Читаем Десять негритят / And Then There Were None полностью

Immediately after this what I had already foreseen happened – indeed I believe I suggested it myself. We all submitted to a rigorous search. I had safely hidden away the revolver, and had no more cyanide or chloral in my possession.

It was then that I intimated to Armstrong that we must carry our plan into effect. It was simply this – I must appear to be the next victim. That would perhaps rattle the murderer – at any rate once I was supposed to be dead I could move about the house and spy upon the unknown murderer.

Armstrong was keen on the idea. We carried it out that evening. A little plaster of red mud on the forehead – the red curtain and the wool and the stage was set. The lights of the candles were very flickering and uncertain and the only person who would examine me closely was Armstrong.

It worked perfectly. Miss Claythorne screamed the house down when she found the seaweed which I had thoughtfully arranged in her room. They all rushed up, and I took up my pose of a murdered man.

The effect on them when they found me was all that could be desired. Armstrong acted his part in the most professional manner. They carried me upstairs and laid me on my bed. Nobody worried about me, they were all too deadly scared and terrified of each other.

I had a rendezvous with Armstrong outside the house at a quarter to two. I took him up a little way behind the house on the edge of the cliff. I said that here we could see if any one else approached us, and we should not be seen from the house as the bedrooms faced the other way. He was still quite unsuspicious – and yet he ought to have been warned – If he had only remembered the words of the nursery rhyme, «A red herring swallowed one…» He took the red herring all right.

It was quite easy. I uttered an exclamation, leant over the cliff, told him to look, wasn’t that the mouth of a cave? He leant right over. A quick vigorous push sent him off his balance and splash into the heaving sea below. I returned to the house. It must have been my footfall that Blore heard. A few minutes after I had returned to Armstrong’s room I left it, this time making a certain amount of noise so that some one should hear me. I heard a door open as I got to the bottom of the stairs. They must have just glimpsed my figure as I went out of the front door.

It was a minute or two before they followed me. I had gone straight round the house and in at the dining-room window which I had left open. I shut the window and later I broke the glass. Then I went upstairs and laid myself out again on my bed.

I calculated that they would search the house again, but I did not think they would look closely at any of the corpses, a mere twitch aside of the sheet to satisfy themselves that it was not Armstrong masquerading as a body. This is exactly what occurred.

I forgot to say that I returned the revolver to Lombard’s room. It may be of interest to some one to know where it was hidden during the search. There was a big pile of tinned food in the larder. I opened the bottom – most of the tins – biscuits I think it contained, bedded in the revolver and replaced the strip of adhesive tape.

I calculated, and rightly, that no one would think of working their way through a pile of apparently untouched foodstuffs, especially as all the top tins were soldered.

The red curtain I had concealed by laying it flat on the seat of one of the drawing-room chairs under the chintz cover and the wool in the seat cushion, cutting a small hole.

And now came the moment that I had anticipated – three people who were so frightened of each other that anything might happen – and one of them had a revolver. I watched them from the windows of the house. When Blore came up alone I had the big marble clock poised ready. Exit Blore…

From my window I saw Vera Claythorne shoot Lombard. A daring and resourceful young woman. I always thought she was a match for him and more. As soon as that had happened I set the stage in her bedroom.

It was an interesting psychological experiment. Would the consciousness of her own guilt, the state of nervous tension consequent on having just shot a man, be sufficient, together with the hypnotic suggestion of the surroundings, to cause her to take her own life? I thought it would. I was right. Vera Claythorne hanged herself before my eyes where I stood in the shadow of the wardrobe.

And now for the last stage. I came forward, picked up the chair and set it against the wall. I looked for the revolver and found it at the top of the stairs where the girl had dropped it I was careful to preserve her fingerprints on it.

And now?

I shall finish writing this. I shall enclose it and seal it in a bottle and I shall throw the bottle into the sea.

Why?

Yes, why?..

It was my ambition to invent a murder mystery that no one could solve.

But no artist, I now realize, can be satisfied with art alone. There is a natural craving for recognition which cannot be gain-said.

Перейти на страницу:

Все книги серии And Then There Were None - ru (версии)

И тогда никого не осталось
И тогда никого не осталось

Роман «И тогда никого не осталось» впервые был опубликован в конце 1939 года.Сначала он вышел под названием «10 little niggers», но nigger — расистское ругательство, и посему Кристи не захотела, чтобы впоследствии именно это слово фигурировало в названии романа. Следующие варианты «Nursery Rhume's Murders», «10 little Indians» и, наконец, «And then there were none» («И тогда никого не осталось»), которое стало любимым названием Кристи. Это один из величайших детективов XX века. К тому же он очень актуален и пронизан глубокой философской идеей. Не зря именно его постановку осуществили узники нацистского лагеря Бухенвальд. В следующем, 1940 году Кристи переработала роман в пьесу с тем же названием, точнее, с теми же названиями.Роман также публиковался под следующими авторскими названиями: «10 негритят», «Убийство по детской считалочке», «10 маленьких индейцев».

Агата Кристи

Детективы / Триллеры

Похожие книги

Агония и возрождение романтизма
Агония и возрождение романтизма

Романтизм в русской литературе, вопреки тезисам школьной программы, – явление, которое вовсе не исчерпывается художественными опытами начала XIX века. Михаил Вайскопф – израильский славист и автор исследования «Влюбленный демиург», послужившего итоговым стимулом для этой книги, – видит в романтике непреходящую основу русской культуры, ее гибельный и вместе с тем живительный метафизический опыт. Его новая книга охватывает столетний период с конца романтического золотого века в 1840-х до 1940-х годов, когда катастрофы XX века оборвали жизни и литературные судьбы последних русских романтиков в широком диапазоне от Булгакова до Мандельштама. Первая часть работы сфокусирована на анализе литературной ситуации первой половины XIX столетия, вторая посвящена творчеству Афанасия Фета, третья изучает различные модификации романтизма в предсоветские и советские годы, а четвертая предлагает по-новому посмотреть на довоенное творчество Владимира Набокова. Приложением к книге служит «Пропащая грамота» – семь небольших рассказов и стилизаций, написанных автором.

Михаил Яковлевич Вайскопф

Языкознание, иностранные языки