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. These are classic detective-fiction themes, but Christie gives them a different spin by making her murder victims guilty of other murders unpunishable by any legal means.
One can argue that the killings on Indian Island are not crimes at all but rather acts of ultimate justice. Wargrave is not killing kill ing for personal gain; r ather, he is simply si mply doing with his own hands what what he did through the agency of law while he was still a judge.
In a traditional mystery story, the detective is the agent of justice, stepping in when a crime has been committed and assuring that the murderer is duly punished. In this story, Wargrave is doing exactly that, albeit by stepping outside the bounds of the law and becoming a killer himself. For example, one might point out that not all the crimes that he punishes are really deliberate and premeditated murders.
However However much we may despise Emily Brent, for instance, inst ance, she did not actually kill her servant; Emily merely fired her, and the servant committed suicide. Similarly, however appalling a human specimen Tony Marston may be, his running over of two children was accidental. The same lack of malice characterizes Dr. Armstrong, who did not intend to t o kill the woman who died on his operating table. Wargrave himself, meanwhile, is a markedly unsympathetic character. He is just but not at all merciful, and he kills with enthusiastic cruelty.
Indeed, he writes his confession only because he cannot cannot bear the idea i dea that his perfect crime will go unappreciated. He has become a murderer himself, and so, under his own code of justice, he cannot be allowed to live. In this regard, Christie returns to the neat moral symmetry of the classic detective story: the guilty receive what they deserve, and no one gets away with murder.
At the same time, however, Wargrave would have died of a terminal illness in any case, and by killing himself he merely asserts authority over death.
He arranges his death in a way that thrills him, and dies a happy man and a proud proud artist. Christie allows us to feel the satisfaction s atisfaction of finally fi nally understanding the mystery, but but she does not allow us the satisfaction sati sfaction of seeing the murderer sniveling, s niveling, angrily led away in handcuffs, or humiliated in front of the world.
Wargrave never loses his control or his murderous sense of justice. Important Quotations Quota tions Explained Explained 1. There was a silence—a comfortable replete silence. Into that silence came The Voice. Silence, please! Before this moment in the novel, Christie has established a general mood of foreboding and has hinted that all of her characters have guilty secrets.
Now these secrets are brought into the open by the recorded voice. We begin to realize that these people have been been brought to Indian Island for some sinister purpose having to do with their past crimes.
The guests are charged with their murders in the formal style of a courtroom, in the language that Judge Wargrave Wargrave was accustomed to using during his career. These words from Wargrave in the middle of Chapter IX mark the second crucial turning point in the novel the first occurs when the recorded voice accuses the guests of murder.
Prior to this moment, everyone has assumed, at least publicly, that their homicidal host, Mr. Owen, is hiding somewhere on the island and planning to murder them. But after Lombard, Blore, and Armstrong conduct an exhaustive search of the island and find no one, Wargrave boldly states the only plausible conclusion: the killer kil ler is one of their party.
He speaks aloud what what many of the others have considered but kept to themselves. This realization fosters paranoia and suspicion that build as the novel goes on and everyone begins to suspect someone different.
This quotation also marks the point at which Wargrave steps in as leader of the group, a role he occupies until his apparent death four chapters lat er. Do they keep bees on this island? Bees, hives, bees! Six little lit tle Indian boys playing with a hive. Vera utters these sentiments early in Chapter XI, just after Mr.
Rogers has been found dead in the woodshed. We know that just as each successive verse of the poem brings the death of another Indian boy, so will each character on the island be kil led off in sequence.
It fell to the floor, revealing the high bald forehead with, in the very middle, a round stained mark from which something had trickled.
In fact, only Dr. Armstrong examines the body, and only he declares that Wargrave has died from a shot to the head. We discover later that Armstrong has agreed to help Wargrave fake his own death, going along with the ruse because he does not suspect Wargrave of being the killer. The conspiracy gives Wargrave a free hand, since no one but Armstrong knows that he is alive. As long as no one sees him, Wargrave can do as he pleases and no one will suspect him.
There is little to help us deduce that Wargrave is not actually dead. We share the perception of the remaining guests, who assume that Wargrave has died and has thus been eliminated as a suspect. By not telling us exactly what transpires, Christie breaks the rules of the traditional detective story, in which the reader can, theoretically, examine the clues and solve the mystery.
I have wanted. I recognized this as the desire of the artist to express himself! But—incongruous as it may seem to some—I was restrained and hampered by my innate sense of justice. Load more similar PDF files. PDF Drive investigated dozens of problems and listed the biggest global issues facing the world today.
Let's Change The World Together. It's a good place to wait. Vera : To wait? For what? General: The end. But I think you know that, don't you? It's true, isn't it?
We're all waiting for the end. Vera : What do you mean? General: I mean that none of us are going to leave the island. That's the plan. You know it perfectly. But what you can't understand is the relief! Vera : The relief?
Of course, you're very young But it does come! The blessed relief when you know that you've done it all — that you haven't got to carry the burden any longer. You'll feel that too some day. You see, I loved Leslie. I loved her very much Vera : Was Leslie your wife? General: Yes, my wife. I loved her, I was so proud of her. She was so pretty, so happy. That's why I did it. Vera : You mean General: It's not much good denying it now — not when we're all going to die.
