Clue: High School Edition (clue_5.5_hs1kf 03.31.

21)
Copyright © 2019 Jonathan Lynn, Sandy Rustin, Hunter Foster, & Eric Price. ALL RIGHTS RESERVED

Copyright Protection. This play (the “Play”) is fully protected under the copyright laws of the United
States of America and all countries with which the United States has reciprocal copyright relations,
whether through bilateral or multilateral treaties or otherwise, and including, but not limited
to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright
Convention, and the Berne Convention.
Reservation of Rights. All rights to this Play are strictly reserved, including, without limitation,

Clue
professional and amateur stage performance rights; motion picture, recitation, lecturing, public
reading, radio broadcasting, television, video, and sound recording rights; rights to all other forms
of mechanical or electronic reproduction now known or yet to be invented, such as CD-ROM, CD-
I, DVD, photocopying, and information storage and retrieval systems; and the rights of translation
into non-English languages.
Performance Licensing and Royalty Payments. Amateur and stock performance rights to this Play

(high school edition)

are controlled exclusively by Playscripts, Inc. (“Playscripts”). No amateur or stock production groups
or individuals may perform this Play without obtaining advance written permission from Playscripts.
Required royalty fees for performing this Play are specified online at the Playscripts website
(www.playscripts.com). Such royalty fees may be subject to change without notice. Although this
book may have been obtained for a particular licensed performance, such performance rights, if
any, are not transferable. Required royalties must be paid every time the Play is performed before
any audience, whether or not it is presented for profit and whether or not admission is charged.
All licensing requests and inquiries concerning amateur and stock performance rights should be
BASED ON THE SCREENPLAY BY addressed to Playscripts (see contact information on opposite page).

Jonathan Lynn Inquiries concerning all other rights should be addressed to Playscripts, as well; such inquiries will
be communicated to the author and the author’s agent, as applicable.
Restriction of Alterations. There shall be no deletions, alterations, or changes of any kind made to
the Play, including the changing of character gender, the cutting of dialogue, the cutting of music, or
the alteration of objectionable language, unless directly authorized by Playscripts. The title of the
WRITTEN BY Play shall not be altered.

Sandy Rustin
Author Credit. Any individual or group receiving permission to produce this Play is required to give
credit to the author as the sole and exclusive author of the Play. This obligation applies to the title
page of every program distributed in connection with performances of the Play, and in any instance
that the title of the Play appears for purposes of advertising, publicizing, or otherwise exploiting the
Play and/or a production thereof. The name of the author must appear on a separate line, in which
no other name appears, immediately beneath the title and of a font size at least 50% as large as
Additional Material by Hunter Foster and Eric Price the largest letter used in the title of the Play. No person, firm, or entity may receive credit larger or
more prominent than that accorded the author. The name of the author may not be abbreviated or
otherwise altered from the form in which it appears in this Play.
Based on the Paramount Pictures Motion Picture Publisher Attribution. All programs, advertisements, and other printed material distributed or
published in connection with the amateur or stock production of the Play shall include the following
notice:
Based on the Hasbro board game CLUE Produced by special arrangement with Playscripts, Inc.
(www.playscripts.com)

Original Music by Michael Holland Prohibition of Unauthorized Copying. Any unauthorized copying of this book or excerpts from this
book is strictly forbidden by law. Except as otherwise permitted by applicable law, no part of this
book may be reproduced, stored in a retrieval system, or transmitted in any form, by any means now
known or yet to be invented, including, without limitation, photocopying or scanning, without prior
permission from Playscripts.
Statement of Non-affiliation. This Play may include references to brand names and trademarks
owned by third parties, and may include references to public figures. Playscripts is not necessarily
affiliated with these public figures, or with the owners of such trademarks and brand names. Such
references are included solely for parody, political comment, or other permitted purposes.
Permissions for Sound Recordings and Musical Works. This Play may contain directions calling
for the performance of a portion, or all, of a musical work not included in the Play’s score,
or performance of a sound recording of such a musical work. Playscripts has not obtained
permissions to perform such works. The producer of this Play is advised to obtain such
313105000

permissions, if required in the context of the production. The producer is directed to the websites
of the U.S. Copyright Office (www.copyright.gov), ASCAP (www.ascap.com), BMI (www.bmi.
com), and NMPA (www.nmpa.org) for further information on the need to obtain permissions, and
on procedures for obtaining such permissions.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 The Rules in Brief
• DO NOT perform this Play without obtaining prior permission from
Playscripts, and without paying the required royalty.
• DO NOT photocopy, scan, or otherwise duplicate any part of this
book.
• DO NOT alter the text of the Play, change a character’s gender,
delete any dialogue, cut any music, or alter any objectionable
language, unless explicitly authorized by Playscripts.
• DO provide the required credit to the author(s) and the required
attribution to Playscripts in all programs and promotional literature
associated with any performance of this Play.

Copyright Basics
This Play is protected by United States and international copyright law.
These laws ensure that authors are rewarded for creating new and vital
dramatic work, and protect them against theft and abuse of their work.
A play is a piece of property, fully owned by the author, just like a house
or car. You must obtain permission to use this property, and must pay a
royalty fee for the privilege—whether or not you charge an admission
fee. Playscripts collects these required payments on behalf of the
author.
Anyone who violates an author’s copyright is liable as a copyright
infringer under United States and international law. Playscripts
and the author are entitled to institute legal action for any such
infringement, which can subject the infringer to actual damages,
statutory damages, and attorneys’ fees. A court may impose statutory
damages of up to $150,000 for willful copyright infringements. U.S.
copyright law also provides for possible criminal sanctions. Visit the
website of the U.S. Copyright Office (www.copyright.gov) for more
information.
THE BOTTOM LINE: If you break copyright law, you are robbing a
playwright and opening yourself to expensive legal action. Follow the
rules, and when in doubt, ask us.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Cast of Characters Time

WADSWORTH, a traditional British butler in every sense: uptight, The play begins just before dinner on a dark and stormy night not
formal and “by the book.” He is the driving force in the play. too far from Washington, D.C., in 1954.
YVETTE, a French maid.
MISS SCARLET, a dry, sardonic D.C. socialite, interested in secrets. Place
MRS. PEACOCK, the wealthy wife of a senator. A bit batty, neurotic, Boddy Manor. A mansion of epic proportions and terrifying secrets.
and quick to hysteria.
MRS. WHITE, a pale, morbid, and tragic woman. Mrs. White may or
Set
may not be the murderer of her five ex-husbands.
COLONEL MUSTARD, a puffy, pompous, dense, blowhard of a The interior of Boddy Manor. A grand hallway of a large, imposing,
military man. Gothic Victorian house, gloomy and menacing, is the focal point of
the play. Doors that lead to the Library, the Study, the Lounge, the
PROFESSOR PLUM, an arrogant academic, easily impressed by
Billiard Room, the Conservatory, the Ballroom, the Kitchen, and the
himself.
Dining Room line the Hall. The set is such that the various rooms
MR. GREEN, a timid yet officious rule follower. He’s awfully anxious. of Boddy Manor easily pull out/appear in surprising ways, making
transitions from one area of the house to another very fast.
ENSEMBLE WOMAN:
THE COOK, a gruff woman with a threatening presence. (Alive
and Dead.) Production Notes
SINGING TELEGRAM GIRL, a tap dancer with a heart of gold.
Clue is a highly stylized ensemble piece. It is to be played with
(Alive and Dead.) honesty and truth. The “life or death” stakes of the situation are
AUXILIARY SCARLET, the back of Miss Scarlet during a scene of more important than comic bits. The pacing of Clue is intended to
theatrical trickery. be very swift. This script maps out suggested physicality in some
BACKUP COP, backup for the Chief in the very final Cop entrance. cases, but casts are encouraged to embrace the style and find their
own moments of comedic physicality, while maintaining a truthful
ENSEMBLE MAN 1: intention throughout.
MR. BODDY, a slick, Frank Sinatra, film noir-esque type fella. The play is intended to be scored.
(Alive and Dead.)
THE MOTORIST, a professional driver. (Alive and Dead.) Please note: UNO WHO should be pronounced “You Know Who.”
CHIEF OF POLICE, a cop who helps to save the day. It is worth noting for context that this play takes place at the height
of McCarthyism and the Red Scare. By definition, McCarthyism is
ENSEMBLE MAN 2: the practice of making accusations of subversion or treason without
THE UNEXPECTED COP, a regular Joe. (Alive and Dead.) proper regard for evidence. How apropos. No?
BACKUP COP, backup for the Chief.
AUXILIARY MUSTARD, the back of Colonel Mustard during a
scene of theatrical trickery.
PLEASE NOTE: An additional body to play the DEAD MOTORIST
in the Lounge during Scene 11 is required. Perhaps an understudy or
ASM can fill in for this 60-second moment of comedic razzle-dazzle.

5 6
(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 8 Clue (high school edition)
CLUE
(high school edition)
(WADSWORTH moves behind YVETTE.)
Based on the screenplay by Jonathan Lynn NEWSCASTER. (Beneath the following dialogue until cut off:) “Time
Written by Sandy Rustin and time again, without apology or evasion, I—and many members
of this administration—have stood for the right of the individual,
Additional Material by Hunter Foster and Eric Price for free expression of convictions, even though those convictions
Based on the Paramount Pictures Motion Picture might be unpopular, and for uncensored use of our libraries, except
Based on the Hasbro board game CLUE as dictated by common decency.”
Original Music by Michael Holland
WADSWORTH. (Rather intimately:) Yvette?
(YVETTE yelps, startled!)
Prologue YVETTE. Monsieur! I didn’t hear you come in! You frightened me
half to death!
(A scrim hangs at the front of the stage reproducing the exterior
of Boddy Manor. Thunder. Lightning illuminates the theater. The WADSWORTH. Wouldn’t want to do that. There are so many better
scrim rises.) ways to die.
[MUSIC CUE #1] (Then:)
(Ominous, urgent music plays. Sounds of heavy rain and Please turn off that noise.
Rottweiler dogs barking. Dimly lit wall sconces and chandeliers (YVETTE turns off the TV—cutting off the news.)
reveal an empty, regal foyer and magnificent front Hall. YVETTE
[a French maid, dressed perfectly] polishes a glass while watching Is everything ready?
the news on a static-filled black-and-white television set.) YVETTE. Oui.
NEWSCASTER. McCarthy’s shrieking denunciations and fear- WADSWORTH. Good. (Calling off:) Cook?
mongering have created a climate of fear and suspicion across the
country—raising the question in households across the nation; who (In a flash of thunder/lightning, a formidable COOK, dressed
are the un-American Americans amongst us? perfectly, appears from the Kitchen.)
(A startling crash of thunder/ lightning illuminates the glass- COOK. You called, sir?
paneled front door, revealing the silhouette of a man holding an WADSWORTH. Everything on schedule?
umbrella.)
COOK. Dinner will be ready at 7:30.
(SENATOR MCCARTHY’S VOICE is heard from the TV:)
[MUSIC CUE #2]
MCCARTHY’S VOICE. “Any man who has been named by either a
senator of a committee or a congressman is dangerous to the welfare COOK. (Revealing a butcher knife on a music sting:) Sharp.
of this nation.” (Just then, the doorbell rings. They look out.)
(The front door creaks open, unheard by YVETTE. Enter WADSWORTH. Ah. Right on time. You have your instructions?
WADSWORTH, the butler, dressed perfectly, shaking off and
YVETTE. Oui.
stowing his umbrella and hat, a twinkle in his eye.)
WADSWORTH. Very well then.
NEWSCASTER. President Eisenhower refuses to engage directly
with McCarthy. In a letter to his brother however, Eisenhower (He moves to the door. YVETTE pushes off the TV. COOK exits
explains— “As for McCarthy—only a short-sighted or completely to the Kitchen.)
inexperienced individual would urge the use of the office of the WADSWORTH. (Just before opening the door:) Let the game begin.
presidency to give an opponent the publicity he so avidly desires.”
[MUSIC CUE #3]

7
(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 9 10 Clue (high school edition)

Scene 1 MUSTARD. With pleasure, my dear.

(The Hall/The Lounge) (YVETTE opens the Lounge door, escorting MUSTARD inside.)
(WADSWORTH opens the front door to a music sting.)
(Dogs bark. Rain storms.)
(WADSWORTH grandly opens the front door to a music sting.) [MUSIC CUE #4]

(COLONEL MUSTARD, officious, stands in the doorway, shield- (Rain storms. MRS. WHITE stands, tragic and morbid, dressed
ing himself from the rain. He wears a decorated Colonel’s uniform.) in funeral clothing, guarding herself from the rain. Over her face
is a mesh black veil.)
(COOK reenters during the following to assist with coats and such.)
WADSWORTH. Do come in, madam. You are expected.
WADSWORTH. Good evening.
(She enters more fully, WADSWORTH at her heels.)
MUSTARD. (Entering fully:) Good evening. I’m not sure if I’m in the
right— WADSWORTH. Welcome.

WADSWORTH. Yes, indeed you are expected, Colonel. WHITE. (With a confident mystique:) Do you know who I am?
(She pulls back her veil, to reveal her face.)
MUSTARD. How do you— (know who I am?)
WADSWORTH. Only that you are a socialite to be known this
WADSWORTH. (Interrupting:) It is Colonel Mustard, isn’t it?
evening as Mrs. White.
MUSTARD. No, that’s not my name. My name is Colonel—
(She slips off her cloak, black with a brilliantly white inside.)
WADSWORTH. I believe it’s been recommended that tonight you
WHITE. Yes.
use a pseudonym.
(WADSWORTH catches it gracefully.)
MUSTARD. Oh, no thank you. I took an antihistamine before I
came. WHITE. It said so in my letter. But, why—?
WADSWORTH. (Taking his coat:) May I take your coat? WADSWORTH. (Interrupting:) May I introduce you? Mrs. White,
MUSTARD. Oh. All right. I suppose I . . . this is the maid, Yvette.

