Air date: 05/01/1992
Published: 1936
The fourth series of Agatha Christie's Poirot had a different feel to it, being made up of just three feature-length episodes (a glimpse of things to come).
Continuity with what had gone before was maintained, however: the episodes were broadcast in the now customary 'Sunday evening Poirot' slot early in the year, and were shown on consecutive weeks (retaining the sense of it being a series). Both of these features would disappear in future years.
Mere mention of the episode that kicked off the series causes a small degree of amusement for me and my children. In those early days of the set-top-box freeview channels it seemed, at one point, as if our beloved ITV3 was showing this episode every other week!
The A.B.C Murders is an interesting tale, both in the original and in adaptation, and revolves around the ingenious idea of someone 'hiding' a murder in a series of apparently random murders.
Hercule Poirot receives a series of letters, from an anonymous 'A.B.C', warning of murders that will take place in various towns: Andover, then Bexhill, then Churston (down in Devon) and, finally, at Doncaster (during the running of the St Leger horse race). A copy of the A.B.C. train timetable is found at the scene of every murder, and it turns out that the surnames of the victims begin with the corresponding letter of the alphabet. It all appears to be the work of a madman.
In the original the narrating by Hastings is interspersed with chapters designated "Not from Captain Hastings' Personal Narrative". These slowly introduce the character of Alexander Bonaparte Cust, a travelling stockings salesman. The frequency of these chapters, and the general pace of the book, accelerates as Cust's story moves ever closer to the main plot, with Poirot, Hastings and the police trying to track down the 'A.B.C murderer'. In the adaptation the coming together of these two plotlines is handled particularly well.
Family and friends of the victims tag along as a kind of unofficial 'team' to help Poirot. The upshot is that one of them has used and set-up Cust, an epileptic and very suggestible individual, arranging for him to be in each town on the day the murders are committed. Although Cust is eventually arrested, Poirot is not happy with the outcome and deduces that Franklin Clarke, brother of the third victim, is actually responsible, and killed his brother for his fortune.
The adaptation is remarkably faithful to the original, both in plot detail and sequence. At Poirot's summing up Clarke tries unsuccessfully to shoot himself in the original; for TV he does a runner and hides in a darkened theatre - only to be caught by the police. In both he accuses Poirot of being a "jackanapes" after being rumbled.
In the original Inspector Japp appears only at the beginning and then briefly later on in the story. For TV he is, of course, heading up the police investigations throughout.
One other point of note. In reviewing Peril at End House (episode 11 at the beginning of series two) I referred to the issues of chronology and of Poirot's retirement: two interrelated problems that occur in the canon of Poirot stories (partly because Agatha Christie chose to make Poirot reasonably old from the outset). In the original of The A.B.C. Murders Hastings is already married and living in Argentina. At the beginning of the story he has returned to the UK on business. Mention is made of Poirot supposedly having retired to grow marrows. Poirot says this was scuppered by a murder (The Murder of Roger Ackroyd, possibly, although it was published ten years earlier). All this changes for TV. At the beginning Hastings has just returned from a six-month holiday in South America (with a stuffed caiman he had shot!), and no mention is made of the retirement issue (after all, it would be another eight years before The Murder of Roger Ackroyd would be aired on TV). In the original Japp, in making a quip about Poirot's use of hair tonic, appears to make oblique references to The Mystery of the Blue Train, Death in the Clouds, and Lord Edgware Dies. As none of these stories had been adapted yet this reference also has to disappear for TV.
The stuffed caiman provides a typically amusing ending to the adaptation with Cust - who visits Poirot to express his thanks - being fascinated to hear how Hastings bagged it. As he begins to recount the story Poirot and Japp surreptitiously make their exit.
Wednesday, 3 June 2015
Wednesday, 27 May 2015
Interlude: "Poirot and Me"
David Suchet played Agatha Christie's famous Belgian detective over an incredible 25 year period. But from the outset nobody planned for that to happen.
