Читаем Murder on the Orient Express полностью

“If you mean, did I drop it there myself, no, I didn’t.”

“Did you go into Mr. Ratchett’s compartment at any time?”

“I never even spoke to the man.”

“You never spoke to him and you did not murder him?”

The colonel’s eyebrows went up again sardonically.

“If I had, I should hardly be likely to acquaint you with the fact. As a matter of fact I didn’t murder the fellow.”

“Ah, well,” murmured Poirot. “It is of no consequence.”

“I beg your pardon?”

“I said that it was of no consequence.”

“Oh!” Arbuthnot looked taken aback. He eyed Poirot uneasily.

“Because, you see,” continued the little man, “the pipe-cleaner, it is of no importance. I can myself think of eleven other excellent explanations of its presence.”

Arbuthnot stared at him.

“What I really wished to see you about was quite another matter,” went on Poirot. “Miss Debenham may have told you, perhaps, that I overheard some words spoken to you at the station of Konya?”

Arbuthnot did not reply.

“She said, ‘Not now. When it’s all over. When it’s behind us!’ Do you know to what those words referred?”

“I am sorry, M. Poirot, but I must refuse to answer that question.”

Pourquoi?”

The Colonel said stiffly, “I suggest that you ask Miss Debenham herself for the meaning of those words.”

“I have done so.”

“And she refused to tell you?”

“Yes.”

“Then I should think it would have been perfectly plain – even to you – that my lips are sealed.”

“You will not give away a lady’s secret?”

“You can put it that way, if you like.”

“Miss Debenham told me that they referred to a private matter of her own.”

“Then why not accept her word for it?”

“Because, Colonel Arbuthnot, Miss Debenham is what one might call a highly suspicious character.”

“Nonsense,” said the Colonel with warmth.

“It is not nonsense.”

“You have nothing whatever against her.”

“Not the fact that Miss Debenham was companion governess; in the Armstrong household at the time of the kidnapping of little Daisy Armstrong?”

There was a minute’s dead silence.

Poirot nodded his head gently.

“You see,” he said. “We know more than you think. If Miss Debenham is innocent, why did she conceal that fact? Why did she tell me that she had never been in America?”

The Colonel cleared his throat. “Aren’t you possibly making a mistake?”

“I am making no mistake. Why did Miss Debenham lie to me?”

Colonel Arbuthnot shrugged his shoulders. “You had better ask her. I still think that you are wrong.”

Poirot raised his voice and called. One of the restaurant attendants came from the far end of the car.

“Go and ask the English lady in No. 11 if she will be good enough to come here.”

Bien, Monsieur.”

The man departed. The four men sat in silence. Colonel Arbuthnot’s face looked as though it were carved out of wood, rigid and impassive.

The man returned.

“The lady is just coming, Monsieur.”

“Thank you.”

A minute or two later Mary Debenham entered the dining-car.

<p id="_toc4963477">7. The Identity of Mary Debenham</p>

She wore no hat. Her head was thrown back as though in defiance. “The sweep of her hair back from her face, the curve of her nostril suggested the figure-head of a ship plunging gallantly into a rough sea. In that moment she was beautiful.

Her eyes went to Arbuthnot for a minute – just a minute. She said to Poirot, “You wished to see me?”

“I wished to ask you, Mademoiselle, why you lied to us this morning?”

“Lied to you? I don’t know what you mean.”

“You concealed the fact that at the time of the Armstrong tragedy you were actually living in the house. You told me that you had never been in America.”

He saw her flinch for a moment and then recover herself.

“Yes,” she said. “That is true.”

“No, Mademoiselle, it was false.”

“You misunderstood me. I mean that it is true that I lied to you.”

“Ah, you admit it?”

Her lips curved into a smile. “Certainly, since you have found me out.”

“You are at least frank, Mademoiselle.”

“There does not seem anything else for me to be.”

“Well, of course, that is true. And now, Mademoiselle, may I ask you the reason for these evasions?”

“I should have thought the reason leapt to the eye, M. Poirot.”

“It does not leap to mine, Mademoiselle.”

She said in a quiet even voice with a trace of hardness in it, “I have my living to get.”

“You mean–?”

She raised her eyes and looked him full in the face. “How much do you know, M. Poirot, of the fight to get and keep decent employment? Do you think that a girl who had been detained in connection with a murder case, whose name and perhaps photograph were reproduced in the English papers – do you think that any nice ordinary middle-class woman would want to engage that girl as governess to her daughters?”

“I do not see why not – if no blame attached to you.”

“Oh, blame – it is not blame – it is the publicity! So far, M. Poirot, I have succeeded in life. I have had well-paid, pleasant posts. I was not going to risk the position I had attained when no good end could have been served.”

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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