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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.
Act II starts 10 minutes after Mrs. Boyle’s body is discovered. The corpse has been removed from the lounge, and everyone has been gathered by Trotter. Trotter questions Mollie, who is upset, and Giles intervenes. Trotter believes there’s another person in Monkswell Manor who is connected to Longridge Farm (this turns out to be Mollie).
Trotter questions everyone about their whereabouts during the murder of Mrs. Boyle. Giles was checking the phone, Christopher was in his room, Paravicini was in the drawing-room, Miss Casewell was in the library, and Major Metcalf was in the cellar. Giles becomes frustrated and tries to leave the room, but Trotter calls him back. Trotter describes how no one had an alibi; everyone had opportunity.
Giles points out that Christopher fits the description of the oldest child at Longridge Farm. Christopher is upset by this and claims innocence. Metcalf and Mollie try to comfort Christopher. Mollie asks to speak to Trotter alone, and he orders the other people to go to the dining room. Giles tries to stay behind, but Mollie asks him to leave as well.
Once alone, Mollie asks Trotter about the eldest child at Longridge Farm being the primary suspect. The irony is that Trotter is the eldest child, Georgie Corrigan. Mollie asks about the Corrigan children’s father and tries to cast suspicion on him, positing that Metcalf is the right age to be the father of the Corrigan children. She also expresses her suspicion of Paravicini. Trotter mentions the Corrigan girl could be a suspect, but that Miss Casewell doesn’t appear to be the right age.
Trotter asks Mollie about Giles, casting suspicion on him. Trotter pulls out a London newspaper from Giles’s coat, trying to make Mollie (and the audience) more suspicious. Then, Trotter leaves with the coat. Christopher, after peaking in to see if Mollie is alone, comes into the room. As they talk, Christopher admits he used a fake name because he is an army deserter. Mollie becomes suspicious of him but changes her mind and confides that she experienced something terrible that she is still trying to avoid (the audience later learns that she was the Corrigan children’s schoolteacher.)
Christopher considers stealing Trotter’s skis, but Mollie talks him out of it. She reveals Giles’s London newspaper. She is angry at Trotter for making her suspicious and questions the nature of identity and intimacy. As Christopher takes Mollie’s hands to comfort her, Giles enters the room. Giles and Christopher argue, and Mollie tells Christopher to leave.
Giles voices his suspicions about Christopher and Mollie knowing each other. Then, Giles reveals he found her London bus ticket, and Mollie reveals Giles’s London newspaper. Mollie becomes secretive and strange (because she heard about the child abuse at Longridge Farm from her former student, but it was too late to stop it). Giles calls her crazy, and she agrees.
Paravicini enters the room, joking about a lovers’ quarrel, then explains that Trotter is looking for his skis. Trotter then joins them, asking the couple if they moved his skis. Mollie suspects Christopher, but he enters the room and denies taking the skis. Trotter demands that everyone gather again. Mollie goes upstairs to find Miss Casewell, and Giles looks for Metcalf.
Once Metcalf and Miss Casewell return, Trotter interrogates them about the skis. They both deny moving the skis, and Metcalf suggests everyone search for them (it is, in fact, Metcalf who has hidden the skis). Trotter again demands to know who is connected to Longridge Farm, but no one responds. He dismisses them. Metcalf and Christopher leave the room.
Paravicini starts touching Mollie, making creepy comments, and humming “Three Blind Mice.” Giles intervenes; he and Mollie head toward the kitchen. Trotter questions Paravicini about his car and appearance. Paravicini is cagey, and when Trotter releases him, Paravicini says he will look for the missing skis in the drawing-room.
Then, Trotter questions Miss Casewell. She reveals her real first name, Katherine—or Kathy to her brother—but not her last. Katherine notices Trotter twirling his hair, which gives him away to her as Georgie, her brother. She refuses to provide her full name, much information about her past, or the reasons for her traveling to Monkswell Manor. Katherine does admit that she left England when she was around twelve or thirteen, and Trotter begins to suspect she is his sister. When Katherine realizes this, she begins to cry.