One of the things that emerges strongly from Suchet's book "Poirot and Me" is the uncertainty that the end of filming for each series brought. Would another series be commissioned?
This comes out very strongly in chapter eight. "Another Christmas, and that niggling anxiety remained: would I be reunited with the idiosyncratic detective?" he writes.
Audience and critical reaction to series two quickly proved positive, but with no immediate news about another series, Suchet accepted an offer to appear on the stage in a production of Shakespeare's Timon of Athens.
Then, as the second series was coming to the end of its broadcast run, London Weekend made the offer for a third series. Scarcely had the theatre run ended and Suchet was back at the Twickenham studios for pre-production work on series three.
He points out in this chapter that some of Agatha Christie's short stories were 'slight' and needed expanding to bring them to television. This is something I have already referred to on more than one occasion in my reviews thus far.
There is one particularly interesting anecdote in this chapter. Suchet recalls being invited to a private lunch at Buckingham Palace shortly before filming began on series three. At this event he learned - from Prince Philip, no less - how to peel and prepare a mango!
Suchet had this written into the script for The Theft of the Royal Ruby, with Poirot recounting how "A certain duke taught me"!
Tuesday, 26 May 2015
30. The Mystery of the Hunter's Lodge
Air date: 10/03/1991
Published: Fourth story in "Poirot Investigates" (1924)
Series three of Agatha Christie's Poirot ended with a story that was considerably embellished to bring it to the small screen.
It concerns the murder of one Harrington Pace, at the remote hunter's lodge of the title. Additional characters, red herrings and plot details have been added to Agatha Christie's original.
Poirot is in bed with 'flu when his flat is visited by Roger Havering, seeking the detective's help following the murder of his uncle. Hastings goes off to rural Derbyshire to do the leg-work, and is met at the scene by Japp; Poirot - in the original - never actually leaves home!
It transpires that a man had arrived at the lodge the previous night to see Pace. He is described as having a beard, overcoat and having spoken with an American accent. Havering had left earlier in the evening to catch the train to London, where he had spent the night.
Havering's wife, having heard the gunshot, had sent the recently recruited housekeeper, Mrs Middleton, to fetch the police. Mrs Middleton subsequently disappears. The gun that was used to kill Pace is found, rather randomly, by a "city gentleman" in Ealing.
Hastings does some investigating and updates Poirot who deduces that Mrs Havering and Mrs Middleton were one and the same! Mrs Havering had shot Pace, and reported the killing disguised as Mrs Middleton. The gun found in Ealing - planted by Havering - was not the one used to kill Pace, but the second in a matching pair that had been kept at the lodge. The motive was to inherit Pace's fortune. Curiously, Havering and his wife are not arrested; the story ending rather tamely with Hastings (narrating) recounting how they were both killed shortly after in a plane crash.
In the adaptation Hastings and Poirot arrive, along with a number of other guests, at the shooting party. It is cold, and there are traces of snow on the moors. Two significant 'red herring' characters are added: Stoddard the gamekeeper (who we later discover is Pace's half-brother) and Archie, the schoolteacher brother of Havering, who looks after the lodge for most of the year.
As we have had frequent occasion to point out with the short story adaptations, a murder originally reported as having happened at the start actually takes place after Poirot arrives. With additional guests at the lodge two other cooks are on the scene, allowing the clue of Mrs Havering and Mrs Middleton never being in the room at the same time, to be played out rather more obviously.
Mrs Middleton is seen to catch a lift with Havering to the train station. It is later revealed that she then got off at the next station (now disguised as the man with the beard), and stole the stationmaster's bike in order to return to the lodge and commit the foul deed.
The discovery of the bike and the beard, buried in a field, provides both the means of unveiling the culprits (with the aid of Stoddard's sniffer dog) and some customary humour at the end when Poirot, Hastings and Japp return the bike to the stationmaster.
