In the book all are reserved and go in costume, everyone says that befits the status and the situation, in short, support the tradition. And in the film adaptation of the first half of heroes is rude to the other half. In the series there are certain inexplicable phenomena, in particular towards the end of the 3-series.
The writers they have nothing to clarify and I was disappointed in the film adaptation. As always, the book is better than the movie. Each one of these individuals has committed serious crimes in their lives, but neither one of them knows the other. In each of the guest rooms, there was a poem, this poem tells the story of 10 people who were walking together and how they died one after the other.
At first, it seemed like dark humor, but after a while, the guests started dying exactly as described in the poem. Your email address will not be published. Agatha Christie's most famous work. Reviewer: StanfordAlan - favorite favorite - March 20, Subject: ePub Incomplete The ePub format of the book is missing the cover and the first page. It starts with "Communion in nature. Not loaded yet? Try Again. Report Close Quick Download Go to remote file.
She then feels a prick on her neck. In the drawing room, Blore says he thinks Emily is the killer. Vera tells them the story of Beatrice Taylor. They go to the dining room to get Emily and find her dead, her skin turning blue. Armstrong admits that he has a syringe in his medical bag. The The remaining guests go together to search his room, and they find the t he syringe has vanished. Lombard reluctantly agrees, but when they go to his bedroom they find that his revolver is missing.
They store all potentially lethal drugs in a case that requires a key. The case is placed in a chest that requires a different key. Wargrave gives one key to Lombard and one to Blore. She possesses the kind of religious mania that might drive someone to kill in the name of justice, and the fact that she is out walking when when Rogers is killed gives her an opportunity to commit the murder.
Blore, Blore, displaying his usual habit of jumping to conclusions, becomes the champion of her guilt. But, of course, no sooner does Christie Christie make m ake us suspect Emily than she briskly removes Emily f rom suspicion by having her killed off. Rogers, as we see earlier, stubbornly refuses to alter his routine, even in these bizarre circumstances. He continues to perform his butler chores, washing up after people, remaining downstairs to clean up after the others have gone to bed, and rising early in the morning and going out alone to chop firewood.
By carrying on as if the si tuation is normal, he separates himself from the group. This isolation casts suspicion on him, but it also enables the murderer to make short work of him. In the same way, Emily refuses to take the kind of precautions that the others are taking: she gets up early and goes walking alone, and then after breakfast she sits alone in the dining room, presenting an inviting target for the killer.
The deaths of Rogers Rogers and Emily drive home the point that separation from the larger group is fatal. Although we learn almost nothing about the characters who die early in the novel, we know much about the characters that remain. Clear dynamics have emerged by this point: Blore and Lombard are rivals, with Lombard clearly the more resourceful of the two. Wargrave, meanwhile, meanwhile, has managed to establish himself in a leadership role, with the others following foll owing his advice, as when they strip and search each other and when they lock away the medicines.
Vera, who behaves as if she trusts Lombard more than the others, is the only woman still surviving, which suggests that she possesses unsuspected resources. Armstrong, finally, is the most nervous and high-strung of the group, and he is a focus of suspicion, both from Vera and from Blore.
I wonder. All we know is that one or more characters are plott ing to mislead misl ead others, confusing our understanding understanding of the events on the island. Armstrong seems particularly nervous; he lights cigarette after cigarette with shaky hands. Vera offers to make tea, and the other four go with her to watch her make it.
They tacitly agree that only one person will go anywhere at a time, tim e, while the other four stay together. Later, Vera gets up to take a shower. She enters her room and suddenly feels as if she were again at the seashore where Cyril drowned. She smells the salt of the sea, and the wind blows out her candle.
She feels something wet and clammy touch her throat, and screams. The men rush to the rescue and find that it was a piece of seaweed hanging from the ceiling that scared her. Lombard thinks it was meant to frighten her to death. Blore fetches a glass of alcohol, and they feud over whether he might have poisoned it. Suddenly, they notice that Wargrave is not with them.
Armstrong inspects Wargrave and says that he has been shot in the head. Entering Entering his room, Lombard notes that his gun is back in its drawer. She recalls telling him he could swim out to the rock, knowing that he would be unable to make it and would drown. She wonders if Hugo knows what she did. Vera notices a hook in the ceiling and realizes that the seaweed must have hung from it. For some reason, the black hook fascinates her. Lying in bed, Blore tries to go over the facts of the case in his head, but his thoughts keep returning to his framing of Landor.