(YVETTE, at the bar cart, now pops open a bottle of champagne, [MUSIC CUE #5]
a la a gunshot, startling MUSTARD who yelps.) (Music sting as the women notice each other and flinch.)
WADSWORTH. Not to worry, Colonel. It’s just the maid, in the WADSWORTH. I see you two know each other.
Hall, with the champagne cork. WHITE. (Deliberately lying:) We’ve never met.
YVETTE. (Offering:) Champagne? YVETTE. (Cheekily:) Champagne?
MUSTARD. (Taking the glass, flummoxed by her beauty:) Oh, uh, don’t WHITE. (Pointedly:) I think not.
mind if I . . .
WADSWORTH. Please, warm yourself in the Lounge.
YVETTE. (Interrupting:) Zis way Monsieur.
WHITE. Why, do I look cold?
MUSTARD. (Following her anywhere:) Ah. Thank you.
WADSWORTH. A bit.
(YVETTE escorts MUSTARD to the door of the Lounge. The
doorbell interrupts. They look out.) (Shepherding her into the Lounge—then:)
MUSTARD. Are you expecting someone else? WADSWORTH. I’ll be right with you.
WADSWORTH. Indeed. I’ll be with you in a moment.
YVETTE. Follow me, Colonel.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 11 12 Clue (high school edition)

(The module of the set containing the door to the Lounge, now WADSWORTH. How . . . sticky.
pulls open slightly, making the interior of the Lounge partially
PEACOCK. I expect to be treated like the wife of a . . .
visible as WHITE steps through the door, noticing MUSTARD.)
(The doorbell rings. They look out.)
WHITE. Oh. Hello.
WADSWORTH. Hold that thought. Right this way. After you, Mrs.
MUSTARD. Hello. Pleased to meet you.
Peacock.
WHITE. I’m rarely pleased to meet anyone.
(He opens the door [module] to the Lounge, the interior becomes
(Doorbell rings. They look out.) halfway visible.)
WHITE. More? PEACOCK. (Enamored by the doorframe:) Oh my, look at the detail of
WADSWORTH. Oh, yes. this molding; this is quite a magnificent mansion, isn’t it . . .

(WADSWORTH shuts the Lounge door, closing the module back (She screams, startled to find WHITE and MUSTARD.)
up.) Who are you?!
[MUSIC CUE #6] WHITE. Welcome to the party.
(Rain storms. YVETTE opens the front door to a music sting. MUSTARD. (Tickled pink:) This is turning out to be quite the crowd.
MRS. PEACOCK, middle-aged, wealthy, and batty, stands,
(As YVETTE closes the Lounge door [module retreats], dogs bark.
covered in jewels, a fox-tail fur stole, and a hat of PEACOCK
Rain storms. WADSWORTH opens the front door to a music
feathers, shielding herself from the rain with a box of candy.)
sting.)
YVETTE. Bonjour Madame. Pleaze, come in from ze rain.
[MUSIC CUE #8]
(As PEACOCK enters . . .)
(MR. GREEN, straight as an arrow, stands in a trench coat,
WADSWORTH. Mrs. Peacock, I presume. holding an umbrella. He does not enter, but remains in the
PEACOCK. Who? (Realizing:) Oh yes! That’s me! doorway, anxious.)

WADSWORTH. Cook, will you please take Mrs. Peacock’s stole. GREEN. Is this the right address to meet a . . . Mr. Boddy?

(With a music sting, the women recognize each other. They flinch!) (The dogs bark wildly.)

[MUSIC CUE #7] WADSWORTH. (To dogs:) Sit!

WADSWORTH. I see you two know each other. (GREEN frantically sits. Dogs stop barking.)

PEACOCK. (Discarding her stole into the COOK’s arms:) Don’t be WADSWORTH. No. Not you, sir.
ridiculous, I’ve never seen this woman before in my life. (GREEN stands sheepishly.)
YVETTE. (Offering:) Champagne? GREEN. Sorry, sorry.
PEACOCK. My lips belong to the Lord! WADSWORTH. Please, come in.
WADSWORTH. Please, make yourself comfortable in the Lounge. GREEN. (Entering more fully:) Excuse me, I suppose this letter has
PEACOCK. Thank you. me rather anxious.

(As WADSWORTH escorts her to the Lounge, she remembers the WADSWORTH. You must be Mr. Green.
lavishly wrapped box of chocolates in her hands.) GREEN. (Painfully lying:) Yes. That’s exactly who I am.
PEACOCK. Oh! For your hospitality . . . (An aside:) And there’s a WADSWORTH. Welcome, sir.
coupla Benjamins hidden under the caramels for you, butler.
(GREEN hands his umbrella to YVETTE as he steps into the Hall.)

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 13 14 Clue (high school edition)

GREEN. (Noticing the interior:) Whoa. This isn’t at all what I expected. WADSWORTH. This way please.
WADSWORTH. I find if you expect nothing, you’re never (WADSWORTH points the way to the Lounge. SCARLET
disappointed. absorbs the grandeur of the manor.)
GREEN. (Not to be misunderstood:) Oh, I’m not disappointed . . . SCARLET. Say . . . what is this godforsaken place anyway?
(The doorbell rings interrupting. They look out.) WADSWORTH. This old place? Oh, this . . . is Boddy Manor.
WADSWORTH. Pardon me, sir. (Thunder/lightning. They jump. GREEN more so than the others.)
[MUSIC CUE #9] WADSWORTH. Cook. Dinner?
(WADSWORTH opens the door [music sting] to find COOK. Directly.
PROFESSOR PLUM [smoking a pipe] with MISS SCARLET
(COOK moves to exit.)
[smoking a long, thin cigarette] standing behind him.)
WADSWORTH. (Showing SCARLET, PLUM, and GREEN to the
WADSWORTH. Good evening.
Lounge:) Appetizers in the Lounge. After you.
PLUM. (Reading authoritatively from his letter in the doorway:) “Please
(The Lounge module now opens fully to reveal the interior.)
arrive at 7:30 sharp on Saturday evening.” (A glance to his watch:)
Well, here I am . . . PLUM. Hors d’oeuvres. Good. I’m starving.
WADSWORTH. Professor Plum. GREEN. Funny. I haven’t much of an appetite at all.
PLUM. If you say so. SCARLET. (Entering the Lounge and noticing the others): My, my, this
really is a party.
SCARLET. (Stepping in more fully:) Well, well, well. And I thought I’d
seen everything . . . PLUM. (As he enters the Lounge:) Well, greetings all. It’s a pleasure for
you to see me.
WADSWORTH. Miss Scarlet. Welcome. I didn’t realize you and the
Professor were acquainted. (Noticing drinks, he helps himself.)
SCARLET. We’re not. Oooh, cocktail hour!
(SCARLET continues as PLUM gives his coat to COOK. He wears GREEN. (As he enters the Lounge:) There are so many of you—I didn’t
an academic suit. If he weren’t so off-putting, he’d be charming.) realize . . .
SCARLET. The bridge is washed out from the rain. My car broke WADSWORTH. (Interrupting:) Right. Good then. You’re all here.
down, and this Professor offered to give me a ride. I didn’t realize (Then, swiftly paced:)
we were headed to the same place until . . . we arrived.
WADSWORTH. Colonel Mustard.
(Dialogue continues as SCARLET gives her coat to COOK. She
looks positively Hollywood. If she wasn’t such a broad, she’d be MUSTARD. Present.
classy.) WADSWORTH. Miss Scarlet.
(GREEN also hands his coat to COOK.) SCARLET. Hmm.
WADSWORTH. (To PLUM:) How was your drive? WADSWORTH. Mrs. White.
PLUM. It’s a long haul. WHITE. Yes.
WADSWORTH. Indeed, it is a long hall. But then, it’s a very large WADSWORTH. Professor Plum.
house.
PLUM. Right.
(Then:)
WADSWORTH. Mr. Green.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 15 16 Clue (high school edition)

GREEN. That’s me. Scene 2

WADSWORTH. Mrs. Peacock. (The Dining Room.)
PEACOCK. (With a rather formal, yet floppy curtsey:) How d’you do? (The GUESTS arrive to find a beautifully set table with seven
WADSWORTH. Greetings. I am Wadsworth, the butler. places.)
(Then:) WADSWORTH. You’ll find your names beside your places. Please
be seated.
Tonight, as you may have surmised, nobody is being addressed by
their real name. A courtesy your host has provided to ensure your ALL. (Ad-libbing:) Do you see my tag? / Is that me? / Is that you? /
privacy. I suggest you follow his lead and refrain from revealing too Oh, here you are, Mr. Green. / This looks lovely. (Etc.)
much about yourselves this evening. You never know when— (They take their places, MUSTARD next to SCARLET next to
(COOK strikes a gong, interrupting. They jump! GREEN spills GREEN next to PEACOCK next to WHITE next to PLUM.)
champagne all over himself.) MUSTARD. (Not yet seated:) This place—at the head of the table—is
WADSWORTH. (Calmly, as always:) Ah. Dinner. that for you?
GREEN. (Wiping himself up:) Oh, sorry. Sorry. I’m a bit clumsy, I WADSWORTH. Indeed no, sir. I don’t sit. I am merely a humble
suppose. butler.
PLUM. Dinner? That was more like a cocktail minute. MUSTARD. What exactly do you do?
SCARLET. Mr. Wadsworth, you were saying . . . “You never know WADSWORTH. I buttle, sir.
when” . . . what? COOK. (Presenting the meal grandly:) Dinner is served.
WADSWORTH. What? WADSWORTH. Thank you, Cook.
SCARLET. What? (As the GUESTS settle in their seats, YVETTE and COOK serve
WADSWORTH. Hm? them soup [off of trays].)
(Then—showing the way:) (PEACOCK taps her knife against her glass to get the GUESTS’
attention. [The waving of her knife is a bit threatening to GREEN
This way please.
beside her.])
(YVETTE has handed GREEN a fresh glass of champagne just in
PEACOCK. (Tucking a napkin in at her neck a la a bib:) All right then,
time for COOK [who has re-entered] to hit the gong again. They
what’s all this about, butler; this dinner party?
jump! GREEN spills his drink again.)
WADSWORTH. “Ours not to reason why,
WADSWORTH. We really oughtn’t keep her waiting. Cook can get
Ours but to do and die . . . ”
cranky. Ladies and gentlemen, follow me. The Dining Room is right
this way. GREEN. (Anxiously:) Die?
[MUSIC CUE #10] WADSWORTH. Merely quoting, sir, from Alfred, Lord Tennyson.
(Transition music. The cast follows WADSWORTH from the SCARLET. I prefer Kipling myself.
Lounge to the Dining Room. Behind them, as the Lounge module (Offering a basket of dinner rolls to MUSTARD:)
closes, the Dining Room wall flies in, and YVETTE and COOK
each push on one side of a dining room table [with chairs] that Do you like Kipling, Colonel?
meets in the middle.) MUSTARD. (Helping himself:) Sure, I’ll eat anything.
(Then:)

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 17 18 Clue (high school edition)

MUSTARD. So, who is our host? Is this where he sits? SCARLET. (Cheekily:) Who’s your husband? Maybe I know him.
WADSWORTH. (Pouring wine:) All in good time, sir. PEACOCK. I . . . well, he’s . . .
(As YVETTE serves soup to PEACOCK—) (Deflecting:)
PEACOCK. What is that smell? It’s something . . . familiar. Mrs. White, you’ve been awfully quiet. What does your husband do?
YVETTE. Shark’s fin soup. WHITE. Nothing.
PEACOCK. (Gleefully:) My favorite! PLUM. Nothing?
COOK. (Deliberately:) I know. WHITE. Well, he . . . just lies around on his back all day.
[MUSIC CUE #11] PEACOCK. How lazy!
(With a music sting, COOK/PEACOCK exchange a sinister SCARLET. (With snark:) Not necessarily.
glance.) (Thunder/lightning. GREEN spills his drink all over SCARLET.)
YVETTE. Bon appetit! GREEN. (Mopping up SCARLET’s chest with his napkin:) Sorry, sorry—
(YVETTE and COOK exit. The GUESTS sip their soup. I’m afraid I’m a little accident-prone.
PEACOCK slurps.) SCARLET. (Relishing his discomfort:) That’ll be five dollars, Mister.
PEACOCK. (Slurping slightly—muttering:) This is delicious. GREEN. (Awkwardly mortified:) Sorry?!
(Slurping louder now—under her breath:) PEACOCK. (Tapping him on the shoulder:) Mr. Green—what do you
Oooh, this is yum yum yummy yum yum yum. do in Washington?
(Finally, she slurps so intensely it causes her to choke a bit as the GREEN. Oh, I’d better not say. I like to follow the rules.
GUESTS stare.) PEACOCK. (Frustrated:) Well, if I wasn’t trying to keep the
PEACOCK. (Recovering—then, all in nearly one breath, as WAD- conversation going, then we would just be sitting here in an
SWORTH pours wine:) Well, I guess I’ll break the ice, I mean, I’ll be embarrassed silence.
the one to get the ball rolling, I mean, I’m used to being a hostess; it’s PLUM. Are you afraid of silence, Mrs. Peacock?
an integral part of my life as the wife of a . . .
PEACOCK. (Anxiously:) Yes. No. Why?
(Declining wine with a gesture, carrying on talking without pause:)
PLUM. In my professional opinion, it seems you suffer from what
Oh, I forgot we’re not supposed to say who we really are. But, oh we call “pressure of speech.”
well, I mean, I have no idea what we’re doing here, but I’m very
intrigued and oh, my, this soup is delicious isn’t it? MUSTARD. Is that an official diagnosis?
(The GUESTS stare at her, bewildered.) WHITE. Are you a doctor, Professor?
GREEN. I know who you are. PLUM. In psychological medicine.
PEACOCK. You do? WHITE. Do you practice?
GREEN. I work in Washington. PLUM. (Laced with shame:) Not anymore.
PLUM. Washington? (Then:)
(To PEACOCK:) I currently work for the government.
So you must be a politician’s wife, Mrs. Peacock? WHITE. Ah, another politician.
PEACOCK. (With renewed confidence:) Yes, I am. PLUM. Not exactly. I do research for U-NO WHO.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 19 20 Clue (high school edition)

WHITE. (Genuine:) Who? WHITE. Oh yes, good thinking, Miss. Scarlet.

