And to whom do the profits go? Mainly, of course, they go out in tax, like everything else, but apart from that who is the gainer? I have given many of my books and stories to other people. The serial rights in one short story, Sanctuary, were given to the Westminister Abbey Appeal Fund, and other stories have been given to one or other among my friends.
The fact that you can sit down and write something, and that then it passes direct from you to someone else, is a much happier and more natural feeling than handing out cheques or things of that kind. You may say it is all the same in the end, but it is not the same. One of my books belongs to my husband’s nephews; though that was published many years ago they are still doing nicely out of it. I gave my share in the film rights of Witness for the Prosecution to Rosalind.
The play, The Mousetrap, was given to my grandson. Mathew, of course, was always the most lucky member of the family, and it would be Mathew’s gift that turned out the big money winner.
One thing that gave me particular pleasure was writing a story–a long-short I think they call it: something between a book and a short story–the proceeds of which went to put a stained glass window in my local church at Churston Ferrers. It is a beautiful little church and the plain glass east window always gaped at me like a gap in teeth. I looked at it every Sunday and used to think how lovely it would look in pale colours. I knew nothing about stained glass, and I had a most difficult time visiting studios and getting different sketches made by stained glass artists. It was narrowed down in the end to a glass artist called Patterson, who lived in Bideford and who sent me a design for a window that I really admired very much–particularly his colours, which were not the ordinary red and blue but predominantly mauve and pale green, my favourite ones. I wanted the central figure to be the Good Shepherd. I had a little difficulty over this with the Diocese of Exeter, and, I may say, with Mr Patterson; both insisting that the central pattern of an east window had to be the Crucifixion. However, the Diocese, on making some research into the matter, agreed that I could have Jesus as the Good Shepherd, since it was a pastoral parish. I wanted this to be a happy window which children could look at with pleasure. So in the centre is the Good Shepherd with His lamb, and the other panels are the manger and the Virgin with the Child, the angels appearing to the shepherds in the field, the fishermen in their boat with their nets, and the Figure walking on the sea. They are all the simpler scenes of the Gospel story, and I love it and enjoy looking at it on Sundays. Mr Patterson has made a fine window. It will, I think, stand the test of the centuries because it is simple. I am both proud and humble that I have been permitted to offer it with the proceeds of my work.
II
One night at the theatre stands out in my memory especially; the first night of Witness for the Prosecution. I can safely say that that was the only first night I have enjoyed.
First nights are usually misery, hardly to be borne. One has only two reasons for going to them. One is–a not ignoble motive–that the poor actors have got to go through with it, and if it goes badly it is unfair that the author should not be there to share their torture. I learnt about some of these agonies on the first night of Alibi. The script calls for the butler and the doctor to beat on a locked study door, and then, in growing alarm, to force it open. On the first night the study door did not wait to be forced–it opened obligingly before anyone had put a fist on it, displaying the corpse just arranging himself in a final attitude. This made me nervous ever afterwards of locked doors, lights that do not go out when the whole point is that they should go out, and lights that do not go on when the whole point is that they should go on. These are the real agonies of the theatre.
The other reason for going to first nights is, of course, curiosity. You know you will hate it; that you will be miserable; that you will notice all the things that go wrong, all the lines that are muffed, all the fluffs and the gaps and the drying up. But you go because of that ‘elephant’s child’ insatiable curiosity–you have to know for yourself Nobody else’s account is going to be any good. So there you are, shivering, feeling cold and hot alternately, hoping to heaven that nobody will notice you where you are hiding yourself in the higher ranks of the Circle.
The first night of Witness for the Prosecution was not misery. It was one of my plays that I liked best myself. I was as nearly satisfied with that play as I have been with any. I didn’t want to write it; I was terrified of writing it. I was forced into it by Peter Saunders, who has wonderful powers of persuasion. Gentle bullying, subtle cajoling. ‘Of course you can do it.’
