Читаем Partners in Crime полностью

"I don't mean only that. I mean all of us-we say things that aren't really so, and never know that we've done so. For instance, both you and I, without doubt, have said some time or other 'There's the post,' when what we really meant was that we'd heard a double knock and the rattle of the letter box. Nine times out of ten we'd be right, and it would be the post, but just possibly the tenth time it might be only a little urchin playing a joke on us. See what I mean?"

"Ye-es," said Mr. Marvell slowly. "But I don't see what you're driving at?"

"Don't you? I'm not sure that I do myself. But I'm beginning to see. It's like the stick, Tuppence. You remember? One end of it pointed one way-but the other end always points the opposite way. It depends whether you get hold of it by the right end. Doors open-but they also shut. People go upstairs, but they also go downstairs. Boxes shut, but they also open."

"What do you mean?" demanded Tuppence.

"It's so ridiculously easy, really," said Tommy. "And yet it's only just come to me. How do you know when a person's come into the house? You hear the door open and bang to, and if you re expecting anyone to come in, you will be quite sure it is them. But it might just as easily be someone going out."

"But Miss Glen didn't go out?"

"No, I know she didn't. But someone else did-the murderer."

"But how did she get in, then?"

"She came in whilst Mrs. Honeycott was in the kitchen talking to Ellen. They didn't hear her. Mrs. Honeycott went back to the drawing-room, wondered if her sister had come in and began to put the clock right, and then, as she thought, she heard her come in and go upstairs."

"Well, what about that? The footsteps going upstairs?"

"That was Ellen, going up to draw the curtains. You remember, Mrs. Honeycott said her sister paused before going up. That pause was just the time needed for Ellen to come out from the kitchen into the hall. She just missed seeing the murderer."

"But Tommy," cried Tuppence. "The cry she gave?"

"That was James Reilly. Didn't you notice what a high pitched voice he has? In moments of great emotion, men often squeal just like a woman."

"But the murderer? We'd have seen him?"

"We did see him. We even stood talking to him. Do you remember the sudden way that policeman appeared? That was because he stepped out of the gate, just after the mist cleared from the road. It made us jump, don't you remember? After all, though we never think of them as that, policemen are men just like any other men. They love and they hate. They marry…

"I think Gilda Glen met her husband suddenly just outside that gate, and took him in with her to thrash the matter out. He hadn't Reilly's relief of violent words, remember. He just saw red-and he had his truncheon handy…"

13. The Crackler  <p>13. The Crackler  </p>

 

"Tuppence," said Tommy, "we shall have to move into a much larger office."

"Nonsense," said Tuppence, "You mustn't get swollen headed and think you are a millionaire just because you solved two or three twopenny halfpenny cases with the aid of the most amazing luck."

"What some call luck, others call skill."

"Of course if you really think you are Sherlock Holmes, Thorndyke, McCarty and the Brothers Okewood all rolled into one there is no more to be said. Personally I would much rather have luck on my side than all the skill in the world."

"Perhaps there is something in that," conceded Tommy. "All the same, Tuppence, we do need a larger office."

"Why?"

"The Classics," said Tommy. "We need several hundreds of yards of extra book shelf if Edgar Wallace is to be properly represented."

"We haven't had an Edgar Wallace case yet."

"I am afraid we never shall," said Tommy. "If you notice he never does give the amateur sleuth much of a chance. It is all stern Scotland Yard kind of stuff-the real thing and no base counterfeit."

Albert, the office boy, appeared at the door.

"Inspector Marriot to see you," he announced.

"The mystery man of Scotland Yard" murmured Tommy.

"The busiest of the Busies," said Tuppence. "Or is it 'Noses?' I always get mixed between Busies and Noses."

The Inspector advanced upon them with a beaming smile of welcome.

"Well and how are things?" he asked breezily. "None the worse for our little adventure the other day?"

"Oh! rather not," said Tuppence. "Too, too marvellous, wasn't it?"

"Well, I don't know that I would describe it exactly that way myself," said Marriot cautiously.

"What has brought you here today, Marriott?" asked Tommy. "Not just solicitude for our nervous systems, is it?"

"No," said the Inspector. "It is work for the brilliant Mr. Blunt."

"Ha!" said Tommy. "Let me put my brilliant expression on."

"I have come to make you a proposition, Mr. Beresford. What would you say to rounding up a really big gang?"

"Is there such a thing?" asked Tommy.

"What do you mean, is there such a thing?"

"I always thought that gangs were confined to fiction-like master crooks, and super criminals."

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