Published: Fourth story in "Poirot Investigates" (1924)
Series three of Agatha Christie's Poirot ended with a story that was considerably embellished to bring it to the small screen.
It concerns the murder of one Harrington Pace, at the remote hunter's lodge of the title. Additional characters, red herrings and plot details have been added to Agatha Christie's original.
Poirot is in bed with 'flu when his flat is visited by Roger Havering, seeking the detective's help following the murder of his uncle. Hastings goes off to rural Derbyshire to do the leg-work, and is met at the scene by Japp; Poirot - in the original - never actually leaves home!
It transpires that a man had arrived at the lodge the previous night to see Pace. He is described as having a beard, overcoat and having spoken with an American accent. Havering had left earlier in the evening to catch the train to London, where he had spent the night.
Havering's wife, having heard the gunshot, had sent the recently recruited housekeeper, Mrs Middleton, to fetch the police. Mrs Middleton subsequently disappears. The gun that was used to kill Pace is found, rather randomly, by a "city gentleman" in Ealing.
Hastings does some investigating and updates Poirot who deduces that Mrs Havering and Mrs Middleton were one and the same! Mrs Havering had shot Pace, and reported the killing disguised as Mrs Middleton. The gun found in Ealing - planted by Havering - was not the one used to kill Pace, but the second in a matching pair that had been kept at the lodge. The motive was to inherit Pace's fortune. Curiously, Havering and his wife are not arrested; the story ending rather tamely with Hastings (narrating) recounting how they were both killed shortly after in a plane crash.
In the adaptation Hastings and Poirot arrive, along with a number of other guests, at the shooting party. It is cold, and there are traces of snow on the moors. Two significant 'red herring' characters are added: Stoddard the gamekeeper (who we later discover is Pace's half-brother) and Archie, the schoolteacher brother of Havering, who looks after the lodge for most of the year.
As we have had frequent occasion to point out with the short story adaptations, a murder originally reported as having happened at the start actually takes place after Poirot arrives. With additional guests at the lodge two other cooks are on the scene, allowing the clue of Mrs Havering and Mrs Middleton never being in the room at the same time, to be played out rather more obviously.
Mrs Middleton is seen to catch a lift with Havering to the train station. It is later revealed that she then got off at the next station (now disguised as the man with the beard), and stole the stationmaster's bike in order to return to the lodge and commit the foul deed.
The discovery of the bike and the beard, buried in a field, provides both the means of unveiling the culprits (with the aid of Stoddard's sniffer dog) and some customary humour at the end when Poirot, Hastings and Japp return the bike to the stationmaster.
Saturday, 9 May 2015
29. The Affair at the Victory Ball
Air date: 03/03/1991
Published: First story in "Poirot's Early Cases" (1974)
The penultimate episode of the third series of Agatha Christie's Poirot was a workman-like tale that delivered most of the customary ingredients we had become used to.
There is the gentle humour, generally related to Poirot's view of his own abilities, the occasional bewilderment of Japp, and the faithful enthusiasm of Hastings. What's more, we have, once again, an adaptation that takes a murder recounted to Poirot (in the original) transformed into something that happens after Poirot is, in some way, already on the scene.
The story concerns the murder of one Lord Cronshaw at a fashionable 'Victory Ball'. Cronshaw and his immediate circle of friends were all dressed as characters from 'The Italian Comedy'. Earlier in the evening the Lord had had an argument with actress 'Coco' Courtenay, who died at home the same evening, presumably from a cocaine overdose. She was taken home by the actor Chris Davidson, which seemed to rule him out of the list of suspects.
Poirot eventually deduces that Davidson had, in fact, murdered Cronshaw earlier in the evening and had hidden his body behind a curtain on the balcony of the hall. Having taken Miss Courtenay home, he had returned, now dressed as Cronshaw's character, to appear on the balcony - in order to give the impression that the murder must have taken place much later than it did. The motive? Cronshaw's argument with the actress had been over her use of cocaine - which Cronshaw was opposed to. Davidson was her supplier.