PLUM. (Explaining:) A branch of the United Nations Organization: PEACOCK. What are we doing?
the World Health Organization.
PLUM. The acoustic coupling between the door and the glass allows
WHITE. (Putting it together:) Ahh. “U-NO WHO.” (Explaining to the sound waves to travel from one side to the other.
table:) It’s an acronym.
(Once the rest are in position, poor MUSTARD, confused, simply
MUSTARD. (From the other side of the table—densely:) I have a sister stands outside the group, and raises his glass to his own ear, like
who was a gymnast. a real boob.)
PLUM. (Flummoxed by MUSTARD:) You are a real colonel, aren’t you? (We hear WADSWORTH’s muffled voice from the Hall.)
MUSTARD. (Officiously:) I am, sir. WADSWORTH. All the guests have arrived as expected, sir.
SCARLET. Aren’t you gonna mention the coincidence that you also (Then:)
live in Washington, D.C., Colonel?
Everything’s going according to plan.
MUSTARD. How did you know that?
(Then:)
SCARLET. (With a twinkle:) Oh, I’ve seen you before.
We’ll meet you in the Study.
GREEN. So, Miss Scarlet, does this mean that you live in Washington,
(MUSTARD gently taps his glass, a la a microphone [“is this
too?
thing on”], to try to get it to work.)
SCARLET. (With a sly smile:) Sure do.
(A fraction of a moment passes and WADSWORTH reenters the
PEACOCK. Does anyone here not live in Washington? Dining Room from a door on the other side of the room. He clears
(They ALL look at each other, putting together the coincidence.) his throat, startling the chain of GUESTS, causing a kerfuffle.
They startle, surprised at his entrance, and try to cover their faux
PLUM. (Fearfully:) Oh. Then, is this about the Red Scare? pas.)
GREEN. I’m not a Communist! I’m a Republican. ALL. (Ad-lib:) Lovely door. / Oh, hello Wadsworth, we were just
(Thunder.) playing a game. / Well, look who’s back. / We didn’t hear a thing.
There’s a door over there?! (Etc.)
(MUSTARD stands, fed up.)
PEACOCK. (Fed up, removing the napkin from her dress and slamming
MUSTARD. Wadsworth, we’ve had about enough of this! Where’s the table:) Oh, for goodness sake! Who was at the door?! I demand to
our host, and why have we been brought here?! know what’s going on!
(The doorbell rings. They look out.) WADSWORTH. (Evermore the butler:) Can I interest any of you in
WADSWORTH. Ah, speak of the devil. Pardon me, please. fruit or dessert?
(WADSWORTH exits through the door.) ALL. No!
SCARLET. Hey, I’ve got an idea. WADSWORTH. In that case, may I suggest that we adjourn to the
Study for coffee and brandy, at which point I believe your newly-
(Quickly SCARLET grabs her empty water glass and runs to the arrived host will reveal his intentions, your letters will be explained
door. She places her ear against her glass against the door.) and . . . the game will be afoot.
(Throughout the following dialogue, They all follow suit, lining up, [MUSIC CUE #12]
single file, behind SCARLET, ears to glasses to ears of the GUEST
in front of them, as though they are able to hear through the glass, (Thunder/lightning! As they move to the Study, transition music
through the ear of the GUEST, through the door. They talk on top plays.)
of each other . . .)

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 21 22 Clue (high school edition)

(YVETTE and COOK pull the table off as the Dining Room wall (They all reveal their letter on a music sting.)
flies up and the Study module pushes down stage.) [MUSIC CUE #13]
(WADSWORTH takes the letter from PLUM and reads from it.)
Scene 3 WADSWORTH. “It will be to your advantage to be present on this
date because a Mr. Boddy will bring to end a certain long standing
(The Study.) confidential and painful financial liability.”
(YVETTE offers drinks from a bar cart.) ALL. (Ad-libbing:) Yes! / Yes, that’s what my letter said / Indeed! (Etc.)
YVETTE. (Offering:) Coffee? Brandy? . . . WADSWORTH. As it turns out, you all have one thing in common.
WADSWORTH. Thank you, Yvette. That will be all. MUSTARD. That tyrant McCarthy! We’re all being blacklisted,
YVETTE. Oui, Monsieur. aren’t we?

(YVETTE exits.) WADSWORTH. Close, Colonel.

GREEN. Well, where is our host? (Their proximity is such that WADSWORTH’s spit has gotten in
MUSTARD’s eye. He wipes it clean.)
PEACOCK. He’s not here! Nobody’s here! What is happening?!
WADSWORTH. You’re all being blackmailed.
SCARLET. (Offering:) Cigarette? It’ll calm your nerves.
[MUSIC CUE #14]
PEACOCK. I don’t smoke!
(Sinister music underscores.)
(PEACOCK, having pulled a flask out of her purse, takes a deep
swig.) WADSWORTH. For some considerable time all of you have been
paying more than you can afford to someone who threatens to
(During the above, MUSTARD has found a string and button expose you.
closure envelope [a la the envelope placed in the center of the CLUE
board game] on the desk. The envelope reads “CONFIDENTIAL” PEACOCK. Oh, please! What’s someone going to blackmail me for?
in large red letters.) I go to church every Sunday!

MUSTARD. (Reading:) “For Wadsworth. Open After Dinner.” SCARLET. Yeah lady, don’t we all.

(Handing it to WADSWORTH:) WADSWORTH. Anybody else wish to deny it?

It’s for you. (They don’t.)

(WADSWORTH opens and reads it privately. PLUM tries to get WADSWORTH. Until you’d received your letters, you hadn’t
a glimpse over his shoulder.) known who was blackmailing you. But now, I’m sure that even the
least discerning amongst you has determined that the man behind
(WADSWORTH blocks his effort. A breath and then . . .) your ransom . . . is Mr. Boddy himself.
WADSWORTH. (Having finished:) Right then. Are you comfortable? (Music out. They speak at once.)
MUSTARD. I make a good living. PEACOCK. PLUM.
PLUM. Oh, out with it, Wadsworth! Yes, I figured as much, And who are you, his henchman?
but who is this fellow?! You pompous, British butler!
WADSWORTH. Ladies and gentlemen, these instructions are clear.
MUSTARD. It’s Mr. Boddy? What a scoundrel!!
SCARLET. I’m glad something is.
WADSWORTH. It seems the six of you have all received the same
letter.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 23 24 Clue (high school edition)

GREEN. WHITE. PEACOCK. (Harshly whispered:) You’re disgusting.

All this stress is not good You think I can’t handle WADSWORTH. Are you making moral judgements, Mrs. Peacock?
for my blood pressure! a little blackmail?!
PEACOCK. Well, I —
SCARLET. (Taking the reins:) Who is this Boddy fella, you brutish
butler?! WADSWORTH. (Interrupting:) How then, do you justify taking
bribes in return for delivering Senator Peacock’s votes to certain
WADSWORTH. Who Mr. Boddy is, is no concern of yours. Suffice lobbyists?
it to say, he’s a supporter of the House Un-American Activities
Committee—and he feels your activities have been decidedly un- PEACOCK. (Defensive:) My husband is a paid consultant. There’s
American. nothing sinful about that!
(They ALL begin to protest . . .) WADSWORTH. Not if it’s publicly declared. But if you slip cash
under the stall door at Old Ebbitt’s Grill? How would you describe
WADSWORTH. (Interrupting:) My task this evening is to expose that transaction?
your secrets to each other—rendering you all culpable in each
others’ indiscretions. SCARLET. I’d say it stinks.
PLUM. But we hardly know each other. PEACOCK. (Accusatorially:) When were you in that men’s room?
WADSWORTH. Precisely. PLUM. So, it’s true!
WHITE. Don’t you think that you might spare us this humiliation? PEACOCK. No, it’s a vicious lie!
WADSWORTH. I’m afraid I have no choice. We’ll start with you, WADSWORTH. But you’ve been paying blackmail for over a year
Professor Plum. now to keep that story out of the papers. Seems a little . . . sticky, no?
SCARLET. (Perching on the desk:) Oooh, this oughta be good. PEACOCK. Now see here—
WADSWORTH. It says here you were once a professor of psychiatry, WHITE. (Interrupting:) Well, I’m willing to believe you. I too am
specializing in pathological, lying lunatics suffering from delusions being blackmailed for something I didn’t do.
of grandeur. GREEN/MUSTARD. (Piping up at the same moment:) So am I.
PLUM. Yes, but now I work for the U.S. government. SCARLET. Not me.
WADSWORTH. So, your work has not changed. WADSWORTH. You’re not being blackmailed?
(Then:) SCARLET. Oh, I’m being blackmailed, all right. But I did what I’m
But you can’t practice medicine anymore, can you? Your license has being blackmailed for.
been lifted, correct? PLUM. What did you do?
SCARLET. Why? What’d he do? SCARLET.I run a non-governmental agency that handles . . .
WADSWORTH. You know how male doctors aren’t supposed to classified affairs.
date their lady patients? PEACOCK. Affairs?! In Washington?!
SCARLET. Yeah? GREEN. Is that how you knew Colonel Mustard works in Washing-
WADSWORTH. Yeah, well, he did. ton? Is he one of your clients?
PEACOCK. How awful! You know, someday there will be a reckon- MUSTARD. Certainly not!
ing for men like you! GREEN. I was asking Miss Scarlet.
WHITE. I hope so. MUSTARD. (To SCARLET:) Well, you tell him it’s not true!
SCARLET. (A la the hashtag:) Me too.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 25 26 Clue (high school edition)

SCARLET. “It’s not true.” WADSWORTH. And yet he was the one who died. Not you, Mrs.
White, not you.
PLUM. Is that true?
WHITE. He was found dead at home. Unclothed. His head had been
SCARLET. No, it’s not true.
cut off and so had his . . . you know.
GREEN. Ha-hah! So it is true!
(She gestures in the direction of her groin. They all react.)
WADSWORTH. A double negative!
WHITE. But, I didn’t do it. I’d been out all evening, at the movies.
MUSTARD. Double “negative”? You mean you have—photographs?
SCARLET. What was showing?
WADSWORTH. That sounds like a confession to me. In fact, the
WHITE. The Naked Alibi.
double negative has led to proof positive. I’m afraid you gave your-
self away. SCARLET. A likely story.
MUSTARD. Are you trying to make me look stupid in front of the WADSWORTH. But he was your second husband. Your first also
other guests? disappeared.
WADSWORTH. You don’t need any help from me, sir. WHITE. That was his job—he was an illusionist.
(MUSTARD starts to register the insult—but . . .) WADSWORTH. But he never reappeared.
Colonel, looks like you hold a sensitive security post in the Pentagon. WHITE. He wasn’t a very good illusionist.
Those “negatives” would most certainly compromise your position. WADSWORTH. (Now to GREEN:) And lastly, Mr. Green, who is
PLUM. (With a wink:) And what position exactly were you caught a...
in, Colonel? GREEN. I don’t need you to unmask me, Wadsworth. I know what
MUSTARD. This is an outrage! you’re gonna say about me!
WADSWORTH. (Changing focus:) Let’s see, who’s next? WADSWORTH. What’s that?
(He charges towards GREEN but spins on a dime at the last GREEN. “Mr. Green, who is a homosexual.”
moment to . . .)
MUSTARD. Not me.
Mrs. White, you’ve been paying our friend the blackmailer ever since
GREEN. I beg your pardon?
your husband died under, shall we say, mysterious circumstances.
MUSTARD. You asked, “Who is a homosexual,” and I said, not me.
WHITE. Say what you want. I didn’t kill him.
(GREEN and WADSWORTH share a baffled moment.)
MUSTARD. Then why are you paying the blackmailer?
WADSWORTH. Yes, thank you, Colonel.
WHITE. I don’t want another scandal, do I?
(To GREEN:)
PLUM. Another?
But, there’s more to it than that, Mr. Green.
WHITE. We had a very humiliating confrontation. He had threat-
ened to kill me in public. GREEN. How do you mean?
SCARLET. Why would he want to kill you in public? WADSWORTH. There’s evidence to support the question of . . .
your politics.
WADSWORTH. I think she meant that he had threatened, in public,
to kill her. GREEN. My politics?! Since when is working for the Republican
party a crime?
(They all react with understanding.)
WHITE. It was all over the papers.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 27 28 Clue (high school edition)

WADSWORTH. You swore an oath of allegiance to the Republican WADSWORTH. There’s no way out!
party, but neglected to vote for Eisenhower in the last election. That’s (Lightning. They ALL begin screaming at WADSWORTH.)
grounds for an ousting if ever there was one.
ALL. Locked?! / This is an outrage! / You can’t hold us hostage! /
GREEN. But voting records are confidential! Why?! (Etc.)
PEACOCK. Everything has its price, Mr. Green. WADSWORTH. (Gaining their attention:) Ladies and gentlemen,
WADSWORTH. So—there you have it. allow me to introduce your host for the evening, and your
blackmailer for life . . .
PEACOCK. (Bordering hysteria:) Have what?!
(Lightning.)
WADSWORTH. A crooked Senator’s wife, a lascivious doctor, a
disloyal Republican, and so forth . . . not exactly adhering to an all- WADSWORTH. Mr. Boddy.
American standard of behavior, are you? (Music sting as BODDY appears in the Study doorway with
SCARLET. (Knowingly:) Depends on who you ask. confident charm. Music out.)
PLUM. But if this Boddy fella is such a noble civilian himself, than BODDY. How d’you do?
why didn’t he report us to the authorities? (They speak at once.)
WADSWORTH. And give up the opportunity to make a buck? PEACOCK. PLUM.
Come now, Professor. What could be more American than that? Who do you think you are? I thought millionaires were
MUSTARD. (In earnest:) Apple pie. I’ll have you brought before supposed to be good-looking,
Congress! you swine!
(A collective eye roll.)
GREEN. SCARLET.
SCARLET. All right, Wadsworth—so we’re being blackmailed by a
Boy, would I like to give you a Why are you blackmailing us?
renegade McCarthyist. Where does that leave us?
piece of my mind! And I don’t I’m frustrated that I find
WHITE. Where is this Mr. Boddy? even like confrontation! you attractive!
MUSTARD. And what does he want from us? MUSTARD. WHITE.
PEACOCK. Who cares?! I’m not waiting to find out! I’ve done noth- Bribing all these good people? You’re such a typical man!
ing wrong! I’m leaving! I don’t get it! What’s in it for you?! Better off dead!

(She charges to the door.) (WHITE emerges at the front of the group to expertly knee
BODDY in the groin.)
WADSWORTH. (Blocking her efforts:) I’m sorry, Mrs. Peacock. You
can stay in denial, but you cannot leave this house! SCARLET. (Impressed:) Ooooh. Mrs. White, in the Study with her
knee!
PEACOCK. I am the wife of a great Senator! You can’t tell me what
to do! WHITE. Thank you. I’ve studied martial arts.

(She tries to open the door.) (They take a wary step away from WHITE.)

Locked?! WADSWORTH. (Getting their attention once more:) There is one more
piece of information you may like to have.
[MUSIC CUE #15]
ALL. What?!
(Sinister music underscores.)
WADSWORTH. The police are coming in less than an hour!
WADSWORTH. Indeed. All the doors are locked. The windows are
barred. And the grounds are patrolled by vicious dogs. ALL. What? / Why? / The police?! / What are you talking about? (Etc.)

(Dogs bark.) BODDY. (Recovering:) Unless . . .

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 29 30 Clue (high school edition)

ALL. Unless, what? WADSWORTH. Gladly.

