Читаем Partners in Crime полностью

But as they started forward, footsteps came from behind them. A man passed them, hurrying along. He turned in at the gate of the white house, ascended the steps, and beat a deafening tattoo upon the knocker. He was admitted just as they reached the spot where the policeman was standing staring after him.

"There's a gentleman seems to be in a hurry," commented the policeman.

He spoke in a slow reflective voice, as of one whose thoughts took some time to mature.

"He's the sort of gentleman always would be in a hurry," remarked Tommy.

The policeman's stare, slow and rather suspicious, came round to rest on his face.

"Friend of yours?" he demanded, and there was distinct suspicion now in his voice.

"No," said Tommy. "He's not a friend of mine, but I happen to know who he is. Name of Reilly."

"Ah!" said the policeman. 'Well, I'd better be getting along."

"Can you tell me where the White House is?" asked Tommy.

The constable jerked his head sideways.

"This is it. Mrs. Honeycott's." He paused, and added evidently with the idea of giving them valuable information: "Nervous party. Always suspecting burglars is around. Always asking me to have a look around the place. Middle-aged women get like that."

"Middle aged, eh?" said Tommy. "Do you happen to know if there's a young lady staying there?"

"A young lady," said the policeman, ruminating. "A young lady. No, I can't say I know anything about that."

"She mayn't be staying here, Tommy," said Tuppence. "And anyway, she mayn't be here yet. She could only have started just before we did."

"Ah!" said the policeman suddenly. "Now that I call it to mind, a young lady did go in at this gate. I saw her as I was coming up the road. About three or four minutes ago it might be."

"With ermine furs on?" asked Tuppence eagerly.

"She had some kind of white rabbit round her throat," admitted the policeman.

Tuppence smiled. The policeman went on in the direction from which they had just come, and they prepared to enter the gate of the White House.

Suddenly a faint muffled cry sounded from inside the house, and almost immediately afterwards the front door opened and James Reilly came rushing down the steps. His face was white and twisted, and his eyes glared in front of him unseeingly. He staggered like a drunken man.

He passed Tommy and Tuppence as though he did not see them, muttering to himself with a kind of dreadful repetition.

"My God! My God! Oh, my God!"

He clutched at the gate post, as though to steady himself, and then, as though animated by sudden panic, he raced off down the road as hard as he could go in the opposite direction to that taken by the policeman.

12. The Man in the Mist (continued)  <p>12. The Man in the Mist (continued)  </p>

 

Tommy and Tuppence stared at each other in bewilderment. "Well," said Tommy, "something's happened in that house to scare our friend Reilly pretty badly."

Tuppence drew her finger absently across the gate post.

"He must have put his hand on some wet red paint somewhere," she said idly.

"H'm," said Tommy. "I think we'd better go inside rather quickly. I don't understand this business."

In the doorway of the house a white capped maid servant was standing, almost speechless with indignation.

"Did you ever see the likes of that now, Father," she burst out, as Tommy ascended the steps. "That fellow comes here, asks for the young lady, rushes upstairs without how or by your leave. She lets out a screech like a wild cat-and what wonder, poor pretty dear, and straightway he comes rushing down again, with the white face on him, like one who's seen a ghost. What will be the meaning of it all?"

"Who are you talking with at the front door, Ellen?" demanded a sharp voice from the interior of the hall.

"Here's Missus," said Ellen, somewhat unnecessarily.

She drew back and Tommy found himself confronting a grey haired, middle aged woman, with frosty blue eyes imperfectly concealed by pince nez, and a spare figure clad in black with bugle trimming.

"Mrs. Honeycott?" said Tommy. "I came here to see Miss Glen."

Mrs. Honeycott gave him a sharp glance, then went on to Tuppence and took in every detail of her appearance.

"Oh! you did, did you?" she said. "Well, you'd better come inside."

She led the way into the hall and along it into a room at the back of the house facing on the garden. It was a fair sized room, but looked smaller than it was, owing to the large amount of chairs and tables crowded into it. A big fire burned in the grate, and a chintz covered sofa stood at one side of it. The wall paper was a small grey stripe with a festoon of roses round the top. Quantities of engravings and oil paintings covered the walls.

It was a room almost impossible to associate with the expensive personality of Miss Gilda Glen.

Перейти на страницу:

Похожие книги

Смерть дублера
Смерть дублера

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
1984. Скотный двор
1984. Скотный двор

Роман «1984» об опасности тоталитаризма стал одной из самых известных антиутопий XX века, которая стоит в одном ряду с «Мы» Замятина, «О дивный новый мир» Хаксли и «451° по Фаренгейту» Брэдбери.Что будет, если в правящих кругах распространятся идеи фашизма и диктатуры? Каким станет общественный уклад, если власть потребует неуклонного подчинения? К какой катастрофе приведет подобный режим?Повесть-притча «Скотный двор» полна острого сарказма и политической сатиры. Обитатели фермы олицетворяют самые ужасные людские пороки, а сама ферма становится символом тоталитарного общества. Как будут существовать в таком обществе его обитатели – животные, которых поведут на бойню?

Джордж Оруэлл

Классический детектив / Классическая проза / Прочее / Социально-психологическая фантастика / Классическая литература