Apart from the common stylistic feature of the murder now occurring after Poirot has turned up, this episode is, again, remarkably faithful to the original story. Poirot and Hastings attend the ball. Hastings goes as the Scarlet Pimpernel. Poirot dresses in his customary evening dinner jacket and black tie. When Hastings complains that he supposed to go as someone famous Poirot gestures that he has - he has gone as himself!
One notable embellishment is the world of BBC radio drama. Miss Courtenay is seen to be involved in a radio play at the beginning, and Poirot utilises the medium to play out his dramatic exposing of the murderer at the end.
Published: First story in "Poirot's Early Cases" (1974)
The penultimate episode of the third series of Agatha Christie's Poirot was a workman-like tale that delivered most of the customary ingredients we had become used to.
There is the gentle humour, generally related to Poirot's view of his own abilities, the occasional bewilderment of Japp, and the faithful enthusiasm of Hastings. What's more, we have, once again, an adaptation that takes a murder recounted to Poirot (in the original) transformed into something that happens after Poirot is, in some way, already on the scene.
The story concerns the murder of one Lord Cronshaw at a fashionable 'Victory Ball'. Cronshaw and his immediate circle of friends were all dressed as characters from 'The Italian Comedy'. Earlier in the evening the Lord had had an argument with actress 'Coco' Courtenay, who died at home the same evening, presumably from a cocaine overdose. She was taken home by the actor Chris Davidson, which seemed to rule him out of the list of suspects.
Poirot eventually deduces that Davidson had, in fact, murdered Cronshaw earlier in the evening and had hidden his body behind a curtain on the balcony of the hall. Having taken Miss Courtenay home, he had returned, now dressed as Cronshaw's character, to appear on the balcony - in order to give the impression that the murder must have taken place much later than it did. The motive? Cronshaw's argument with the actress had been over her use of cocaine - which Cronshaw was opposed to. Davidson was her supplier.
Apart from the common stylistic feature of the murder now occurring after Poirot has turned up, this episode is, again, remarkably faithful to the original story. Poirot and Hastings attend the ball. Hastings goes as the Scarlet Pimpernel. Poirot dresses in his customary evening dinner jacket and black tie. When Hastings complains that he supposed to go as someone famous Poirot gestures that he has - he has gone as himself!
One notable embellishment is the world of BBC radio drama. Miss Courtenay is seen to be involved in a radio play at the beginning, and Poirot utilises the medium to play out his dramatic exposing of the murderer at the end.
Wednesday, 6 May 2015
28. The Theft of the Royal Ruby
Air date: 24/02/1991
Published: First story in "The Adventure of the Christmas Pudding" (1960)
The Theft of the Royal Ruby is one of two Poirot stories set over Christmas - the other being the full novel-length "Hercule Poirot's Christmas" (of which more, later).
Originally written as the short story "Christmas Adventure", in 1923, it was developed by Agatha Christie into one of the longer novellas in the 1960 collection, "The Adventure of the Christmas Pudding".
Poirot is approached by a Mr Jesmond (who holds some unidentified governmental role) to discreetly investigate the theft of a precious ruby, foolishly given by a foreign prince to a woman - who promptly disappeared with it.
For reasons that are not made clear in the original, Poirot is persuaded to spend Christmas with a family at their country home in an attempt to track it down. The guests include the rather unpleasant Desmond Lee-Wortley and his sister. Lee-Wortley is in a romantic liaison with Sarah, granddaughter of Mr and Mrs Lacey, who delight in keeping a very traditional Christmas.
When the jewel turns up in the Christmas pudding Poirot hangs on to it. He subsequently uses a faked stabbing (a game played on him by youngsters in the house) to smoke out Lee-Wortley, who makes off with what is, in reality, a paste copy of the jewel. It transpires that Lee-Wortley and the other woman (pretending to be his sister) had hurriedly hidden the jewel in a Christmas pudding made for New Year's Day when Poirot had turned up. However, when the Christmas day pudding is dropped on the floor the cook unfortunately uses the former for Christmas Day - ruining their hiding place.