(BODDY refers to his briefcase.) (WADSWORTH moves to distribute the gifts.)
BODDY. You agree to double down. BODDY. (Pouring himself a brandy:) Anyone wanna make a guess as
to what’s in your boxes?
SCARLET. And why would we agree to that?
SCARLET. Perfume?
BODDY. Because if you don’t, I’ll put this briefcase—containing all
the evidence needed to expose your wrongdoings—in the hands of WHITE. Candy?
the police, the press, and the House Un-American committee. With PEACOCK. A rare single-malt Scotch whiskey?
the right spin, those fellas can make a commie outta anyone. I think
some of you would face a lifetime of jail, and others, a lifetime of BODDY. (With a laugh:) Aren’t guessing games fun?
shame. (Then:)
ALL. That’s why you’ve brought us all here?! / You bastard! / Get Please—open them.
that briefcase! / You’re taking advantage of a tenuous political
situation! (Etc.) [MUSIC CUE #16]
BODDY. Unless . . . (SCARLET opens her box. Puzzled, She lifts out a heavy brass
Candlestick. Music sting. She looks at BODDY.)
ALL. (Including WADSWORTH:) Unless what?!
SCARLET. A Candlestick? What’s this for?)
BODDY. Well, there is something you could do for me that would
change the game. Something I just can’t bear to do myself. (One by one, with a music sting, each of the GUESTS open their
boxes, pulling out their “gift.”)
ALL. (Including WADSWORTH:) What?!
MUSTARD. A Wrench . . .
BODDY. (To GUESTS:) Have a seat, please.
GREEN. A Lead Pipe . . .
(The GUESTS move to the sofa. The ladies sit, the gentlemen
stand behind. After a brief silence . . .) PEACOCK. A Dagger . . .
GREEN. (Re: a side table behind the sofa:) Is it all right if I sit here . . . PLUM. A Revolver . . .
(Before he can get the word out, GREEN sits on the edge of the WHITE. Ahhhhhh! A snake! Oh, no. It’s a Rope.
table which surprisingly collapses noisily.) (Then:)
GREEN. (Bouncing back up:) Sorry, sorry. Little accident prone. Sorry. BODDY. In your hands you each have a lethal weapon.
WADSWORTH. (Then—genuine to BODDY:) What’s this about, sir? (They gasp.)
BODDY. In this bag, there are six packages that I thought our guests BODDY. You all came tonight because you believed the evidence
might find useful this evening. against you was so terrible that you would do anything to keep it a
(BODDY begins to empty a duffle bag full of packages into the secret. I’m putting that theory to the test.
arms of WADSWORTH.) WADSWORTH. You are?
WADSWORTH. Packages? BODDY. Mr. Wadsworth here is the only other person who knows
BODDY. Presents, if you will. I’m a generous sort of fellow. your secrets; and it’s costing us all dearly to keep him quiet.
WADSWORTH. Are you? GREEN. What do you mean?
BODDY. Wadsworth, will you please see to it that each guest re- BODDY. I wouldn’t have to double your payments if I didn’t have to
ceives a gift? pay Mr. Wadsworth for his silence.
ALL. Wadsworth?!

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 31 32 Clue (high school edition)

WADSWORTH. That’s a lie! (To GUESTS:)

BODDY. He may look suave and charming . . . The police are on their way. Now’s your chance. The only way for
you to end your blackmail and avoid finding yourselves on the front
WADSWORTH. Thank you . . .
pages is for one of you to kill Wadsworth . . . NOW!
BODDY. But really he’s conniving and manipulative.
(He switches off the lights. BLACKNESS. CHAOS. SCREAMS.
WADSWORTH. False! A GUNSHOT. MORE CHAOS AND SCREAMS. Lights.)
BODDY. Why do you think he’s called the police? (BODDY lies on the floor. Prone. Face down. EVERYONE else is
PLUM. (To WADSWORTH:) You called the police? spread throughout the Study.)

WADSWORTH. Only because HE instructed me to do so! WHITE. It’s Mr. Boddy!

BODDY. Did I? WADSWORTH. (Enormously relieved:) Oh thank goodness.

(Then:) SCARLET. Is he breathing?!

Ladies and gentlemen . . . if you can manage to get rid of Mr. (They rush to him in a hubbub.)
Wadsworth, I’ll have no need to increase your blackmail or expose PLUM. (Cutting off the hoopla:) Stand back, I’m a doctor!
you to the police.
(They move back. PLUM gives BODDY a cursory examination.)
PLUM. Get rid of?
PLUM. He’s dead.
PEACOCK. (To WHITE:) Does he mean . . . kill him?!
WHITE. Who had the gun?
BODDY. In fact, if you can eliminate Wadsworth . . .
PLUM. I did.
WHITE. Yes, I think that’s what he means.
PEACOCK. So you shot him!
BODDY. . . . Who not only knows all of your secrets, but also mine—
PLUM. I didn’t!
then I will eliminate your blackmail altogether and be done with
this terrible business once and for all. PEACOCK. If you didn’t, who did?
WADSWORTH. You would never! PLUM. Somebody grabbed it from my hand, and the next thing I
knew there was a shot!
PLUM. But why make us do it, Boddy?! Why don’t you do your dirty
work yourself? (WADSWORTH turns BODDY over.)
GREEN. Yeah! WADSWORTH. There’s no gunshot wound.
BODDY. Why should I when the six of you are so uniquely moti- WHITE. He’s right. There isn’t.
vated . . . and armed? SCARLET. (Re: a hole in the wall:) Look, there’s a bullet lodged here.
SCARLET. What a patriot. MUSTARD. Eagle eye, Miss Scarlet.
WADSWORTH. After all I’ve done for you?! GREEN. Well, if the bullet’s over there, then how did he die over
(To GUESTS:) here?
He’s a liar! I’m one of you! I’m not a butler! I’m an indentured servant! PLUM. I don’t know! I’m not a forensics expert.
BODDY. A familiar refrain. SCARLET. Something else must have killed him.
(Darkly:) WHITE. One of us must have killed him.
Don’t make a scene, Wadsworth. It’s over. (They all look at each other—and their weapons—nervously aware
that a murderer is present amongst them.)

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 33 34 Clue (high school edition)

GREEN. Well, don’t look at me! I didn’t do it! (The GUESTS rush out, GREEN has the Lead Pipe in his hand.
ALL. (Joining in:) Me neither! / I didn’t do it! / What’re you looking They move to outside the Billiard Room. The Study module retreats
at me for?! (Etc.) as the Hall wall flies in.)

(PEACOCK, unable to find a drink elsewhere, goes to BODDY’s

body [who is still holding a goblet].)
Scene 4
PEACOCK. I need a drink!
(The Hall outside the Billiard Room)
(She pries the goblet from BODDY’s dead hand, raises it to her lips
. . . She downs it just as . . .) (YVETTE’s screams are louder now as WADSWORTH and the
GUESTS [except PEACOCK] arrive at the door of the Billiard
PLUM. Maybe Mr. Boddy was poisoned by the brandy!
Room. WADSWORTH tries the handle. The door is locked.)
(PEACOCK spits out the brandy—all over PLUM [and dead
WADSWORTH. It’s locked!
BODDY].)
(Into the door:)
PEACOCK. (Screaming:) Poison!?!
Who’s in there? Who’s screaming?
(PEACOCK continues to scream. GREEN tries to comfort her . . .)
YVETTE. (From inside:) C’est moi!
GREEN. There, there, Mrs. Peacock—
WADSWORTH. Yvette?!
(She still screams.)
YVETTE. Oui!
GREEN. I’m sure you’ll be just fine—
WADSWORTH. (Into the door:) Yvette, are you all right?!
(She still screams.)
YVETTE. (From inside:) No!
There’s nothing to—
MUSTARD. Yvette?! Are you alive?!
(SCARLET takes over, pushing GREEN out of the way. She slaps
PEACOCK who falls onto the sofa, silenced, as the GUESTS gasp.) (YVETTE opens the door, revealing herself, in a puddle of tears,
fuming!)
SCARLET. (Offering an excuse:) Well, someone had to stop her
screaming. YVETTE. Of course I’m alive, you ee-diot!
PLUM. (To GREEN:) Was the brandy poisoned? (Turning to WADSWORTH:)
GREEN. How should I know? No zanks to you—Wadsworth! You’ve locked us up in zis house wiz
a murderer!
SCARLET. Looks like now we’ll never know.
WHITE. So the murderer is here?
GREEN. Unless she dies too.
YVETTE. Oui!
(They all hurry over to the sofa and stare at PEACOCK. Suddenly
SOMEONE [YVETTE] SCREAMS from another part of the GREEN. Where?
house. They all look out, terror on their faces.) YVETTE. Where? Here! We’re all looking at him.
[MUSIC CUE #17] (PEACOCK enters, out of breath.)
(Transition music.) YVETTE. Or her . . .
WADSWORTH. The screams are coming from the Billiard Room! MUSTARD. What took you so long?
PEACOCK. (Winded and hysterical:) I’m an old woman who may or
may not have been poisoned! It’s amazing I’m anywhere!

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 35 36 Clue (high school edition)

YVETTE. (Back to her point:) I heard you all in ze Study—one of you

is ze killer!
Scene 5
PLUM. How could you hear us in “ze” Study?
YVETTE. I was listening! I have a tape recorder in ze Billiard Room (The Kitchen.)
connected to ze Study! Monsieur Boddy asked me to record your (They enter the Kitchen. There is a large refrigerator. GREEN no
converzation! longer has the Lead Pipe. They look for COOK.)
PLUM. Why would he ask you to do that?! PLUM. As far as I can tell, the Cook’s not here.
YVETTE. For more evidence, of course! Wadsworth revealed your PEACOCK. What a lovely Kitchen. My husband and I had a kitchen
secrets in ze Study; now zey are all recorded. very similar to this in our first brownstone. It has such a homey feel,
PLUM. What a snake! I’ve got to destroy them! Where are the tapes? doesn’t it . . .
YVETTE. Who cares about ze tapes?! What about ze body?! [MUSIC CUE #19]
MUSTARD. What body? (As she reminisces, GREEN trips, accidentally causing the large
refrigerator to open. The COOK’s body, Dagger in her back,
ALL. Boddy’s body!
tumbles out onto a quite unsuspecting GREEN.)
WHITE. But, Yvette, why were you screaming in there, all by your-
(PEACOCK SCREAMS.)
self?
WHITE. It’s the Cook!
YVETTE. Because I was frightened! I also drank ze Cognac. Maybe
I am poisoned too! SCARLET. With a Dagger in her back!
(And more to the point:) MUSTARD. Someone must’ve killed her!
Plus, one of you is ze killer! Monsieur Boddy is dead! GREEN. (Descending to the floor under COOK’s weight:) I didn’t do it!
GREEN. (To YVETTE:) We have to figure out which one of them did (GREEN lands on the ground beneath the COOK. Nobody moves.)
it! WADSWORTH. This makes two.
PEACOCK. What do you mean “which one of them”? PLUM. Two what?
GREEN. Well, I didn’t do it! WADSWORTH. Murders.
WADSWORTH. Well, one of you did. I would have killed him my- PEACOCK. (Hysterical:) I hate murders!
self, but I didn’t have access to a weapon.
MUSTARD. I think you’d better explain yourself, Wadsworth.
SCARLET. Don’t look at me! All I got was a Candlestick!
WADSWORTH. Me?
PLUM. Maybe it wasn’t one of us!
MUSTARD. Well, who else would want to kill the Cook?
GREEN. Who else could it have been?
SCARLET. (A little laugh:) Dinner wasn’t that bad.
WHITE. Who else is in the house?
MUSTARD. How can you make jokes at a time like this?
YVETTE. Only ze Cook.
SCARLET. It’s my defense mechanism.
ALL. (Looking out:) ZE COOK!
MUSTARD. Some defense! If I were the killer I’d kill you next.
[MUSIC CUE #18]
(EVERYONE gasps!)
(Transition music as WADSWORTH leads the GUESTS to the
Kitchen. The Hall wall flies out as the Kitchen module opens.) MUSTARD. I said “if.” There’s only one admitted killer here, and
it’s not me.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 37 38 Clue (high school edition)

(Pointing to WHITE:) (WADSWORTH hoists the COOK out of MUSTARD and

It’s Mrs. White! PLUM’s arms and onto his back.)

(EVERYONE gasps!) SCARLET. Why?

WHITE. I’ve admitted nothing. WADSWORTH. For starters, when the police arrive, if they find
this . . .
MUSTARD. You paid the blackmail. How many husbands have you
had? (He dumps the COOK’s body off his back and into the arms of the
rest of the group.)
WHITE. Mine or other women’s?
WADSWORTH. . . . We’ll all be in custody and under suspicion for
MUSTARD. Yours. murder.
WHITE. Five. PEACOCK. Murder!
MUSTARD. Five? WADSWORTH. And secondly, I’m the butler. I like to keep the
WHITE. Yes, just the five. Husbands should be like Kleenex—soft, kitchen tidy.
strong and disposable. [MUSIC CUE #20]
MUSTARD. Well, if it wasn’t you, who was it? Who had the Dagger? (They heave-ho, grumbling as they do, puppeteering the COOK’s
PLUM. It was Mrs. Peacock! body from the Kitchen back to the Study to Transition.)
(EVERYONE gasps!)
PEACOCK. Yes. But I put it down. Scene 6
MUSTARD. Where?
(The Study.)
PEACOCK. In the Study. Any one of us could have picked it up.
(To the tail end of Transition music, the GUESTS, except
ALL. Well, I didn’t. / It wasn’t me. / I never even saw the Dagger. WADSWORTH, enter the Study. They stop and slowly look back
(Etc.) to the spot where BODDY was. HE’S GONE!)
PEACOCK. Well then, it must have been . . . Mr. Green! PLUM. The body’s gone!
GREEN. (Under the COOK’s body—muffled:) Can somebody please (They freeze! They drop COOK to the ground with a THUD! Just
help me?! then, WADSWORTH enters, breathless.)
(They look, gasping!) WADSWORTH. What are you all staring at?
WADSWORTH. Good Lord, let him up! PLUM. Nobody.
PLUM. (Moving to assist:) You really oughta learn to speak up for WADSWORTH. What do you mean?
yourself better, Mr. Green.
PEACOCK. (Panic-stricken:) Nobody. No body. Mr. Boddy’s body. It’s
(MUSTARD and PLUM lift the COOK’s body off of GREEN. gone!
GREEN, gasping, recovers, getting up.)
WHITE. Maybe he wasn’t really dead.
GREEN. (Breathless:) Oh my lord. Oh my lord.
PLUM. He was!
(WADSWORTH steps over GREEN, who crawls away [and will
ultimately take a swig from Peacock’s flask], as dialogue continues.) WHITE. We should have made sure.

WADSWORTH. Gentlemen, might I suggest we take the Cook’s PLUM. I thought I had!
body into the Study. MUSTARD. So was he dead or wasn’t he?!

