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"It is the little grey cells, mon ami, on which one must rely."
Hercule Poirot

The ITV series of television adaptations of Agatha Christie's novels and short stories starring Hercule Poirot. By which we mean it adapts all of the Poirot novels and short stories. All of them. The series ran as hour-long episodes on ITV (UK) and PBS (US) from 1989 to 1993, with sets of feature-length specials running in 1994, 1995, 2000-1, 2003-4, 2005-6, 2008-9, and 2010. The final set of stories was released in 2013, just missing David Suchet's original intention to do all of them before his 65th birthday in May 2011.

David Suchet portrays the titular Belgian detective, and his performance is generally regarded as the definitive version.

The adaptations have a long Start to Corpse time, sometimes up to half an hour. This is consistent with the original works: Agatha Christie herself rarely began her books or stories with the discovery of a body, and we frequently meet the victims while they are still alive.


So far, the complete series is out on DVD and Blu-Ray in Europe on 18 November 2013, five days after its finale, and now it's been released in the United States as well: Seasons 1-6 (in the Early Cases Collection) were released on 23 October 2012, followed by the rest of the series (Seasons 7-13) in the Final Cases Collection, released along with the Complete Cases Collection on 4 November 2014.

The only Poirot story they didn't adapt was the play Black Coffee (later novelised by another writer, not Christie). In 2012 Suchet performed a rehearsed reading of it in aid of Chichester Festival Theatre's restoration fund, checking the very last Poirot story off his list.


The series provides examples of:

  • Absence of Evidence: In The Labours of Hercules, Alice Cunningham's dog is extremely calm, despite the strange man who invaded her room...
  • Accidental Murder: Revealed toward the end of The King of Clubs: Valerie Saintclair along with her brother, Ronnie, met up with film producer Henry Reedburn one night to argue about blackmail, but when things got escalated, Ronnie punched him in the face, and he fell and hit his head on a chair part so hard that he died. Poirot lets her off the hook because he considered it an accident and not a murder.
  • Adaptational Attractiveness:
    • Miss Lemon was described in the books as "ugly" and "hideous." Though not a supermodel, the Miss Lemon of the adaptation was certainly fairly easy on the eyes.
    • In the original novel of Sad Cypress, Dr Lord is said to be "pleasantly ugly", having freckles and remarkably square jaws. In the adaptation, he's played by Paul McGann who has never been described as 'ugly', pleasantly or otherwise.
  • Adaptational Angst Upgrade:
    • The Murder of Roger Ackroyd replaces the twist ending nature of the book's conclusion with a darker and more misanthropic finale which sours Poirot's dream of retiring peacefully to the countryside as the case proves that evil can exist just about anywhere. Even reading the killer's journal to get a better grasp on how and why the murder happened fails to get him much in the way of closure.
    • The Labours of Hercules injects a lot of angst that was not in the original short stories. Poirot is wracked with guilt after a young woman he assured of his protection was murdered under his watch, and his meeting with Countess Rossakoff in Switzerland reminds him of his loneliness. The "Break Them by Talking" lecture he receives at the end doesn't help matters.
    • The Mysterious Affair at Styles suggests that Hastings is suffering from shell-shock.
    • The Murder On The Links inverts this with Jack Renaud's character. In the books, the boy goes through a lot of emotional stress in dealing with his father's death, which he partially felt responsible for, going through arrest and trial, then being disowned by his mother. The final blow sent him to a nervous breakdown, causing him to fall ill for several days. The TV version is not as affected by the ordeal, and was, in fact, enjoying a celebration when his mother delivered the ultimatum.
    • The changes made to The Clocks give a lot more dramatic tension to the story and character arcs.
      • Colin is an emotional wreck because his lover died while fighting off an MI-6 mole, and he blamed himself for her death because he had refused her earlier call of help.
      • Sheila does not have an aunt in this continuity. She's an orphan who had lost both her parents and her adoptive parents, and, in her loneliness, became involved in a love affair with one of her clients. Her "disgraceful" behaviour is the reason why Miss Martindale decided to frame her for the crime. Also, while both versions of the story saw her as the primary suspect of the murder, she was never arrested in the book.
      • Miss Pebmarsh lost two sons (which she does not have in the original novel) during the first World War, and this was the reason why she became a spy/traitor. She believed that, if Hitler takes over England before Churchill, the second War would be avoided.
