A classic from Agatha Christie, the original queen of mystery.
When a stranger runs his car into a ditch in dense fog in South Wales and makes his way to an isolated house, he discovers a woman standing over the dead body of her wheelchair-bound husband, gun in her hand. She admits to murder, and the unexpected guest offers to help her concoct a cover story.
But is it possible that Laura Warwick did not commit the murder after all? If so, who is she shielding? The house seems full of possible suspects.
As he did with Black Coffee (1998), Osborne has taken one of Christie's original play scripts and turned it into a (slight) novel. For those who can't see the play in production or who find a script dull or difficult reading, Osborne's adaptation may fill a need. But Osborne has added little flesh to the bones of the drama, which, with its single-room setting, absolutely retains the feel of a play merely masquerading as a novel rather than transformed into one. That's not all bad, as this novelization preserves the lightning-quick pace of the original. Christie's play had its premiere in 1958, yet remains undated by the passing years. When a stranger having car trouble at night on a lonely road enters a house through the French windows of its study, he finds an invalid who has been shot dead and a woman (his wife) standing nearby and holding a gun. Apparently on impulse, the stranger decides to help the woman hide her crime. Those two plus a small cast--the victim's mother; the victim's teenage half-brother; his housekeeper/secretary; and his male nurse--parade kaleidoscopically in and out of the study with two investigating police officers. Christie cleverly shifts suspicion and parcels out new facts and perspectives in marvelous fashion, proving ingeniously that the obvious isn't always obvious.