There are some nice touches in the original, including Mrs Lacey's description of a traditional Christmas, which mirrors the description Agatha Christie gives of her own childhood Christmases in the book's Foreword.
The TV adaptation, by contrast, appears rather a rushed attempt to shoehorn in the essentials of what is a rather strained plot. It opens with a restaurant scene in which the prince (now identified explicitly as being from Egypt) allows an unidentified woman to wear the ruby. She disappears.
The central part of the plot is followed more or less faithfully, if in rather cut down form. In the original's finale we discover Poirot has allowed Lee-Wortley to make off with a paste. The TV version sees the return of that old favourite: the car chase. Lee-Wortley is apprehended at a local airport.
One curiosity. The original story features a white Christmas, whereas the TV adaptation doesn't. With "Hercule Poirot's Christmas" (four years later) it would be the other way round!
Published: First story in "The Adventure of the Christmas Pudding" (1960)
The Theft of the Royal Ruby is one of two Poirot stories set over Christmas - the other being the full novel-length "Hercule Poirot's Christmas" (of which more, later).
Originally written as the short story "Christmas Adventure", in 1923, it was developed by Agatha Christie into one of the longer novellas in the 1960 collection, "The Adventure of the Christmas Pudding".
Poirot is approached by a Mr Jesmond (who holds some unidentified governmental role) to discreetly investigate the theft of a precious ruby, foolishly given by a foreign prince to a woman - who promptly disappeared with it.
For reasons that are not made clear in the original, Poirot is persuaded to spend Christmas with a family at their country home in an attempt to track it down. The guests include the rather unpleasant Desmond Lee-Wortley and his sister. Lee-Wortley is in a romantic liaison with Sarah, granddaughter of Mr and Mrs Lacey, who delight in keeping a very traditional Christmas.
When the jewel turns up in the Christmas pudding Poirot hangs on to it. He subsequently uses a faked stabbing (a game played on him by youngsters in the house) to smoke out Lee-Wortley, who makes off with what is, in reality, a paste copy of the jewel. It transpires that Lee-Wortley and the other woman (pretending to be his sister) had hurriedly hidden the jewel in a Christmas pudding made for New Year's Day when Poirot had turned up. However, when the Christmas day pudding is dropped on the floor the cook unfortunately uses the former for Christmas Day - ruining their hiding place.
There are some nice touches in the original, including Mrs Lacey's description of a traditional Christmas, which mirrors the description Agatha Christie gives of her own childhood Christmases in the book's Foreword.
The TV adaptation, by contrast, appears rather a rushed attempt to shoehorn in the essentials of what is a rather strained plot. It opens with a restaurant scene in which the prince (now identified explicitly as being from Egypt) allows an unidentified woman to wear the ruby. She disappears.
The central part of the plot is followed more or less faithfully, if in rather cut down form. In the original's finale we discover Poirot has allowed Lee-Wortley to make off with a paste. The TV version sees the return of that old favourite: the car chase. Lee-Wortley is apprehended at a local airport.
One curiosity. The original story features a white Christmas, whereas the TV adaptation doesn't. With "Hercule Poirot's Christmas" (four years later) it would be the other way round!
Tuesday, 5 May 2015
27. The Mystery of the Spanish Chest
Air date: 17/02/1991
Published: Second story in "The Adventure of the Christmas Pudding" (1960)
This lively story is another example of what has become a familiar feature: a story in which a murder originally told to Poirot in the past tense is adapted for television to occur after Poirot has become involved.