‘I don’t know a thing about legal procedure. I should make a fool of myself.’
‘That’s quite easy. You can read it up, and we’ll have a barrister on hand to clear up anomalies and make it go right.’
‘I couldn’t write a court scene.’
‘Yes, you could–you’ve seen court scenes played. You can read up trials.’
‘Oh I don’t know…I don’t think I could.‘
Peter Saunders continued to say that of course I could, and that I must begin because he wanted the play quickly. So, hypnotised and always amenable to the power of suggestion, I read quantities of the Famous Trials series; I asked questions of solicitors as well as barristers; and finally I got interested, and suddenly felt I was enjoying myself–that wonderful moment in writing which does not usually last long but which carries one on with a terrific verve as a large wave carries you to shore. ‘This is lovely–I am doing it–it’s working–now, where shall we get to next?’ There is that priceless moment of seeing the thing–not on the stage but in your mind’s eye. There it all is, the real thing, in a real court–not the Old Bailey because I hadn’t been there yet–but a real court sketchily etched in the background of my mind. I saw the nervous, desperate young man in the dock, and the enigmatic woman who came into the witness box to give evidence not for her lover but for the Crown. It is one of the quickest pieces of writing that I have done–I think it only took me two or three weeks after my preparatory reading.
Naturally it had to have some changes in the procedure, and I had also to fight desperately for my chosen end to the play. Nobody liked it, nobody wanted it, everyone said it would spoil the whole thing. Everyone said: ‘You can’t get away with that,’ and wanted a different end–preferably one used in the original short story I had written years ago. But a short story is not a play. The short story had no court scene in it, no trial for murder. It was a mere sketch of an accused person and an enigmatic witness. I stuck out over the end. I don’t often stick out for things, I don’t always have sufficient conviction, but I had here. I wanted that end. I wanted it so much that I wouldn’t agree to have the play put on without it.
I got my end, and it was successful. Some people said it was a double cross, or dragged in, but I knew it wasn’t; it was logical. It was what could have happened, what might have happened, and in my view probably would have happened–possibly with a little less violence, but the psychology would have been right, and the one little fact that lay beneath it had been implicit all through the play.
A barrister and his managing clerk duly gave advice and came to the rehearsals of the play on two occasions. The severest criticism came from the managing clerk. He said, ‘Well, it’s all wrong, to my mind, because, you see, a trial like this would take three or four days at least. You can’t squeeze it into an hour and a half or two hours.’ He couldn’t, of course, have been more right, but we had to explain that all court scenes in plays had to be given the benefit of theatrical licence, and three days had to be condensed into a period counted in hours not in days. A dropped curtain here and there helped, but in Witness for the Prosecution the continutiy kept in the court scene, I think, was valuable.
Anyway, I enjoyed that evening when the play was first produced. I suppose I went to it with my usual trepidation, but once the curtain rose my pleasure began. Of all the stage pieces I have had produced, this came closest in casting to my own mental picture: Derek Bloomfield as the young ac
cused; the legal characters whom I had never really visualised clearly, since I knew little of the law, but who suddenly came alive; and Patricia Jessel, who had the hardest part of all, and on whom the success of the play most certainly depended. I could not have found a more perfect actress. The part was a difficult one, especially in the first act, where the lines cannot help. They are hesitant, reserved, and the whole force of the acting has to be in the eyes, the reticence, the feeling of something malign held back. She suggested this perfectly–a taut, enigmatic personality. I still think her acting of the part of Romaine Helder was one of the best performances I have seen on the stage.
