Notes On The Body In The Library

Rating: four out of five

Year of Publication: 1942

Motive for Crimes: Wealth


‘Is that you, Jane?’

Miss Marple was very much surprised.

Sir Edward Coley Burne-Jones’s The King Copethua and The Beggar Maid in 1884. Now it is in Tate Gallery Britain, London, UK.

‘Yes, it’s Jane. You’re up very early, Dolly.’ Mrs. Bantry’s voice came breathless and agitated over the wires.

‘The most awful thing has happened.’

‘Oh, my dear.’

‘We’ve just found a body in the library.’

For a moment Miss Marple thought her friend had gone mad.

‘You’ve found a what?’

‘I know. One doesn’t believe it, does one? I mean, I thought they only happened in books. I had to argue for hours with Arthur this morning before he’d even go down and see.’

Miss Marple tried to collect herself. She demanded breathlessly: ‘But whose body is it?’

‘It’s a blonde.’

‘A what?’

‘A blonde. A beautiful blonde – like books again. None of us have ever seen her before. She’s just lying in the library, dead. That’s why you’ve got to come up at once.’

‘You want me to come up?’

‘Yes, I’m sending the car down for you.’

Miss Marple said doubtfully: ‘Of course,dear, if you think I can be any of comfort to you –‘

‘Oh, I don’t want comfort. But you’re so good at bodies.’

‘Oh, no, indeed. My little successes have been mostly theoretical.’

‘But you’re very good at murders. She’s been murdered, you see, strangled. What I feel is that if one has got to have a murder actually happening in one’s house, one might as well enjoy it, if you know what I mean. That’s why I want you to come and help me find out who did it and unravel the mystery and all that. It really is rather thrilling, isn’t it?’

‘Well, of course, my dear, if I can be of any help to you.’


In 283 words the plot is summed up: Dolly Bantry is marching orders as an urgent matter arising: her family’s reputation is at stake. She realises what St. Mary Mead would think of the body of a young woman with somewhat tawdry and cheap appearance in their home. There is little her husband, Colonel Bantry, can do but shows his defiant silence.

Mrs. Bantry means business. Nonetheless it is unlikely that her presence nor her views would be listened to in the investigation and therefore this is where her old friend Miss Marple comes in. For the gentle spinster has a wide collection of village parallels which depict human behaviour and their reactions. She is then expected to produce a rabbit of out Mrs. Bantry’s hat, as concluded by Sir Henry Clithering who appears in the second half the story.

Furthermore, as the Chief Gossippers Miss Hartnell and Miss Wetherby set off to speculate on the suspects, Mrs. Bantry has taken her friend to stay at the Majestic Hotel no sooner than the victim is identified as a former dancer Ruby Keene.

Enter Basil Blake, the young man who lives near the Bantrys’ and is infamously associated with late night ‘wild parties’ – mind, a naked woman in the bath tub is quite shocking over seventy years ago. It seems fitting to suppose that he and Keene know each other, particularly that he’s been seen at the hotel. What is more, he later admits to have dumped the body in Gossington Hall.

The disabled but rich Conway Jefferson drives away the attention from Blake for a while. Having reported Keene for being missing ‘out of concern, Jefferson who stays in the hotel along with his son-in-law Mark Gaskell and his daughter-in-law Adelaide (see The Most Fascinating Character) is evidently besotted by Keene. He tells the police that he would have

Emma Williams as Ruby Keene in 2004’s adaptation

adopted the eighteen-year-old girl; a decision that has been met with opposition from both Mark and Adelaide owing to his father-in-law having only met her over a month ago. There is another thing, too (see The Twists below).

The domineering personality of Jefferson, which is in contrast to the tortoise-like Colonel Bantry is a deliberate droll, as well as the hurting pride of Inspector Slack (of St. Mary Mead police) shadowed by his superiors from two different counties in addition to the former Scotland Yard Inspector Sir Henry. The latter is conveniently a friend of Jefferson’s (being a millionaire) and Miss Marple ( ‘The old lady knows everything that goes on in the village, that’s true enough. But she’ll be out of her depth here,’ says Inspector Slack to Colonel Melchett).