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 39 40 Clue (high school edition)

GREEN. Maybe he was dead, but someone moved him! WADSWORTH. Um . . . No.
SCARLET. Who would move him? MUSTARD. No, there is? Or no, there isn’t?
WHITE. And why?! WADSWORTH. Yes.
GREEN. How should I know?! MUSTARD. There seems to be some confusion about whether or
not we are the only people in this house.
PLUM. Well, if he’s not here—then where is he?
WADSWORTH. There isn’t.
PEACOCK. Oh my. All this excitement. If you’ll excuse me, I have to
uh . . . is there a little girl’s room? MUSTARD. There isn’t any confusion or there isn’t anybody else?
YVETTE. Oui oui, madame. WADSWORTH. Either. Both.
PEACOCK. No, I just want to powder my nose. MUSTARD. Just give me a clear answer.
YVETTE. Zere’s a toilette outside ze Billiard Room. WADSWORTH. What was the question?
(PEACOCK exits.) MUSTARD. Is there anyone else in the house?
WADSWORTH. (Clocking PEACOCK’s exit:) Uhhhh . . . ALL. No!
(Then:) MUSTARD. That’s what he says, but does he know!?
WADSWORTH. I don’t mean to alarm anybody, but we do currently SCARLET. Look, we’ve got a killer on the loose, the missing dead
have the small issue of two dead bodies: one missing, one present— body of Mr. Boddy, a Cook with a Dagger in her back, and all these
and the imminent arrival of the police . . . easily accessible weapons—the Rope, the Revolver, the Candlestick,
the Wrench—and—hey, where’s the Lead Pipe?
SCARLET. The bridge is washed out; that should buy us some extra
time. [MUSIC CUE #21]
YVETTE. But I don’t want extra time! I want ze polize to arrive! I am (PEACOCK screams. She enters, stumbling into the room with
trapped in zis houze wiz a murderer! BODDY hanging all over her. It looks like BODDY is attacking
her.)
PLUM. But once the police get here, the rest of us are doomed.
PLUM. It’s Mr. Boddy!
MUSTARD. (Taking charge:) Wadsworth, am I right in thinking that
there is nobody else in this house? GREEN. He’s attacking her.
WADSWORTH. Um, no. (While PEACOCK continues her hysteria, the bloodied BODDY
falls off of her and onto the ground. The Lead Pipe protrudes from
MUSTARD. Then there is someone else in this house?
his skull.)
WADSWORTH. Sorry, I said “no” meaning “yes.”
GREEN. (Grossed out:) Ugh, he’s so bloody!
MUSTARD. “No,” meaning “yes”?
PLUM. Stand back!
WADSWORTH. Yes.
(Completing a second cursory exam:)
MUSTARD. Look, I want a straight answer.
He’s dead.
GREEN. Don’t look at me.
SCARLET. That’s what you said the last time.
(They look at him.)
PLUM. I believe in second chances.
MUSTARD. Wadsworth—is there someone else in this house, yes
WADSWORTH. Mr. Boddy? Dead? Again?
or no?
PEACOCK. I’m going to faint!
(WADSWORTH considers this carefully.)

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 41 42 Clue (high school edition)

WADSWORTH. I’ll catch you! SCARLET. (From the desk:) Cool it, butler! While you lose your
(PEACOCK collapses in WADSWORTH’s arms. He releases her marbles, I’m over here trying to do something useful! Have you all
and she falls back with a thud.) forgotten about the evidence against us?

WADSWORTH. Sorry. ALL. The evidence!

WHITE. Mrs. Peacock? (They move toward SCARLET. SCARLET tries to open Boddy’s
briefcase.)
PEACOCK. (Woozy from the floor:) Yes?
SCARLET. Boddy’s briefcase is locked.
WHITE. Where did this happen?
WHITE. There must be a key!
PEACOCK. In the bathroom! I opened the door and there he was!
At first, I thought he was attacking me, but then I realized he’d been WADSWORTH. Mr. Green, would you be so kind as to check Mr.
left propped up against the doorframe, dead, just waiting to fall on Boddy’s pockets for the key to his briefcase containing the evidence
someone! of our crimes, so that we may destroy said evidence once and for all?

(She pulls a tiny bottle of booze out from her cleavage and downs it.) GREEN. Why me?

WHITE. Who would do such a thing? WADSWORTH. Why not?

PLUM. Takes a lotta guts to kill someone twice. GREEN. (Unhappily:) Well . . . all right.

SCARLET. It’s what we call overkill. (He pulls out a latex glove, putting it on.)

GREEN. But why?! SCARLET. Where’d you get that?

PLUM. What’s the difference? GREEN. I don’t like germs.

SCARLET. Makes a difference to him! SCARLET. Or fingerprints?

WADSWORTH. (Losing it:) Makes a difference to us! We’ve got to GREEN. No, mostly it’s really just germs.
find out who killed him, where and with what! (GREEN searches BODDY’s pocket, gagging/holding back vomit.)
(Referencing the Lead Pipe in BODDY’s head.) GREEN. (With his hand in BODDY’s pocket—gagging:) Oh God, it’s so
PLUM. Seems like it was probably the Lead Pipe. warm.

WADSWORTH. Ten points, Professor Plum. (Then )

MUSTARD. What kind of game are you playing, Wadsworth? Aha! Got it!

WADSWORTH. This isn’t a game! SCARLET. Give it here!

PLUM. (To GREEN:) You! The Lead Pipe belonged to you! (He rushes it over to SCARLET, who opens the briefcase.)

GREEN. But I dropped it while running to the Kitchen! SCARLET. It’s empty!

PLUM. People don’t just drop murder weapons! (They gasp!)

GREEN. I didn’t know it was a murder weapon when I dropped it! WADSWORTH. Empty?!

WHITE. So anyone could have picked it up? MUSTARD. Then where’s all the evidence?

WADSWORTH. (Becoming unhinged:) Yes of course, but who did?!? WADSWORTH. I told you Boddy was a liar! Had the evidence in
Who did pick up the Lead Pipe? Who picked up the Lead Pipe and his briefcase, my foot!
brutally murdered Mr. Boddy, leaving him dead and bloodied in the GREEN. We must find that evidence!
bathroom? Who did that? Who?! Who?!?! Who?!?!?!
SCARLET. And destroy it!

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 43 44 Clue (high school edition)

MUSTARD. (Becoming officious:) Evidence against us aside, first SCARLET. What good will that do?
things first. We’re in a room with two dead bodies.
WADSWORTH. Then we’ll zip up the bag.
YVETTE. And ze cops are on zeir way!
WHITE. Most murderers know how zippers work, Mr. Wadsworth.
MUSTARD. Let’s move the corpses to the couch so they look less
WADSWORTH. I know! We’ll put the bag in the safe!
dead.
SCARLET. (Looking all around:) Terrific! Where’s the safe?
(They do. What follows is a farcical moving of the two dead bodies
from the floor onto the sofa.) WADSWORTH. In the Hall!
PLUM. (Stepping over COOK to get to BODDY:) Some party this is [MUSIC CUE #22]
turning out to be. (Transition music. As the Study module retreats, the Hall wall
YVETTE. (Crossing to the COOK:) Help me, Monsieur. Green. flies in as they move to the Hall.)
GREEN. (Dubious:) Well, all right. WADSWORTH. Shush.
(YVETTE/GREEN drag COOK, while PLUM drags BODDY.) (They stop. Listen. More transition music as they move again.)
WADSWORTH. Careful. Don’t get guts on the ground.
MUSTARD. (Impressed by PLUM dragging BODDY’s body:) Solid bat- Scene 7
tlefield technique, Professor Plum. Never leave a man behind.
WHITE. Cadavers are heavier than they seem, aren’t they? (The Hall.)
WADSWORTH. I wouldn’t know. (They arrive and WADSWORTH tinkers with the bottom of a
large framed portrait hanging between two doors.)
WHITE. Right. Me neither.
SCARLET. I don’t see a safe.
GREEN. (Lifting BODDY up:) Upsy-daisy.
PLUM. (Re: the art:) Is that an original Trumbull, Mr. Wadsworth?
WHITE. (Then re: the COOK:) Here, prop her up.
WHITE. Those are quite valuable.
PEACOCK. (From her unhelpful perch on the desk:) Aren’t you all
strong and virile? PEACOCK. Now is not the time for art appreciation! Butler . . .
(She drinks from a flask.) (Before PEACOCK can finish her thought, WADSWORTH
opens the painting on the wall to reveal a safe.)
(Throughout the hubbub, the GUESTS ad-lib appropriately until
the bodies are both in position on the sofa with GREEN pinned GUESTS.(Gently impressed:) Ohhh.
between them. GREEN, gagging, un-pins himself, escaping the (As WADSWORTH throws the bag in and locks the “painting” . . .)
sofa. The GUESTS prop both bodies [Dagger and Lead Pipe fully
visible] upright.) MUSTARD. A hidden safe behind a portrait. How original!

WHITE. Good. They just look asleep. WADSWORTH. There! Locked!

SCARLET. Forget about the bodies! We need to do something about YVETTE. Voila!
this room full of murder weapons and the homicidal maniac on the MUSTARD. What are you going to do with the key to the safe,
loose! Wadsworth?
WADSWORTH. Let’s put the weapons in the bag! YVETTE. Oh yes! Ze key!
(WADSWORTH starts to put the remaining weapons in Boddy’s WADSWORTH. I’ll put it in my pocket.
bag.)
PEACOCK. But what if you’re the murderer?

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 45 46 Clue (high school edition)

WADSWORTH. I’m not. shockingly, a MOTORIST stands at the door, poised to knock. The
PEACOCK. But what if you are? GUESTS scream.)

WADSWORTH. I’ve an idea—we’ll throw it outside. WADSWORTH. (Screaming:) Not now!

YVETTE. Oui! A l’extérieur! (WADSWORTH slams the door on the MOTORIST’s face. The
GUESTS are breathless with fear.)
PEACOCK. But it’s raining “a l’extérieur!”
GREEN. Was that the killer?!
WADSWORTH. I’m not suggesting we go outside. I’m suggesting
we stay inside, but throw away the key. WHITE. He didn’t look like a killer.

PLUM. (Warily:) But you’d have to open the door, wouldn’t you? PLUM. (A dig:) Takes one to know one.

WADSWORTH. I would. MUSTARD. Leave him to me. Interrogation is my speciality.

PLUM. But what if the killer is outside? (MUSTARD opens the door.)

GREEN. Better out than in! MUSTARD. How do you do?

PLUM. Yes! We’d want to keep him outside, wouldn’t we? If we open MOTORIST. I’m sorry . . .
the door we risk letting him back in. (As he enters, searching for words:)
WHITE. But maybe, if we open the door, we’d encourage the killer I didn’t mean to disturb the whole household, but my car broke
to go out! down out here, and I was wondering if I could use your phone.
SCARLET. The killer seems to be doing a fine job of opening and MUSTARD. (Accusatorially:) Are you a killer?
closing doors all by himself. I don’t see how us opening the door for
MOTORIST. What? No!
one tiny second could possibly make any sort of a difference.
MUSTARD. (Entirely convinced:) All right.
MUSTARD. But what if we open the door, throw away the key, and
the killer catches it. Then the killer would have the key we’re trying (Showing him in:)
to confiscate! This way please.
WADSWORTH. We might be overthinking this. (As the others start to protest . . .)
(Then:) MOTORIST. Thank you.
I’m going to throw away the key. Follow me. (He steps fully into the mansion.)
[MUSIC CUE #23] MOTORIST. Well? Where is it?
(Transition music as the GUESTS run towards the front door as MUSTARD. What? The body?
the Hall wall flies up.)
(The others gasp!)
MOTORIST. (Realizing:) The phone. What body?
Scene 8 WADSWORTH. What? There’s no body. There’s nobody.
(The Front Door.) MUSTARD. Riiiight. There’s nobody in the Study.
(WADSWORTH leads YVETTE and the GUESTS toward the (MUSTARD has inadvertently pointed to the Study. The
front door. He opens the door to throw away the safe key, but MOTORIST starts walking towards it. EVERYONE realizes
that’s where the bodies are!)
ALL. (Preventing him from going to the Study:) No!!!

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 47 48 Clue (high school edition)

WADSWORTH. No, no that phone’s been disconnected. But I think WADSWORTH. (Per the rhyme:) No.
there’s one in the Lounge.
(Then taking the reins)
MOTORIST. Alrighty then.
Mrs. White, you come with me. Professor Plum, you’re with Mrs.
(WADSWORTH brings the MOTORIST to the door of the Peacock. Yvette, you go with Mr. Green; and Miss Scarlet, you’re
Lounge as the others look on.) with Eenie Meenie.
WADSWORTH. Right through this door. PEACOCK. But what if someone doesn’t come back?
MOTORIST. Thank you. WADSWORTH. We’ll remember you fondly. Now, leave no door
(WADSWORTH opens the door, lets the MOTORIST in. Closes unopened. And . . . cherish your partner. This might be the last
person you ever see.
and locks the door.)
WADSWORTH. (To GUESTS with renewed intense urgency:) Now (They go!)
listen . . . we haven’t much time. Our task is twofold. ONE: Find the
evidence! TWO: Find the murderer!
Scene 9
PLUM. We’ve got one potential suspect contained in the Lounge—
but that leaves the whole rest of this place up for grabs. Who knows (The Hall.)
what’s behind all these doors.
(The pairs search the house through an elaborate musical montage
MUSTARD. I suggest we handle this in proper military fashion. We of choreographed, door slamming, tomfoolery, punctuated by brief
split up, and search the house. vignettes.)
PEACOCK. Split up!? (After an initial series of highly stylized crosses and door
MUSTARD. Yes! We’ll split up into pairs. That way none of us will openings, the Hall wall flies in and focus shifts to WHITE and
be alone. WADSWORTH, now alone in the Hall facing two doors.)
PLUM. But if we split up into pairs, whichever one of us is paired WHITE. Go on. I’ll be right behind you.
with the killer might get killed! WADSWORTH. That’s why I’m nervous.
YVETTE. Mon dieu! WHITE. But why? It’s just us. We’re alone.
MUSTARD. But then we would have discovered who the murderer WADSWORTH. That’s just it, Mrs. White. No man in his right mind
is! would ever be alone with you.
PEACOCK. But the other half of the pair would be dead! WHITE. Fine. You go in there and I’ll go in here.
MUSTARD. This is war, Peacock! Casualties are inevitable. You (They go to two doors. They don’t go in.)
cannot make an omelette without breaking eggs—every cook will
tell you that. WHITE. Are you going in?
PEACOCK. But look what happened to the Cook! WADSWORTH. Yes, are you?
GREEN. Colonel, are you willing to take that chance? WHITE. Yes.
MUSTARD. What choice do we have? (They fake each other out three times in quick succession. Then . . .)
SCARLET. None. WADSWORTH. On the count of three. One . . . Three!
GREEN. I suppose you’re right. (A beat and then WADSWORTH and WHITE enter and exit
their respective rooms abruptly.)
MUSTARD. (Officious:) All right, troops. Divide and conquer. I’ll
split us into pairs. Eenie-meenie-miney . . . WHITE. Nothing in that room.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 49 50 Clue (high school edition)

WADSWORTH. Nothing in that room either. PEACOCK. I haven’t been excited by something in a bedroom for
years.
WHITE. Shall we search the Ballroom?
(They exit the Library as the module retreats.)
[MUSIC CUE #24]
(The GUESTS crisscross once more, featuring an unexpected,
WADSWORTH. (Gesturing for her to go first:) After you.
split-second connection between YVETTE and WADSWORTH.)
(WHITE and WADSWORTH’s stylized movement lead them
into an elaborate tango as they exit.) (Then, MUSTARD, solo, crosses the Hall studying an enlarged
map of Boddy Manor [looking identical to the CLUE board game].)
(As the Hall wall flies out, The GUESTS crisscross the entry Hall
causing each other to startle.) (To the music, each GUEST round-robins through every door in
choreographed mayhem. The group ends with ALL their heads
(MUSTARD and SCARLET meet in the middle, each holding a poking out of one door, which WADSWORTH shuts.)
notebook and and tiny golf pencil [from the CLUE board game].
[MUSIC CUE #25]
They compare their notes and each exit separately as the Library
module slides into place.) (The music shifts to sinister, as the Lounge module opens and we
(Focus shifts to: PEACOCK and PLUM in the Library.) find the MOTORIST on the phone.)
MOTORIST. I’m a little nervous. I’m at that big house on the hill,
PLUM. (Seated in an arm chair:) This is quite an impressive Library.
and I’ve been locked in the Lounge. I didn’t expect there’d be a whole
(PEACOCK puts a book back in the bookshelf, triggering an group of people here—I think they’re having some sort of party; and
elaborate, FBI-style secret panel labeled “EVIDENCE,” plastered the funny thing is, I think one of them is my customer.
with headshots [in the style of the CLUE game cards] and notes
detailing the guests’ crimes, to flip and appear in the wall directly (As he’s talking, the portrait behind him opens and a gloved hand
behind them. They do not see it.) appears behind him with a raised Wrench . . .)