      • The Waterhouses, originally a pair of wacky siblings, is turned into Jewish refugees who came to England to escape the Nazi regime, but were still forced to hide their identities due to the anti-Semitic discrimination they faced in the new country.
    • Inverted in One, Two, Buckle My Shoe. The unpleasant Moral Dilemma that Poirot must face in the books is mostly glossed over in the TV series, which diminishes a lot of the political overtones of the original setting, the sympathetic qualities of the killer and the unpleasant characteristics of the scapegoat (the reasons why the choice Poirot eventually made was a really tough one).
    • In the original novel of Sad Cypress, Elinor's innocence is proved at court thanks to the clues gathered by Poirot. However, in the adaptation, Elinor is found guilty and sentenced to be hanged in five days after her appeal is denied. Poirot does manage to acquit her, but it's much more angsty that way.
    • In the original novel and most adaptations of the Murder on the Orient Express (notably excluding Sidney Lumet's 1974 film), Poirot rather cavalierly lets the murderers go free, but in the series version this is shown as a difficult choice for him to make due to his Catholic beliefs. The first ten minutes or so of this particular adaptation come across as a Trauma Conga Line; first, the case in Palestine mentioned in the novel is revealed to Poirot giving one heck of a "The Reason You Suck" Speech to a British Army officer that it makes him shoot himself rather than stand trial. Then Poirot and some other characters witness the public stoning of an adultress on the streets of Istanbul. There are implications that these events are what ultimately convinces him to make the final decision he does.
  • Adaptational Distillation:
    • The Labours of Hercules adapts the 12 Herculean-themed cases that Poirot undertook before his decision to retire and reduces it to one single case.
    • The adaptation of Curtain mentions only the Litchfield, Sharples and Etherington murders, Margaret Litchfield is hanged during the opening credits (whereas she dies in an asylum in the novel), and the serial killer is not labeled as "X", although it is alluded when Poirot speaks to the others; but otherwise, it remains extremely faithful to the novel.
  • Adaptational Expansion: The adaptation of the short stories stretches out a few pages worth of content into a feature-length episode. "The Yellow Iris", for example, was connected to shady dealings with Argentine military officers aiming for a coup. It provides the the killer's motive in both the original death and the attempted one—he didn't want it to be known that he'd spent his ward's bank account in those dealings, or that they were lost forever when the coup was undone.
  • Adaptational Heroism:
    • Anne Meredith in Cards on the Table is innocent of the murder that Shaitana believes her to have committed.
    • Li Chang Yen, Régine Olivier and Abe Ryland, three of the titular characters in The Big Four are innocent in the adaptation.
  • Adaptational Jerkass:
    • The adaptation ofThe Murder on the Links makes Jack Renaud a selfish, arrogant and an overall unpleasant character. In the novel, Jack loves both of his parents, including his father, despite having frequent rows with the latter; in the adaptation, he outright states that he dislikes Paul (who is turned into his step-father, rather than his biological father). In the novel, when Bella arrives at his trial to confess to the crime he was distraught that his Heroic Sacrifice for her was all for nothing, and sent Stonor to stay for her trial to help her defence; in the adaptation, he happily went on to celebrate his acquittal with Marthe, apparently forgetting about Bella.
    • In The Murder of Roger Ackroyd, Dr Sheppard comes across as a much less sympathetic character than in the original novel: his journal entries are entirely callous, his loving relationship with his sister is downplayed. It also doesn't help that the role he played as Poirot's assistant in the narrative is in this version largely taken by Inspector Japp. Which also means that it's less of a surprise when he turns out to be the killer, as he's now just another suspect.
    • Caroline gets a bit of this in Five Little Pigs due to the change in Philip Blake's sexuality. While in the original story he tried to seduce Caroline while her marriage was apparently on the rocks; in the adaptation it was she who tried to seduce him, and then taunted his homosexuality when he refused her, making her come across less sympathetically than she had been in the original novel.
    • In Cat Among the Pigeons, Miss Springer is a comparatively innocuous character; in the adaptation, she becomes a nasty sadist and an Asshole Victim.
    • Played with in Sad Cypress, in which the angelically sweet and innocent Mary Gerard may or may not be quite as sweet and innocent as she appears since she's more openly interested in Roddy than she was in the novel and more actively steals him away from Eleanor.
