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‘The Witness for the Prosecution’, ‘The Fourth Man’, ‘The Mystery of the Blue Jar’, ‘The Red Signal’, ‘S.O.S.’ and ‘Wireless’ previously published in the UK in The Hound of Death (1933).
‘Accident’, ‘Mr Eastwood’s Aventure’, ‘Philomel Cottage’ and ‘Sing a Song of Sixpence’ previously published in the UK in The Listerdale Mystery (1934).
‘The Second Gong’ previously published in the UK in Problem at Pollensa Bay (1991).
‘Poirot and the Regatta Mystery’ previously published in the UK in Hercule Poirot: The Complete Short Stories (2008).
Witness for the Prosecution®, Agatha Christie®, Poirot® and the Agatha Christie Signature are registered trade marks of Agatha Christie Limited in the UK and elsewhere.
This collection copyright © Agatha Christie Limited 2016
All rights reserved.
Cover layout design © HarperCollinsPublishers Ltd 2016
Cover photographs by Todd Anthony (Kim Cattrall) and Robert Viglasky © Agatha Christie Productions and Mammoth Screen 2016
From the major BBC series The Witness for the Prosecution starring Kim Cattrall, Billy Howle, Toby Jones and Andrea Riseborough
Agatha Christie asserts the moral right to be identified as the author of this work.
A catalogue copy of this book is available from the British Library.
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
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Source ISBN: 9780008201258
Ebook Edition © December 2016 ISBN: 9780008201265
Version: 2017-09-13
Contents
1. The Witness for the Prosecution
4. The Mystery of the Blue Jar
12. Poirot and the Regatta Mystery
I should come clean from the start. Until a few years ago, I had never read anything by Agatha Christie, nor had I ever watched one of the many adaptations of her novels. I’d seen bits of them, yes, but watched them from beginning to end, no. I’d walked past the St Martin’s Theatre, where The Mousetrap has been running for over 60 years, hundreds of times, stepping into the street to avoid the queues on the pavement. The name Agatha Christie was wholly familiar to me and so I thought I knew what she was all about: vicarages and village greens, the Orient Express and the Nile, country houses, clipped accents and a corpse on the floor. ‘Murder!’ somebody shrieks, but the murder really serves as catalyst for the ludic delights of the mystery and an abundance of cryptic clues that only the outsiders – such as the sharp-eyed and sharp-tongued spinster Miss Jane Marple or the extravagantly moustachioed Belgian detective Hercule Poirot – can unravel. It’s entertainment. Cosy. The epitome of a particular nostalgia-laden Englishness. The mystery is satisfactorily resolved, the villain is identified and the status quo restored. Everything is alright in The End. That is what I thought.
Then I was asked to read And Then There Were None to adapt it for the BBC, and the savagery of the novel knocked me sideways. Ten strangers are invited to a remote island by a mysterious host. Archetypal characters: the Doctor, the General, the Detective, the Judge, the Schoolmistress, the Spinster, the Butler, like pieces set out for a board game. A recorded voice accuses them all of murder and names their victims. One by one, the characters die, the manner of their deaths in keeping with a chilling nursery rhyme. They search for the murderer but there is no one else on the island. The killer is one of them. But which one?
And Then There Were None is many things: the ultimate locked-room mystery; a nerve-shredding psychological thriller; a forensic disquisition on the nature of guilt; a portrait of a psychopath … and despite the flashes of mordant wit, it is terrifying. Ten isolated and paranoid characters, facing a brutal and remorseless reckoning from which there is no possible mitigation, no chance to plead and nowhere to hide. No sleuth will arrive to interpret the