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Создан: 15.03.2010
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Среда, 06 Апреля 2011 г. 18:38 + в цитатник
Э. Г. Казакевич
Звезда
повесть
Взвод советских разведчиков вступил в селение. Это была обычная западноукраинская деревня. Командир разведчиков лейтенант Травкин думал о своих людях. Из восемнадцати прежних, проверенных бойцов у него осталось всего двенадцать. Остальные были только что набраны, и каковы они будут в деле — неизвестно. А впереди была встреча с противником: дивизия наступала.
Травкину в высшей степени были свойственны самозабвенное отношение к делу и абсолютное бескорыстие — именно за эти качества разведчики любили этого юного, замкнутого и непонятного лейтенанта.
Легкий разведрейд показал, что немцы недалеко, и дивизия перешла к обороне. Понемногу подтянулись тылы.
Приезжавший в дивизию начальник разведотдела армии поставил перед комдивом Сербиченко задачу отправить группу разведчиков в тыл врага: по имевшимся данным, там происходила перегруппировка, и следовало выяснить наличие резервов и танков. Лучшей кандидатурой для руководства этой необычно трудной операцией был Травкин.
Теперь Травкин еженощно проводил занятия. Со свойственным ему упорством гонял разведчиков через студеный ручей вброд, заставлял их резать проволоку, проверять длинными армейскими щупами невсамделишные минные поля и прыгать через траншею. К разведчикам попросился только что окончивший военное училище младший лейтенант Мещерский — стройный голубоглазый двадцатилетний юноша. Глядя на то, как ревностно он занимается, Травкин одобрительно думал: «Это будет орел…»
Устроили последнее тренировочное занятие по связи. Была окончательно установлена позывная разведгруппы — «Звезда», позывная дивизии — «Земля». В последний момент Аниканова было решено послать вместо Мещерского, чтобы в случае чего разведчики не остались без офицера.
Начиналась древняя игра человека со смертью. Объяснив разведчикам порядок движения, Травкин молча кивнул остающимся в траншее офицерам, перелез через бруствер и бесшумно двинулся к берегу реки. То же самое за ним проделали другие разведчики и саперы сопровождения.
Разведчики проползли сквозь перерезанную проволоку, прошли немецкой траншеей… через час они углубились в лес.
Мещерский и командир саперной роты неотрывно вглядывались во тьму. То и дело к ним подходили другие офицеры — узнать о тех, кто ушел в рейд. Но красная ракета — сигнал «обнаружены, отходим» — не появлялась. Значит, они прошли.
Леса, где шла группа, кишели немцами и немецкой техникой. Какой-то немец, светя карманным фонарем, вплотную подошел к Травкину, но спросонья ничего не заметил. Он сел оправляться, кряхтя и вздыхая.
Километра полтора ползли они чуть ли не по спящим немцам, на рассвете наконец выбрались из леса, и на опушке случилось нечто страшное. Они буквально напоролись на трех неспавших немцев, лежавших в грузовике, один из них, случайно глянув на опушку, остолбенел: по тропе совершенно бесшумно шли семь теней в зеленых балахонах.
Травкина спасло хладнокровие. Он понял, что бежать нельзя. Они прошли мимо немцев ровным, неспешным шагом, вошли в рощу, быстро перебежали эту рощу и луг и углубились в следующий лесок. Убедившись, что здесь немцев нет, Травкин передал первую радиограмму.
Решили двигаться дальше, придерживаясь болот и лесов, и на западной опушке рощи сразу увидели отряд эсэсовцев. Вскоре разведчики вышли к озеру, на противоположном берегу которого стоял большой дом, из которого временами доносились то ли стоны, то ли крики. Чуть позже Травкин увидел выходящего из дома немца с белой повязкой на руке и понял: дом служил госпиталем. Этот немец выписан и идет в свою часть — его никто не будет искать. Немец дал ценные показания. И, несмотря на то что он оказался рабочим, его пришлось убить. Теперь они знали, что здесь сосредоточивается эсэсовская танковая дивизия «Викинг». Травкин решил, чтоб преждевременно себя не обнаружить, «языков» пока не брать. Нужен только хорошо осведомленный немец, и его надо будет достать после разведки железнодорожной станции. Но склонный к лихости черноморец Мамочкин нарушил запрет — здоровенный эсэсовец выпер в лес прямо на него. Когда гауптшарфюрера сбросили в озеро, Травкин связался с «Землей» и передал все установленное им. По голосам с «Земли» он понял, что там его сообщение принято как нечто неожиданное и очень важное.
Хорошо осведомленного немца Аниканов и Мамочкин взяли, как и собирались, на станции. Голубь к тому времени погиб. Разведчики отправились обратно. В пути погиб Бражников, были ранены Семенов и Аниканов. Радиостанция, висевшая на спине у Быкова, была расплющена пулями. Она спасла ему жизнь, но для работы уже не годилась.
Отряд шел, а вокруг него все уже и уже стягивалась петля огромной облавы. В погоню были подняты разведотряд дивизии «Викинг», передовые роты 342-й гренадерской дивизии и тыловые части 131-й пехотной дивизии.
Верховное Главнокомандование, получив сведения, добытые Травкиным, сразу поняло, что за этим кроется нечто более серьезное: немцы хотят контрударом отвратить прорыв наших войск на Польшу. И было отдано распоряжение усилить левый фланг фронта и перебросить туда несколько частей.
А влюбленная в Травкина хорошая девушка Катя, связистка, днем и ночью слала позывные: «Звезда». «Звезда». «Звезда».
Никто уже не ждал, а она ждала. И никто не смел снять рацию с приема, пока не началось наступление.


А. Г. Битов
Улетающий Монахов
роман
Дверь
Поздним вечером мальчик ждет любимую женщину — то в арке двора, то в парадном дома, куда она должна прийти к своей подруге. Он боится разминуться с нею. Мама не знает, куда он пошел: сказал, что идет за циркулем к приятелю. Наконец он поднимается в квартиру подруги, но та говорит, что его любимая так и не приходила. Мальчик уверен, что его обманывают. Он представляет, как будет умирать — бледный, худой — и как любимая женщина станет плакать над ним. Или как он придет к ней много лет спустя — седые кудри будут падать на лоб, не скрывая глубокого шрама, — и скажет: «Поздно, все поздно».
Мальчик слышит за закрытой дверью голос любимой и какого-то мужчины и видит её саму, когда дверь на мгновение приоткрывается. Мужчина уходит. Мальчик ждет, когда выйдет она. Она выходит, спокойная и красивая, объясняет мальчику, что они просто разминулись, и обещает встретиться с ним завтра. Мальчик идет домой, чувствуя невесомость своего тела и мыслей, и думает о том, что все так и было, как сказала она.
Сад
В последние предновогодние дни Алексей ожидает звонка от Аси. Ася разошлась с мужем и снимает угол в квартире Нины, своей подруги, которая живет у отца. Чаще всего Алексей и Ася встречаются в саду на скамейке. Алексей хочет встречать Новый год вместе. Ася говорит, что ей надо выкупить платье из ломбарда, что она любит Алексея, хочет поехать с ним летом на юг, но денег ему достать будет негде, и поэтому она поедет не с ним. Возвращаясь домой по Фонтанке, Алексей вдруг понимает, что чувствует жизнь неостро и лениво — совсем не так, как полгода назад, когда все у них с Асей только начиналось и он ревновал её, часами ожидая в подъездах и на лестницах. Тогда он думал, что любовь требует правды и ясности, а теперь любовь стала для него выше ясности, он готов к неведению.
Алексей должен дописать последнюю контрольную, чтобы его допустили к институтским экзаменам. Мама следит за тем, чтобы он занимался делом; она не любит Асю. Оставшись один в коммунальной квартире, Алексей ворует из комнаты соседа облигации и, продав их, выкупает Асино платье из ломбарда. Он идет к Асе встречать Новый год и думает, заходила ли она в «Асторию», в которой встречает Новый год её бывший муж.
Встреча Нового года наедине не удается: неожиданно приходит Нина с подругами. Алексей и Ася уходят из дома и сидят на лестнице, а потом расходятся по домам. На следующий день они пытаются найти пристанище за городом, у друзей, но тех не оказывается дома. Раскрывается кража облигаций, и Алексею приходится пережить стыд их возвращения. Закрывшись в своей комнате, он читает старую книгу о любви. Его поражает мысль о том, что любовь появляется не из любимой, случайной и крохотной, и не из самого человека, тоже чрезвычайно небольшого. Тогда откуда же?
Образ
Жена Монахова ожидает ребенка, её положили в больницу на сохранение. Стоя под окном больницы, Монахов каждый раз испытывает неловкость из-за трогательности этой сценки. Однажды по дороге в больницу в автобусе он встречает Асю. Они не виделись много лет, и теперь Монахов сличает с оригиналом образ Аси, сохраненный им в мучении разрыва. Ничего не совпадает, происходит распадение образа, и Монахов чувствует облегчение и любопытство. Ася расходится с очередным мужем, снова собирается замуж. На улице она показывает Монахову своего жениха. Монахов заходит в детский сад, где она работает заведующей. Потом они ездят по Асиным подругам в поисках свободной квартиры. Им опять, как и десять лет назад, негде уединиться. Из Асиного детского сада, где они пытаются найти пристанище ночью, Монахову приходится спасаться бегством. Он чувствует вялость своих желаний, растерянность перед мутностью и неясностью собственных ощущений, мучительную нечистоту жизненного опыта. Возвращаясь домой, он радуется тому, что ничего не произошло. Дома мать сообщает ему о рождении сына и целует в бесчувственную, устраняющуюся щеку.
Лес
Монахов приезжает в командировку в Ташкент, где живут теперь его родители. Отца он не видел три года. Он рассказывает родителям про свою чуждую жизнь: про столицу, про карьеру, про молодую жену и новую квартиру. Идя по улице, он встречает Наташу, которую любил три года назад и с которой расстался. Наташа по-прежнему любит его, и неожиданно Монахов понимает, что, будь он самим собою, именно она была бы его единственной женщиной. Он решает уехать от родителей пораньше и провести последние ташкентские дни с Наташей. У нее он знакомится с её ухажерами. Один из них, восемнадцатилетний Ленечка, пишет стихи, которые восхищают Монахова. Глядя на Ленечку, Монахов вспоминает себя в годы любви к Асе и ужасается тому, что совсем не понимал тогда, какой страшной и нищей жизнью жила его любимая. Сидя в аэропорту, Монахов мучается тем, что раньше времени уехал от родителей, и пытается понять, что же он представляет собою сам по себе — без своих званий, успехов, работы и семьи. На его глазах случайно погибает на летном поле молодой солдат.
Дома его ждет ссора с женой. Монахов чувствует, что за неделю в Ташкенте прожил целую жизнь, и понимает, к чему ревнует жена. И вдруг ему кажется, что отец его мог умереть за то время, что он провел у Наташи. Его душа обмывается живым током последних сил немощного отца и впускает в себя всю окружающую боль. Смерть солдата, которую он видел недавно, отдает Монахову последнюю каплю жизни, которой ему так недоставало.
Вкус
Монахов едет в поезде и думает о смерти. Потом эта мысль уходит, уходит и пейзаж за окном, и остается только длинный вкус пирожка во рту. В поезде Монахов знакомится с хорошей, простой и умной девушкой, которую не хотел бы обмануть. Девушка похожа на женщину, которую он любил когда-то, только имя другое — Света. Монахов вдруг пугается, потрясенный этим сходством, хотя прежде его не занимала похожесть людей и обстоятельств.