The dynamics among the male characters is more intriguing with Raymond Starr, the tennis coach and Keene’s dancing partner, who makes a move to Adelaide for her money and the Maleficent Mark who is almost broke. Both Adelaide and Mark gather that despite their father-in-law’s life spirit, he won’t live long.

As things get tensed among the men, the second body is found in a quarry: a burnt body of a female’s in George Bartlett’s car. He is the last person to have danced with Keene before she decides to go back to her room in the night of the murder. Meanwhile, the teenage Pamela Reeves has not gone back after the Girls’ Guide Rally in the same night.

How the two murders are linked is for you, readers, to find out.

As far as I am concerned, the book often comes out in the top ten of Christie’s. I’d rather think this is unjustified, for The Moving Finger (published first in the US in July 1942) is as intriguing. Furthermore, as Gossington Hall is revisited in The Mirror Crack’d From Side To Side (1962), the now widow Mrs. Bantry reunites with Miss Marple to solve the poisoning of Heather Badcock in front of a small audience at the former library (sadly it has been knocked down to make for an open plan floor when the house was sold to the actress Marina Gregg). Some similarities can be drawn from the latter book, for just as The Body… Christie dwells on the raw emotions that surge as a result of the victims who have upset the killers.

I find it fascinating that there is a sombre mood in The Body…, which is unlike its predecessor Evil Under The Sun (1941). First, whilst Poirot is confident with his grey cells to catch the perpetrators, Miss Marple has doubts and seems beside herself. Second, the setting from Jolly Rogers Hotel to St. Mary Mead pinpoints the authoress’s concerns regarding the news from the front. Christie might have written The Body… during the London Bombing and amidst the uncertainty of the situation. But she managed to carry on writing. Her observation to the era  which still upholds the Victorian values on men’s attitude towards women is hard hitting but honest.

What I like most from is the vulnerability of each character. Keene, for example, is not a nice girl full of life after all. ‘She likes butting in,’ says Peter Carmody, the son of Adelaide’s. As for Edward, Jefferson’s valet, Keene would have been quite a schemer in another five years (see Clues). Her contemporary is Elsa Greer (Five Little Pigs, 1943). Likewise, Adelaide Jefferson reveals something to Mrs. Bantry despite her looking composed and a woman with a class.

Lastly is Miss Marple’s comparing Jefferson and Keene’s relationship to the tale of King Copethua and the Beggar Maid. Jefferson is the kind-hearted ‘king’ while Keene is Penelophon the maid the king has spotted on the street and taken her to his court. The king in the tale marries her after a month, but in Christie’s world Keene is killed after a month’s dancing at the hotel.

I wonder what has inspired Christi to draw the parallels; is it her feeling fascinated by the painting or her favourite poet Lord Tennyson’s The Beggar Maid? I wonder whether it is none of those but to remind women of the seemingly delicate Penelophon but a feisty one as the king’s mistress in the court.

Moreover is Reeves’s daydreaming, which sounds like Aesop’sThe Milkmaid and Her Pail Fable (see Clues). Only for Christie the life of these women must end. And yet she has left readers to guess how both Keene and Reeves actually die.

Finally, ‘A Blonde In The Library’ would make a better title. What do you think?