On this occasion Poirot and Miss Lemon are discussing the newspaper report of the murder of Arnold Clayton at a party hosted by one Major Rich. Clayton's body was found the following morning (by Rich's butler) in a large Spanish chest. Although originally due to attend the party, he had absented himself for an alleged urgent business trip to Edinburgh. Rich has been arrested for the crime. Several pages are devoted to Poirot and Miss Lemon discussing this (somewhat ironically, Miss Lemon does not appear in the TV adaptation: usually it is the other way round!). There is greater emphasis in the original on Poirot's incredulity that Rich should have left the body in the chest, rather than disposing of it during the night.
Poirot is approached by a friend, Lady Chatterton, on behalf of Mrs Clayton, who does not believe Rich could have done it. There is clearly a mutual attraction between Rich and Mrs Clayton.
Poirot interviews the people who were at the party, Commander McLaren, Mr and Mrs Spence, Rich (in custody) and Burgess the butler.
Although it seems that only Rich or the butler were in a position to have killed him before the party, Poirot deduces - from a hole drilled in the chest - that Clayton was, in fact, hiding in the chest during the party and was stabbed in the neck later than originally assumed.
It turns out that McLaren had also been carrying a torch for Mrs Clayton, and had fuelled the fires of jealousy in Clayton, encouraging him to hide in the trunk to observe if anything was going on between his wife and Rich. He had, in fact, drugged Clayton, and, while other guests were enjoying dance music, had opened the trunk and stabbed Clayton in the neck.
The adaptation opens with a flashback to a duel (which we later discover was over Mrs Clayton). One man (who turns out to be McLaren - or Curtiss, as he now is) is cut on the cheek. As the character displays a scar throughout it doesn't take much to work out that he was one of the protagonists. Interestingly, in the original there is reference to a past duel over Mrs Clayton, although there is no suggestion that McLaren was one of those involved.
Mrs Chatteron approaches Poirot before the party, worried that her friend might be in danger. Poirot attends the party, and so finds himself questioned by Japp (not in the original) the following day after the body has been found. There are a great deal more people at the party than in the original, although the Spences don't appear. Hastings (also not in the original) goes with Poirot to interview the butler (now called Burgoyne, for some reason) and they also arrive at Mrs Clayton's just as she attempts to commit suicide (wracked with a sense of guilt that she is to blame for her friend Rich killing her husband).
The freshly drilled hole in the trunk is, once again, the vital clue for Poirot. For a rather more dramatic TV finale, Poirot has Japp arrest Mrs Clayton, in order to flush out Curtiss, who confronts our Belgian sleuth at the mens' club gymnasium - only to be saved by Rich.
Rather gruesomely, we discover in the adaptation that Clayton was not drugged and then stabbed in the neck. He was stabbed through the eye as he observed the party through the drill hole!
Published: Second story in "The Adventure of the Christmas Pudding" (1960)
This lively story is another example of what has become a familiar feature: a story in which a murder originally told to Poirot in the past tense is adapted for television to occur after Poirot has become involved.
On this occasion Poirot and Miss Lemon are discussing the newspaper report of the murder of Arnold Clayton at a party hosted by one Major Rich. Clayton's body was found the following morning (by Rich's butler) in a large Spanish chest. Although originally due to attend the party, he had absented himself for an alleged urgent business trip to Edinburgh. Rich has been arrested for the crime. Several pages are devoted to Poirot and Miss Lemon discussing this (somewhat ironically, Miss Lemon does not appear in the TV adaptation: usually it is the other way round!). There is greater emphasis in the original on Poirot's incredulity that Rich should have left the body in the chest, rather than disposing of it during the night.
Poirot is approached by a friend, Lady Chatterton, on behalf of Mrs Clayton, who does not believe Rich could have done it. There is clearly a mutual attraction between Rich and Mrs Clayton.
Poirot interviews the people who were at the party, Commander McLaren, Mr and Mrs Spence, Rich (in custody) and Burgess the butler.
Although it seems that only Rich or the butler were in a position to have killed him before the party, Poirot deduces - from a hole drilled in the chest - that Clayton was, in fact, hiding in the chest during the party and was stabbed in the neck later than originally assumed.