Монахов решает начать новую жизнь. Он берет отпуск и снимает комнату в поселке, напротив могилы Пастернака. Ему кажется, что окрестный пейзаж дотла высмотрен умершим поэтом, и он пытается понять, стоили ли стихи Пастернака того, чтобы ликвидировать небольшую местность. На могилу он не ходит, опасаясь повторения «рифмы» времени — то есть напоминаний жизни о том, что она существует независимо от существования его, Монахова. Монахов боится этих намеков бытия, он не пытается ухватиться за мелькнувший тайный смысл жизни, чтобы не повредить ветхую жизненную ткань. Но ему все-таки приходится пойти на могилу, чтобы показать её приехавшей Свете. На кладбище его поражает, как похожи памятники на тех, кому они поставлены. Ему кажется, что именитые покойнички вцепились в жизнь, что их положение, вкусы, тщеславие не ушли со смертью. Вернувшись домой, он встречает там однокашника, который рассказывает, что Ася, которую Монахов когда-то любил, умерла от рака груди.
Монахову приходится уехать из поселка, чтобы хоронить умершую бабушку жены. Отпевание происходит в церкви, стоящей в пустом и тихом московском переулке. Монахову кажется, что все вокруг уцелело благодаря этой церкви. После отпевания он целует безразличную ему покойницу в лоб, и вдруг ему кажется, будто вкус — последнее живое чувство, еще доступное его ороговевшему сознанию. На кладбище он сознает, что Ася действительно умерла. Он вспоминает вчерашнюю идиллию мертвецов, похожих на свои памятники, и чувствует, что в душе его кипит спокойная, здоровая, живая ненависть. «Он видел зло. Он не ведал сомнения. Он понимал, что за свои грехи он вполне готов ответить».
Лестница
«Видно, все же подкосила меня жизненная сила, видно, духу не хватило — меня ждут… Видно, впрямь дорога к Богу — слишком длинная дорога, слишком дорого и много… Господи, прости!»


Б. Л. Васильев
А зори здесь тихие…
повесть
Май 1942 г. Сельская местность в России. Идёт война с фашистской Германией. 171-м железнодорожным разъездом командует старшина Федот Евграфыч Васков. Ему тридцать два года. Образования у него всего четыре класса. Васков был женат, но жена его сбежала с полковым ветеринаром, а сын вскоре умер.
На разъезде спокойно. Солдаты прибывают сюда, осматриваются, а потом начинают «пить да гулять». Васков упорно пишет рапорты, и, в конце концов, ему присылают взвод «непьющих» бойцов — девчат-зенитчиц. Поначалу девушки посмеиваются над Васковым, а он не знает, как ему с ними обходиться. Командует первым отделением взвода Рита Осянина. Муж Риты погиб на второй день войны. Сына Альберта она отправила к родителям. Вскоре Рита попала в полковую зенитную школу. Со смертью мужа она научилась ненавидеть немцев «тихо и беспощадно» и была сурова с девушками из своего отделения.
Немцы убивают подносчицу, вместо неё присылают Женю Комелькову, стройную рыжую красавицу. На глазах Жени год назад немцы расстреляли её близких. После их гибели Женя перешла фронт. Её подобрал, защитил «и не то чтобы воспользовался беззащитностью — прилепил к себе полковник Лужин». Был он семейный, и военное начальство, прознав про это, полковника «в оборот взяло», а Женю направило «в хороший коллектив». Несмотря ни на что, Женя «общительная и озорная». Её судьба сразу «перечеркивает Ритину исключительность». Женя и Рита сходятся, и последняя «оттаивает».
Когда речь заходит о переводе с передовой на разъезд, Рита воодушевляется и просит послать её отделение. Разъезд располагается неподалёку от города, где живут её мать и сын. По ночам тайком Рита бегает в город, носит своим продукты. Однажды, возвращаясь на рассвете, Рита видит в лесу двоих немцев. Она будит Васкова. Тот получает распоряжение от начальства «поймать» немцев. Васков вычисляет, что маршрут немцев лежит на Кировскую железную дорогу. Старшина решает идти коротким путём через болота к Синюхиной гряде, тянущейся между двумя озёрами, по которой только и можно добраться до железной дороги, и ждать там немцев — они наверняка пойдут окружным путём. С собой Васков берет Риту, Женю, Лизу Бричкину, Соню Гурвич и Галю Четвертак.
Лиза с Брянщины, она — дочь лесника. Пять лет ухаживала за смертельно больной матерью, не смогла из-за этого закончить школу. Заезжий охотник, разбудивший в Лизе первую любовь, обещал помочь ей поступить в техникум. Но началась война, Лиза попала в зенитную часть. Лизе нравится старшина Васков.
Соня Гурвич из Минска. Её отец был участковым врачом, у них была большая и дружная семья. Сама она проучилась год в Московском университете, знает немецкий. Сосед по лекциям, первая любовь Сони, с которым они провели всего один незабываемый вечер в парке культуры, ушёл добровольцем на фронт.
Галя Четвертак выросла в детском доме. Там её «настигла» первая любовь. После детского дома Галя попала в библиотечный техникум. Война застала её на третьем курсе.
Путь к озеру Вопь лежит через болота. Васков ведёт девушек по хорошо известной ему тропке, по обе стороны которой — трясина. Бойцы благополучно добираются до озера и, затаившись на Синюхиной гряде, ждут немцев. Те появляются на берегу озера только на следующее утро. Их оказывается не двое, а шестнадцать. Пока немцам остаётся около трёх часов ходу до Васкова и девушек, старшина посылает Лизу Бричкину обратно к разъезду — доложить об изменении обстановки. Но Лиза, переходя через болото, оступается и тонет. Об этом никто не знает, и все ждут подмоги. А до тех пор девушки решают ввести немцев в заблуждение. Они изображают лесорубов, громко кричат, Васков валит деревья.
Немцы отходят к Легонтову озеру, не решаясь идти по Синюхиной гряде, на которой, как они думают, кто-то валит лес. Васков с девушками перебирается на новое место. На прежнем месте он оставил свой кисет, и Соня Гурвич вызывается принести его. Торопясь, она натыкается на двоих немцев, которые убивают её. Васков с Женей убивают этих немцев. Соню хоронят.
Вскоре бойцы видят остальных немцев, приближающихся к ним. Спрятавшись за кустами и валунами, они стреляют первыми, немцы отходят, боясь невидимого противника. Женя и Рита обвиняют Галю в трусости, но Васков защищает её и берет с собой в разведку в «воспитательных целях». Но Васков не подозревает, какой след в душе Гали оставила Сонина смерть. Она напугана до ужаса и в самый ответственный момент выдаёт себя, и немцы убивают её.
Федот Евграфыч берет немцев на себя, чтоб увести их от Жени и Риты. Его ранят в руку. Но ему удаётся уйти и добраться до острова на болоте. В воде он замечает юбку Лизы и понимает, что помощь не придёт. Васков находит место, где остановились на отдых немцы, убивает одного из них и идет искать девушек. Они готовятся принять последний бой. Появляются немцы. В неравном бою Васков и девушки убивают нескольких немцев. Риту смертельно ранят, и пока Васков оттаскивает её в безопасное место, немцы убивают Женю. Рита просит Васкова позаботиться о её сыне и стреляет себе в висок. Васков хоронит Женю и Риту. После этого он идет к лесной избушке, где спят оставшиеся в живых пятеро немцев. Одного из них Васков убивает на месте, а четверых берет в плен. Они сами связывают друг друга ремнями, так как не верят, что Васков «на много вёрст один-одинешенек». Он теряет сознание от боли только тогда, когда навстречу уже идут свои, русские.
Через много лет седой коренастый старик без руки и капитан-ракетчик, которого зовут Альберт Федотыч, привезут на могилу Риты мраморную плиту.


Г. Н. Владимов
Верный Руслан
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Сторожевой пес Руслан слышал, как всю ночь снаружи что-то выло, со скрежетом раскачивало фонари. Успокоилось только к утру. Пришел хозяин и повел его наконец-то на службу. Но когда дверь открылась, в глаза неожиданно хлынул белый яркий свет. Снег — вот что выло ночью. И было что-то еще, заставившее Руслана насторожиться. Необычайная, неслыханная тишина висела над миром. Лагерные ворота открыты настежь. Вышка стояла совсем разоренной — один прожектор валялся внизу, заметанный снегом, другой повис на проводе. Исчезли с нее куда-то и белый тулуп, и ушанка, и черный ребристый ствол, всегда повернутый вниз. А в бараках, Руслан это почувствовал сразу, никого не было. Утраты и разрушения ошеломили Руслана. Сбежали, понял пес, и ярость захлестнула его. Натянув поводок, он поволок хозяина за ворота — догонять! Хозяин зло прикрикнул, потом отпустил с поводка и махнул рукой. «Ищи» — так понял его Руслан, но только никакого следа он не почувствовал и растерялся. Хозяин смотрел на него, недобро кривя губы, потом медленно потянул автомат с плеча. И Руслан понял: все! Только не ясно, за что? Но хозяин лучше знает, что делать. Руслан покорно ждал. Что-то мешало хозяину выстрелить, тарахтение какое-то и лязг. Руслан оглянулся и увидел приближающийся трактор. А далее последовало что-то совсем невероятное — из трактора вылез водитель, мало похожий на лагерника, и заговорил с хозяином без страха, напористо и весело: «Эй, вологодский, жалко, что служба кончилась? А собаку бы не трогал. Оставил бы нам. Пес-то дорогой». — «Проезжай, — сказал хозяин. — Много разговариваешь». Хозяин не остановил водителя даже тогда, когда трактор начал крушить столбы лагерной ограды. Вместо этого хозяин махнул Руслану рукой: «Уходи. И чтоб я тебя больше не видел». Руслан подчинился. Он побежал по дороге в поселок, вначале в тяжком недоумении, а потом, вдруг догадавшись, куда и зачем его послали, во весь мах.
…Утром следующего дня путейцы на станции наблюдали картину, которая, вероятно, поразила бы их, не знай они её настоящего смысла. Десятка два собак собрались на платформе возле тупика, расхаживали по ней или сидели, дружно облаивая проходившие поезда. Звери были красивы, достойны, чтобы любоваться ими издали, взойти на платформу никто не решался, здешние люди знали — сойти с нее будет много сложнее. Собаки ждали заключенных, но их не привезли ни в этот день, ни на следующий, ни через неделю, ни через две. И количество их, приходящих на платформу, начало уменьшаться. Руслан тоже каждое утро прибегал сюда, но не оставался, а, проверив караул, бежал в лагерь, — здесь, он чувствовал это, еще оставался его хозяин. В лагерь бегал он один. Другие собаки постепенно начали обживаться в поселке, насилуя свою природу, соглашались служить у новых хозяев или воровали кур, гонялись за кошками. Руслан терпел голод, но еду из чужих рук не брал. Единственным кормом его были полевые мыши и снег. От постоянного голода и болей в животе слабела память, он начинал превращаться в шелудивого бродячего пса, но службу не оставлял — каждый день являлся на платформу, а потом бежал в лагерь.
Однажды он почувствовал запах хозяина здесь, в поселке. Запах привел его в вокзальный буфет. Хозяин сидел за столиком с каким-то потертым мужичком. «Подзадержался ты, сержант, — говорил ему Потертый. — Все ваши давно уже подметки смазали». — «Я задание выполнял, архив стерег. Вот вы все сейчас на свободе и думаете, что до вас не добраться, а в архиве все значитесь. Чуть что, и сразу всех вас — назад. Наше время еще наступит». Хозяин обрадовался Руслану: «Вот на чем наша держава стоит». Он протянул хлеб. Но Руслан не взял. Хозяин озлился, намазал хлеб горчицей и приказал: «Взять!» Вокруг раздались голоса: «Не мучь собаку, конвойный!» — «Отучать его надо. А то все вы жалостливые, а убить ни у кого жалости нет», — огрызался хозяин. Нехотя разжав клыки, Руслан взял хлеб и оглянулся, куда бы его положить. Но хозяин с силой захлопнул его челюсти. Отрава жгла изнутри, пламя разгоралось в брюхе. Но еще страшнее было предательство хозяина. Отныне хозяин стал его врагом. И потому на следующий же день Руслан откликнулся на зов Потертого и пошел за ним. Оба оказались довольны, Потертый, считающий, что приобрел верного друга и защитника, и Руслан, который все-таки вернулся к своей прежней службе — конвоирование лагерника, пусть и бывшего.