The Twists:

  • Josie Turner’s face turns angry when she comes to identify Ruby Keene’s body at Gossington Hall
  • Conway Jefferson has left Ruby Keene £50,000 in a trust until she turns 25
  • Rubby Keene stops her dance with George Bartlett because of her feeling sleepy and having a subsequent headache
  • The finger nails of the body in the library are short and chipped, but not trimmed. Her dress is cheap and her make-up is tawdry.
  • Pamela Reeves has a meeting with Mark Gaskell prior to her death


Cast of Characters:

Adelaide Jefferson (Conway Jefferson’s daughter-in-law)

The Beggar Maid Her arms across her breast she laid; She was more fair than words can say; Barefooted came the beggar maid Before the king Cophetua. In robe and crown the king stept down, To meet and greet her on her way; ‘It is no wonder,’ said the lords, ‘She is more beautiful than day.’ As shines the moon in clouded skies, She in her poor attire was seen; One praised her ankles, one her eyes, One her dark hair and lovesome mien. So sweet a face, such angel grace, In all that land had never been. Cophetua sware a royal oath: ‘This beggar maid shall be my queen!’ Lord Alfred Tennyson

Albert Briggs (a labourer at Venn’s quarry where a body in a burnt car is found)

The Bantrys (Colonel Arthur and Dolly)

Basil Blake (the Bantrys’s neighbour)

Conway Jefferson (a magnate and disabled man)

Dinah Lee (Basil’s wife)

Edward (Jefferson’s valet)

Florence Small (Pamela’s friend)

George Bartlett (a hotel guest who dances the last with Keene)

Miss Hartnell (a resident at St. Mary Mead)

Superintendent Harper (of Radfordshire Police)

Dr. Haydock (the forensic doctor who examines the body in the library)

Sir Henry Clithering (the ‘jobbing gardener’ who attends the case in a personal capacity)

Hugo McLean (Adelaide’s man – with whom she wants to marry)

Josephine Turner (Ruby Keene’s cousin)

Lorrimer (the Bantrys’s butler)

Mark Gaskell (Jefferson’s son-in-law)

Colonel Melchett (the Chief Constable of Glenshire)

Dr. Meltcaff (the forensic doctor who examines the burnt body at the quarry)

Peter Carmody (Adelaide’s son)

Raymond Starr (Josie’s dancing partner at the hotel and a tennis coach)

Constable Palk (St. Mary Mead’s police constable)

Mr. Prestcott (the hotel manager)

The Reeves (Pamela’s parents)

Inspector Slack (Palk’s superior)

Miss Wetherby (a resident at St. Mary Mead)

The Most Fascinating Character: Adelaide Jefferson

‘I’ve never been Frank’s widow to him- I’ve been Frank’s wife’

Mrs. Jefferson to Dolly Bantry

Tara Fitzgerald, actress and director, as Addie in 2004’s TV adaptation of the book. She is playing in BBC’s The Musketeers Series.

The loyal and obedient daughter-in-law of Conway Jefferson, Adelaide is a widow when Jefferson’s late son Frank marries her. Hence the presence of Peter, a bright ten-year-old boy who provides Miss Marple with a crucial evidence.

A fatal accident extinguishes Frank’s life and Mark’s wife Rosamund but spares the old Jefferson – now is disabled from waist down.

Adelaide depends on her father-in-law financially. For he has no idea that his son has left Adelaide and Peter little money due to the bad investment. Because of Peter she puts up with Jefferson’s domineering personality and continues to do so until the Summer.

For a few years she has known Hugo Mc Lean, of whom has proposed her. But then she has made up her mind to tell Jefferson that she would accept his proposal and that means she would leave him. In the meantime, Raymond Starr has made advances to her although little does he know that she is not as rich as he has thought.

Ruby Keene’s getting closer to Jefferson worries Adelaide. She does not like her for what she has been after; to Mrs. Bantry she concludes Keene as ‘a decided little gold digger.’ Furthermore she reveals her thinking of killing Keene to secure her son’s future. ‘Peter’s whole future depends on Jeff. Jeff practically looked on him as a grandson, or so I thought, but of course, he wasn’t a grandson. He was no relation at all. And to think that he was going to be – disinherited!’

When Mrs. Bantry tells Miss Marple about Adelaide’s relationship with Mc Lean and the fact that he is being devoted to the widow, here is Miss Marple’s response: ‘I know. Like Major Bury. He hang around an Anglo-Indian widow for quite ten years. A joke among her friends! In the end she gave in – but unfortunately ten days before they were married she ran away with the chauffeur! Such a nice woman, too and usually so well balanced.’

