We've got it! tthe top of their game.) a9 KEN LUDWIG'S THE GAME’S AFOOT FELIX. We've got it INSPECTOR. | FELIX. O| INSPECTOI FELIX. SoKEN LUDWIG'S THE GAME’S AFOOT are denials! They carry no weight GILLETTE. I see it all. FELIX. I thought you would. INSPECTOR What? FELIX. We're down to Aggie and Simon...and Simon lied! INSPECTOR. Wh FELIX. He and Dari But she said sh MADGE. and he response to. INSPECTOR. But why shor arrived at Killington? 98“ KEN LUDWIG'S THE GAME’S AFOOT ud get awayKEN LUDWIG’S THE GAME’S AFOOT 95 n is in love with Tamsin and he’s frienels with has Croesus,96 KEN LUDWIG'S THE GAME'S AFOOT moment, MARTHA enters from the dining ALL FOUR, AYEYEYEYEYEYEYEYE! (And they run pletety bewildered. MARTHA, The word “madhouse” doesn't begi in (She exits up the stair, leaving the oom empty.) ving MARTHA alone looking com-KEN LUDWIG'S THE GAME'S AFOOT 7 love with her? Tell me love with her, or notos KEN LUDWIG'S THE GAME’S AFOOT the back of her head. lown a garvote. Thunder, and SIMON, AGGIE. C SIMON. (He puts down the garrote and begins massaging her neck.) hard to be perfect.”KEN LUDWIG'S THE GAME'S AFOOT 99 \cy, We kill Hugo. We along and stick her nose 1o the bar and starts making a her. Do you know Kill me, didn't you (SIMON looks at er, startled ~ and AGGIE snatches up ‘he garrote and whips it over SIMON ’s huad and starts 10 strangle him without mer. She's pulling so hard, he t his neck. Meanwhile, the storm out- You hired that man to shoot at me in the theatre, didn't you?! DIDN'T YOU?! SIMON. (sirangling) Yes! ‘were about to try it again, weren't you?! SIMON. Argh! AGGIE. You've still in love with her, ann’ your Bm TT eT oR TLL KILL YOU!100 KEN LUDWIG'S THE GAME'S AFOOT he looks around desperately, tte from a table and races to his knees, she smashes him ‘and rps her dress ~ clearly she's planning to pretend that just heen attacked. She strikes a pase and is about toKEN LUDWIG'S THE GAME’S AFOOT. turmed the tape recorder back on before I ran devon of hte Hugo because that (AGGUE bolts to the AGGIE. Get back! Get back! I'll shoot, I swear to God! (She aims the gun at his GILLETTE. Aggie AGGIE. You didn't love me enough, did you?! I wasn't good ‘enough for you, the great William Gillette! Well I didn't need you! I found Hugo! GILLETTE. You don't think I leave them around loaded, do (With cry of frustration, AGGIE hrs thepistol dan dnd races othe hall, fling for her life ~ and runs 1KEN LUDWIG'S THE GAME’S AFOOT. INSPECTOR "12g of me! $0 hard that the INSPEGTOR dollars “why.” How's get- act perfectly and get treated HAD TO GO AND RUI IZING LITTLE CHI ‘and SIMON starts upward with a They all jump back, and SIMON gets to his knees.) you are under ai Miss Agatha WheelKEN LUDWIG'S THE GAME'S AFOOT INSPECTOR. Will you both please be gui arrest, (We hear a (AGGIE and SIMON leave the room, and the INSPECTOR starts to follow them.) were a play, it would make Well done. im. We get our man, And Come, you spirit That tend om mortal thoughts, unsex me here, And fll me from the ero tothe toe top full Of direst cruelty! need an actress, give me a jingle. 1 might be ble. (The INSPECTOR exits, ling FELIX, MADGE and Gl LETTE onstage. There's a moment of stunned silence.) GILLETTE. Amazing. MADGE. Aggie. Who would have guessed. 10314 KEN LUDWIG'S THE GAME’S AFOOT MADGE. (dodging the gun) Felix! Be catKEN LUDWIG'S THE GAME’S AFOOT ‘the gun like a schooleacher shaking a finger at @ (She spes the knife that killed DARIA, still ying on the desk where the INSPECTOR left i. She picks it up and ‘gives it a good cleaning with her handkerchief.) We can’t leave still might have my was crazy as a bed bug isa screch of music and DARIA, ut of nowhere onto the French door from outside, We see her plastered the glass ~ while simultaneously, hand. still raised, FELIX fires the gun into the ceiling, surprising even himself.) (BANG!) 105,106, KEN LUDWIG'S THE GAME'S AFOOT of the Beethoven quartet fils the air.)