Корма от своих новых хозяев Руслан не брал — пробавлялся охотой в лесу. По-прежнему ежедневно Руслан появлялся на станции. Но в лагерь больше не бегал, от лагеря остались только воспоминания. Счастливые — о службе. И неприятные. Скажем, об их собачьем бунте. Это когда в страшные морозы, в которые обычно не работали, к начальнику прибежал лагерный стукач и сообщил что-то такое, после чего Главный и все начальство кинулись к одному из бараков. «Выходи на работу», — приказал Главный. Барак не подчинился. И тогда по приказу Главного охранники подтащили к бараку длинную кишку от пожарного насоса, из кишки этой хлынула вода, напором своим смывая с нар заключенных, выбивая стекла в окнах. Люди падали, покрываясь ледяной корочкой. Руслан чувствовал, как вскипает его ярость при виде толстой живой шевелящейся кишки, из которой хлестала вода. Его опередил Ингус, самый умный их пес, — намертво вцепился зубами в рукав и не реагировал на окрики охранников. Ингуса расстрелял из автомата Главный. Но все остальные лагерные псы уже рвали зубами шланг, и начальство было бессильно…
Однажды Руслан решил навестить лагерь, но то, что он увидел там, ошеломило его: от бараков и следа не осталось — огромные, наполовину уже застекленные корпуса стояли там. И никакой колючей проволоки, никаких вышек. И все так заляпано цементом, кострами, что и запахов лагеря не осталось…
И вот наконец Руслан дождался своей службы. К платформе подошел поезд, и из него начали выходить толпы людей с рюкзаками, и люди эти, как в старые времена, строились в колонны, а перед ними начальники говорили речь, только слова какие-то незнакомые услышал Руслан: стройка, комбинат. Наконец колонны двинулись, и Руслан начал свою службу. Непривычным было только отсутствие конвойных с автоматами и чересчур уж веселое поведение шедших в колонне. Ну ничего, подумал Руслан, поначалу все шумят, потом утихнут. И действительно, начали утихать. Это когда из переулков и улиц к колонне стали сбегаться лагерные собаки и выстраиваться по краям, сопровождая идущих. А взгляды местных из окон стали угрюмыми. Идущие еще до конца не понимали, что происходит, но насторожились. И произошло неизбежное — кто-то попробовал выйти из колонны, и одна из собак кинулась на нарушителя. Раздался крик, началась свалка. Соблюдая порядок, Руслан наблюдал за строем и увидел неожиданное: из колонны начали выскакивать лагерные псы и трусливо уходить в соседние улицы. Руслан кинулся в бой. Схватка оказалась неожиданно тяжелой. Люди отказывались подчиняться собакам. Они били Руслана мешками, палками, жердинами, выломанными из забора. Руслан разъярился. Он прыгнул, нацелившись на горло молодого паренька, но промахнулся и тут же получил сокрушительный удар. С переломленным хребтом он затих на земле. Появился человек, может быть, единственный, от кого он принял бы помощь. «Зачем хребет переломали, — сказал Потертый. — Теперь все. Надо добивать. Жалко собаку». Руслан еще нашел силы прыгнуть и зубами перехватить занесенную для удара лопату. Люди отступили, оставив Руслана умирать. Он, может быть, еще мог выжить, если б знал, для чего. Он, честно выполнявший службу, которой научили его люди, был жестоко наказан ими. И жить Руслану было незачем.


С. Д. Довлатов
Компромисс
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Главный герой, журналист, оставшись без работы, перелистывает свои газетные вырезки, собранные за «десять лет вранья и притворства». Это — 70-е гг., когда он жил в Таллине. За каждым газетным текстом-компромиссом следуют воспоминания автора — реальные разговоры, чувства, события.
Перечислив в заметке те страны, из которых прибыли специалисты на научную конференцию, автор выслушивает от редактора обвинения в политической близорукости. Оказывается, в начале списка должны идти страны победившего социализма, потом — все остальные. Автору заплатили за информацию два рубля. Он думал — три заплатят…
Тон заметки «Соперники ветра» о Таллинском ипподроме — праздничный и возвышенный. На самом деле автор без труда договорился с героем заметки, жокеем Ивановым, «расписать» программу скачек, и они вдвоем выигрывали деньги, ставя на заранее известного лидера. Жалко, что с ипподромом покончено: «соперник ветра» выпал пьяный из такси и уже несколько лет работает барменом.
В газету «Вечерний Таллин», в рубрику «Эстонский букварь», герой пишет милые детские стишки, в которых зверь отвечает на русское приветствие по-эстонски. Автору звонит инструктор ЦК: «Выходит, эстонец — зверь? Я, инструктор ЦК партии, — зверь?» «Человек родился. …Человек, обреченный на счастье!..» — слова из заказного репортажа о рождении четырехсоттысячного жителя Таллина. Герой едет в роддом. Первый новорожденный, о котором он сообщает по телефону редактору, сын эстонки и эфиопа, — «бракуется». Второй, сын еврея, — тоже. Редактор соглашается принять репортаж о рождении третьего — сына эстонки и русского, члена КПСС. Привозят деньги для отца за то, чтобы он назвал сына Лембитом. Автор предстояшего репортажа вместе с отцом новорожденного отмечают событие. Счастливый отец делится радостями семейной жизни: «Лежит, бывало, как треска. Я говорю: «Ты, часом, не уснула?» — «Нет, говорит, я все слышу». — «Не много же, говорю, в тебе пыла». А она: «Вроде бы свет на кухне горит…» — «С чего это ты взяла?» — «А счетчик-то вон как работает…» — «Тебе бы, говорю, у него поучиться…» Проснувшись среди ночи у своей знакомой, журналист не может вспомнить остальных событий вечера…
В газете «Советская Эстония» опубликована телеграмма эстонской доярки Брежневу с радостным сообщением о высоких надоях молока, о приеме её в партию и ответная телеграмма Брежнева. Герой вспоминает, как для написания рапорта доярки его послали вместе с фотокором Жбанковым в один из райкомов партии. Журналистов принимал первый секретарь, к ним были приставлены две молодые девушки, готовые исполнять любые их желания, спиртное лилось рекой. Конечно, журналисты полностью «воспользовались ситуацией». Они лишь мельком встретились с дояркой — и телеграмма была написана в коротком перерыве «культурной программы». Прощаясь в райкоме, Жбанков попросил «для лечения» хотя бы пива. Секретарь испугался — «в райкоме могут увидеть». «Ну и работенку ты себе выбрал», — посочувствовал ему Жбанков.
«Самая трудная дистанция» — статья на моральную тему о спортсменке, комсомолке, потом коммунистке, молодом ученом Тийне Кару. Героиня статьи обращается к автору с просьбой помочь ей «раскрепоститься» в половом отношении. Выступить в роли учителя. Автор отказывается. Тийна просит: «Есть же у тебя друзья-подонки?» «Преобладают», — соглашается журналист. Перебрав несколько кандидатур, он останавливается на Осе Чернове. После нескольких неудачных попыток Тийна наконец становится счастливой ученицей. В знак благодарности она вручает автору бутылку виски, с которой он и отправляется писать статью на моральную тему.
«Они мешают нам жить» — заметка о попавшем в медвытрезвитель работнике республиканской прессы Э. Л. Буше. Автор вспоминает трогательную историю своего знакомства с героем заметки. Буш — талантливый человек, пьющий, не выдерживающий компромиссов с начальством, пользующийся любовью у красивых стареющих женщин. Он берет интервью у капитана западногерманского корабля Пауля Руди, который оказывается бывшим изменником Родины, беглым эстонцем. Офицеры КГБ предлагают Бушу дать показания, что капитан — половой извращенец. Буш, негодуя, отказывается, чем вызывает у полковника КГБ неожиданную фразу: «Вы лучше, чем я думал». Буша увольняют, он нигде не работает, живет с очередной любимой женщиной; у них поселяется и герой. На одну из редакционных вечеринок приглашают и Буша — как внештатного автора. В конце вечера, когда все изрядно напились, Буш устраивает скандал, ударив ногой по подносу с кофе, который вносит жена главного редактора. Герою он объясняет свой поступок так: после лжи, которая была во всех речах и в поведении всех присутствующих, по-другому он не мог поступить. Шестой год живя в Америке, герой с грустью вспоминает о диссиденте и красавце, возмутителе спокойствия, поэте и герое Буше, и не знает, какова его судьба.
«Таллин прощается с Хубертом Ильвесом». Читая некролог о директоре телестудии, Герое Социалистического Труда, автор некролога вспоминает лицемерие всех, кто присутствовал на похоронах такого же лицемерного карьериста. Печальный юмор этих воспоминаний состоит в том, что из-за путаницы, произошедшей в морге, на привилегированном кладбище хоронили «обычного» покойника. Но торжественную церемонию довели до конца, рассчитывая ночью поменять гробы…
«Память — грозное оружие!» — репортаж с республиканского слета бывших узников фашистских концлагерей. Герой командирован на слет вместе с тем же фотокором Жбанковым. На банкете, после нескольких принятых рюмок, ветераны разговариваются, и оказывается, что не все сидели только в Дахау. Мелькают «родные» названия: Мордовия, Казахстан… Выясняются острые национальные вопросы — кто еврей, кто чухонец, которым «Адольф — их лучший друг». Разряжает обстановку пьяный Жбанков, водружающий на подоконник корзину с цветами. «Шикарный букет», — говорит герой. «Это не букет, — скорбно ответил Жбанков, — это венок!..»
«На этом трагическом слове я прощаюсь с журналистикой. Хватит!» — заключает автор.

С. Д. Довлатов
Иностранка
повесть
Маруся Татарович — девушка из хорошей советской семьи. Ее родители не были карьеристами: исторические обстоятельства советской системы, уничтожающей лучших людей, заставляли отца с матерью занимать вакантные места, и к концу трудовой биографии они прочно утвердились в номенклатуре среднего звена. У Маруси было все для счастья: рояль, цветной телевизор, дежурный милиционер у дома. Окончив школу, она легко поступила в Институт культуры, была окружена соответствующими рангу поклонниками. Расплата за семейное счастье обрушилась на Татаровичей в лице еврея с безнадежной фамилией Цехновицер, которого Маруся полюбила на девятнадцатом году. Родители не считали себя антисемитами, но представить внуков евреями для них было катастрофой. Неимоверными усилиями они «переключили» Марусю на сына генерала Федорова, которого она тоже полюбила. Молодые люди поженились. Дима Федоров был педантом и быстро надоел Марусе. От скуки она стала ему изменять неразборчиво и беспрерывно. Вскоре молодые супруги развелись. Маруся опять стала невестой, девушкой из хорошей семьи. Она полюбила знаменитого дирижера Каждана, затем — известного художника Шарафутдинова, затем — прославленного иллюзиониста Мабиса. Все они покинули Марусю. При этом лишь один Каждан ушел из её жизни деликатно: отравившись миногами, он умер. Поведение остальных чем-то напоминало бегство.
К этому времени Марусе было под тридцать. Она забеспокоилась, понимая, что еще два-три года, и родить будет поздно. И тут на её горизонте возник знаменитый эстрадный певец Бронислав Разудалов. У Маруси с ним получилось что-то вроде гражданского брака. Они вместе ездили на гастроли, Маруся вела концерты. Вскоре она не без оснований стала подозревать Разудалова в супружеских изменах. Друзья шутили: «Разудалов хочет трахнуть все, что движется…» Маруся впервые задумалась: как жить дальше? Удовольствия порождали чувство вины. Бескорыстные поступки вознаграждались унижениями. Получался замкнутый круг… Через год у нее родился мальчик. Разудалов ездил на гастроли. Уличенный в очередных изменах, он оправдывался: «Пойми, мне как артисту нужен импульс…» Маруся испытывала полное отчаяние.