I sent Richmond to his death. It was because he was having an affair with my Leslie I liked Richmond But when I found out I was furious. I suppose, in a way, it was murder.
But it didn't seem like that at the time. I had no regrets. But afterwards Vera : hard voice Well, afterwards? General: I don't know. I really don't know. It was all different, see. I don't know if Leslie ever guessed. I don't think so. But you see, I didn't know about her anymore. She'd gone far away where I couldn't reach her. And then she died Vera : Alone General: You'll be glad, too, when the end comes. Vera : getting up, sharply I don't know what you mean! General: I know, my child, I know Vera : You don't.
You don't know at all. General: Leslie? Scene Blore and Armstrong. Blore : Funny sort of cove altogether. Do you know what I think about that Lombard? Armstrong : What? Blore : He's a wrong one. Armstrong : In what way? Blore : I don't know exactly. But I wouldn't trust him a yard. Lombard : Well, we're up against it. It's in the house or nowhere. Scene Someone in the Bedroom. Blore : There's someone there Rogers was murdered.
Armstrong : On the count of three, we're all going to charge the door. Whoever it is can't fight all three of us at once. Blore : Sorry, Rogers. Heard someone moving about in here, and thought — well —. Rogers : I'm sorry, gentlemen, I was just moving my things. There won't be any objection if I take one of the vacant guest chambers on the floor below? The smallest room. Armstrong : Of course. Of course. Rogers : Thank you, sir.
Armstrong : moving over to white figure on bed Wish I'd got my stuff here. I'd like to know what drug it was.
Lombard : I think we're finished. I can feel that we're not going to find anything. Blore : He moves really quietly for so innocent a cause. I didn't hear him come upstairs. Lombard : I suppose that's why we assumed that it had to be a stranger moving around here. Well, gentlemen, that settles it. There is no one on the island except our eight selves. So we've been wrong all along! Built up a nightmare of superstition and fantasy all because of the coincidence of two deaths!
Armstrong : And yet, you know, the argument holds. I'm a doctor, and I know Marston wasn't suicidal. Lombard : Could it have been an accident? Blore : That's one weird accident. But about the woman, Mrs. It's possible, isn't it that it might have been an accident? Look here, doctor, you did give her some dope, you know. Armstrong : What do you mean? Blore : Last night. You said yourself that you'd give her something to help her sleep.
Armstrong : Yes, a harmless sedative. A mild dose of trional. A perfectly harmless preparation. Blore : Well Armstrong : angrily I don't know what you mean! Blore : It's possible, isn't it, that you may have made a mistake? Armstrong : I didn't! The suggestion is ridiculous! Or do you suggest that I gave her an overdose on purpose? Blore : Well, like I said, it might have been a mistake. Armstrong : Doctors can't afford to make mistakes like that! Blore : It wouldn't have been the first you've made We're all in the same boat.
We've got to pull together. What about your own little spot of perjury? Blore : That's a foul lie! You may try to shut me up, Lombard , but there's things I want to know Lombard : About me? Why did you bring a revolver down here on a pleasant social visit? Lombard : I brought it because I expected to run into a spot of trouble. Blore : You didn't tell us that last night. Were you holding out on us? Lombard : I allowed you to think that I was asked here in the same way as most of the others.
That's not quite true. As a matter of fact I was approached by a guy named Morris. He offered me a hundred dollars to come down here and keep my eyes open — said I'd got a reputation for being a good man in a tight place. Then he just shut up like a clam. I could take it or leave it, that's what he said, verbatim.
I took it. Blore : Why didn't you tell us this last night? Lombard : How was I to know that last night wasn't exactly the eventuality I was here to cope with? Armstrong : But now you think differently?
Lombard : Yes. Now I believe that I'm in the same boat as the rest of you. That hundred dollars was just Mr. Owen's little bit of cheese to get me into the trap along with the rest of you.
Because we are in a trap. Rogers ' death! Tony Marston 's! The disappearing soldier boys on the dinner table! Oh, yes, Mr. Owen's hand is plainly to be seen — but where is Mr. Owen himself? Scene Lunch. Rogers : I hope lunch will be satisfactory. There is cold ham and cold tongue, and I've boiled some potatoes. And there's cheese and biscuits and some tinned fruits. Lombard : That sounds fine. Stores are holding out? Rogers : There's plenty of food The larder is extremely well-stocked.
It worries me that Fred Narracott hasn't been over today. Lombard : Yes, it's worrying all of us. BRENT comes in. Brent : The weather is changing. The wind is quite strong and there are white horses on the sea. Wargrave : You have had an active morning. VERA hurries in. Vera : I hope you didn't wait for me. Am I late? Brent : You're not the last. The General isn't here yet. Vera : General Macarthur is sitting right down by the sea.
I don't expect he would hear the gong there and anyway — he's a little vague today. Rogers : I'll go and tell him lunch is ready.
