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"It's odd your saying that, sir... Now you come to mention it, there was. That screen there that cuts off the draft from the bedroom door, it was moved over a bit more to the left."

"Like this?" Poirot moved swiftly.

"A little more still... That's right."

The screen had already masked about half of the chest. The way it was now arranged, it almost hid the chest altogether.

"Why did you think it had been moved?"

"I didn't think, sir."

(Another Miss Lemon!)

Burgess added doubtfully:

"I suppose it leaves the way into the bedroom clearer — if the ladies wanted to leave their wraps."

"Perhaps. But there might be another reason." Burgess looked inquiring. "The screen hides the chest now, and it hides the rug below the chest. If Major Rich stabbed Mr Clayton, blood would presently start dripping through the cracks at the base of the chest. Someone might notice — as you noticed the next morning. So — the screen was moved."

"I never thought of that, sir."

"What are the lights like here, strong or dim?"

"I'll show you, sir."

Quickly, the valet drew the curtains and switched on a couple of lamps. They gave a soft mellow light, hardly strong enough even to read by. Poirot glanced up at a ceiling light.

"That wasn't on, sir. It's very little used."

Poirot looked round in the soft glow. The valet said:

"I don't believe you'd see any bloodstains, sir, it's too dim."

"I think you are right. So, then, why was the screen moved?"

Burgess shivered.

"It's awful to think of — a nice gentleman like Major Rich doing a thing like that."

"You've no doubt that he did do it? Why did he do it, Burgess?"

"Well, he'd been through the war, of course. He might have had a head wound, mightn't he? They do say as sometimes it all flares up years afterwards. They suddenly go all queer and don't know what they're doing. And they say as often as not, it's their nearest and dearest as they goes for. Do you think it could have been like that?"

Poirot gazed at him. He sighed. He turned away. "No," he said, "it was not like that."

With the air of a conjuror, a piece of crisp paper was insinuated into Burgess's hand.

"Oh thank you, sir, but really I don't —"

"You have helped me," said Poirot. "By showing me this room. By showing me what is in the room. By showing me what took place that evening. The impossible is never impossible! Remember that. I said that there were only two possibilities — I was wrong. There is a third possibility." He looked round the room again and gave a little shiver. "Pull back the curtains. Let in the light and the air. This room needs it. It needs cleansing. It will be a long time, I think, before it is purified from what afflicts it — the lingering memory of hate."

Burgess, his mouth open, handed Poirot his hat and coat. He seemed bewildered. Poirot, who enjoyed making incomprehensible statements, went down to the street with a brisk step.

VIII

When Poirot got home, he made a telephone call to Inspector Miller.

"What happened to Clayton's bag? His wife said he had packed one."

"It was at the club. He left it with the porter. Then he must have forgotten it and gone off without it."

"What was in it?"

"What you'd expect. Pyjamas, extra shirt, washing things."

"Very thorough."

"What did you expect would be in it?"

Poirot ignored that question. He said:

"About the stiletto. I suggest that you get hold of whatever cleaning woman attends Mrs Spence's house. Find out if she ever saw anything like it lying about there."

"Mrs Spence?" Miller whistled. "Is that the way your mind is working? The Spences were shown the stiletto. They didn't recognize it."

"Ask them again."

"Do you mean —"

"And then let me know what they say."

"I can't imagine what you think you have got hold of."

"Read Othello, Miller. Consider the characters in Othello. We've missed out one of them."

He rang off. Next he dialed Lady Chatterton. The number was engaged.

He tried again a little later. Still no success. He called for George, his valet, and instructed him to continue ringing the number until he got a reply. Lady Chatterton, he knew, was an incorrigible telephoner.

He sat down in a chair, carefully eased off his patent leather shoes, stretched his toes, and leaned back.

"I am old," said Hercule Poirot. "I tire easily..." He brightened. "But the cells — they still function. Slowly — but they function. Othello, yes. Who was it said that to me? Ah yes, Mrs Spence. The bag... the screen... the body, lying there like a man asleep. A clever murder. Premeditated, planned... I think, enjoyed!.."

George announced to him that Lady Chatterton was on the line.

"Hercule Poirot here, madame. May I speak to your guest?"

"Why, of course! Oh M. Poirot, have you done something wonderful?"

"Not yet," said Poirot. "But possibly, it marches."

Presently Margharita's voice — quiet, gentle.

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Еще одно «чисто английское убийство» от классика детективного жанра. Сирил Хейр был судьей окружного суда в Сурее, и не случайно, что и в этой книге мотивы преступления объясняются особенностями британской юриспруденции. Итак, типичный английский городок, где провинциальный оркестр из любителей-музыкантов дает концерт вместе с знаменитой скрипачкой-виртуозом. На генеральной репетиции днем приглашенная звезда-иностранка играет бестяще и вдохновенно. Затем происходит ссора между ней и одним из музыкантов оркестра, а вечером во время концерта артистку убивают. Под подозрение попадают многие. Читатель получит истинное наслаждение, погрузившись в несуетливую атмосферу расследования загадочного преступления. Честь раскрытия убийства принадлежит отошедшему от дел адвокату Ф. Петигрю. Больше всего на свете он хочет жить спокойно, а меньше всего желает участвовать в следствие, которое ведет свеженазначенный и самоуверенный инспектор полиции. Читатель раньше полицейского может догадаться, кто убийца, если, как адвокат, знает и любит Диккенса, а также Моцарта и Генделя. В любом случае, по достоинству оценит этот образец великолепного английского детектива, полного иронии.Мисс Силвер

Сирил Хейр

Классический детектив