Тут как в сказке появился Цехновицер. Он дал Марусе почитать «Архипелаг ГУЛАГ» и настоятельно советовал ей эмигрировать. В это время уезжали многие. Пережив драматическое объяснение с родителями, Маруся фиктивно зарегистрировалась с Цехновицером. Через три месяца они были в Австрии. «Супруг» уехал в Израиль. Дождавшись американской визы, уже через шестнадцать дней Маруся приземлилась в аэропорту имени Кеннеди. Сын Левушка, увидев двух негров, громко расплакался. Марусю встречали двоюродная сестра по матери Лора с мужем Фимой. У них и поселилась Маруся с сыном. Левушку определили в детский сад. Сначала он плакал. Через неделю заговорил по-английски. Маруся стала искать работу. Ее внимание привлекла реклама ювелирных курсов — знание английского языка при этом не было необходимым условием. А в драгоценностях Маруся разбиралась.
Нью-Йорк внушал Марусе чувство раздражения и страха. Ей хотелось быть уверенной в себе, как все окружающие, но она лишь завидовала детям, нищим, полисменам — всем, кто ощущал себя частью этого города. Занятия на курсах прекратились скоро. Маруся уронила в сапог раскаленную латунную пластинку, после чего уехала домой и решила не возвращаться. Так она стала домохозяйкой.
К ней потянулась, как мухи на мед, мужская часть русской колонии. Диссидент Караваев предложил ей сообща вести борьбу за новую Россию. Маруся отказалась. Издатель Друкер тоже призывал к борьбе — за единство эмиграции. Таксисты действовали более решительно: Перцович призывал закатиться куда-нибудь во Флориду. Еселевский предлагал более дешевый вариант — мотель. Будучи отвергнутыми, они, кажется, вздыхали с облегчением… Лучше всех повел себя Баранов. Зарабатывая семьсот долларов в неделю, сто из них он предложил отдавать Марусе просто так. Ему это было даже выгодно: пил бы меньше. Религиозный деятель Лемкус подарил Библию на английском языке, пообещав хорошие условия в загробной жизни. Хозяин магазина «Днепр» Зяма Пивоваров шептал: «Получены свежие булочки. Точная копия — вы…» Дни тянулись одинаковые, как мешки из супермаркета…
К этому времени автор повествования уже знаком с Марусей Татарович. Она живет в снимаемой пустой квартире, почти всегда без денег. Однажды Маруся звонит автору и просит приехать, жалуясь на то, что её избил новый поклонник, латиноамериканец Рафаэль, Рафа. Они стали жить странной и бурной жизнью: Рафа то исчезал, то появлялся, откуда он брал деньги, было непонятно, потому что все его проекты обогащения были чистым бредом. Маруся считала его полным дураком, у которого на уме только койка. Правда, он обожал её сына Левушку, с которым чувствовал себя на равных. Когда автор приезжает к Марусе, то застает её с синяком под глазом и разбитой губой. Маруся жалуется на своего ухажера, вскоре приходит и он сам — весь перебинтованный, пропахший йодом. Обстоятельства ссоры вырисовываются наглядно: Рафа защищался от разгневанной Маруси. Вызывая если не жалость, то сочувствие, он смотрит на Марусю преданными и блестящими глазами. За бутылкой рома, в присутствии автора и по его совету, Маруся и Рафа мирятся.
Женщины русской колонии считали, что в Марусином положении необходимо быть жалкой и зависимой. Тогда они сочувствовали бы ей. Но Маруся не производила впечатления забитой и униженной: она водила джип, тратила деньги в дорогих магазинах. На день рождения Рафа подарил ей попугая Лоло, который питался сардинами. «Сто раз я убеждался — бедность качество врожденное. Богатство тоже. Каждый выбирает то, что ему больше нравится. И как ни странно, многие предпочитают бедность. Рафаэль и Муся предпочли богатство».
Маруся вдруг решает вернуться на Родину. Но общение с чиновниками советского консульства охлаждает её пыл. Окончательную точку в её сомнениях ставит приезд в Америку на гастроли Разудалова: этот посланник прошлого боится встретиться с собственным сыном.
На свадьбу Маруси и Рафы собирается вся русская колония. Многочисленные родственники Рафы прикатывают на лимузине, предназначенном жениху в подарок. Невесте приготовлена серенада. В числе подарков — белая двуспальная кровать и сварная чугунная клетка для Лоло. Все ждут живого автора, при виде которого Маруся плачет…


Ф. А. Искандер
Кролики и удавы
сказка
События происходят много лет назад в одной далекой африканской стране. Удавы без устали охотятся за кроликами, а обезьяны и слоны соблюдают нейтралитет. Несмотря на то что кролики обычно очень быстро бегают, при виде удавов они словно впадают в оцепенение. Удавы не душат кроликов, а как бы гипнотизируют их. Однажды юный удав задается вопросом, почему кролики поддаются гипнозу и не было ли попыток бунта. Тогда другой удав, по прозвищу Косой, хотя на самом деле он одноглазый, решается поведать своему юному другу «удивительный рассказ» о том, как проглоченный им кролик внезапно взбунтовался прямо у него в животе, не желал там «утрамбовываться» и «не переставая вопил» из его живота всякие дерзости. Тогда глава удавов, Великий Питон, приказал выволочь Косого на Слоновую Тропу, чтобы слоны «утрамбовали» дерзкого кролика, пусть ценой здоровья и даже жизни «жалкого» удава Косого, ибо «удав, из которого говорит кролик, это не тот удав, который нам нужен». Очнулся несчастный удав лишь через две недели и уже одноглазым, не помня, в какой момент из него выпрыгнул дерзкий кролик.
Рассказ Косого подслушивает кролик, которого зовут Задумавшийся, так как он много думает; в результате длительных размышлений этот кролик приходит к смелому выводу и сообщает о нем потрясенным удавам: «Ваш гипноз — это наш страх. Наш страх — это ваш гипноз». С этой сенсационной новостью Задумавшийся спешит к другим кроликам. Рядовые кролики в восторге от идеи Задумавшегося, однако Королю кроликов такое свободомыслие не по вкусу, и он напоминает кроликам, что хотя «то, что удавы глотают кроликов, — это ужасная несправедливость», но за эту несправедливость кролики пользуются «маленькой, но очаровательной несправедливостью, присваивая нежнейшие продукты питания, выращенные туземцами»: горох, капусту, фасоль, и если отменить одну несправедливость, то необходимо отменить и вторую. Опасаясь разрушительной силы всего нового, а также утраты собственного авторитета в глазах рядовых кроликов, Король призывает кроликов довольствоваться тем, что есть, а также вечной мечтой о выращивании в ближайшем будущем вкуснейшей Цветной Капусты. Кролики чувствуют, что «в словах Задумавшегося есть какая-то соблазнительная, но чересчур тревожащая истина, а в словах Короля какая-то скучная, но зато успокаивающая правда».
Хотя для рядовых кроликов Задумавшийся все же герой, Король решает тайком устранить его и подговаривает бывшего друга Задумавшегося, а ныне — приближенного ко двору и фаворита Королевы по имени Находчивый предать опального кролика, для чего необходимо громко прочитать в джунглях сочиненный придворным Поэтом стих с «намеками» на местонахождение Задумавшегося. Находчивый соглашается, и однажды, когда Задумавшийся и его ученик по имени Возжаждавший размышляют, как устранить несправедливость из жизни кроликов, к ним подползает юный удав. Задумавшийся решает поставить эксперимент, чтобы доказать свою теорию об отсутствии гипноза, и действительно не поддается гипнозу удава. Раздосадованный удав рассказывает кроликам о предательстве Находчивого, и Задумавшийся, искренне любящий родных кроликов и глубоко потрясенный подлостью Короля и самим фактом предательства, решает принести себя в жертву удаву, чей инстинкт оказывается сильнее доводов рассудка, и юный удав, к ужасу Возжаждавшего, помимо собственной воли съедает «Великого кролика». Задумавшийся перед смертью завещает верному ученику свое дело, как бы передавая ему «весь свой опыт изучения удавов».
Тем временем юный удав, осмелев после поедания Задумавшегося, приходит к выводу, что удавами должен править удав, а не какой-то там инородный Питон. За такую дерзкую мысль удава ссылают в пустыню. Туда же за предательство ссылают и Находчивого (Король открестился от него). Изголодавшийся удав вскоре придумывает новый метод поедания кроликов — через удушение — и глотает изумленного Находчивого. Удав логично решает, что с «таким гениальным открытием» Великий Питон его «примет с распростертыми объятиями», и возвращается из пустыни.
А между тем в джунглях Возжаждавший ведет огромную воспитательную работу среди кроликов — он даже готов в качестве эксперимента пробежать по телу удава в обе стороны. В эпоху умирания гипноза царит полный хаос: «открытие Задумавшегося относительно гипноза да еще обещания Возжаждавшего пробежать по удаву туда и обратно во многом расшатали сложившиеся веками отношения между кроликами и удавами». В результате появляется «огромное количество анархически настроенных кроликов, слабо или совсем не поддающихся гипнозу». Но королевство кроликов не разваливается именно благодаря возвращению Удава-Пустынника. Он предлагает метод удушения кроликов и демонстрирует его на Косом, так что тот испускает дух. После этого Великий Питон прощает Пустынника и назначает его своим заместителем. Вскоре Пустынник сообщает удавам о смерти Великого Питона и о том, что, согласно воле покойного, он, Великий Пустынник, будет управлять ими. Пока удавы совершенствуются в технике удушения, прославляя нового правителя, Король кроликов догадывается и оповещает кроликов о надвигающейся опасности, предлагая старый, но единственный метод борьбы с удавами — «размножаться с опережением».
Интересно, что и кролики, и удавы сожалеют о старых добрых временах. Деятельность Возжаждавшего теперь, когда удавы душат всех подряд, имеет «все меньше и меньше успеха». Кролики идеализируют эпоху гипноза, потому что тогда умирающий не чувствовал боли и не сопротивлялся, удавы — потому что было легче ловить кроликов, но и те и другие сходятся на том, что раньше был порядок.
Р. S. Позднее автору суждено было убедиться в научной правоте наблюдений Задумавшегося: один знакомый змеевед «с презрительной уверенностью» сообщил ему, «что никакого гипноза нет, что все это легенды, дошедшие до нас от первобытных дикарей».


Ю. П. Казаков
Во сне ты горько плакал
рассказ
Был один из летних теплых дней…
Мы с товарищем стояли и разговаривали возле нашего дома. Ты же прохаживался возле нас, среди цветов и травы, которые были тебе по плечи, и с лица твоего не сходила неопределенная полуулыбка, которую я тщетно пытался разгадать. Набегавшись по кустам, подходил к нам иногда спаниель Чиф. Но ты почему-то боялся Чифа, обнимал меня за колено, закидывал назад голову, заглядывал мне в лицо синими, отражающими небо глазами и произносил радостно, нежно, будто вернувшись издалека: «Папа!» И я испытывал какое-то даже болезненное наслаждение от прикосновения твоих маленьких рук. Случайные твои объятия трогали, наверно, и моего товарища, потому что он замолкал вдруг, ершил пушистые твои волосы и долго задумчиво созерцал тебя…
Друг застрелился поздней осенью, когда выпал первый снег… Как, когда вошла в него эта страшная неотступная мысль? Давно, наверно… Ведь говорил же он мне не раз, какие приступы тоски испытывает ранней весной или поздней осенью. И были у него страшные ночи, когда мерещилось, что кто-то лезет в дом к нему, ходит кто-то рядом. «Ради Бога, дай мне патронов», — просил он меня. И я отсчитал ему шесть патронов: «Этого хватит, чтобы отстреляться». И каким работником он был — всегда бодрым, деятельным. А мне говорил: «Что ты распускаешься! Бери пример с меня. Я до глубокой осени купаюсь в Яснушке! Что ты все лежишь или сидишь! Встань, займись гимнастикой». Последний раз я видел его в середине октября. Мы говорили о буддизме почему-то, о том, что пора браться за большие романы, что только в ежедневной работе и есть единственная радость. А когда прощались, он вдруг заплакал: «Когда я был такой, как Алеша, небо мне казалось таким большим, таким синим. Почему оно поблекло?.. И чем больше я здесь живу, тем сильнее тянет меня сюда, в Абрамцево. Ведь это грешно — так предаваться одному месту?» А три недели спустя в Гагре — будто гром с неба грянул! И пропало для меня море, пропали ночные юры… Когда же все это случилось? Вечером? Ночью? Я знаю, что на дачу он добрался поздним вечером. Что он делал? Прежде всего переоделся и по привычке повесил в шкаф свой городской костюм. Потом принес дров для печки. Ел яблоки. Потом он вдруг раздумал топить печь и лег. Вот тут-то, скорее всего, и пришло это! О чем вспоминал он на прощание? Плакал ли? Потом он вымылся и надел чистое исподнее… Ружье висело на стене. Он снял его, почувствовав холодную тяжесть, стылость стальных стволов. В один из стволов легко вошел патрон. Мой патрон. Сел на стул, снял с ноги башмак, вложил в рот стволы… Нет, не слабость — великая жизненная сила и твердость нужна для того, чтобы оборвать свою жизнь так, как он оборвал!