    • A downplayed example, but as if to emphasise Linnet Ridgeway's self-indulgent and thoughtless character in Death on the Nile, one of the first things we see her do is snort some cocaine. In the book, Linnet is never suggested to have a drug habit.
  • Adaptational Karma:
    • In the original story of Sad Cypress, the killer fled from the trial; in the adaptation, this person is apprehended by Poirot and the police.
    • Inverted with Mrs Lorrimer of Cards on the Table. She was killed in the novel, but in the adaptation she is allowed to live, and is never prosecuted for murdering her first husband in order to be able to marry another man whom she loved, but he also died within a year and she seems to have become world-weary as a result.
  • Adaptational Name Change:
    • In The Clocks, Colin Lamb becomes Colin Race. To be fair, though, "Lamb" is not his actual surname. Edna Brent's name is also changed to "Nora".
    • In Five Little Pigs, Carla's name is changed to Lucy.
    • In Cards on the Table, Superintendent Battle is renamed Superintendent Wheeler, while Colonel Race becomes Colonel Hughes.
  • Adaptational Nice Guy:
    • This happens with Jim Ferguson of Death on the Nile. When hears of Cornelia's engagement, he looks genuinely brokenhearted and seems to finally realize that his behavior in trying to win her wasn't the best, and his jealous comments from the book are eliminated.
    • Downplayed with Giraud from The Murder on the Links. While he is as unpleasant as he was in the books throughout most of the case, by the end of the episode, Giraud finally acknowledges Poirot's skills and the two make amends. In the original story, the two men parted ways still despising each other (even though Giraud had the decency to pay the 500 francs they betted).
    • Frank Carter, from One, Two, Buckle My Shoe is much less unpleasant in the TV series as he is in the books. For example, while he's still a somewhat rude jerk, he is still a respectable character, and he does genuinely try to be an upstanding citizen. The book version is a sleazy layabout who is financially dependent on his girlfriend, and refuses to hold down a proper job, and Poirot considers him a waste of space.
    • Lord Edgware Dies:
      • The Duke of Merton is more likeable in this adaptation, and ends up rewarding Poirot for saving him from unknowingly marrying a murderess.
      • Played straight and subverted with Jane Wilkinson, who in the book is described as a blatantly selfish individual who shamelessly brags about wanting to kill her husband so that she can marry another man, and refuses to take the hint when Poirot tries to refuse her commission to "get rid" of her husband. In this adaptation, she is portrayed (initially, anyway) as a sympathetic victim who is forced to silently endure her husband's cruelty, and her asking for Poirot's help comes across more like a desperate plea than a callous demand.
  • Adaptational Sexuality:
    • In Five Little Pigs, Phillip Blake is made gay and is in love with Amyas, whereas in the books, he's in love with Caroline.
    • The adaptation of Cards on the Table makes at least two, and an implied four, characters gay: Rhoda Dawes, Superintendent Jim Wheeler, Dr Roberts and the offscreen Mr Craddock, the latter two of whom are in a sexual relationship, whereas in the novel it was Mrs Craddock with whom Dr Roberts had a relationship. Shaitana is also given an Ambiguously Gay flamboyance, although YMMV on whether that was present in the book or not.
    • In the adaptation of Death on the Nile, Tim Allerton is strongly hinted to be gay, telling Rosalie Otterbourne she's "barking up the wrong tree" when she tries to come on to him. In the book, Tim was shown to be a Mama's boy, but still heterosexual, as he and Rosalie being in love are the reason the Poirot lets Tim off the hook for stealing the pearls.
  • Adaptational Villainy:
    • The adaptation of Cards on the Table turns Rhoda Dawes from a sweet little girl into an implied lesbian who killed Anne Meredith's employer, Mrs. Benson, and attempts to do the same to Anne, rather than the other way around.
    • Taken at the Flood: in the original novel, David Hunter is a Jerkass who had no motive of killing his own sister, especially when it would mean depriving himself of the Cloade fortune, so he would have a female accomplice pose as his own sister, and then kill the accomplice once she is done. But in this adaptation, he is upgraded from Jerkass to a mass-murderer.
    • Dr. Gerard in the adaptation of Appointment with Death is a downplayed case. While in the books he serves as one of Poirot's assistants, he becomes an accomplice to the murder in the TV series.
    • In this adaptation of Murder on the Orient Express, Dr. Constantine becomes one of the murdering conspirators, whereas in the novel he was innocent and in fact could not have been involved in the crime.