So I was happy, radiantly happy, and made even more so by the applause of the audience. I slipped away as usual after the curtain came down on my ending and out into Long Acre. In a few moments, while I was looking for the waiting car, I was surrounded by crowds of friendly people, quite ordinary members of the audience, who recognised me, patted me on the back, and encouraged me–‘Best you’ve written, dearie!’ ‘First class–thumbs up, I’d say!’ ‘V-signs for this one!’ and ‘Loved every minute of it!’ Autograph books were produced and I signed cheerfully and happily. My self-consciousness and nervousness, just for once, were not with me. Yes, it was a memorable evening. I am proud of it still. And every now and then I dig into the memory chest, bring it out, take a look at it, and say ‘That was the night, that was!’
Another occasion I remember with great pride, but I must admit with suffering all the same, is the tenth anniversary of The Mousetrap. There was a party for it–there had to be a party for it, and what is more I had to go to the party. I did not mind going to small theatrical parties just for the cast, or something of that kind; one was among friends then, and, although nervous, I could get through it. But this was a grand, a super-party at the Savoy. It had everything that is most awful about parties: masses of people, television, lights, photographers, reporters, speeches, this, that and the other–nobody in the world was more inadequate to act the heroine than I was. Still, I saw that it had to be got through. I would have not exactly to make a speech, but to say a few words–a thing I had never done before. I cannot make speeches, I never make speeches, and I won’t make speeches, and it is a very good thing that I don’t make speeches because I should be so bad at them.
I knew any speech I made that night would be bad. I tried to think of something to say, and then gave it up, because thinking of it would make it worse. Much better not to think of anything at all, and then when the awful moment came I should just have to say something–it wouldn’t much matter what, and it couldn’t be worse than a speech I had thought out beforehand and stammered over.
I started the party in an inauspicious manner. Peter Saunders had asked me to get to the Savoy about half an hour before the scheduled time. (This, I found, when I got there, was for an ordeal of photography. A good thing to get it over, perhaps, but something I had not quite realised was going to happen on such a large scale.) I did as I was told, and arrived, bravely alone, at the Savoy. But when I tried to enter the private room reserved for the party, I was turned back. ‘No admission yet, Madam. Another twenty minutes before anyone is allowed to go in.’ I retreated. Why I couldn’t say outright, ‘I am Mrs Christie and I have been told to go in,’ I don’t know. It was because of my miserable, horrible inevitable shyness.
It is particularly silly because ordinary social occasions do not make me shy. I do not enjoy big parties, but I can go to them, and whatever I feel is not really shyness. I suppose, actually, the feeling is–I don’t know whether every author feels it, but I think quite a lot do–that I am pretending to be something I am not, because, even nowadays, I do not quite feel as though I am an author. I still have that overlag of feeling that I am pretending to be an author. Perhaps I am a little like my grandson, young Mathew, at two years old, coming down the stairs and reassuring himself by saying: ‘This is Mathew coming downstairs!’ And so I got to the Savoy and said to myself: ‘This is Agatha pretending to be a successful author, going to her own large party, having to look as though she is someone, having to make a speech that she can’t make, having to be something that she’s no good at.’
Anyway, like a coward, I accepted the rebuff, turned tail and wandered miserably round the corridors of the Savoy, trying to get up my courage to go back and say–in effect, like Margot Asquith–‘I’m Me!’ I was, fortunately, rescued by dear Verity Hudson, Peter Saunders’ general manager. She laughed–she couldn’t help laughing–and Peter Saunders laughed a great deal. Anyway, I was brought in, subjected to cutting tapes, kissing actresses, grinning from ear to ear, simpering, and having to suffer the insult to my vanity that occurs when I press my cheek against that of some young and good-looking actress and know that we shall appear in the news the next day–she looking beautiful and confident in her role, and I looking frankly awful. Ah well, good for one’s vanity, I suppose!
All passed off well, though not as well as it would have done if the queen of the party had had some talent as an actress and could give a good performance. Still I made my ‘speech’ without disaster. It was only a few words, but people were kind about it: everybody told me it was all right. I couldn’t go as far as believing them, but I think it served sufficiently well. People were sorry for my inexperience, realised I was trying to do my best, and felt kindly towards my effort. My daughter, I may say, did not agree with this. She said, ‘You ought to have taken more trouble, Mother, and prepared something properly beforehand.’ But she is she, and I am I, and preparing something properly beforehand often leads in my case to much greater disaster than trusting to the spur of the moment, when at any rate chivalry is aroused.