Но почему, почему? — ищу я и не нахожу ответа. Неужели на каждом из нас стоит неведомая нам печать, определяя весь ход нашей дальнейшей жизни?.. Душа моя бродит в потемках…
А тогда все мы еще были живы, и был один из тех летних дней, о которых мы вспоминаем через годы и которые кажутся нам бесконечными. Простившись со мной и еще раз взъерошив твои волосы, друг мой пошел к себе домой. А мы с тобой взяли большое яблоко и отправились в поход. О, какой долгий путь нам предстоял — почти километр! — и сколько разнообразнейшей жизни ожидало нас на этом пути: катила мимо свои воды маленькая речка Яснушка; на ветках прыгала белка; Чиф лаял, найдя ежа, и мы рассматривали ежа, и ты хотел тронуть его рукой, но ежик фукнул, и ты, потеряв равновесие, сел на мох; потом мы вышли к ротонде, и ты сказал: «Какая ба-ашня!»; у речки ты лег грудью на корень и принялся смотреть в воду: «П авают ыбки», — сообщил ты мне через минуту; на плечо к тебе сел комар: «Комаик кусил…» — сказал ты, морщась. Я вспомнил о яблоке, достал его из кармана, до блеска вытер о траву и дал тебе. Ты взял обеими руками и сразу откусил, и след от укуса был подобен беличьему… Нет, благословен, прекрасен был наш мир.
Наступало время твоего дневного сна, и мы пошли домой. Пока я раздевал тебя и натягивал пижамку, ты успел вспомнить обо всем, что видел в этот день. В конце разговора ты два раза откровенно зевнул. По-моему, ты успел уснуть прежде, чем я вышел из комнаты. Я же сел у окна и задумался: вспомнишь ли ты когда этот бесконечный день и наше путешествие? Неужели все, что пережили мы с тобой, куда-то безвозвратно канет? И услышал, как ты заплакал. Я пошел к тебе, думая, что ты проснулся и тебе что-то нужно. Но ты спал, подобрав коленки. Слезы твои текли так обильно, что подушка быстро намокала. Ты всхлипывал с горькой, с отчаянной безнадежностью. Будто оплакивал что-то, навсегда ушедшее. Что же ты успел узнать в жизни, чтобы так горько плакать во сне? Или у нас уже в младенчестве скорбит душа, страшась предстоящих страданий? «Сынок, проснись, милый», — теребил я тебя за руку. Ты проснулся, быстро сел и протянул ко мне руки. Постепенно ты стал успокаиваться. Умыв тебя и посадив за стол, я вдруг понял, что с тобой что-то произошло, — ты смотрел на меня серьезно, пристально и молчал! И я почувствовал, как уходишь ты от меня. Душа твоя, слитая до сих пор с моей, теперь далеко и с каждым годом будет все дальше. Она смотрела на меня с состраданием, она прощалась со мной навеки. А было тебе в то лето полтора года.


В. В. Набоков
Лолита
роман
Гумберт Гумберт, тридцатисемилетний преподаватель французской литературы, испытывает неординарную склонность к нимфеткам, как он их называет — очаровательным девочкам от девяти до четырнадцати лет. Давнее детское впечатление наделило его этим подпольным переживанием, отвращающим от более зрелых женщин. Действие романа-исповеди, который пишет находящийся в тюрьме Гумберт, относится к лету 1947 г. За десять лет до этого, живя в Париже, он был женат, но жена оставила его ради русского полковника-эмигранта как раз накануне его переезда в Америку. Там он принимал участие в разных исследовательских проектах, лечился в санаториях от меланхолии и вот, выйдя из очередной больницы, снял в Новой Англии дом у госпожи Шарлотты Гейз. У хозяйки двенадцатилетняя дочь Долорес — Ло, Лолита, напоминание о той детской влюбленности Гумберта, потеря которой придала его эротической жизни столь странное направление.
Страницам своего дневника Гумберт поверяет о томительном вожделении к Лолите, как вдруг узнает, что мать отправляет её в летний лагерь. Шарлотта пишет Гумберту письмо, в котором объясняется в любви к нему, и требует покинуть её дом, если он не разделяет её чувств. После некоторого колебания Гумберт принимает предложение «перейти из жильцов в сожители». Он женится на матери, ни на минуту не забывая о своей будущей падчерице. Отныне ничто не помешает ему общаться с ней. Однако выясняется, что после свадьбы Шарлотта намерена отправить Лолиту сразу после лагеря в пансионат, а затем в Бердслей Колледж. Планы Гумберта рушатся. Во время плавания в лесном озере он хочет утопить жену, но не может, к своему сожалению, узнав, что за ними с холма следит соседка-художница.
Госпожа Гумберт находит и прочитывает дневник мужа и полностью его разоблачает. Пока он лихорадочно обдумывает, как выйти из этой ситуации, Шарлотта в слезах и гневе бежит через дорогу отправлять письма и попадает под машину.
После похорон жены герой отправляется за Лолитой. Разжившись одеждой для нее и снотворными пилюлями, он сообщает девочке, что её мама в больнице накануне серьезной операции. Забрав Лолиту из лагеря, Гумберт собирается возить её по городкам и гостиницам. В первой из них он дает девочке снотворное, чтобы насладиться ею спящей. Снотворное не действует. Ночь мучений и нерешительности Гумберта, не смеющего прикоснуться к Лолите, заканчивается её утренним пробуждением и соблазнением отчима. К изумлению последнего, Лолита не была девственницей, совсем недавно она «попробовала» это с сыном начальницы лагеря.
Близость изменяет отношения Гумберта с Лолитой. Он открывает, что её мать мертва. С августа 1947 г. в течение года они путешествуют по Соединенным Штатам, меняют мотели, коттеджи, гостиницы. Герой старается подкупить девочку обещанием разных удовольствий и угрожает бедами, если она выдаст его полиции как совратителя. Перед путешественниками открываются многочисленные достопримечательности страны. Параллельно между ними случаются скандалы. Райское блаженство никак не сулит стабильного счастья. Вместо того чтобы затаиться где-нибудь в Мексике, Гумберт поворачивает на восток Америки, чтобы отдать девочку в частную гимназию в Бердслее.
1 января 1949 г. Лолите исполняется четырнадцать лет. Она уже отчасти теряет прелесть своей нимфеточности, лексикон её делается невыносим. Она требует денег от Гумберта за удовлетворение его особых желаний, прячет их, чтобы, как он подозревает, накопив, сбежать от него. В гимназии она начинает увлекаться театром. Репетируя пьесу «Зачарованные охотники», Лолита влюбляется в её автора, знаменитого драматурга Куильти, неотразимого героя рекламы папирос «Дромадер». Чуя неладное, Гумберт за неделю до премьеры увозит Лолиту из Бердслея.
Летом 1949 г. начинается их последнее путешествие по Америке. Гумберта преследуют подозрения о её измене. Он боится оставлять Лолиту надолго одну, проверяет пистолет, который хранит в шкатулке. Однажды он замечает следующий за ними в отдалении вишневый «кадиллак». Кто-то нанял детектива следить за ними? Что это за лысоватый господин, с которым торопливо разговаривала Лолита? По дороге в городках они смотрят пьесы неких Куильти и Дамор-Блок. Их преследователь меняет автомобили, в вишневом «кадиллаке» обнаруживаются какие-то актеры. Лолита обманывает Гумберта, водит его за нос вместе с сообщниками своего нового любовника.
В Эльфинстоне Лолиту с высокой температурой забирают в больницу. Впервые за два года Гумберт разлучен со своей любимой. Потом заболевает и он сам. Когда же он собирается забрать Лолиту из госпиталя, оказывается, что накануне она уехала со своим «дядюшкой».
Три с половиной года проходят без Лолиты. Сначала Гумберт едет в обратном порядке по следам своего изобретательного соперника. Осенью он достигает Бердслея. До следующей весны лечится в санатории. Потом встречает тридцатилетнюю наивную, нежную и безмозглую подружку по имени Рита, спасшую Гумберта от смирительной рубашки. Год преподает в Кантрипском университете. И наконец оказывается в Нью-Йорке, где 22 сентября 1952 г. получает письмо от Лолиты. Она сообщает, что замужем, что ждет ребенка, что ей нужны деньги расплатиться с долгами, поскольку муж собирается вместе с ней на Аляску, где ему обещана работа.
Гумберт определяет по штемпелю адрес и, прихватив с собой пистолет, отправляется в дорогу. Он находит Лолиту в какой-то лачуге на окраине маленького городка замужем за почти глухим ветераном войны. Она наконец открывает имя своего соблазнителя: это драматург Клэр Куильти, весьма неравнодушный к маленьким детям развратный гений. Она думала, что Гумберт давно уже вычислил его. Куильти, украв её, повез на ранчо, уверяя, что осенью повезет в Голливуд пробоваться на роль. Но там Лолиту ждали пьянство, наркотики, извращения и групповые оргии, в которых она отказалась принимать участие, и была вышвырнута на улицу. Далее тяжелые заработки на жизнь, встреча с будущим мужем…
Гумберт предлагает Лолите немедленно уехать с ним от мужа, она отказывается, она никогда его не любила. Гумберт дает ей с мужем четыре тысячи долларов — доход от дома её покойной матери — и отправляется на охоту за драматургом Клэром Куильти.
Он испытывает что-то вроде раскаяния перед Лолитой. Гумберт возвращается в Рамздэль, где жил с Шарлоттой, переводит все имущество на имя Лолиты, узнает адрес Куильти.
Затем он едет в Паркингтон, где проникает в родовой замок своего врага, и с пистолетом в руках ведет с ним полубезумный разговор, чередующийся выстрелами, осечками, промахами, попаданиями, борьбой двух немолодых и полуразрушенных тел, чтением приговора в стихах. Все это делает сцену мщения фарсовой. Куильти бежит от своего палача, тот стреляет в него… В доме появляются очередные гости Куильти, пьют его водку, не обращая внимания на заявление Гумберта, что он убил их хозяина. В это время на верхнюю площадку выползает окровавленный Куильти, там он «тяжело возился, хлопая плавниками; но вскоре… застыл — теперь уже навсегда». Гумберт уезжает из замка.
«Лолиту», свою исповедь, он пишет сначала в лечебнице для психопатов, где проверяют его рассудок, а потом в тюрьме в ожидании суда, не дождавшись которого умирает от сердечного приступа. Вскоре после Гумберта умрет и Лолита, разрешившись на Рождество 1952 г. мертвой девочкой.


В. В. Набоков
Камера Обскура
роман
1928 г. Берлин. Бруно Кречмар, преуспевающий знаток живописи, имеющий жену Аннелизу и дочку Ирму и ни разу не изменявший жене в течение девяти лет брачной жизни, неожиданно увлекается незнакомкой, которую встречает в кинематографе. Она работает там капельдинершей.