Did Miss Marple compare Adelaide to the Anglo-Indian widow? Did Adelaide know something else she wouldn’t tell?


  • The victims in the words of the witnesses:
  • Ruby Keene

Josephine Turner to Colonel Melchett:

‘Her name was Ruby Keene – her professional name, that is. Her real name was Rosy Legge. Her mother was my mother’s cousin. I’ve known her all my life, but not particularly well, if you know what I mean. I’ve got a lot of cousins – some in business, some on the stage. Ruby was more or less training for a dancer. She had some good engagements last year in panto and that of sort of thing. Not really classy, but good provincial companies. Since then she’s been engaged as one of the dancing partners at the Palais de Danse in Brixwell – South London. It’s a nice respectable place and they look after the girls well, but there isn’t much money in it.

Now this is where I come in. I’ve been dance and bridge hostess at the Majestic in Danemouth for three years. It’s a good job, well paid and pleasant to do. You look after people when they arrive – size them up , of course- some like to be left alone and others are lonely and want to get into the swings of things….

I do a couple of exhibition dances every evening with Raymond. Raymond Starr – he’s the tennis and dancing pro. Well, as it happens, this summer I slipped on the rocks bathing one day and gave my ankle a nasty turn.’

Peter Carmody (PC) to Colonel Melchett and Superintendent Harper (SH):

PC: ‘Well, I didn’t like her much. I think she was rather a stupid sort of girl. Mum and Uncle Mark didn’t like her much either. Only Grandfather. Grandfather wants to see you, by the way. Edward is looking for you.’

SH: ‘So your mother and your Uncle Mark didn’t like Ruby Keene much? Why was that?’

PC: ‘Oh, I don’t know. She was always butting in. And they didn’t like Grandfather making such a fuss of her. I expect,’ said Peter cheerfully,’ that they’re glad she’s dead.’

SH: ‘Did you hear them – er- say so?’

PC: ‘Well, not exactly. Uncle Mark said: “Well, it’s one way out, anyway,” and Mum said: “Yes, but such a horrible one,” and Uncle Mark said it was no good being hypocritical.’

Edward the Valet to Sir Henry:

SH: ‘So you think Ruby Keene was a schemer?’

E: ‘She was quite inexperienced, being so young, but she had the making of a very fine schemer indeed when she’d once got well into her swings, so to speak! In another five years she’d have been an expert at the game!’

– Pamela Reeves

Florence Small(FS) to Miss Marple (MM):

MM: ‘What did Pam tell you?’

FS: ‘It was as we were walking up the lane to the bus – on the way to the rally. She asked me if I could keep a secret and I said “Yes,” and she made me swear not to tell. She was going t Danemouth for a film test after the rally! She’d met a film producer – just back from Hollywood, he was. He wanted a certain type, and he told Pam she was just what he was looking for. He warned her, though. Not to build on it. You couldn’t tell, he said, not until you saw a person photographed. It might be no good at all. It was a kind of Bergner part, he said. You had to have someone quite young for it. A schoolgirl, it was, who changes places with a revue artist and has a wonderful career. Pam’s acted in plays at school and she’s awfully good….’

‘So it was all arranged. Pam was to go into Danemouth after the rally and meet him at his hotel and he’d take her along to the studios (they’d got a small testing studio in Danemouth, he told her). She’d have her test and she could catch the bus home afterwards. She could say she’d been shopping, and he’d let her know the result of the test in a few days, and if it was favourable Mr. Harmsteiter, the boss, would come along and talk to her parents.