    • Caroline in The Murder of Roger Ackroyd is another downplayed example. Near the end of the episode she discovers her brother's journal. While she's clearly shocked by what she reads, she's desperate to keep James from confessing to his crimes and even hands him the gun he uses to attempt his escape from Japp and Poirot.
    • In the adaptation of Hercule Poirot's Christmas, Superintendent Sudgen's mother was intent on destroying Simeon Lee's life after he abandoned her and her child, which was not in the novel.
  • Adaptational Wimp: In the original story of The Clocks, although his temperament may not be suitable for his line of work, Colin is still a competent agent. He questions the suspects, comes up some intelligent deductions and he eventually to complete his Special Branch assignment on his own. All of these accomplishments were stripped away from him in the adaptation, and was given to Poirot to give the great detective a greater involvement in the story. There is some justification, in that the adaptation also gives him a backstory involving a murdered lover for which he blames himself, thus explaining a more emotional and less effective involvement in events.
  • Adaptation Decay: In-Universe, Ariadne Oliver's detective character undergoes many changes in the process of being adapted to the stage in Mrs McGinty's Dead.
  • Adaptation Dye-Job:
    • Genevieve "Jenny" Driver from Lord Edgware Dies is mostly recognisable, in the book, from her distinctive red hair. In the adaptation, she's dark-haired.
    • In the novel Curtain, Stephen Norton is portrayed as a bird-watcher with grayish silver hair and a quiet disposition. But here, in this adaptation, he is more like an Eerie Pale-Skinned Brunette with raven-black hair.
  • Adaptation-Induced Plot Hole:
    • A minor case in The Mysterious Affair at Styles, but a plot point in the investigation involves the suspicious manner in which Lawrence insisted that his stepmother's death is natural, and his feeble attempt to suggest that Mrs Inglethorp might have been accidentally (rather than willfully) administered due to an overdose of her tonic. When Poirot mentions this oddity, Hastings dismissed it as a common layman mistake, until Poirot reminded his friend that while Lawrence is not a doctor, he has a medical degree and is thus qualified as one. While this is true in the books, in the movie, Lawrence is a medical professional, and he's working in the same hospital as Cynthia.
    • The removal of Mr. Satterthwaite from Three Act Tragedy causes some slight changes to the progress of the investigation, which causes the eventual reveal to make less sense. In the books, Mr. Satterthwaite is the one who baits Poirot into being involved in the case (the others were quite reluctant to have him interfere), while in the ITV series, he's enlisted by Sir Charles. The only problem? Sir Charles is the murderer! Why would he ask for Poirot's help?
    • The broad hint that Tim Allerton is gay and the removal of the friendships between Poirot & Tim's mother and Poirot & Rosalie Otterbourne creates a good-sized motivational plothole in the Death on the Nile adaptation. In the book, Poirot lets Tim off the hook for the theft of Linnet's pearls, as Poirot knows Rosalie Otterbourne and Tim are in love. It's established that Poirot feels sympathy for Rosalie over what she's gone through, and wants the two to be happily married. In making Tim gay, though, that removes the whole motive for Poirot to let Tim go, and worse, adds even more unneccesary cruelty to the Trauma Conga Line that Rosalie endures in the story.
  • Adapted Out:
    • Dr Bauerstein is removed from the The Mysterious Affair at Styles.
    • Jeanne Beroldy's rich lover Mr Hiram is omitted from The Murder on the Links. She manipulated George Conneau into murdering her husband to claim his inheritance, whereas in the books she wanted to be "freed" so she can marry Hiram.
    • In One, Two, Buckle My Shoe, Howard Raikes, the American leftist, was not included in the adaptation. The unpleasant encounters he had with Poirot is instead attributed to Frank Carter (who shares a similar temperament), while a toned down version of his fanatical views is attributed to Jane Oliviers (who sympathises with his ideas).
    • Major Blunt, Miss Russell and Charles Kent are removed from The Murder of Roger Ackroyd.
    • Death on the Nile omits Miss Bowers, Mr Fanthorp, Signor Richetti, and the Karnak's engineer.
    • In The ABC Murders, many of the Scotland Yard officers who get involved in the ABC case, particularly Crome (who, in the books, was the person-in-charge of the investigation), were removed and their roles given to Chief Inspector Japp (whose only role in the book was to commission the case to his, so to speak, "subordinates").