PEACOCK. (Her back now to the secret panel:) How can I find anything MOTORIST. Yeah, my regular Tuesday night passenger . . .
if I don’t even know what I’m looking for! (The Wrench comes down on the MOTORIST’S head. BLACK-
PLUM. (Reading from a book:) “Civilized society is perpetually OUT. The Lounge retreats.
menaced with disintegration through this primary hostility of men [MUSIC CUE #26]
towards one another.” (Search music continues as the Conservatory wall flies in
PEACOCK. Your fancy words don’t intimidate me, Professor! and the lights shift to find SCARLET and MUSTARD in the
PLUM. I take no credit, Mrs. Peacock. Conservatory.)

(Re: the book:)

Freud. I think he’s on to something. Scene 10
PEACOCK. Now is not the time for academic pursuits! We’re
(The Conservatory.)
supposed to find the evidence!
(MUSTARD searches the Conservatory floor. SCARLET enters
PLUM. It’s a fruitless search, if you ask me. I mean, it’s not like we’re
slyly, holding Plum’s pipe.)
just gonna walk into a room and find the evidence plastered on the
wall. SCARLET. (Whispering conspiratorially:) Psst!
PEACOCK. I suppose you’re right. MUSTARD. Oh, there you are.
PLUM. C’mon, let’s go upstairs. Maybe we’ll be excited by some- SCARLET. You’ll never believe what I found in the hallway.
thing in a bedroom. (Showing:)

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 51 52 Clue (high school edition)

Professor Plum’s stupid tobacco pipe! Scene 11

MUSTARD. Huh. What do you think that means? (The Lounge.)
SCARLET. Who knows! But it seems suspicious if you ask me. (The painting opens and [AUXILIARY] SCARLET and
MUSTARD. I just did. MUSTARD climb out of it. The room is dark. The dead
MOTORIST in the chair is unnoticed . . . for now.)
SCARLET. Honestly, Colonel.
(Please note: SCARLET and MUSTARD are substituted by an
(Moving on:)
auxiliary man and woman, dressed as Scarlet and Mustard. The
This is the last room left to search in this beastly mansion and we lighting is such that we can’t see their faces and the real Scarlet
still haven’t found the evidence. and Mustard continue their dialogue from offstage or via pre-
MUSTARD. I think this time has been productive nevertheless. recorded voiceover.)

SCARLET. Aren’t you a Pollyanna. MUSTARD. Where are we now?

MUSTARD. You’re a brave and determined lady, Miss Scarlet. I’ve SCARLET. How should I know? The lights are off.
really enjoyed our time together. I hope after this expedition ends MUSTARD. Well turn them on!
we can remain friends.
SCARLET. I would if I could see anything!
(SCARLET continues intensely searching.)
MUSTARD. Well I’m going to feel my way around.
I mean, really, murders aside, it’s just been a lovely group of people
SCARLET. Don’t get any funny ideas.
all in all. I suppose I would like to hear Mrs. White explain when
and how she lost her veil in the Billiard Room, but . . . MUSTARD. (Feeling:) A table . . .
SCARLET. (Grabbing the veil:) You found White’s veil in the Billiard SCARLET. (Feeling:) A telephone . . .
Room? Odd. MUSTARD. A chair . . .
MUSTARD. Odd? SCARLET. A body . . .
SCARLET. Odd. (SCARLET and MUSTARD stop dead in their tracks.)
(MUSTARD accidentally leans on the wall sconce, which moves SCARLET/MUSTARD. A body!!! Ahhhhhh!!!!!!!!!!!!!!!!
like a lever.)
[MUSIC CUE #28]
(A trap door in the floor opens.)
SCARLET. Find the door!
SCARLET. (Gasp:) A trap door!
MUSTARD. Get me out of here!
(Then:)
(They find the door but the door is locked.)
A trap door leading to a secret passage! C’mon!
SCARLET/MUSTARD. HELP! HELP! MURDER! MURDER!
MUSTARD. (Clearing his throat:) Uh . . . Ladies first, Miss Scarlet.
(The stage is now divided in two, with inside the Lounge being
SCARLET. (Rolling her eyes:) How heroic. stage left, and outside the Lounge being stage right.)
[MUSIC CUE #27] (The GUESTS scurry towards the Lounge from all over the house,
(SCARLET steps into the passage, MUSTARD follows her. ad-libbing, as they make their way to the door—realizing the door
Blackout as music continues. The Conservatory wall flies up as is locked . . . As WADSWORTH approaches the Lounge door, the
the Lounge module opens.) Lounge module closes back up, so only the Hall is visible.)
ALL GUESTS. LET US IN! LET US IN!

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 53 54 Clue (high school edition)

SCARLET/MUSTARD. (Voices:) LET US OUT! LET US OUT! (The real MUSTARD and SCARLET exit the Lounge.)
WADSWORTH. We can’t let you out! The door to the Lounge is MUSTARD. (Angrily, to YVETTE:) Why were you shooting at us?
locked!
YVETTE. To open ze door!
SCARLET. (Through the door:) You had the key, Wadsworth! You
MUSTARD. But you could have killed us!
locked the Motorist in here!
YVETTE. (Defensively:) I said “stand back”!
WADSWORTH. That’s right! I did! I do!
MUSTARD. (To WADSWORTH:) Let’s add “finding the key to the
(He checks his pockets:)
Lounge” to our priority list.
I don’t! The keys are gone!
PLUM. Say, Frenchy—where did you get that gun anyway?
ALL. Gone?!
YVETTE. Ze zafe. It was unlocked!
YVETTE. I have an idea!
ALL. Unlocked!?!?
(YVETTE runs offstage.)
WADSWORTH. Impossible! I have the key!
SCARLET. (Through the door:) There’s a murderer on the loose!
(He checks his pocket.)
Please get us out of here!
No I haven’t! It’s gone!
(PLUM walks back from the door, at his most macho.)
ALL. Gone?!
PLUM. There’s no alternative. I’m just gonna have to break down
the door. MUSTARD. Not to beat a dead horse, but, again, I feel like having
all the keys is really— (important.)
(To the others:)
PLUM. (Interrupting:) I thought you said you’d throw away the key
Stand back! I’m a doctor!
to the safe, Wadsworth!
(Just as he backs up to prepare to run, YVETTE, runs on holding
WADSWORTH. I did say that! But I didn’t do that! We got distracted
the gun.)
by the Motorist at the door and I forgot. One of you must have
YVETTE. Stand back! I’m a woman! snatched the keys from my pocket when we were searching the
(PLUM backs into YVETTE. Their crash causes her gun to go off, house.
firing upwards. The chandelier above—in slo-mo—falls, pinning PLUM. So whoever took the keys, is the killer.
GREEN beneath it as the GUESTS react [also in slo-mo]!)
WADSWORTH. Precisely.
GREEN. (In slo-mo via V.O.:) Can somebody please help me?
SCARLET. Speaking of the killer, there’s a dead body in the Lounge,
(We restore to regular speed. All the GUESTS scream as GREEN ya know! The Motorist is dead!
rolls out from beneath the chandelier which nearly crushed him!)
[MUSIC CUE #29]
SCARLET/MUSTARD. (Through the door:) What happened?! What
(She opens the Lounge door. music sting. They all peek in.)
was that?! Help! Murder! Help! (Etc.)
PEACOCK. Which one of you killed him?
YVETTE. I will help you!
SCARLET. (Outraged:) We found him, together!
(YVETTE still determined to save the day, points the gun to the
Lounge door. With surprising expertise, She fires the gun twice at MUSTARD. And he was already dead!
the lock.) GREEN. But the door to the Lounge was locked!
YVETTE. I’m done shooting at you! Ze door is open! You can come SCARLET. We went through a secret passage we found in the
out now! Conservatory.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 55 56 Clue (high school edition)

PLUM. A secret passage?! Who designed this place? (SCARLET, who is closest to the Lounge door, blocks it.)
WADSWORTH. The Parker Brothers. SCARLET. Out of order.
(The doorbell rings. They look out and gasp. They stand still, GREEN. Of course. My mistake. You can use the phone in the Study.
frozen in terror.) (PLUM, who is closest to the Study door, blocks it.)
(They wait. And hope. Doorbell again. They look to the front door. PLUM. Occupied.
Doorbell rings a third time. They huddle, worrying aloud.)
GREEN. Uhhh . . .
ALL. (Ad-libbing:) What should we do? / Let’s hide! / Shhh! / You’re
being too loud! / Maybe this time it’s the killer! (Etc.) WADSWORTH. (Taking over:) If you please, sir, you may use the
phone in the Library. Right this way.
PLUM. (Within the melee, taking the gun from YVETTE and stashing it
on his body:) Quick! I’ll hide the gun! COP. You’re all acting rather peculiar.
(KNOCK KNOCK KNOCK.) WADSWORTH. It’s because our chandelier fell down.
WADSWORTH. Don’t worry, it’s not the police. ALL. Yes / Exactly / That’s true / We loved that chandelier. (Etc.)
COP. It’s the police! WADSWORTH. It could have killed us. But don’t worry, the maid
will clean it up.
(EVERYONE gasps!)
COP. That’s all well and good, but . . . what’s going on in the Lounge
GREEN. I’m going to open the door.
and Study?
ALL. No!
WADSWORTH. Lounging. Studying. This way . . .
GREEN. It’s the decent thing to do.
COP. Let me have a look.
(Hes run up to the front door, the GUESTS at his heels.) WADSWORTH. No thank you.
COP. Open the door! COP. What?
(GREEN opens the front door. A COP stands there.) WADSWORTH. (Deflective:) Hm?
COP. Good evening, sir. (Then:)
GREEN. Good evening, Officer. We’ve been expecting you. This way, please.
COP. You have?
COP. Actually, I’d like to take a look around if you don’t mind.
GREEN. We haven’t?
WADSWORTH. Of course, officer.
COP. I got a tip about an abandoned car near the gates of this house.
(Forcibly walking him downstage—slowly)
Did a motorist stop by for help, by any chance?
Follow me. I’ll take you on a grand tour of Boddy Manor.
(They try to smooth away his suspicions.)
(Simultaneously, the GUESTS, huddle up, quietly whispering
ALL. No. together to come up with a plan, while YVETTE uses a pulley
GREEN. (On the heels of “No”:) Yes. system by the front door to raise the chandelier back into position.)
COP. (Skeptically:) There seems to be some disagreement. At any WADSWORTH. This home was built by Lord Reginald Boddy in
rate, can I come in and use the phone? 1784 . . .
ALL. No! SCARLET. We’ve got to cover our tracks and get rid of this guy!
GREEN. Of course you may, sir. There’s a phone in the Lounge.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 57 58 Clue (high school edition)

WADSWORTH. This way please. (Distracting him:) Lord Boddy had (We hear 1950s rock-and-roll on the radio.)
been declared Lord Boddy after somebody discovered an antibody (YVETTE dusts the furniture to the beat of the music. She waves
that would save everybody. flirtatiously at COP.)
(WHITE, PEACOCK, MUSTARD and YVETTE head to the YVETTE. Hello, Officer! Welcome to ze party!
Study where BODDY and COOK’s bodies remain.)
(WHITE has set herself up with the dead body of BODDY on top
(PLUM, SCARLET, and GREEN head to the Lounge where the of her, to make it appear as if they’re making out.)
MOTORIST’s body remains.)
(COP walks past them, embarrassed.)
WADSWORTH. (Desperately trying to distract—he drops to the floor—
nearly singing/doing snow angels:) Notice the mahogany floor. COP. Excuse me.
(Then—vibrantly:) (YVETTE dusts him.)
Did you know, in the 17th century, the buccaneer John Esquemeling YVETTE. You are excuzed!
recorded the use of mahogany for making canoes? (COP now notices MUSTARD seemingly making out with the
(He mimes rowing a canoe:) dead COOK, while PEACOCK, unseen by COP behind drapes,
uses her hands as if they were the COOK’s hands, heavily petting
Can you canoe? MUSTARD.)
COP. (Baffled:) What? COP. Pardon me.
(The two groups have each entered their respective rooms. The (COP moves to exit. YVETTE calls after him.)
COP turns around to find the stage bare.)
YVETTE. Good night, Officer.
COP. Hey—where’d everybody go?
COP. Good night!
WADSWORTH. (Continuing his desperate tour:) Notice the brass door-
knobs. Crafted specifically for Lord Boddy by his buddy in 1878— (SLAM! COP retreats from the Study back into the main Hall
with WADSWORTH. As the Study module retreats, the GUESTS
COP. (Irritated:) I don’t care about the doorknobs, mister! What’s react in disgust as they pull away from the dead bodies.)
going on around here? What are you hiding in those two rooms?!
COP. That wasn’t all that shocking, mister. Those folks were just
WADSWORTH. (Trying to cover:) Uh . . . which two rooms? having a good time. Why didn’t you tell me this was a party?
COP. The Lounge and the Study! WADSWORTH. My . . . apologies sir.
WADSWORTH. Oh . . . Oh. Ohhhhh. Those two rooms— COP. I’ll just take a peek in the Lounge, if you don’t mind.
COP. Yes! (COP has crossed the Hall to the Lounge and opens the door as the
(COP approaches the Study door. WADSWORTH blocks his Lounge module opens.)
path.) [MUSIC CUE #31 (recorded)]
WADSWORTH. No! Officer, I don’t think you should go in there. (We hear a different rock-and-roll song on a record player.)
COP. Why not? (The dead MOTORIST, an alcohol bottle in hand, appears to be
WADSWORTH. Because it’s . . . all too shocking! drunk rather than dead. He is propped up in a chair, by GREEN,
who shares the chair with him, also pretending to be drunk. PLUM
(COP shoves WADSWORTH aside as a Study module opens.
and SCARLET are slow-dancing to the music behind him.)
As the COP enters, the GUESTS puppeteer the dead bodies of
BODDY and COOK so they appear to be alive.) COP. (Speaking into the doorway:) Excuse me?
[MUSIC CUE #30 (recorded)] GREEN. (Slurring his words:) Ev’ning Officer. How d’ya do.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 59 60 Clue (high school edition)