Armstrong : No, it's fine, I'll go. You others start lunch. Rogers : Will you take cold tongue or cold ham, ma'am? Vera : There's a storm coming. Blore : There was an old fellow in the train from Plymouth yesterday. He kept saying that a storm was coming. Strange how they know, these old folk, isn't it? Rogers : suddenly There's somebody running Armstrong : General Macarthur —. Vera : Dead! Armstrong : Yes, he's dead Armstrong : No question of heart failure or anything like that.
Macarthur was hit with a life preserver or some such thing on the back of the head. Wargrave : We now know exactly where we are. This morning, while I was sitting on the terrace, I observed all your activities. You were searching the island for a murderer? Wargrave : You came, doubtless, to the same conclusion I did. That the deaths of Marston and Mrs. Rogers were neither accidental nor were they suicides. You also, I presume, reached the conclusion as to the purpose of Mr.
Owen inviting us here. Wargrave : That may well be so. But our main preoccupation is to save our own lives. Armstrong : But there's no one else on the island. Wargrave : In the sense you mean, no. I came to that conclusion early this morning. Nevertheless I'm strongly of the opinion that Mr. Owen is on the island, very much so. It's perfectly clear. Owen is one of us Wargrave : My dear young lady, this is no time for refusing to look facts in the face.
We're all in grave danger. Of the seven of us left, one of us is a bogus little soldier boy. You all agree? Of the ten people who came to the island, three are definitely cleared of suspicion.
These are Mrs. Rogers , Marston , and the General. Is there anyone else whom we can definitely eliminate from suspicion on the evidence which is in our possession? Lombard : What about Rogers? He, to my mind, seems pretty much ruled out. Lombard : He hasn't got the brains and his wife was killed. User icon An illustration of a person's head and chest. Sign up Log in. Web icon An illustration of a computer application window Wayback Machine Texts icon An illustration of an open book.
Death shadows the house party, taking them one by one, leaving the living fugitive, to wonder who among them is the killer The plot of And Then There Were None is crafted with consummate skill, and the story told in a lean, vital style that drives the reader forward.
Christie herself said she wrote the novel because she was intrigued by the task of killing off the ten central characters in a plausible way that still allowed for compelling suspense. The popularity of And Then There Were None was enhanced greatly by Christie's own theatrical adaptation, which first appeared on London's West End in and on Broadway a few months later. It brought Christie her first success as a playwright, which would become another arena in which she triumphed. Between them, the novel and the play have inspired no less than three film adaptations.
A note about the title -- Christie originally called the novel Ten Little Niggers, a reference to an old nursery rhyme that she places, framed, in the guest rooms of the ten characters in the story.
Each dies in the manner described in a verse of the sing-song rhyme -- e.Already have an account? Log in! Scene 1: At the Station. Taxi Driver : You all for Soldier Island, maybe? All Four Guests: Yes, sir. One of them must wait until the and then there were none script free download train from Exeter gets here — in about 5 minutes — there's one gentleman coming by that. And then there were none script free download one of you like to wait? More comfortable for you, that way. Vera : I'll wait, if you'll go on? Brent : stiffly Thank you. Lombard : I'll wait with Miss —. Vera : Claythorne. Lombard : My name is Lombard. Philip Lombard. Vera : No way, are you insane? Pages·· KB·1, Downloads. And Then There Were None by AGATHA CHRISTIE CHAPTER 1 IN THE CORNER of a first-class smoking. Agatha Christie's most famous spacesdoneright.com published as 'TEN LITTLE RED INDIANS'. He went and hanged himself And then there were none. (smiles) Of Vera: (sitting down beside him) Do you like sitting here looking out to sea? General: Yes. He laid the paper down and glanced out of the window. They were running Emily Brent thought to herself: “I shall be getting a free holiday at any rate.” With her income He went and hanged himself and then there were none. Vera smiled. And Then There Were None by Agatha Christie. Full Text PDF. and_then_there_were_none_spacesdoneright.com File Size: kb. File Type: pdf. Download File. Version. Agatha Christie's And Then There Were None is the best selling crime novel of all has been done by whoever has written the script – in this case Sarah Phelps everyone guessing so that you shouldn't be able to pin any one of them down. And Then There There Were None No ne Context Agatha Christie was born Agatha Mary Clarissa Miller on September 5, , in Torquay. Really, you should ask a fellow actor for their script and pay the money for the copy, or go and Which one of Agatha Christie book is best — And Then There Were None, The How can I download the PDF of This Is How It Always Is for free? Agatha Christie's And Then There Were None is probably the signature novel of one of the best-selling authors of all time, a masterpiece of mystery and. Well, he'd enjoy a chat about old times. It was as though each member of it was puzzled by the other members. There are a lot of wasps about this summer. Want more? The judge came and sat down by Emily Brent. Damned young pup! We were to arrive on a certain day. Young men like you are a danger to the community. Be the first to know. We were engaged by letter, through an agency. He knows all about General Macarthur's old cronies. Armstrong stared at him for a minute. He moved forward swiftly to where a door near the fireplace led into an adjoining room. Davis intelligent questions about South Africa.