It turns out that McLaren had also been carrying a torch for Mrs Clayton, and had fuelled the fires of jealousy in Clayton, encouraging him to hide in the trunk to observe if anything was going on between his wife and Rich. He had, in fact, drugged Clayton, and, while other guests were enjoying dance music, had opened the trunk and stabbed Clayton in the neck.
The adaptation opens with a flashback to a duel (which we later discover was over Mrs Clayton). One man (who turns out to be McLaren - or Curtiss, as he now is) is cut on the cheek. As the character displays a scar throughout it doesn't take much to work out that he was one of the protagonists. Interestingly, in the original there is reference to a past duel over Mrs Clayton, although there is no suggestion that McLaren was one of those involved.
Mrs Chatteron approaches Poirot before the party, worried that her friend might be in danger. Poirot attends the party, and so finds himself questioned by Japp (not in the original) the following day after the body has been found. There are a great deal more people at the party than in the original, although the Spences don't appear. Hastings (also not in the original) goes with Poirot to interview the butler (now called Burgoyne, for some reason) and they also arrive at Mrs Clayton's just as she attempts to commit suicide (wracked with a sense of guilt that she is to blame for her friend Rich killing her husband).
The freshly drilled hole in the trunk is, once again, the vital clue for Poirot. For a rather more dramatic TV finale, Poirot has Japp arrest Mrs Clayton, in order to flush out Curtiss, who confronts our Belgian sleuth at the mens' club gymnasium - only to be saved by Rich.
Rather gruesomely, we discover in the adaptation that Clayton was not drugged and then stabbed in the neck. He was stabbed through the eye as he observed the party through the drill hole!
Friday, 13 March 2015
26. The Double Clue
Air date: 10/02/1991
Published: Fifth story in "Poirot's Early Cases" (1974)
The Double Clue, the next episode to be screened, has never been one of my favourites, if I'm honest.
It introduces the character of the Countess Vera Rossakoff, a Russian-born, high-society jewel thief, who, in the adaptation, Poirot becomes seriously smitten with. Large sections of the episode see Poirot, seemingly drunk in admiration, in the Countess' presence, with rather dreamy piano music accompanying every scene they have together.
This all amounts to considerable embellishment on the original story. Poirot and Hastings are called in to solve the theft of some emeralds from one Marcus Hardman. The crime took place, it seems, while Hardman was hosting a musical evening. Four people saw the jewels and so appear to be in the frame: the Countess, a Mr Johnson from South Africa, one Lady Runcorn, and Bernard Parker, a young man who secures private purchases of jewels on behalf of Hardman.
When a man's glove and a cigarette case, bearing the initials 'BP', are found at the scene (the "double clue" of the title), it appears Parker is the likely culprit. Poirot, however, works out that 'BP' in the Russian alphabet equals 'VR'. When he confronts the Countess she hands over the jewels before departing. Although he declares, "Quelle femme! A remarkable woman!" the attraction is much more subtle and subdued in the original.
In the adaptation the theft appears as one of a series of recent high society jewel robberies. Japp (not in the original) is worried that his job is on the line if he doesn't solve the case, and turns to Poirot for help.
When Poirot first meets the Countess he is immediately overcome. There are some rather strange scenes over the next couple of days where shots of Poirot and the Countess together alternate with Hastings and Miss Lemon (also not in the original, of course) perplexed by Poirot's behaviour, and wandering what the future holds. They decide to try and solve the case (without success, of course), in order to help Japp.
The Countess hands over the jewels while on a picnic, and Poirot, in his customary summing up, spins a tale about a tramp stealing them. Earlier, a tramp had been seen in the gardens by a policeman. A second appearance later (when he shoots at Hastings) turns out to be a private detective hired by Poirot, presumably to set up his false denouement and to allow the Countess to go free. In a parting scene, we learn that she is heading for America. Poirot declares they must both continue their respective work ... but not in the same country.
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