COP. Are these men drunk? (Then:)

SCARLET. Dead drunk. All right, I’ve locked him in the Library . . .
GREEN. (Offering booze from BODDY’s limp hand—splashing booze SCARLET. How’d you do that? I thought you didn’t have the keys!
everywhere:) Wanna sip? WADSWORTH. I didn’t have my right-pocket keys.
COP. Oh, I can’t drink while on the job. The Chief would kill me. (Revealing keys from his other pocket:)
GREEN. Killed if you do, killed if you don’t . . . But my left-pocket keys are intact.
COP. What? (Then:)
GREEN. Huh? Now—let’s finish searching the Manor! The police are on their way!
PLUM. Have a lovely evening, Officer. PLUM. But, the police already came!
COP. (With a tip of his hat:) Same to you. GREEN. Not the “broken-down car” police, the “criminal
(COP shuts the door. As the Lounge module retreats, SCARLET investigation” police.
and PLUM help GREEN, disgusted, out of the chair. GREEN, WADSWORTH. Precisely.
hyperventilating, uses his latex glove to breathe into as the Lounge
module closes.) (Then:)
COP. Well . . . We must find the evidence and we can’t afford to have any more
murders! This is getting dangerous. Now go!
WADSWORTH. (With slight desperation:) I can explain everything.
[MUSIC CUE #32]
COP. No explanation necessary. There’s nothing illegal about any
of this. (Transition music. The GUESTS disperse to search the house!
Both the Library module and the Billiard Room module push on.)
WADSWORTH. There’s not?
COP. Of course not! This is America—and that was the pursuit of
happiness. Scene 12
(Then:)
(The Library/The Billiard Room)
May I use your phone now?
(The COP dials the phone. Sinister music underscores.)
WADSWORTH. Certainly!
COP. Hello . . . hello . . .
(WADSWORTH leads COP to the Library.)
(The lights go out!)
WADSWORTH. (Opening the door:) The Library, Officer.
COP. A power outage?! Must be the storm.
COP. Thank you.
(Then into the phone:)
(WADSWORTH closes and locks the door behind him. Then . . .)
Oh, hello Chief? Yes, this is . . . .
WADSWORTH. (Nearly whispered:) All’s clear! You can come out
now. Well done, all of you. Impressive! (Then:)
(All the GUESTS emerge into the Hall congratulating themselves.) Hello? Hello? Are you still there? Is this phone working?
ALL. You really pulled that off / Nice touch with the alcohol bottle. (A dim light now rises on YVETTE in the Billiard Room.)
/ I didn’t know you had it in you. (Etc.) YVETTE. (Alarmed by the darkness:) E-lo? Oo turned out ze lights?!
WADSWORTH. (Gaining their attention:) Psst! E-lo?!

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 61 62 Clue (high school edition)

(She sees someone in the doorway.) GREEN. Sounds like a telephone is off the hook.
YVETTE. Oh! It’s only you. You scared me! I zought you were ze SCARLET. It’s coming from the Library.
killer!
PEACOCK. That’s where the killer must be!
(Back to the COP [a dual scene].)
WADSWORTH. (Smoothing his hair:) I’m going in!
COP. Did somebody cut the line? Hello?
SCARLET. Aren’t you afraid?
(Back to YVETTE . . .)
WADSWORTH. Of course.
YVETTE. Oh, did you find a clue? What is zat in your hand?)
PLUM. Of what? A fate worse than death?
(A gloved hand holding the Rope emerges from behind YVETTE.
WADSWORTH. No . . . just death.
A noose flies onto her neck! She struggles! Music sting. Lights out.
The Billiard Room module retreats in darkness as . . .) (WADSWORTH, followed by the GUESTS, goes to the Library
door. He unlocks it. The COP sits, head down.)
COP. (Into phone:) Oh, good you can hear me. You see, I found an
abandoned car and wound up in an old mansion, where all the WADSWORTH. (Timidly, from the doorway:) Excuse me, Mr. Cop.
lights just went out. I’m telling you, Chief, there’s something funny Are you all right? Do you need assistance? A phone book perhaps?
going on around here. PEACOCK. (Pushing past WADSWORTH:) Hey! Listen, Copper! The
(A gloved hand holding a Candlestick emerges from a trap door in butler asked you a question! Hang up the telephone already, or I
the bookshelf.) will!
COP. They’re having some sort of a party and you’ll never believe (He doesn’t move. PEACOCK slams the phone down. She pulls
who I just saw . . . the COP’s body back revealing a bloody Candlestick protruding
from his head, morbidly. music sting!)
UNSEEN MURDERER. Psst.
[MUSIC CUE #33]
(The COP turns around at the sound. The Candlestick descends
on the COP. Music sting.) (PEACOCK SCREAMS! The GUESTS SCREAM!)
COP. No! (Transition music plays as they run out of the Library.)
(BLACKOUT.) (The Library module retreats as the Billiard Room module pushes
on.)
(The GUESTS hysterically run until they all arrive and settle in
Scene 13: The Hall the Billiard Room. Their bodies block the view of the Billiard Table.)
(They ALL breathe heavily.)
(The pulsating tone of a telephone off-the-hook is heard. A lighter
flickers. In the light of the flame we see WADSWORTH’s face. He WADSWORTH. We should be safe here in the Billiard Room.
finds the light panel. Suddenly, the lights turn back on revealing (They all inhale/exhale. A moment of peace.)
WADSWORTH fully. The GUESTS pour back on stage.)
WHITE. I don’t feel safe.
ALL. (Relieved at the lights:) Ahhh / Oh, there we are! / Must’ve been
a short in a wire. (Etc.) GREEN. I can’t relax.
PEACOCK. Let there be light! PLUM. How about a round of pool to pass the time?
WHITE. (Quieting everyone:) Shhh . . . ALL. Oh yes. / I love pool. / Good idea. / Rack ’em up. (Etc.)
(Everyone listens:) (They all step aside and reveal YVETTE’s body, strangled by the
Rope, on the table! Music sting!)
Do you hear that?

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 63 64 Clue (high school edition)

[MUSIC CUE #34] WADSWORTH. At the start of the evening, there was thunder,
lightning, the dogs barked.
(The GUESTS scream! Transition music. The Billiard Room
(Imitating the doorbell:) DING DONG
module retreats as the GUESTS run to the Hall, continuing to
(As Mustard:) Colonel Mustard.
scream, exiting, individually, through all remaining doors. The
(Imitating the doorbell:) DING DONG.
house is quiet.)
(As White:) Mrs. White.
(Just then . . . the doorbell rings. The front door opens on its own. (As himself:) Who noticed Yvette.
A cute, perky SINGING TELEGRAM GIRL tap dances in the
(He replicates the music sting.)
door frame.)
(As Peacock:) Mrs. Peacock.
YOUNG WOMAN. (Singing:) I . . . am . . . YOUR SINGING
(As himself:) Who noticed . . .
TELEGRAM . . .
(As Cook:) The Cook.
(GUNSHOT! The YOUNG WOMAN falls dead in the doorway.)
(He replicates the music sting.)
(Slowly and dejectedly, the GUESTS come out of all the doors, and
(As himself:) Then . . .
notice the sixth dead body in the doorway.)
(As Green:) Mr. Green.
(He barks.)
Scene 14 (As himself:) Sit!

(The Conclusion.) (He sits—then stands.)

(They collectively take a breath. WADSWORTH, pushing the (As himself:) No, not you sir. Please, come in.
GIRL’s legs out of the way, shuts the front door. They are eerily (As Plum:) Then, Professor Plum.
calm.) (As Scarlet:) Miss Scarlet.

WADSWORTH. Three murders in three minutes. (He hits a gong, surprising the GUESTS.)

MUSTARD. That’s our best record. (As Cook:) Then, dinner is served.
(As Plum:) Well, that was more like a cocktail minute.
GREEN. Three murders. (As himself:) To the Dining Room!
PLUM. Six altogether. (He moves. The GUESTS follow.)
SCARLET. The Cook, Mr. Boddy, the Motorist, the Cop, Yvette, and (As Yvette:) Shark’s fin soup.
the Singing Telegram Girl. (As Peacock, slurping:) Ooo. Yummy yum yum. My favorite!
PEACOCK. But who is the murderer?! (As himself:) Then Mr. Boddy arrived and we all went to the Study.
SCARLET. Ain’t that the million dollar question. (He moves in a circle around the GUESTS.)
WADSWORTH. Sometimes the most obvious answer is right under (As Yvette:) Coffee? Brandy?
our noses. I think the best course of action is to retrace our steps. (As Scarlet:) Who is this Mr. Boddy, butler?
(As Boddy:) How d’you do?
(WADSWORTH retraces the entire play, with recreations of (As himself:) Then Mr. Boddy asked me to pass out packages.
benchmark moments and imitations galore, starting at a normal
pace and building to a frenzied pace.) (He “passes” out packages swiftly.)
WADSWORTH. It all started like this . . . (As White:) Ahhh! A snake! No. It’s a Rope.
(As himself:) Then Mr. Boddy switched off the lights.
[MUSIC CUE #35] (As Boddy:) Now!
(Thunder. Lightning. music underscores.)

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 65 66 Clue (high school edition)

(He switches off the lights. Lights go black. They scream!) WADSWORTH. (As himself:) Empty!
(Lights up. WADSWORTH lies dead on the floor. They scream (Then:)
again!)
(As himself:) Next the Motorist arrived . . .
(WADSWORTH sits up suddenly.) (As Mustard:) Are you a killer?
WADSWORTH. Mr. Boddy was dead. But not really. Really he was (As himself:) And I locked him in the Lounge!
alive. But we didn’t know it. Then, Mrs. Peacock drank his drink . . . (He fake-kills GREEN a la the Motorist, with a mimed Wrench to
(He drinks from Peacock’s flask and spits all over the GUESTS.) the head. GREEN drops “dead” a la the Motorist.)

(As Peacock:) Poison! WADSWORTH. Dead!

(He screams, PEACOCK screams, he screams. He slaps himself.) (He moves to the front door.)

(As Scarlet:) Well, someone had to stop her screaming! (As himself:) That’s when the unexpected Cop showed up.
(As himself:) And then we heard . . . (As Cop:) Hello . . . you’re all acting rather peculiar.
(As himself:) Can you canoe?
(He lip syncs to a sound cue of Yvette screaming.)
(He fake-kills PLUM with a mimed Candlestick to the head—
(As himself:) To the Billiard Room! But Mrs. Peacock joined late. PLUM drops “dead” a la the Cop.)
(As Peacock:) I’m an old woman who may or may not have been
poisoned. WADSWORTH. Dead! Then the maid got strangled in the Billiard
(As himself:) Then Mrs. White asked . . . Room!
(As White:) Who else is in the house? (He fake-strangles SCARLET with a mimed Rope—SCARLET
(As himself:) To which we all replied . . . drops “dead” a la Yvette.)
ALL. (They look out:) ZE COOK! WADSWORTH. (As himself:) Dead! Which brings us to . . .
(He moves.) (As Singing Telegram Girl:) I am . . .

WADSWORTH. Who we found knifed in the back! (Fake shooting.)

(He mimes stabbing her, then imitates the Cook falling dead out of BANG!
the freezer onto Green.) (WHITE goes down as if shot.)
WADSWORTH. (As Green:) Oh God. Oh God. So gross. Blood. (EVERYONE is down except MUSTARD and PEACOCK.)
Germs. (Muffled by his own arm:) Will somebody help me up!
WADSWORTH. And here we all are.
(As himself, miming dragging the Cook:) I suggested we take the Cook’s
body into the Study. MUSTARD. (Clapping:) Bravo!
(He lies as “dead” Boddy, then hops up, revealing a blank space!) (As they speak, they slowly rise back up.)
(As himself:) But Boddy’s body was gone! WHITE. Impressive, Wadsworth.
(He mimes draping himself over an imaginary Peacock.) PLUM. But what does it prove?!
(As himself:) Then Mrs. Peacock entered with Boddy on her body GREEN. Nothing!
because Boddy had been bludgeoned in his bean. WADSWORTH. Well . . .
(Then:) SCARLET. (Interrupting:) Enough of this! I know who the murderer
(As himself:) Then, the briefcase! is!
(He mimes opening the briefcase at the desk. They gasp.) ALL. You do?!

