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‘Yes, she could be ruthless,’ he said musingly. ‘I am quite sure of that. And yet – though she is so hard – like stone, like marble – yet she is afraid. What is she afraid of?’

That, I thought, is what we should all like to know!

At least it was possible that her husband did know, but I didn’t think anyone else did.

He fixed me with a sudden bright, dark eye.

‘It is odd here? You find it odd? Or quite natural?’

‘Not quite natural,’ I said, considering. ‘It’s comfortable enough as far as the arrangements go – but there isn’t quite a comfortable feeling.’

‘It makes me uncomfortable. I have the idea’ – he became suddenly a little more foreign – ‘that something prepares itself. Dr Leidner, too, he is not quite himself. Something is worrying him also.’

‘His wife’s health?’

‘That perhaps. But there is more. There is – how shall I say it – an uneasiness.’

And that was just it, there was an uneasiness.

We didn’t say any more just then, for Dr Leidner came towards us. He showed me a child’s grave that had just been uncovered. Rather pathetic it was – the little bones – and a pot or two and some little specks that Dr Leidner told me were a bead necklace.

It was the workmen that made me laugh. You never saw such a lot of scarecrows – all in long petticoats and rags, and their heads tied up as though they had toothache. And every now and then, as they went to and fro carrying away baskets of earth, they began to sing – at least I suppose it was meant to be singing – a queer sort of monotonous chant that went on and on over and over again. I noticed that most of their eyes were terrible – all covered with discharge, and one or two looked half blind. I was just thinking what a miserable lot they were when Dr Leidner said, ‘Rather a fine-looking lot of men, aren’t they?’ and I thought what a queer world it was and how two different people could see the same thing each of them the other way round. I haven’t put that very well, but you can guess what I mean.

After a bit Dr Leidner said he was going back to the house for a mid-morning cup of tea. So he and I walked back together and he told me things. Whenhe explained, it was all quite different. I sort of saw it all – how it used to be – the streets and the houses, and he showed me ovens where they baked bread and said the Arabs used much the same kind of ovens nowadays.

We got back to the house and found Mrs Leidner had got up. She was looking better today, not so thin and worn. Tea came in almost at once and Dr Leidner told her what had turned up during the morning on the dig. Then he went back to work and Mrs Leidner asked me if I would like to see some of the finds they had made up to date. Of course I said ‘Yes,’ so she took me through into the antika-room. There was a lot of stuff lying about – mostly broken pots it seemed to me – or else ones that were all mended and stuck together. The whole lot might have been thrown away, I thought.

‘Dear, dear,’ I said, ‘it’s a pity they’re all so broken, isn’t it? Are they really worth keeping?’

Mrs Leidner smiled a little and she said: ‘You mustn’t let Eric hear you. Pots interest him more than anything else, and some of these are the oldest things we have – perhaps as much as seven thousand years old.’ And she explained how some of them came from a very deep cut on the mound down towards the bottom, and how, thousands of years ago, they had been broken and mended with bitumen, showing people prized their things just as much then as they do nowadays.

‘And now,’ she said, ‘we’ll show you something more exciting.’

And she took down a box from the shelf and showed me a beautiful gold dagger with dark-blue stones in the handle.

I exclaimed with pleasure.

Mrs Leidner laughed.

‘Yes, everybody likes gold! Except my husband.’

‘Why doesn’t Dr Leidner like it?’

‘Well, for one thing it comes expensive. You have to pay the workmen who find it the weight of the object in gold.’

‘Good gracious!’ I exclaimed. ‘But why?’

‘Oh, it’s a custom. For one thing it prevents them from stealing. You see, if they did steal, it wouldn’t be for the archaeological value but for the intrinsic value. They could melt it down. So we make it easy for them to be honest.’

She took down another tray and showed me a really beautiful gold drinking-cup with a design of rams’ heads on it.

Again I exclaimed.

‘Yes, it is beautiful, isn’t it? These came from a prince’s grave. We found other royal graves but most of them had been plundered. This cup is our best find. It is one of the most lovely ever found anywhere. Early Akkadian. Unique.’

Suddenly, with a frown, Mrs Leidner brought the cup up close to her eyes and scratched at it delicately with her nail.

‘How extraordinary! There’s actually wax on it. Someone must have been in here with a candle.’ She detached the little flake and replaced the cup in its place.

After that she showed me some queer little terra-cotta figurines – but most of them were just rude. Nasty minds those old people had, I say.

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Рекс Стаут, создатель знаменитого цикла детективных произведений о Ниро Вулфе, большом гурмане, страстном любителе орхидей и одном из самых великих сыщиков, описанных когда-либо в литературе, на этот раз поручает расследование запутанных преступлений частному детективу Текумсе Фоксу, округ Уэстчестер, штат Нью-Йорк.В уединенном лесном коттедже найдено тело Ридли Торпа, финансиста с незапятнанной репутацией. Энди Грант, накануне убийства посетивший поместье Торпа и первым обнаруживший труп, обвиняется в совершении преступления. Нэнси Грант, сестра Энди, обращается к Текумсе Фоксу, чтобы тот снял с ее брата обвинение в несовершённом убийстве. Фокс принимается за расследование («Смерть дублера»).Очень плохо для бизнеса, когда в банки с качественным продуктом кто-то неизвестный добавляет хинин. Частный детектив Эми Дункан берется за это дело, но вскоре ее отстраняют от расследования. Перед этим машина Эми случайно сталкивается с машиной Фокса – к счастью, без серьезных последствий, – и девушка делится с сыщиком своими подозрениями относительно того, кто виноват в порче продуктов. Виновником Эми считает хозяев фирмы, конкурирующей с компанией ее дяди, Артура Тингли. Девушка отправляется навестить дядю и находит его мертвым в собственном офисе… («Плохо для бизнеса»)Все началось со скрипки. Друг Текумсе Фокса, бывший скрипач, уговаривает частного детектива поучаствовать в благотворительной акции по покупке ценного инструмента для молодого скрипача-виртуоза Яна Тусара. Фокс не поклонник музыки, но вместе с другом он приходит в Карнеги-холл, чтобы послушать выступление Яна. Концерт проходит как назло неудачно, и, похоже, всему виной скрипка. Когда после концерта Фокс с товарищем спешат за кулисы, чтобы утешить Яна, они обнаруживают скрипача мертвым – он застрелился на глазах у свидетелей, а скрипка в суматохе пропала («Разбитая ваза»).

Рекс Тодхантер Стаут

Классический детектив