    • The novel Three-Act Tragedy was a team-up between Poirot and Mr Satterthwaite, one of Christie's other detectives; the TV adaptation does not have Mr Satterthwaite in it, thus—since he's in the novel precisely because he's a consummate aesthete and theatre connoisseur, and therefore has a very specific set of reactions to Sir Charles' theatrics—subtly changing the entire tone of the investigation, and indeed the overall story.
    • Due to the massive changes of the storyline of The Big Four (which scales down the scope of the affair), the cast is considerably pared down. Among the deleted characters are Achille (the fake twin brother of Hercule Poirot) and Countess Vera Rossakoff.
    • In Third Girl, Dr Stillingfleet's role is merged with David Baker.
  • Adolf Hitlarious: In-universe — Carlotta Adams's Hitler impersonation is considered very amusing by her audience in Lord Edgware Dies.
  • Adults Are Useless: In Appointment with Death, we discover that Lady Leonora Boynton was the one who ordered Nanny Taylor to either beat her stepchildren for their laziness or to submerge them in a bathtub until they were nearing death. Not even Leonora's husband could intervene, which is kinda tragic. The implication is that Lord Boynton was too distracted with his archaeological digs to realise what was going on, at once the truth is revealed at the end he appears to be making efforts to atone.
  • Age Lift: In the original novel of Cat Among the Pigeons, Honoria Bulstrode is already reaching her retirement age. In the adaptation, she's still a relatively young woman who wanted to retire because she no longer felt the challenge and thrills of running a school.
  • Aliens Speaking English:
    • Noticeable at the beginning of The Underdog, in which a letter from a German scientist was written entirely in German, yet his voice is spoken in English, albeit with a German accent.
    • Subverted in Death in the Clouds, in which Poirot interviews a French woman entirely in French. However, he conducts the interview in front of an English speaker who knows almost no French, so neither Aliens Speaking English nor Translation Convention would work.
    • Also subverted toward the end of The Adventure of the Western Star, in which Belgian actress Marie Marvelle makes a conversation en français in which she confesses her feelings toward her husband, Gregorie Rolf, who is nothing more than a blackmailer. Poirot consoles her and gives her the advice, also en français, that she should annul the marriage.
    • Subverted also in Murder on the Orient Express in which many other characters speak other languages (Poirot, for example, has a conversation with Countess Andrenyi in Hungarian), but fortunately the subtitles act as translation for the languages.
    • Despite his Poirot Speak constantly reminding us that French is his first language, there are times when he interviews other native Francophones in English, e.g. in "Elephants Can Remember" in which there is a lengthy two-hander between Poirot and another native French-speaker in Paris - and Poirot still lapses into Poirot Speak, thereby destroying the excuse that it could be simple Translation Convention. Even more noticeable in ‘The Chocolate Box’. The entire story takes place in Brussels, yet everyone only speaks perfect British English, except for Poirot who continues in Poirot Speak.
  • The Alcoholic:
    • In Five Little Pigs, compare how many drinks the present-day Philip Blake is knocking back compared to the flashback Philip Blake.
    • Henry Delafontaine in How Does Your Garden Grow?.
  • Altum Videtur: In The Big Four, we see a coffin being carried though to the cemetery both at the beginning of the episode and halfway through the end. Unlike most coffins, which only carry names and years of birth and death, this one bears an inscription that reads, "Hercule Poirot. Requiescat in pace."note 
  • Ambiguously Gay: Tim Allerton in Death on the Nile. His refusal of Rosalie, and the manner of it, is suggestive; in the original novel he ended up with her.
  • And I Must Scream:
    • In Appointment with Death, it is revealed that Lady Boynton was injected by Dr. Gerard with a drug that slowly paralyzes her, until she is unable to move or get out of the chair outside. For minutes she is tortured, until finally, when the time came for Dame Celia to check on Lady Boynton, the dame quickly stabs her in the chest as a Coup de Grâce before declaring her dead.
    • In Murder on the Orient Express, Franco Cassetti was drugged into immobility, and was conscious through every single stab, but unable to move. He deserved every minute of it.
    • In The Big Four, Mr Paynter was killed by having his head burned in the furnace. The murderer drugged him into paralysis to prevent him from screaming, but he was apparently conscious during the whole affair.
  • And Starring: Zoe Wanamaker gets this in Ariadne Oliver's later appearances.