II. About The Copethua Complex :

Conway Jefferson to Superintendent Harper and Colonel Melchett:

‘So you must understand that, essentially, I’m a lonely man. I like young people. I enjoy them. Once or twice I’ve played with the idea of adopting some girl or boy. During this last month I got very friendly with the child who’s been killed. She was absolutely natural – completely naive. She chattered on about her life and her experiences – in pantomime, with touring companies, with Mum and Dad as a child in cheap lodgings. Such a different life from any I’ve known! Never complaining, never seeing it as sordid. Just a natural, uncomplaining, hard-working child, unspoilt and charming. Not a lady, perhaps, but thank God, neither vulgar nor – abominable word- ‘lady’like.’

I got more and more fond of Ruby. I decided, gentlemen, to adopt her legally. She would become –by law- my daughter. That, I hope, explains my concern for her and the steps I took when I heard of her unaccountable disappearance.’

III. A Crucial Clue

Peter Carmory to Miss Marple, Dolly Bantry and Sir Henry Clithering:

PC: ‘See, it’s a finger-nail. Her finger-nail! I’m going to label it Finger-nail Of The Murdered Woman and take it back to school. It’s a good souvenir, don’t you think?’

MM: ‘Where did you get it?’

PC: ‘Well, it was a bit of luck, really. Because, of course, I didn’t know she was going to be murdered then. It was before dinner last night. Ruby caught her nail in Josie’s shawl and it tore it. Mum cut it off for her and gave it to me and said put it in the wastepaper basket, and I meant to, but I put it in my pocket instead, and this morning I remembered and looked to see if it was still there and it was, so now I’ve got it as a souvenir.

DB: ‘Disgusting.’

PC: ‘Oh, do you think so?’


Notes On The Hollow

Rating: four out of five

Year of Publication: 1946

Motive for Murder: Hatred

Plot: The Hollow: the home of the Angkatells in the country outside London. Six people came for the weekend; four cousins and the Christows.  Hercule Poirot was the seventh invitee.

The butler ushered him. Little did he realise he walked into a murder scene. The sleuth saw John Christow sprawl by the swimming pool, blood oozing from his head. “Henrietta…” was his last word. Nearby the lifeless body Mrs. Christow held a gun.

Poirot was not amused. Something was not quite right, as if it was staged.  Did the wife really kill her husband? What did John Christow mean by calling for “Henrietta”?

As Inspector Grange’s team searched for clues, every lead they followed did not come to fruition. Lies uttered and evidences had been tampered. Meanwhile, as Poirot sat on a bench on path above the chestnut trees, he caught a glimpse of the pool down below. Then he murmured to Henrietta Savernake who was sitting next to him, “I hate the dreadful hollow behind the little wood….


The eyes see, sometimes, what they are meant to see

Hercule Poirot


Christie had something up her sleeves by slowly cooking up a murder. A tranquil country home might have been the last thing for a crime; yet in Midsomer Murders series the country was never dull. Back stories and reminiscences flew from the onset up to the point when all six invitees arrived in the Hollow on a mild Saturday in the autumn.

Alfred Tennyson

What was in the authoress mind? What made her choose a swimming pool, which was surrounded by chestnut grove trees?  The answer was Alfred Tennyson’s Maud: a monodrama (part I)– a dark poem; the last in the trilogy of his comedies. Hence “the hollow” and “the little wood”from the first line of the poem.

In Christie’s adaptation, it was a man and his three women: a wife, a mistress and an ex-fiance. Their respective love were distinctive and intricate. Christie was toeing the line with the poet’s view as she followed closely stanza after stanza. She seemed to agree with the poet’s notion which highlighted love as a problem; a prison to the narrator’s soul.  John Christow’s prophecy was introduced through his daughter, a nine-year-old Zena Christow, in a seemingly harmless card fortune telling. A death was announced in the end, which naturally upset the young mind but the adult.  He simply thought it as a joke, telling her, ‘your mother is going to run over someone on the way out of London’.

Knowing Christie, Maud was an understandable choice as grief shadowing the beauty of Tennyson’s words. Nonetheless, it was not an easy poem to read – dark matter and all.  For the curtain was not drawn back until the first stanza was quoted. Everything then fell into its place – the three surviving women with their subtle jealousy, rage and grief.