Ее зовут Магда Петере. Ей шестнадцать лет. Она из бедной семьи. Отец стар и болен. Мать всегда готова ударить её или её брата Отто, который старше Магды на три года. Родители корили Магду дармоедством, и она сбегает от них к пожилой даме Левандовской и начинает работать натурщицей. Сама Магда мечтает стать актрисой. Левандовская пытается свести её с господином, назвавшимся Мюллером. Поскольку они понравились друг другу, Магда охотно убегает с ним. Через месяц он уезжает. Магда сначала хотела покончить с собой, но потом раздумала. После Мюллера были какие-то японцы, толстый старик «с носом, как гнилая груша». Магда пытается найти себе место актрисы, но безуспешно. Квартирная хозяйка устраивает её работать в кинотеатр. Здесь её и встречает Кречмар.
Кречмар дивится своей двойственности: с одной стороны, «ненарушимая нежность» к жене, с другой — желание встречи с, Магдой. Магда узнает его телефонный номер и звонит ему.
Кречмар в ужасе: трубку могла взять его жена. Он запрещает Магде звонить и предлагает ей снять квартиру. Магда, естественно, предложение принимает, но звонить не перестает. Однажды телефонистка случайно соединяет Макса — брата Аннелизы — с Кречмаром во время его разговора с Магдой. Макс ошеломлен и тут же вешает трубку. Он ничего не говорит Аннелизе.
Кречмар отправляется посмотреть квартиру, которую сняла Магда. Магда признается ему, что послала ему письмо с новым адресом. Это удар для Кречмара: его жена всегда читает его письма, потому что у них не было тайн друг от друга. Он понимает, что все кончено. Письмо уже нельзя вернуть. Он остается у Магды.
Аннелиза вместе с дочерью переезжает к Максу. Кречмар не может позволить себе пустить Магду в свою квартиру, поэтому поселяется у нее. Он пишет жене письмо о том, что по-прежнему её любит, просит прощения. Однако о его возвращении речь не идет. Магда привлекает его, несмотря на вульгарность и грубое бесстыдство. Когда появляется брат Магды и требует у нее денег за молчание о её прошлом, Кречмар выгоняет его. Кречмар ревнует Магду. Магда же так боится утратить все то, что дал ей Кречмар, что не смеет заводить какие-либо романы. Вскоре Магда начинает требовать их переезда на старую квартиру Кречмара. Тот поддается на уговоры. Они переезжают. Кречмар обещает получить развод и жениться на Магде, но на самом деле мысль о разводе приводит его в ужас. Магда уговаривает его финансировать фильм, где ей обещают вторую женскую роль. Фильм пошлый, глупый, но Кречмар дает на него деньги: лишь бы Магда была счастлива.
На одном из обедов у Кречмара появляется американец Горн, в котором Магда узнает человека, из-за которого она хотела расстаться с жизнью. Горн тоже узнает Магду. Страсть вновь разгорается. Однако все держится в секрете, поскольку терять деньги Кречмара Магда не собирается, а Горн имеет лишь неоплаченные долги.
Роберт Горн — карикатурист, он считает, что самое смешное в жизни основано на тонкой жестокости.
Дочь Кречмара Ирма неожиданно заболевает гриппом. Выздороветь она уже не может. Кречмар, за которым съездил Макс, застает последний день жизни дочери. Она умирает при нем. Пока он прощается с дочерью, Магда изменяет ему с Горном.
Фильм, в котором снималась Магда, наконец закончен. На просмотре над Магдой смеется весь зал: так отвратительно она играет. Дома Магда закатывает истерику и в очередной раз требует, чтобы Кречмар женился на ней. Тот обещает, но развод для него немыслим. Магда и Горн встречаются почти каждый день, сняв для этих встреч квартиру.
Кречмар и Магда едут в путешествие по Европе. Вместо шофера с ними едет Горн. Во Франции они останавливаются в отеле в соседних комнатах, соединенных общей ванной. Магда, делая вид, что моется, получает возможность свиданий с Горном.
Так проходят две недели. Возвращаясь с одной из прогулок дачным поездом, они попадают в разные вагоны. В вагон к Магде и Горну садится друг Кречмара — писатель Зегелькранц. Собирая материал для нового романа, он записывает разговор Магды и Горна и помещает почти дословно в свой роман. Через несколько дней у горного ручья Зегелькранц читает этот роман Кречмару, поскольку не знает, что эта пара знакома ему.
Кречмар кидается в гостиницу: он хочет убить Магду. Но та клянется ему, что Горна не интересуют женщины. Кречмар ей верит, но требует немедленно уехать отсюда. Он сам ведет машину по извилистой горной дороге. Поскольку глаза его застилают слезы, он не может справиться с управлением. Они попадают в аварию. Магда отделывается легким испугом, а Кречмар слепнет.
Магда и Горн собираются жить вместе, пользуясь слепотой Кречмара, чьи деньги терять они не намерены. Магда снимает двухэтажную дачу под Берлином. Туда они и въезжают втроем. Магда и Горн встречаются с большой осторожностью, но затем Горн начинает вести себя открыто, хотя и не разговаривает. Кречмар постоянно слышит шаги, покашливания и другие звуки. Магда подсовывает ему на подпись чеки на огромные сумы, которые тот, естественно, подписывает, не задавая никаких вопросов. Магда же мечтает стать женой Кречмара, так как тогда к ней в руки попала бы половина его состояния.
Тем временем Зегелькранц узнает о трагедии, которая случилась с Кречмаром. Он едет в Берлин и рассказывает обо всем Максу, до которого уже начали доходить кое-какие слухи. Зегелькранц выражает опасение, что Кречмар, ныне совершенно беспомощный, находится полностью в руках Горна и Магды. Макс решает проведать Кречмара.
Он приезжает вовремя: Горн как раз придумал новое издевательство над Кречмаром. Макс бьет Горна тростью и собирается забрать Кречмара с собой в Берлин. Кречмар сначала умоляет его сказать, что никакого Горна не было, а потом хочет видеть Магду. Макс увозит его до её прихода.
Аннелиза с радостью устраивает Кречмара в бывшей комнате Ирмы. Она все так же любит его. На четвертый день его пребывания в Берлине он остается дома один. Неожиданно ему звонит сторож из его дома и говорит, что Магда приехала забрать вещи и он не знает, впускать ли её. Кречмару чудом удается добраться до своей квартиры. Он достает браунинг и хочет убить Магду, двигаясь на ощупь. В короткой борьбе Магда стреляет в Кречмара и убивает его.


Б. Ш. Окуджава
Будь здоров, школяр
повесть
Моздокская степь. Идет война с фашистской Германией. Я — боец, минометчик. Я москвич, мне восемнадцать лет, второй день на передовой, месяц в армии, и я несу командиру полка «очень ответственный пакет». Где этот командир — неизвестно. А за невыполнение задания — расстрел. Кто-то силой втягивает меня в окоп. Объясняют, что ещё сто метров, и я нарвался бы на немцев. Меня ведут к командиру полка. Тот читает донесение и просит передать моему командиру, чтобы таких донесений больше не посылал. Я мечтаю о том, как приду обратно, доложу, напьюсь горячего чая, посплю — теперь я имею право. В нашей батарее Сашка Золотарев, Коля Гринченко, Шонгин, Гургенидзе, командир взвода — младший лейтенант Карпов. Коля Гринченко, что бы он ни говорил, всегда «очаровательно улыбается». Шонгин — «старый солдат». Он служил во всех армиях во время всех войн, но ни разу не выстрелил, ни разу не был ранен. Гургенидзе — маленький грузин, на носу у него всегда висит капелька.
Вчера приходила Нина, «красивая связистка», она замужем. «А ты совсем ещё малявка, да?» — спросила она. Придет Нина сегодня или нет?
Вот она идет, рядом с ней незнакомая связистка. Вдруг вдалеке разрыв. Кто-то кричит: «Ложись!» Я вижу, как Нина медленно поднимается с грязного снега, а та, другая, лежит неподвижно. Это первая наша мина.
Я потерял ложку. Есть нечем. Ем кашу щепочкой. Мы идем в наступление. «Что у тебя с ладонями?» — спрашивает старшина. Ладони мои в крови. «Это от минных ящиков», — говорит Шонгин.
Сашка Золотарев делает на палочке зарубки в память о погибших. На палочке уже не осталось места.
Я прихожу в штаб полка. «А у тебя глаза хорошие», — говорит Нина. От этих слов у меня за спиной вырастают крылья. «Я завтра приду к тебе, ты мне нравишься», — говорю я. «Я многим нравлюсь, здесь ведь кроме меня никого и нет», — отвечает она. Мы меняем позиции. Едем на машине. Идет снег пополам с дождем. Ночь. Мы останавливаемся и стучимся в какую-то хату. Хозяйка впускает нас. Все укладываются спать. «Лезь ко мне», — говорит с печки тихий голос. «А ты кто?» — спрашиваю я. «Мария Андреевна». Ей шестнадцать лет. «Иди поближе», — говорит она. «Пусти», — говорю я. «Ну и вались на свою лавку, раз тебе с людьми тесно». На следующий день ранит Гургенизде. «Попадалься», — грустно улыбается он. Его отправляют в госпиталь.
Сашка Золотарев узнает, что неподалеку стоят машины с крупой, а водители спят. «Неплохо бы нам по котелку отсыпать», — говорит Сашка и уходит к машинам

Без заголовка

Суббота, 29 Января 2011 г. 22:56 + в цитатник
Breakfast at Tiffany's
Truman Capote, 1958
I am always drawn back to places where I have lived, the houses and their neighborhoods. For instance, there is a brownstone in the East Seventies where, during the early years of the war, I had my first New York apartment. It was one room crowded with attic furniture, a sofa and fat chairs upholstered in that itchy, particular red velvet that one associates with hot days on a tram. The walls were stucco, and a color rather like tobacco-spit. Everywhere, in the bathroom too, there were prints of Roman ruins freckled brown with age. The single window looked out on a fire escape. Even so, my spirits heightened whenever I felt in my pocket the key to this apartment; with all its gloom, it still was a place of my own, the first, and my books were there, and jars of pencils to sharpen, everything I needed, so I felt, to become the writer I wanted to be.
It never occurred to me in those days to write about Holly Golightly, and probably it would not now except for a conversation I had with Joe Bell that set the whole memory of her in motion again.
Holly Golightly had been a tenant in the old brownstone; she'd occupied the apartment below mine. As for Joe Bell, he ran a bar around the corner on Lexington Avenue; he still does. Both Holly and I used to go there six, seven times a day, not for a drink, not always, but to make telephone calls: during the war a private telephone was hard to come by. Moreover, Joe Bell was good about taking messages, which in Holly's case was no small favor, for she had a tremendous many.
Of course this was a long time ago, and until last week I hadn't seen Joe Bell in several years. Off and on we'd kept in touch, and occasionally I'd stopped by his bar when passing through the neighborhood; but actually we'd never been strong friends except in as much as we were both friends of Holly Golightly. Joe Bell hasn't an easy nature, he admits it himself, he says it's because he's a bachelor and has a sour stomach. Anyone who knows him will tell you he's a hard man to talk to. Impossible if you don't share his fixations, of which Holly is one. Some others are: ice hockey, Weimaraner dogs, Our Gal Sunday (a soap serial he has listened to for fifteen years), and Gilbert and Sullivan - he claims to be related to one or the other, I can't remember which.
And so when, late last Tuesday afternoon, the telephone rang and I heard "Joe Bell here," I knew it must be about Holly. He didn't say so, just: "Can you rattle right over here? It's important," and there was a croak of excitement in his froggy voice.
I took a taxi in a downpour of October rain, and on my way I even thought she might be there, that I would see Holly again.