  • And This Is for...:
    • In The Adventure of the Italian Nobleman, when the Scotland Yard police outnumber the murderer, Edwin Graves, Hastings gets a Moment of Awesome by confronting him and saying, "This is for Miss Lemon!" before punching him into the river. This quote indicates that Miss Lemon had been used by Graves, who became a Jerkass to her by saying that he was about to destroy his master's cat, as Miss Lemon later points out.
    • In Elephants Can Remember, it is revealed after Margaret Ravenscroft was killed, General Alistair Ravenscroft has to take her murderer/sister Dorothea to the same cliff that she pushed Margaret off. Once they were there, General Ravenscroft exposed the villainy and said, "This is for Margaret," before fatally shooting Dorothea, and then concluded, "And this is for me," before shooting himself.
  • Anti-Sneeze Finger: In The Third Floor Flat, after Poirot gets to his neighbor's room, he feels a sneeze coming on. He takes a deep breath while pointing the finger to his nose... then nothing happens, and he feels relieved... temporarily. A few seconds after he walks offscreen, we hear his high-pitched "ATCHOOO!!!" as a Funny Moment.
  • Arc Words: "I am Poirot" in The Labours of Hercules.
  • Arson, Murder, and Admiration: Toward the end of The Chocolate Box, when Poirot hears that Madame Deroulard killed her own son Paul though she is color-blind and very ill, the detective admires her for her moral courage and sacrifice.
  • Ascended Extra:
    • In an odd fashion, Poirot himself in Cat Among the Pigeons. In the book, he's mostly a secondary character who doesn't become involved in the case until the final third of the story. In the TV adaptation, he's an old friend of Miss Bullstrode, whom the headmistress had invited in the beginning of the semester to help her choose a suitable successor for her.
    • In the original novel of The Big Four, Flossie Monroe is only one of the many Flat Characters whose sole purpose is to provide a single clue to aid the investigation. In the adaptation, she is the object of affection of Claud Darrell, whose unrequited love for her is the reason why the Big Four was even founded.
  • Aside Glance: The final shot of Curtain is Poirot staring directly into the camera.
  • Asshole Victim: It would prob ably be easier to name the murder victims Poirot encounters who don't fit this trope! But, if you need the specifics: Miss Grace Springer in Cat Among the Pigeons; Mrs. Clapperton in Problem at Sea; Henry Reedburn in The King Of Clubs; Harrington Pace in The Mystery of Hunter's Lodge; Sir Reuben Astwell in The Underdog; Simeon Lee in Hercule Poirot's Christmas; Paul Renauld in Murder on the Links; Ratchett in Murder On The Orient Express; Lord Edgware of Lord Edgware Dies; Lady Boynton in Appointment with Death; Mme. Giselle in Death in the Clouds; Paul Deroulard in The Chocolate Box; Stephen Norton in Curtain.
  • As the Good Book Says...:
    • During the flashback in The Adventure of the Clapham Cook, you can hear a vicar recite Psalm 118:22-25.
    • During the burial service of Emily Arundell in Dumb Witness, we hear another vicar recite the KJV version of Psalm 103:14-18, followed by the KJV version of Job 1:21.
    • In the opening credits for Evil Under the Sun, we hear Reverend Stephen Lane recite passages from the KJV version of 1 Kings 21 before saying that those who are like King Ahab's wife Jezebel in committing evil deserve punishment. This foreshadows how Christine Redfern plays the Jezebel to her husband Patrick's Ahab by trickery.
    • In the Downer Beginning of Five Little Pigs, we hear a priest recite the KJV version of Psalm 23 as Caroline Crale is being hanged for the murder of her husband Amyas.
    • In After the Funeral, we hear Gilbert Entwhistle recite the KJV version of Lamentations 3:59 ("O Lord, thou hast seen my wrong: judge thou my cause!") to Timothy Abernethie, which Poirot lampshades.
    • In Appointment with Death, Sister Agnieszka recites Luke 14:23, which is actually an excerpt from the Parable of the Great Feast (Luke 14:15-24). However, the Bible version she recites is the King James Version, which is the Protestant one and foreshadows that Sister Agnieszka is not a real Catholic nun. Roman Catholics would never recite a Protestant Bible like the KJV one; they would have settled for the Douay–Rheims Bible instead if that is the case.
    • In Hallowe'en Party, we hear Reverend Cottrell recite the KJV version of Luke 18:15-17[[note]]called "The Blessing of the Children", also in Matthew 19:13-15 and Mark 10:13-16[[/note]