Christopher returns and tries to comfort Katherine. She leaves, heading for her room. Christopher notes that Trotter is acting strangely. Trotter says he’s had a realization and needs everyone back together again. No one admits to finding the skis. Trotter wants everyone to return to where they were during the murder, to reconstruct their actions. At first, everyone is unwilling, but they eventually agree to participate.
Trotter has people switch places in the reenactment, and says he will take the place of Mrs. Boyle, the victim. After everyone else leaves the room, Trotter has Mollie play “Three Blind Mice” on the piano offstage and then join him in the main room. He reveals that he knows she was the Corrigans’s schoolteacher, under her maiden name Waring, and that Jimmy—the youngest Corrigan—tried to send her a letter asking for help. Mollie admits this is true but says she did not get the letter in time because she became ill with pneumonia and feels guilty about it.
Trotter pulls out a gun and confesses that he made the fake call from the police station, cut the phone line, and pretended to be a police officer. In fact, he is Georgie Corrigan, the murderer. He plans to make Mollie his third victim (mouse) for not responding to Jimmy’s letter and whistles “Three Blind Mice” while grabbing her throat and mouth.
Miss Casewell and Metcalf interrupt the attack. Miss Casewell admits she is Katherine Corrigan and calls Trotter by his real name, Georgie. She tells him it was the hair twirling that gave him away, and gently leads him upstairs. Metcalf fetches Giles, and when Giles returns, Mollie tells him about being the Corrigan children’s schoolteacher.
Metcalf reveals he is an actual policeman while putting away the gun that Trotter had tossed aside to grab Mollie. When he leaves to fetch the skis he hid earlier, Giles and Mollie discuss Paravicini being a thief.
Finally, Giles and Mollie confess that they both went to London to buy anniversary presents, and exchange gifts—cigars and a hat. Metcalf hurries into the room, worried about a burning smell in the kitchen. Mollie realizes she burned her pie, and the curtain falls.
After the text of the play, there are lists of furniture and props, as well as a drawing of the set. It is important to note that there is only one set for this play; all the action takes place in one room. This room is the guest house lounge in the Great Hall at Monkswell Manor. Christie’s focus on a single location develops the stakes because the characters become trapped in Monkswell Manor by the snow.
Act II appears to follow the conventions of a detective fiction story with the arrival of an investigator. Several characters identify conventions of this genre. For instance, the investigator discusses the opportunity for murder: “every one of you was alone at the time the murder was committed” (38). However, these conventions play out differently in the end because the investigator is the murderer in disguise. In this way, genre expectations are subverted by the reveal of Trotter as Georgie.
The play further develops the theme of the effects of trauma in Act II. Mollie, who was a schoolteacher of the Corrigan children, tries to move past the guilt of not being able to help them. She says, “Things happen to you. And you’ve got to bear them” (44). Trotter (Georgie) does not want her to have the life she’s living, running a guest house with Giles; he is stuck in the past of being traumatized in Longridge Farm.
Also, Trotter being the killer emphasizes many moments of irony. He has the ability to speak about himself in the third person when pretending to profile the murderer: “The killer’s enjoying this. Yes, he’s enjoying himself a good deal” (51). There are several real clues hidden among the red herrings that might cause the audience to suspect Trotter. However, live productions of the play include swearing the audience to secrecy, so there is a chance the reveal is truly surprising, and the irony is only apparent in retrospect.
What is apparent—whether one has guessed the identity of the killer or not—is the theme of falsifying identities. The Mousetrap goes beyond simply questioning ‘whodunit’ to examine how identity is constructed. People who are not killers lie about their pasts. For instance, Miss Casewell lies about her identity as Kathy Corrigan. In response to Trotter’s accusation that one of the guests is lying because they are the killer, Kathy says, “Someone may have lied—for some other reason” (58). Especially in locations such as guest houses, or hotels, people are likely to construct new identities for a variety of reasons.
By Agatha Christie