But there was no one on the premises except the proprietor. Joe Bell's is a quiet place compared to most Lexington Avenue bars. It boasts neither neon nor television. Two old mirrors reflect the weather from the streets; and behind the bar, in a niche surrounded by photographs of ice-hockey stars, there is always a large bowl of fresh flowers that Joe Bell himself arranges with matronly care. That is what he was doing when I came in."Naturally," he said, rooting a gladiola deep into the bowl, "naturally I wouldn't have got you over here if it wasn't I wanted your opinion. It's peculiar. A very peculiar thing has happened."
"You heard from Holly?"
He fingered a leaf, as though uncertain of how to answer. A small man with a fine head of coarse white hair, he has a bony, sloping face better suited to someone far taller; his complexion seems permanently sunburned: now it grew even redder. "I can't say exactly heard from her. I mean, I don't know. That's why I want your opinion. Let me build you a drink. Something new. They call it a White Angel," he said, mixing one-half vodka, one-half gin, no vermouth. While I drank the result, Joe Bell stood sucking on a Tums and turning over in his mind what he had to tell me.
Then: "You recall a certain Mr. I.Y. Yunioshi? A gentleman from Japan."
"From California," I said, recalling Mr. Yunioshi perfectly. He's a photographer on one of the picture magazines, and when I knew him he lived in the studio apartment on the top floor of the brownstone.
"Don't go mixing me up. All I'm asking, you know who I mean? Okay. So last night who comes waltzing in here but this selfsame Mr. I. Y. Yunioshi. I haven't seen him, I guess it's over two years. And where do you think he's been those two years?"
"Africa."
Joe Bell stopped crunching on his Tums, his eyes narrowed. "So how did you know?"
"Read it in Winchell." Which I had, as a matter of fact.
He rang open his cash register, and produced a manila envelope. "Well, see did you read this in Winchell."
In the envelope were three photographs, more or less the same, though taken from different angles: a tall delicate Negro man wearing a calico skirt and with a shy, yet vain smile, displaying in his hands an odd wood sculpture, an elongated carving of a head, a girl's, her hair sleek and short as a young man's, her smooth wood eyes too large and tilted in the tapering face, her mouth wide, overdrawn, not unlike clown-lips. On a glance it resembled most primitive carving; and then it didn't, for here was the spit-image of Holly Golightly, at least as much of a likeness as a dark still thing could be.
"Now what do you make of that?" said Joe Bell, satisfied with my puzzlement.
"It looks like her."
"Listen, boy," and he slapped his hand on the bar, "it is her. Sure as I'm a man fit to wear britches. The little Jap knew it was her the minute he saw her."
"He saw her? In Africa?"
"Well. Just the statue there. But it comes to the same thing. Read the facts for yourself," he said, turning over one of the photographs. On the reverse was written:
Wood Carving, S Tribe, Tococul, East Anglia, Christmas Day, 1956.
He said, "Here's what the Jap says," and the story was this: On Christmas day Mr.
Yunioshi had passed with his camera through Tococul, a village in the tangles of nowhere and of no interest, merely a congregation of mud huts with monkeys in the yards and buzzards on the roofs. He'd decided to move on when he saw suddenly a Negro squatting in a doorway carving monkeys on a walking stick. Mr. Yunioshi was impressed and asked to see more of his work. Whereupon he was shown the carving of the girl's head: and felt, so he told Joe Bell, as if he were falling in a dream. But when he offered to buy it the Negro cupped his private parts in his hand (apparently a tender gesture, comparable to tapping one's heart) and said no. A pound of salt and ten dollars, a wristwatch and two pounds of salt and twenty dollars, nothing swayed him. Mr. Yunioshi was in all events determined to learn how the carving came to be made. It cost him his salt and his watch, and the incident was conveyed in African and pig-English and finger-talk. But it would seem that in the spring of that year a party of three white persons had appeared out of the brush riding horseback.
A young woman and two men. The men, both red-eyed with fever, were forced for several weeks to stay shut and shivering in an isolated hut, while the young woman, having presently taken a fancy to the wood-carver, shared the woodcarver's mat.
"I don't credit that part," Joe Bell said squeamishly. "I know she had her ways, but I don't think she'd be up to anything as much as that."
"And then?"
"Then nothing," he shrugged. "By and by she went like she come, rode away on a horse."
"Alone, or with the two men?"
Joe Bell blinked. "With the two men, I guess. Now the Jap, he asked about her up and down the country. But nobody else had ever seen her." Then it was as if he could feel my own sense of letdown transmitting itself to him, and he wanted no part of it. "One thing you got to admit, it's the only definite news in I don't know how many" - he counted on his fingers: there weren't enough - "years. All I hope, I hope she's rich. She must be rich. You got to be rich to go mucking around in Africa."
"She's probably never set foot in Africa," I said, believing it; yet I could see her there, it was somewhere she would have gone. And the carved head: I looked at the photographs again.
"You know so much, where is she?"
"Dead. Or in a crazy house. Or married. I think she's married and quieted down and maybe right in this very city."
He considered a moment. "No," he said, and shook his head. "I'll tell you why. If she was in this city I'd have seen her. You take a man that likes to walk, a man like me, a man's been walking in the streets going on ten or twelve years, and all those years he's got his eye out for one person, and nobody's ever her, don't it stand to reason she's not there? I see pieces of her all the time, a flat little bottom, any skinny girl that walks fast and straight - " He paused, as though too aware of how intently I was looking at him. "You think I'm round the bend?"
"It's just that I didn't know you'd been in love with her. Not like that."
I was sorry I'd said it; it disconcerted him. He scooped up the photographs and put them back in their envelope. I looked at my watch. I hadn't any place to go, but I thought it was better to leave.
"Hold on," he said, gripping my wrist. "Sure I loved her. But it wasn't that I wanted to touch her." And he added, without smiling: "Not that I don't think about that side of things. Even at my age, and I'll be sixty-seven January ten. It's a peculiar fact - but, the older I grow, that side of things seems to be on my mind more and more. I don't remember thinking about it so much even when I was a youngster and it's every other minute. Maybe the older you grow and the less easy it is to put thought into action, maybe that's why it gets all locked up in your head and becomes a burden. Whenever I read in the paper about an old man disgracing himself, I know it's because of this burden. But" - he poured himself a jigger of whiskey and swallowed it neat - "I'll never disgrace myself. And I swear, it never crossed my mind about Holly. You can love somebody without it being like that. You keep them a stranger, a stranger who's a friend."
Two men came into the bar, and it seemed the moment to leave. Joe Bell followed me to the door. He caught my wrist again. "Do you believe it?"
"That you didn't want to touch her?"
"I mean about Africa."
At that moment I couldn't seem to remember the story, only the image of her riding away on a horse. "Anyway, she's gone."
"Yeah," he said, opening the door. "Just gone."
Outside, the rain had stopped, there was only a mist of it in the air, so I turned the corner and walked along the street where the brownstone stands. It is a street with trees that in the summer make cool patterns on the pavement; but now the leaves were yellowed and mostly down, and the rain had made them slippery, they skidded underfoot. The brownstone is midway in the block, next to a church where a blue tower-clock tolls the hours. It has been sleeked up since my day; a smart black door has replaced the old frosted glass, and gray elegant shutters frame the windows. No one I remember still lives there except Madame Sapphia Spanella, a husky coloratura who every afternoon went roller-skating in Central Park. I know she's still there because I went up the steps and looked at the mailboxes. It was one of these mailboxes that had first made me aware of Holly Golightly.
I'd been living in the house about a week when I noticed that the mailbox belonging to Apt. 2 had a name-slot fitted with a curious card. Printed, rather Cartier-formal, it read: Miss Holiday Golightly; and, underneath, in the corner, Traveling. It nagged me like a tune: Miss Holiday Golightly, Traveling.
One night, it was long past twelve, I woke up at the sound of Mr. Yunioshi calling down the stairs. Since he lived on the top floor, his voice fell through the whole house, exasperated and stern. "Miss Golightly! I must protest!"
The voice that came back, welling up from the bottom of the stairs, was silly young and self-amused. "Oh, darling, I am sorry. I lost the goddamn key."
"You cannot go on ringing my bell. You must please, please have yourself a key made."
"But I lose them all."
"I work, I have to sleep," Mr. Yunioshi shouted. "But always you are ringing my bell…"
"Oh, don't be angry, you dear little man: I won't do it again. And if you promise not to be angry" - her voice was coming nearer, she was climbing the stairs - "I might let you take those pictures we mentioned."
By now I'd left my bed and opened the door an inch. I could hear Mr. Yunioshi's silence: hear, because it was accompanied by an audible change of breath."When?" he said.
The girl laughed. "Sometime," she answered, slurring the word.
"Any time," he said, and closed his door.
I went out into the hall and leaned over the banister, just enough to see without being seen. She was still on the stairs, now she reached the landing, and the ragbag colors of her boy's hair, tawny streaks, strands of albino-blond and yellow, caught the hall light. It was a warm evening, nearly summer, and she wore a slim cool black dress, black sandals, a pearl choker. For all her chic thinness, she had an almost breakfast-cereal air of health, a soap and lemon cleanness, a rough pink darkening in the cheeks. Her mouth was large, her nose upturned. A pair of dark glasses blotted out her eyes. It was a face beyond childhood, yet this side of belonging to a woman. I thought her anywhere between sixteen and thirty; as it turned out, she was shy two months of her nineteenth birthday.
She was not alone. There was a man following behind her. The way his plump hand clutched at her hip seemed somehow improper; not morally, aesthetically. He was short and vast, sun-lamped and pomaded, a man in a buttressed pin-stripe suit with a red carnation withering in the lapel. When they reached her door she rummaged her purse in search of a key, and took no notice of the fact that his thick lips were nuzzling the nape of her neck. At last, though, finding the key and opening her door, she turned to him cordially: "Bless you, darling - you were sweet to see me home."
"Hey, baby!" he said, for the door was closing in his face.
"Yes, Harry?"
"Harry was the other guy. I'm Sid. Sid Arbuck. You like me."
"I worship you, Mr. Arbuck. But good night, Mr. Arbuck."
Mr. Arbuck stared with disbelief as the door shut firmly. "Hey, baby, let me in baby. You like me baby.
"I'm a liked guy. Didn't I pick up the check, five people, your friends, I never seen them before? Don't that give me the right you should like me? You like me, baby."
He tapped on the door gently, then louder; finally he took several steps back, his body hunched and lowering, as though he meant to charge it, crash it down. Instead, he plunged down the stairs, slamming a fist against the wall. Just as he reached the bottom, the door of the girl's apartment opened and she poked out her head.
"Oh, Mr. Arbuck… "
He turned back, a smile of relief oiling his face: she'd only been teasing.
"The next time a girl wants a little powder-room change," she called, not teasing at all, "take my advice, darling: don't give her twenty-cents!"
She kept her promise to Mr. Yunioshi; or I assume she did not ring his bell again, for in the next days she started ringing mine, sometimes at two in the morning, three and four: she had no qualms at what hour she got me out of bed to push the buzzer that released the downstairs door. As I had few friends, and none who would come around so late, I always knew that it was her. But on the first occasions of its happening, I went to my door, half-expecting bad news, a telegram; and Miss Golightly would call up: "Sorry, darling - I forgot my key."Of course we'd never met. Though actually, on the stairs, in the street, we often came face-to-face; but she seemed not quite to see me. She was never without dark glasses, she was always well groomed, there was a consequential good taste in the plainness of her clothes, the blues and grays and lack of luster that made her, herself, shine so. One might have thought her a photographer's model, perhaps a young actress, except that it was obvious, judging from her hours, she hadn't time to be either.