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 67 68 Clue (high school edition)

SCARLET. I do! (Music sting. Cast freezes. PLUM breaks the freeze to step forward
and say . . .)
WADSWORTH. All right then. We’re listening, Miss. Scarlet. Who
do you accuse? PLUM. That’s not how it happened! It happened like this . . .
(SCARLET reveals Plum’s pipe, pointing it at PLUM.) (They physically rewind—to the sound of a tape rewinding—back
to their positions.)
SCARLET. It was PROFESSOR PLUM, IN THE HALL, WITH THE
REVOLVER! WADSWORTH. All right then. We’re listening, Professor Plum.
Who do you accuse?
(They look/gasp.)
(PLUM waves Mustard’s medal.)
PLUM. Liar!
PLUM. It was COLONEL MUSTARD, IN THE LOUNGE, WITH
SCARLET. We all heard the gun go off, Professor! And I found
THE WRENCH!
your stupid tobacco pipe here when we were searching the house.
When’d you drop it, huh? While scoping out the best vantage point MUSTARD. I never lounge!
to kill your next victim?! I bet that poor Singing Telegram Girl was PLUM. I found your medal of honor in the Lounge where the
an old patient of yours, right? Motorist was killed by a Wrench to the head; and that Wrench
PLUM. I never saw that girl before in my life! It wasn’t me . . . belongs to you!
WADSWORTH. Well. The gun is missing. Gentlemen, turn out MUSTARD. That’s a lie!
your pockets. Ladies, empty your purses. Whoever has the gun is WADSWORTH. The Wrench is missing. Gentlemen, turn out your
the murderer. pockets. Ladies, empty your purses. Whoever has the Wrench, is the
(They all do so. PLUM pulls out the Revolver with a grunt. He murderer.
points it at WADSWORTH. The GUESTS gasp!) (They all do. MUSTARD pulls out the Wrench with a threatening
GREEN. Well done, Wadsworth! grunt.)
PLUM. (Threatening:) You won’t be able to prove anything if you’re (They look/gasp! A bit faster.)
all dead! GREEN. Well done, Wadsworth!
WADSWORTH. That may be so, Professor Plum. (COPS enter. Guns and badge revealed.)
(With condescending confidence as he crosses to the front door:) WADSWORTH. There’s your man, officer. Not a colonel of truth in
But if we’re alive . . . him.
(He opens the door. The CHIEF OF POLICE and his BACKUP CHIEF. Well done, Wadsworth!
COP enter, guns and badge revealed, stepping over the dead GREEN. That’s what I said!
SINGING TELEGRAM GIRL on their way in.)
CHIEF. Yes, well, I’m saying it now. Gil T. Verdict. Chief of Police.
WADSWORTH. Officers. (Pointing at PLUM:) There’s your man.
(Disarming/cuffing MUSTARD:)
CHIEF. Well done, Wadsworth!
Colonel Mustard, you’re coming with me.
GREEN. That’s what I said!
[MUSIC CUE #37]
CHIEF. Yes, well, I’m saying it now. I’m Hank Cuffs, Chief of Police.
(Music sting. Cast freezes. MUSTARD breaks the freeze to step
(Disarming/cuffing PLUM:) forward and say . . .)
And Professor Plum, you’re coming with me. MUSTARD. You have it all wrong! It happened like this . . .
[MUSIC CUE #36]

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 69 70 Clue (high school edition)

(They physically rewind—to the sound of a tape rewinding—a bit WHITE. It was MRS. PEACOCK, IN THE KITCHEN, WITH THE
faster now . . .) DAGGER! I found your feather by the corpse!
WADSWORTH. We’re listening, Colonel. Who do you accuse? WADSWORTH. Gentlemen, turn out your pockets . . .
(MUSTARD holds high White’s veil.) (PEACOCK reveals a Dagger with a shout.)
MUSTARD. It was MRS. WHITE, IN THE BILLIARD ROOM, WITH GREEN/CHIEF. Well done, Wadsworth!
THE ROPE!
(COPS enter on GREEN’s line, disarming and cuffing
(They look/gasp!) PEACOCK.)
WHITE. I’d rather die! GREEN/CHIEF. That’s what I said! Yes, well, I’m saying it now.
MUSTARD. I found your veil in the Billiard Room! And I saw how CHIEF. I’m Barry D. Hatchett.
you cringed tonight when Yvette served you dinner.
ALL. Chief of Police!
WHITE. Yes, it’s true, I knew Yvette . . . she had a torrid love affair
PEACOCK. But that’s not how it happened!
with my late husband. I hated her. I hated her SO MUCH. It . . . it . . .
the . . . FLAMES. On the side of my face. Breathing. HEAVING . . . ALL. IT HAPPENED LIKE THIS!
breaths . . . But just because I hated her, doesn’t mean I killed her! (They physically rewind too quickly even for the sound cue . . .)
WADSWORTH. The Rope is missing. Gentlemen, turn out your PEACOCK. It was MISS SCARLET, IN THE LIBRARY, WITH THE
pockets. Ladies . . . CANDLESTICK!
(WHITE pulls out the Rope with a yelp. They gasp as she waves (Before anyone can say anything . . .)
it threateningly.)
CHIEF. Max E. Mumm. Chief of Police.
GREEN. Well done, Wadsworth!
SCARLET. (To WADSWORTH:) You can’t do this to me!
(COPS burst in, faster now.)
WADSWORTH. Frankly, Miss Scarlet, I don’t give a damn.
CHIEF. (Nearly at the same time:) Well done, Wadsworth!
(Music sting.)
GREEN. That’s what I said!
[MUSIC CUE #39]
CHIEF. (Nearly at the same time:) Yes, well, I’m saying it now. Mark
M’Words, Chief of Police. (Then, WADSWORTH breaks the freeze and steps forward.)
(Disarming/cuffing WHITE:) WADSWORTH. But—it really happened like this.
Mrs. White . . . (They do one final [irritated/lackluster] rewind.)
[MUSIC CUE #38] WADSWORTH. I know who the murderer is.
(Music sting. Faster now . . . Before they even have time to freeze, ALL. Who?!
WHITE shouts . . .) WADSWORTH. All of you!
WHITE. It happened like this . . . (They gasp!)
(They rewind—to the sound of a tape rewinding—even faster now.) WADSWORTH. Freeze!
WADSWORTH. Mrs. White, who do you accuse? (WADSWORTH reveals a gun.)
(They barely have time to rewind back to position. WHITE holds WADSWORTH. Nobody move! You’re all killers!
Peacock’s feather . . .)
SCARLET. You can’t prove anything, Mr. Wadsworth!

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 71 72 Clue (high school edition)

WADSWORTH. I’m not Mr. Wadsworth. I’m Mr. Boddy! WADSWORTH. With murder on the menu, the price of blackmail
PEACOCK. How can you be Mr. Boddy if Boddy bled all over me! just tripled!

WADSWORTH. It wasn’t Boddy who was bleeding. PLUM. Forgotten!

MUSTARD. But if Boddy wasn’t Boddy . . . then who was he? WADSWORTH. Now move!

WADSWORTH. (Now with an American accent:) He was Wadsworth. SCARLET. Wait a minute! We can all rush him. He’s got no more
My butler. bullets left in that gun.

(They gasp.) WADSWORTH. Oh, come on, you don’t think I’m gonna fall for
that old trick.
SCARLET. But if you’re the real Mr. Boddy, what was your purpose
in dragging this all out? SCARLET. It’s not a trick.

WADSWORTH. Well, when you started murdering people, I (She holds up her fingers:)
decided to roll the dice. See if you’d self-implode. Kill off my entire There was one shot at Mr. Boddy in the Study, two for the chandelier,
network of spies and informers. Which you all did, splendidly, two at the Lounge door and one for the Singing Telegram Girl.
by the way. Generously leaving your fingerprints on every glass,
WADSWORTH. That’s not six.
doorknob, and . . . dead body. So, now I have each of you on the hook
for murder! SCARLET. One plus two plus two plus one.
PEACOCK. Murder?! WADSWORTH. Uh-uh. There was only one shot that got the
chandelier, that’s one plus two plus ONE plus one.
WADSWORTH. Bribery for petty crimes is one thing . . . but
murder? Now that could get expensive. SCARLET. Even if you were right, that would be one plus one plus
two plus one, not one plus two plus one plus one.
WHITE. But why this whole charade?!
WADSWORTH. Okay fine. One plus two plus—SHUT UP! Point is,
PEACOCK. The searching of the house, the madness of retracing
there is one bullet left in this gun, and anybody who moves is gonna
our steps?!
get it!
WADSWORTH. It’s all part of the game!
GREEN. So, you’re just gonna keep blackmailing us and we’re all
ALL. Game?! supposed to pretend this never happened?
WADSWORTH. Well, yeah, I’m relaxed now, you see. Now that WADSWORTH. Of course. Why not?
you’ve killed everyone off—there’s no evidence left against me. I’ve
GREEN. I’ll tell you why not. Larry Goodman! FBI!
got off . . . scot-free.
(He draws a gun.)
PLUM. But the police will be here any minute. You’ll never get away
with this! GREEN. The jig is up!
(WADSWORTH laughs knowingly.) (They gasp [except WADSWORTH].)
MUSTARD. What’s so funny? WADSWORTH. Or is it?!
SCARLET. Nobody’s called the police have they? (WADSWORTH turns and shoots GREEN!
GREEN dodges with Matrix-esque finesse.)
WHITE. They were never on their way.
GREEN. (Smugly:) Missed me.
WADSWORTH. Now, listen up, you reprobates. We’re gonna stack
the bodies in the cellar, lock the cellar door, leave Boddy Manor one (GREEN trains his gun on WADSWORTH, who is genuinely
at a time, and forget that any of this ever happened. now frightened.)
PLUM. I can’t forget all this! MUSTARD. You’re FBI?!

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 73 74 Clue (high school edition)

GREEN. Apparently I’m a dead-ringer for Green. He got a letter just MUSTARD. I just wanted somebody to talk with!
like each of you. But he came to the Bureau to ask for help. I took his (WADSWORTH takes a step toward GREEN’s gun. GREEN
place tonight so we could have a sting operation. thwarts his attempt with ninja-like moves and carries on with a
PEACOCK. Some sting! Six people died on your watch! flourish.)
GREEN. I usually work the desk. GREEN. Shark’s fin soup indeed, Mrs. Peacock. Too bad your old
Cook couldn’t keep quiet. If only she hadn’t blabbed about your
(Then:)
briberies, maybe you wouldn’t have killed her—just before joining
My beat is property crime—ya’ know theft, fraud. That’s why I was us outside the Billiard Room. Now we know what really took you
so tickled when the real Mr. Wadsworth risked his neck to drop off so long.
a whole briefcase worth of evidence last night.
PEACOCK. Circumstantial evidence will never hold up in a court
PLUM. You’ve had the evidence this whole time?! of law!
GREEN. It’s all here. GREEN. (Pulling it out from his pants:) But this notarized record from
(Pulling from a pocket:) the Cook will.

Miss Scarlet’s books—including names of customers and employees, (Off of PEACOCK’s disgusted reaction, now to WHITE.)
justifying why she killed the Cop—who’s listed here, on her payroll. And Mrs. White . . . You weren’t lying, were you? You really did hate
SCARLET. Gimme that! Yvette.

(SCARLET lunges at GREEN. He staves her off with his gun.) WHITE. (Reprising her moment:) Flames . . . flames on the side —

GREEN. (Pulling from another pocket:) Ooo, and a love letter addressed GREEN. OK, we get it.
to Professor Plum . . . (Revealing a vial, seemingly out of thin air:)
PLUM. That’s private property! Here’s a container holding fingerprints collected at the scenes of
GREEN. That Singing Telegram Girl was teenage daughter of the your previous murders—
head of the U-NO WHO, who woulda come clean to Daddy—who WHITE. I never murdered my husbands!
woulda cleaned out Professor Plum. So, you killed her.
GREEN. Fingerprints I’m sure the FBI will be able to match to those
PLUM. Now see here . . . found on the noose tied around Yvette’s neck.
(WADSWORTH makes an attempt to escape—GREEN trains WHITE. I wore gloves!
the gun on him again, grounding him.)
GREEN. (Tearing open his vest to reveal White’s gloves pinned to his
GREEN. (To WADSWORTH:) Uh uh uh . . . chest:) You mean these?
(Now to MUSTARD—trying to pull negatives out of his sock:) (WHITE turns away a la “Damn.”)
And these negatives . . . GREEN. And last, but not least, Mr. Bobby Boddy.
(He can’t pull them out so he tries again.) WADSWORTH. It’s Robert.
And these negati . . . GREEN. Now you didn’t hate Yvette at all, did you Mr. Boddy?
(One more time—success.) WADSWORTH. What’s it to you?
And these negatives, Colonel. Quite the regular at Miss Scarlet’s GREEN. “Illicit green-card love affair” is the icing on the cake of
“establishment.” Bet you couldn’t be a Colonel anymore if that this FBI file. An FBI file on the whole Boddy family. Your butler, the
Motorist had informed your General where he drives you on real Wadsworth, has been feeding us information for months. Talk
Tuesday nights. about a real American.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 75 76 Clue (high school edition)

WADSWORTH. He was British. WADSWORTH. (Singing:) “Smile, when your heart is breaking . . .
smile . . . ”
GREEN. You know what I mean.
(Then in pain:)
(Then:)
Mama!
I see why you’d wanna kill him. Twice. Your shot missed him in the
Study. But he wisely played dead. And it wasn’t ’til you caught him (Crawling across the stage toward GREEN:)
trying to escape that you bludgeoned him to death with the Lead Larry. Larrrrry.
Pipe I’d dropped on my way to the Kitchen.
(One final death rattle:)
PLUM. (To SCARLET:) I mean really, who drops a murder weapon?
Now.
GREEN. (Defensive:) I didn’t know it was a . . .
(He groans and dies.)
(Back to brass tacks:)
GREEN. I tell ya, this was the most exciting night I’ve had in a long
The Boddy family has been wanted for organized crime for
time.
generations but they’ve always eluded the law. Until now. Tonight,
the “Boddy Business” has reached a dead end. (Then:)
WADSWORTH. You leave my family out of this! And now, you’re all under arrest.
(WADSWORTH, enraged, uses the Dagger he’s snagged from (Towards the front door:)
Peacock’s purse to lunge at GREEN . . .) Officers . . .
(GREEN fires, shooting WADSWORTH successfully! [MUSIC CUE #40]
EVERYONE gasps!)
(Musical fanfare. COPS with guns burst through the front door.
WADSWORTH. Ow! Owwww! The GUESTS hold up their hands.)
(Dying—free-form loose improvisation here—falling into GREEN’s GREEN. Here are the criminals you’ve been looking for and you’ll
arms.) find the recordings of the confessions we’ve been waiting for in the
Oh, Larry. Hold me Larry. Oh, it’s so dark. Billiard Room.
(Then:) PLUM. (Doh!) The tapes!
Second wind! CHIEF OF POLICE. All right. Whodunit?
(He’s back up—maybe with a tap dance and song.) ALL. (Each pointing at one of the others:) He/she did!
“If I knew you were coming, I’d have baked you a cake!” GREEN. They all did! But if you want to know who killed Mr.
Boddy . . .
(Then—down again, clutching his heart—finally dying with great
dramatic flare.) (Indicates WADSWORTH.)
Yes, here we go. I’m gone. It was me. Special Agent Larry Goodman, in the Hall, with my gun.
(He appears dead.) CHIEF. Well done, Goodman.
PLUM. He’s dead! ALL. That’s what he said!
WADSWORTH. (Back up again:) Not yet. GREEN. (Arrogantly twirling his gun:) And that’s how it really . . .
(They all gasp!) (His gun goes off! EVERYONE SCREAMS!)
PLUM. (Disappointed in himself:) Come on! Sorry. Sorry.

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker
 Clue (high school edition) 77

GREEN. (Back to CHIEF:) Okay Chief, take ’em away! I’m going
home to sleep with my wife.
[MUSIC CUE #41 (recorded)]
(Bows to music.)
End of Play

(Invoice #2252840) ­ Braswell High School Theatre, Ben Parker (Invoice #2252840) ­ Braswell High School Theatre, Ben Parker