I appreciated Christie’ efforts to lighten up such a “depressing” masterpiece. Lady Lucy Angkatell’s character was most amusing while the authoress took advantages from Poirot as a foreigner and an outsider. Should readers expect a criticism on the loopholes of  English judicial system (The Mysterious Affair At Styles, they would be in for disappointment. For it was Queen Victoria’s famous line “we are not amused” which was aptly used. Yes, the detective was not amused at all having to work on a case instead of enjoying a Sunday lunch.

It was worth mentioning two children as minor characters. Of course Christie had done it before. Readers would recall Clara LeMarchant in Five Little Pigs (1943) and Ariadne Oliver’s goddaughter in Elephants Can Remember (1968). The difference was that they were already adults who sought truth, which was a contrast to Terence and Zena Christows. For both had voices despite at their young ages woven into the story that showed the dynamics of the Christows. Terence’s conversations with his mother Gerda were thought-provoking whereas Zena’s with his father was shocking. Moreover, Christie hinted on the brother and sister’s sound minds that  underlined the notion that a child feels and understand things much better than the adults around them think of. For instance, Terence did not ask Gerda who the murderer was but why his father was killed. Was it like for Christie’s daughter when her father left her mother for another woman? I could only wonder.

The good news was in the midst of it  a love was blossoming. In the end, Christie disagreed with Tennyson. For love was also a solution, for there was hope and enjoyment to life itself.

Cast of Characters:

Jonathan Cake as John Christow in 2004’s TV adaptation of Agatha Christie’s Poirot Series.

Madame Alfage (Midge Hardcastle’s employer)

Beryl Collins (John Christow’s Secretary)

David Angkatell (the Angkatells’ relative, Edward Angkatell’s heir)

Edward Angkatell (Lady Lucy’s first cousin and an heir to Ainswick)

Elsie Patterson (Gerda’s sister)

Gerda Christow (John Cristow’s wife)

Inspector Grange

Gudgeon (the butler in the Hollow)

Henrietta Savernake (the Angkatell’s first cousin, a sculptress, John Christow’s mistress)

Sir Henry Angkatell (Lady Lucy’s husband, Poirot’s oacquaintance; they met each other in Baghdad)

Hercule Poirot (staying at Resthaven, a cottage half a mile from the Hollow)

Dr. John Cristow (a Harley Street doctor, Gerda’s husband)

Lady Lucy Angkatell (the host of the weekend party)

Midge Harcastle (the Angkatells’s first cousin)

Miss Simmons (the housemaid in the Hollow)

Terence Christow (a thirteen-year-old boy, John and Gerda’s son)

Veronica Clay (John’s former fiancée, a Hollywood actress)

Zena Christow (a nine-year-old girl, John and Gerda’s daughter)


The Twists:

–          The revolver retrieved from the pool was different to revolver used to kill Christow

–          A Ygdrasil doodle found in the pavilion near the pool

–          A.38 revolver was found inside the clay horse at Henrietta Savernake’s studio

–          The perpetrator kept the revolver’s holster

The Most Fascinating Character: Gerda Christow

Was she one of the Angkatells’s cousins? It was unclear. What was clear that Gerda Christow was loathe to come to the Hollow had it not been for her husband. She had wanted to please him. As a matter of fact, she had worshipped him.

To Gerda’s mind, the Hollow made her restless. She did not like her hostess who secretly thought her as pathetic and did not understand a single word the latter had said. As a personae, Gerda was potrayed as very nervous and rather clumsy. As a wife, she was a doormat. Although interestingly, the issue was not because of her lacking in confidence. Perhaps the following excerpt could offer a glimpse about her past:

Gerda has not been very happy at school. At school there had been even less assurance than elsewhere. Home had been better. But even home had not been very good. For they had all, of course, been quicker and cleverer than she was. Their comments, quick, impatient, not quite unkind, had whistled about her ears like a hailstorm. Hadn’t they seen, all of them, that that was the way to make her slower and stupider still? She’d got worse and worse, more clumsy with her fingers, more slow-witted, more inclined to stare vacantly at what was said to her. Until, suddenly, she had reached the point where she had found out a way out. Almost accidentally, really, she found her weapon of defence.