‘You made theatrical history tonight,’ said Peter Saunders, doing his best to encourage me. I suppose that is true, in a way.
III
We were staying some years ago at the Embassy in Vienna, when Sir James and Lady Bowker were there and Elsa Bowker took me seriously to task when reporters had come for an interview.
‘But, Agatha!’ she cried in her delightful foreign voice, ‘I do not understand you! If it were me I should rejoice, I should be proud. I should say yes! come, come, and sit down! It is wonderful what I have done, I know it. I am the best detective story writer in the world. Yes, I am proud of the fact. Yes, yes, of course I will tell you. But I am delighted. Ah yes, I am very clever indeed. If I were you I should feel clever, I should feel so clever that I could not stop talking about it all the time.’
I laughed like anything, and said, ‘I wish to goodness, Elsa, you and I could change into each other’s skins for the next half-hour. You would do the interview so beautifully, and they would love you for it. But I just am not qualified at all to do things properly if I have to do them in public.’
On the whole I have had sense enough not to do things in public, except when it has been absolutely necessary, or would hurt people’s feelings badly if I didn’t. When you don’t do a thing well it is so much more sensible not to attempt it, and I don’t really see any reason why writers should–it’s not part of their stock-in-trade. There are many careers where personalities and public relations matter–for instance if you are an actor, or a public figure. An author’s business is simply to write. Writers are diffident creatures–they need encouragement.
The third play that I was to have running in London (all at the same time) was Spider’s Web. This was specially written for Margaret Lockwood. Peter Saunders asked me to meet her and talk about it. She said that she liked the idea of my writing a play for her, and I asked her exactly what kind of play she wanted. She said at once that she didn’t want to continue being sinister and melodramatic, that she had done a good many films lately in which she had been the ‘wicked lady’. She wanted to play comedy. I think she was right, because she has an enormous flair for comedy, as well as being able to be dramatic. She is a very good actress, and has that perfect timing which enables her to give lines their true weight.
I enjoyed myself w
riting the part of Clarissa in Spider’s Web. There was a little indecision at first as to the title; we hesitated between ‘Clarissa Finds a Body’ and ‘Spider’s Web’, but in the end ‘Spider’s Web’ got it. It ran for over two years, and I was very pleased with it. When Margaret Lockwood proceeded to lead the Police-Inspector up the garden path she was enchanting.
Later I was to write a play called The Unexpected Guest, and another which, though not a success with the public, satisfied me completely. It was put on under the title of Verdict–a bad title. I had called it No
Fields of Amaranth, taken from the words of Walter Landor’s: ‘There are no flowers of amaranth on this side of the grave’. I still think it is the best play I have written, with the exception of Witness for the Prosecution. It failed, I think, because it was not a detective story or a thriller. It was a play that concerned murder, but its real background and point was that an idealist is always dangerous, a possible destroyer of those who love him–and poses the question of how far you can sacrifice, not yourself, but those you love, to what you believe in, even though they do not.
Of my detective books, I think the two that satisfy me best are Crooked House and Ordeal by Innocence. Rather to my surprise, on re-reading them the other day, I find that another one I am really pleased with is The Moving Finger. It is a great test to re-read what one has written some seventeen or eighteen years later. One’s view changes. Some do not stand the test of time, others do.
An Indian girl who was interviewing me once (and asking, I must say, a good many silly questions), included among them, ‘Have you ever written and published a book you consider really bad?’ I replied with indignation that I had not. No book, I said, was exactly as I wanted it to be, and I was never quite satisfied with it, but if I thought a book I had written was really bad I should not publish it.
Agahta Christie: An autobiography Page 66