He hears a noise outside. He listens at the door and hears it again. Slipping outside into the hall, he sees a figure going downstairs and out the front door. Blore checks the rooms and finds that Armstrong is not in his room. He wakes Lombard and Vera. The two men tell Vera to remain in her room, and they hurry outside to investigate. In her room, Vera thinks she hears the sound of breaking glass and then stealthy footsteps moving in the house. Blore and Lombard return without finding anyone: the island is empty, and Armstrong seems to have vanished.
In the house they find a broken windowpane and only three Indian figurines in the dining room. Although neither we nor the remaining characters realize r ealize it at this juncture, Wargrave Wargrave is not dead; rather r ather,, he and Armstrong have conspired to fake his death. Before these chapters, Wargrave is simply part of the group, one suspect among many.
Now, his place on the island has changed, since everyone else except for Armstrong, his co-conspirator believes him to be dead. His deceit makes him more vulnerable, in a sense, since if anyone catches a glimpse of him moving around the island, i sland, his guilt will be obvious. At At the same time, tim e, however however,, no one else is even aware that he is alive, which increases his freedom of action dramatically.
He can do as he pleases, and, as long as he returns to his room undetected and pretends to be dead, no one will even suspect him. Of course, our understanding of these climactic scenes is complicated by the fact that their crucial events are hidden from us.
Christie leaves us in the same situation as the remaining guests—Blore, Vera, and Lombard—which dramatically increases the suspense of the narrative. From this point onward, onward, the murders seem to defy rational explanation. For For instance, Armstrong vanishes from the island while everyone else is asleep.
As the novel nears its end, this justice seems to be delivered not by any human agent, but by some supernatural power, as if a vengeful God God is doling out punishment.
Typically, a detective story offers a set of clues that readers can use to solve the case for themselves. The storm is gone, and they feel as though a nightmare has passed. Lombard begins to make plans to signal the mainland. Vera scolds them for being distracted. Blore points out that the next line is about a zoo, which the murderer will have a difficult time enacting on their island, but Vera says impatiently that they are turning into animals.
Vera, Blore, and Lombard Lombard spend the morning on the cliffs trying to signal s ignal a distress distr ess message to the coast using a mirror, but they get no answer.
They decide to stay outside to avoid the danger of the house, but eventually Blore wants to fetch something to eat. He is nervous about going alone, but Lombard refuses to lend him the revolver. When Blore is gone, Lombard tries to convince Vera that Blore is probably the killer. Vera says she thinks Armstrong must still be alive. She then suggests that the killer could be alien or supernatural.
She vehemently denies it at first, but when he asks if a man was involved, she feels exhausted and admits that there was a man m an involved. They They hear a faint crash from the house and go to investigate. Thinking that Armstrong must be inside the house somewhere, somewhere, the two go to wait for help. On their way to the cliffs, they see something s omething on the beach below. Vera looks at Lombard and sees his wolflike face and sharp teeth. Lombard nastily says that the end has come.
Vera suggests they move the body above the water line. Lombard sneers at her, but agrees. When they are finished, Lombard realizes something is wrong and wheels around to find Vera pointing his revolver at him. She has picked it from his pocket. He decides to gamble and lunges at her; she automatically pulls the t he trigger and Lombard falls to t o the ground, shot through the heart.
Vera feels an enormous wave of relief and severe exhaustion. She heads back to the house to get some sleep before help arrives. As she enters the house, she sees the three statues on the table.
She breaks two of them and picks the third up, trying to remember the last line of the poem. At the top of the t he stairs she s he drops the revolver without noticing what she does. She feels sure that Hugo is waiting for her upstairs. When she opens the door of her bedroom, she sees a noose hanging from the black hook that previously held the seaweed.
Since we have no idea that Wargrave is still alive, it seems that the murderer must either be Vera or Lombard. Yet we are left with no idea how either one could possibly have killed Blore, whose death takes place while the two are together by the sea, or, for that matter, how either could have killed Armstrong, since both of them are asleep in the house when he goes outside. Additionally, there is the matter of the Indian figurines, which continue to disappear like clockwork even when the house is apparently empty.
Yet all the evidence that the novel has provided thus far suggests that this is impossible. In their final confrontation, both Vera and Lombard accept it as a given that they are alone on Indian Island, and each assumes that the other is the killer.