As much the above was quite straightforward, three questions hovered in my head. First, how much could it tell about her? Secondly, what her home environment was like before she left for school, presumably a boarding one? Third, what happened to her parents and siblings – if she had any?

People seemed to have taken Gerda for granted. She was polite and grateful, although her vacant eyes troubled Lady Lucy. Her being perceived as “slow” and vague caused people to do things on her behalf. She was reassured subsequently that things would be taken care for her. Nobody would have guessed that such then she learnt as to how she could benefit from the perceptions.

As a result, she did not mind being called “stupid”. At any rate, she was like an echo to Amy Carnaby (The Labours of Hercules). In fact, she might have been an echo to herself – telling others what they had expected to hear.

Personally Gerda triggered my thinking about distorted reality. Could reality be a lie? Furthermore, was someone I have known actually someone I have known the least?

On the other hand, I felt a great pity to her. For she knew better about herself but let people think otherwise. She was clever but complacent. Little did people realise she had found her way about the world very well. Yet, the only thing that came from her heart was her resentment to the Angkatells. And even so she did not admit it.


Beryl Collins:

‘If you think Mrs. Christow killed her husband, I am quite sure you are wrong. Mrs. Christow is not at all a violent woman. She is very meek and submissive, and she was entirely under the doctor’s thumb….’

John Christow:

‘I want to go home’


Inspector Grange:

To Poirot: ‘It could have – yes [that Gerda did not kill John]. But it’s a thin story. And they all think she killed him. They know something we don’t.’

Gerda Christow:

‘It is really delightful to get out of London, and Lady Angkatell is so very kind’.

‘….You know I haven’t been able to feel – I still can’t feel- that it’s real – that John- is dead.’

‘I don’t believe anybody could have had a grudge against John. He was the kindest and most unselfish- oh, and one of the noblest men.’

Sir Henry Angkatell:

‘Lucy doesn’t realise that there are things she can’t do. She gets away with things. She always has’.

Henrietta Savernake:

‘One never knows what goes on in Lucy’s head.’

‘Lucy has got good manners and she can be gracious. But she is rather a cruel person. I think really because she isn’t quite human – she doesn’t know what it’s like to feel and think like ordinary people. And you are hating being here, Gerda! You know you are. And why should you come if you feel like that?’

‘It’s dangerous, John. You assume that every one likes you, that they mean well to you. People like Lucy, for instance.’

‘Why are you all so sure that Gerda killed John?’

Inspector Grange:

John Christow:

‘I’m sorry, Veronica, if I’ve hurt you. You’re very lovely, my dear, and I once loved you very much. Can’t we leave it at that?’


Lady Lucy Angkatell:

‘All the wrong people coming- the wrong people to be together, I mean – not in themselves. They’re all charming, really’.

‘I think one always has to take some risk. And one should do it quickly and not think too much about it.’

‘I found him (John Christow) amusing. And he had charm. But I never think one ought to attach too much importance to anybody.’

Vera Clay:

‘This is just the most wonderful surprise. John’s an old old friend of mine. Why, John’s the first man I ever loved! I was crazy about you, John!’

Terence Christow:

‘Why was father shot?’

‘Why was he killed, Mother?’

Zena Christow:

‘That’s you in the middle, Father, the King of Hearts. The person whose fortune’s told is always the King of Hearts. And then I deal the others face down. Two on the left of you and two on the right of you and one over your head – that has power over you, and one under your feet – you have power over it. And this one- covers you!’

‘Oh, it’s the Ace of Spades! That’s usually a death – but-…’