In a way, way, their behavior behavior is irrational, since t hey should know that neither one of them could possibly have killed Blore. This kind of perfect rationality, however, may be too much to ask of a pair of human beings who have endured such a strange and terrible sequence of events.
In the end, both Lombard and Vera accept the logic of the poem, and they assume that everyone who seems to have died really is dead. A careful examination of the evidence is beyond their capabilities. The final three characters die in ways consistent with what Christie shows us of t heir respective personalities.
Blore, who proves himself bold but blundering, dies because he is foolhardy enough to return to the house alone. She remembers the events with a nearly hallucinogenic clarity, smelling seawater and seeing moonlight. Unable to cope, Vera falls into a kind of trance and gives in to the fate that she believes she cannot escape. This combination of guilt, stress, and the supernatural suggestiveness of the poem might not really be enough to drive someone to suicide. But, however believable we find this last scene, the novel clearly intends it to be a realistic picture of an individual undone by guilt over her own actions.
And actions. Vera knows that she is guilty, and so, with with Wargrave having set the stage, she administers justice to herself. Epilogue Summary: Epilogue I have wanted—let me admit it frankly—to commit a murder myself. I was, or could be, an artist artist in i n crime!
They have reconstructed much of what happened on Indian Island from diaries kept by various guests. It is clear to them that the murderer was not Blore, Lombard, or Vera. When they arrived, the police found the chair Vera kicked away to hang herself mysteriously set upright against the wall.
Owen, died of an apparent sleeping-pill overdose the night the guests arrived on the island. The police suspect that Morris was murdered. The police know that the people of Sticklehaven were instructed to ignore any distress signals from the island; they were told that everything taking place on t he island was part of a game being played by the wealthy owners owners of the island i sland and their guests.
The rest of the epilogue takes the form of a manuscript in a bottle, found by a fisherman and given to the police. It is written by Judge Wargrave, who writes that the manuscript offers the solution to an unsolved crime. He says he was a sadistic child with both a lust for killing and a strong sense of justice. Reading mysteries always satisfied him. He went into law, an appropriate career for him because it allowed him to indulge his zeal for death within the confines of the law.
Watching guilty persons squirm become a new pleasure for him. After many years as a judge, he developed the desire to play executioner.
He wanted to kill in an extraordinary, theatrical way, while adhering to his own sense of justice. One day, a doctor mentioned to Wargrave the number of murders that must go unpunished, citing a recently deceased woman he felt sure was killed by the married couple who worked as her servants. Because the couple withheld a needed drug in order to kill her, the murder could never be proven. This story inspired Wargrave to plan multiple murders of people who had killed but could not be prosecuted under the law.
Wargrave took his time tim e gathering a list li st of victims, bringing up the topic of unpunished murders in casual conversations and hoping someone would mention a case of which they knew.
Wargrave learned he was terminally ill and decided to kill himself after doing away with his victims. Wargrave killed Marston and Mrs. Rogers first, he writes, because they bore the least responsibility for their crimes—Marston because he was born without a sense of moral responsibility, and Mrs. Rogers because she was under the sway of her husband when they murdered their elderly employer.
Next he killed General Macarthur, sneaking up on him near the ocean. Rogers while the butler was out chopping sticks. At breakfast, he poisoned Emily Brent. Later, Armstrong agreed to help Wargrave fake his death, and pretended to examine the body of the judge and find a gunhot wound on his forehead. Wargrave arranged to sneak out and meet the Armstrong by the shore that evening. There, he pushed Armstrong over a cliff clif f into the ocean.
Killing Blore was easy, since the ex-policeman foolishly came up to the house alone, and Wargrave then watched with satisfaction as Vera disposed of Lombard. He He wonders if the police will pick up on three t hree clues: first, fir st, that Wargrave was the odd man out—he was not really guilty of a murder, as the rest were, since in condemning Edward Seton to death he condemned a guilty man.
Wargrave closes by describing the mechanism by which he will pull the trigger of the revolver from a distance and have the revolver flung away by an elastic band, thereby shooting himself so that he falls back on his bed as though laid there by the others. Here, this other character is Wargrave, the murderer.
Instead of being investigated and solved by a master detective, the ten murders in this novel can be solved only by the man who has committed them. The unorthodox structure of this plot begins to make sense when we consider the themes that Christie has been exploring: specifically the effects of conscience and the administration of ustice.