Now and then I ran across her outside our neighborhood. Once a visiting relative took me to "21," and there, at a superior table, surrounded by four men, none of them Mr. Arbuck, yet all of them interchangeable with him, was Miss Golightly, idly, publicly combing her hair; and her expression, an unrealized yawn, put, by example, a dampener, on the excitement I felt over dining at so swanky a place. Another night, deep in the summer, the heat of my room sent me out into the streets. I walked down Third Avenue to Fifty-first Street, where there was an antique store with an object in its window I admired: a palace of a bird cage, a mosque of minarets and bamboo rooms yearning to be filled with talkative parrots. But the price was three hundred and fifty dollars. On the way home I noticed a cab-driver crowd gathered in front of P. J. Clark's saloon, apparently attracted there by a happy group of whiskey-eyed Australian army officers baritoning, "Waltzing Matilda." As they sang they took turns spin-dancing a girl over the cobbles under the El; and the girl, Miss Golightly, to be sure, floated round in their, arms light as a scarf.
But if Miss Golightly remained unconscious of my existence, except as a doorbell convenience, I became, through the summer, rather an authority on hers. I discovered, from observing the trash-basket outside her door, that her regular reading consisted of tabloids and travel folders and astrological charts; that she smoked an esoteric cigarette called Picayunes; survived on cottage cheese and melba toast; that her vari-colored hair was somewhat self-induced. The same source made it evident that she received V-letters by the bale. They were always torn into strips like bookmarks. I used occasionally to pluck myself a bookmark in passing.
Remember and miss you and rain and please write and damn and goddamn were the words that recurred most often on these slips; those, and lonesome and love.
Also, she had a cat and she played the guitar. On days when the sun was strong, she would wash her hair, and together with the cat, a red tiger-striped tom, sit out on the fire escape thumbing a guitar while her hair dried. Whenever I heard the music, I would go stand quietly by my window. She played very well, and sometimes sang too. Sang in the hoarse, breaking tones of a boy's adolescent voice. She knew all the show hits, Cole Porter and Kurt Weill; especially she liked the songs from Oklahoma!, which were new that summer and everywhere. But there were moments when she played songs that made you wonder where she learned them, where indeed she came from. Harsh-tender wandering tunes with words that smacked of pineywoods or prairie. One went: Don't wanna sleep, Don't wanna die, Just wanna go a-travelin' through the pastures of the sky; and this one seemed to gratify her the most, for often she continued it long after her hair had dried, after the sun had gone and there were lighted windows in the dusk.
But our acquaintance did not make headway until September, an evening with the first ripple-chills of autumn running through it. I'd been to a movie, come home and gone to bed with a bourbon nightcap and the newest Simenon: so much my idea of comfort that I couldn't understand a sense of unease that multiplied until I could hear my heart beating. It was a feeling I'd read about, written about, but never before experienced. The feeling of being watched. Of someone in the room. Then: an abrupt rapping at the window, a glimpse of ghostly gray: I spilled the bourbon. It was some little while before I could bring myself to open the window, and ask Miss Golightly what she wanted.
"I've got the most terrifying man downstairs," she said, stepping off the fire escape into the room. "I mean he's sweet when he isn't drunk, but let him start lapping up the vino, and oh God quel beast! If there's one thing I loathe, it's men who bite." She loosened a gray flannel robe off her shoulder, to show me evidence of what happens if a man bites. The robe was all she was wearing. "I'm sorry if I frightened you. But when the beast got so tiresome I just went out the window. I think he thinks I'm in the bathroom, not that I give a damn what he thinks, the hell with him, he'll get tired, he'll go to sleep, my God he should, eight martinis before dinner and enough wine to wash an elephant. Listen, you can throw me out if you want to. I've got a gall barging in on you like this. But that fire escape was damned icy. And you looked so cozy. Like my brother Fred. We used to sleep four in a bed, and he was the only one that ever let me hug him on a cold night. By the way, do you mind if I call you Fred?" She'd come completely into the room now, and she paused there, staring at me. I'd never seen her before not wearing dark glasses, and it was obvious now that they were prescription lenses, for without them her eyes had an assessing squint, like a jeweler's. They were large eyes, a little blue, a little green, dotted with bits of brown: vari-colored, like her hair; and, like her hair, they gave out a lively warm light. "I suppose you think I'm very brazen. Or tres fou. Or something."
"Not at all."
She seemed disappointed. "Yes, you do. Everybody does. I don't mind. It's useful."
She sat down on one of the rickety red-velvet chairs, curved her legs underneath her, and glanced round the room, her eyes puckering more pronouncedly. "How can you bear it? It's a chamber of horrors."
"Oh, you get used to anything," I said, annoyed with myself, for actually I was proud of the place.
"I don't. I'll never get used to anything. Anybody that does, they might as well be dead." Her dispraising eyes surveyed the room again. "What do you do here all day?"
I motioned toward a table tall with books and paper. "Write things."
"I thought writers were quite old. Of course Saroyan isn't old. I met him at a party, and really he isn't old at all. In fact," she mused, "if he'd give himself a closer shave… by the way, is Hemingway old?"
"In his forties, I should think."
"That's not bad. I can't get excited by a man until he's forty-two. I know this idiot girl who keeps telling me I ought to go to a head-shrinker; she says I have a father complex. Which is so much merde. I simply trained myself to like older men, and it was the smartest thing I ever did. How old is W. Somerset Maugham?"
"I'm not sure. Sixty-something."
"That's not bad. I've never been to bed with a writer. No, wait: do you know Benny Shacklett?" She frowned when I shook my head. "That's funny. He's written an awful lot of radio stuff. But quel rat. Tell me, are you a real writer?"
"It depends on what you mean by real."
"Well, darling, does anyone buy what you write?"Not yet."
"I'm going to help you," she said. "I can, too. Think of all the people I know who know people. I'm going to help you because you look like my brother Fred. Only smaller. I haven't seen him since I was fourteen, that's when I left home, and he was already six-feet-two. My other brothers were more your size, runts. It was the peanut butter that made Fred so tall. Everybody thought it was dotty, the way he gorged himself on peanut butter; he didn't care about anything in this world except horses and peanut butter. But he wasn't dotty, just sweet and vague and terribly slow; he'd been in the eighth grade three years when I ran away. Poor Fred. I wonder if the Army's generous with their peanut butter. Which reminds me, I'm starving."
I pointed to a bowl of apples, at the same time asked her how and why she'd left home so young. She looked at me blankly, and rubbed her nose, as though it tickled: a gesture, seeing often repeated, I came to recognize as a signal that one was trespassing. Like many people with a bold fondness for volunteering intimate information, anything that suggested a direct question, a pinning-down, put her on guard. She took a bite of apple, and said: "Tell me something you've written. The story part."
"That's one of the troubles. They're not the kind of stories you can tell."
"Too dirty?"
"Maybe I'll let you read one sometime."
"Whiskey and apples go together. Fix me a drink, darling. Then you can read me a story yourself."
Very few authors, especially the unpublished, can resist an invitation to read aloud. I made us both a drink and, settling in a chair opposite, began to read to her, my voice a little shaky with a combination of stage fright and enthusiasm: it was a new story, I'd finished it the day before, and that inevitable sense of shortcoming had not had time to develop. It was about two women who share a house, schoolteachers, one of whom, when the other becomes engaged, spreads with anonymous notes a scandal that prevents the marriage. As I read, each glimpse I stole of Holly made my heart contract. She fidgeted. She picked apart the butts in an ashtray, she mooned over her fingernails, as though longing for a file; worse, when I did seem to have her interest, there was actually a telltale frost over her eyes, as if she were wondering whether to buy a pair of shoes she'd seen in some window.
"Is that the end?" she asked, waking up. She floundered for something more to say. "Of course I like dykes themselves. They don't scare me a bit. But stories about dykes bore the bejesus out of me. I just can't put myself in their shoes. Well really, darling," she said, because I was clearly puzzled, "if it's not about a couple of old bull-dykes, what the hell is it about?"
But I was in no mood to compound the mistake of having read the story with the further embarrassment of explaining it. The same vanity that had led to such exposure, now forced me to mark her down as an insensitive, mindless show-off.
"Incidentally," she said, "do you happen to know any nice lesbians? I'm looking for a roommate. Well, don't laugh. I'm so disorganized, I simply can't afford a maid; and really, dykes are wonderful home-makers, they love to do all the work, you never have to bother about brooms and defrosting and sending out the laundry. I had a roommate in Hollywood, she played in Westerns, they called her the Lone Ranger; but I'll say this for her, she was better than a man around the house. Of course people couldn't help but think I must be a bit of a dyke myself. And of course I am. Everyone is: a bit. So what? That never discouraged a man yet, in fact it seems to goad them on. Look at the Lone Ranger, married twice. Usually dykes only get married once, just for the name. It seems to carry such cachet later on to be called Mrs. Something Another. That's not true!" She was staring at an alarm clock on the table. "It can't be four-thirty!"
The window was turning blue. A sunrise breeze bandied the curtains.
"What is today?"
"Thursday."
"Thursday." She stood up. "My God," she said, and sat down again with a moan.
"It's too gruesome."
I was tired enough not to be curious. I lay down on the bed and closed my eyes.
Still it was irresistible: "What's gruesome about Thursday?"
"Nothing. Except that I can never remember when it's coming. You see, on Thursdays I have to catch the eight forty-five. They're so particular about visiting hours, so if you're there by ten that gives you an hour before the poor men eat lunch. Think of it, lunch at eleven. You can go at two, and I'd so much rather, but he likes me to come in the morning, he says it sets him up for the rest of the day. I've got to stay awake," she said, pinching her cheeks until the roses came, "there isn't time to sleep, I'd look consumptive, I'd sag like a tenement, and that wouldn't be fair: a girl can't go to Sing Sing with a green face."
"I suppose not." The anger I felt at her over my story was ebbing; she absorbed me again.
"All the visitors do make an effort to look their best, and it's very tender, it's sweet as hell, the way the women wear their prettiest everything, I mean the old ones and the really poor ones too, they make the dearest effort to look nice and smell nice too, and I love them for it. I love the kids too, especially the colored ones.
I mean the kids the wives bring. It should be sad, seeing the kids there, but it isn't, they have ribbons in their hair and lots of shine on their shoes, you'd think there was going to be ice cream; and sometimes that's what it's like in the visitors' room, a party. Anyway it's not like the movies: you know, grim whisperings through a grille.
There isn't any grille, just a counter between you and them, and the kids can stand on it to be hugged; all you have to do to kiss somebody is lean across. What I like most, they're so happy to see each other, they've saved up so much to talk about, it isn't possible to be dull, they keep laughing and holding hands. It's different afterwards," she said. "I see them on the train. They sit so quiet watching the river go by." She stretched a strand of hair to the corner of her mouth and nibbled it thoughtfully. "I'm keeping you awake. Go to sleep."
"Please. I'm interested."
"I know you are. That's why I want you to go to sleep. Because if I keep on, I'll tell you about Sally. I'm not sure that would be quite cricket." She chewed her hair silently. "They never told me not to tell anyone. In so many words. And it is funny.
Maybe you could put it in a story with different names and whatnot. Listen, Fred," she said, reaching for another apple, "you've got to cross your heart and kiss your elbow - "
Perhaps contortionists can kiss their elbow; she had to accept an approximation.
"Well," she said, with a mouthful of apple, "you may have read about him in the papers. His name is Sally Tomato, and I speak Yiddish better than he speaks English; but he's a darling old man, terribly pious. He'd look like a monk if it weren't for the gold teeth; he says he prays for me every night. Of course he was never my lover; as far as that goes, I never knew him until he was already in jail. But I adore him now, after all I've been going to see him every Thursday for seven months, and I think I'd go even if he didn't pay me. This one's mushy," she said, and aimed the rest of the apple out the window. "By the way, I did know Sally by sight. He used to come to Joe Bell's bar, the one around the corner: never talked to anybody, just stand there, like the kind of man who lives in hotel rooms. But it's funny to remember back and realize how closely he must have been watching me, because right after they sent him up (Joe Bell showed me his picture in the paper. Blackhand.
Mafia. All that mumbo jumbo: but they gave him five years) along came this telegram from a lawyer. It said to contact him immediately for information to my advantage."
"You thought somebody had left you a million?"
"Not at all. I figured Bergdorf was trying to collect. But I took the gamble and went to see this lawyer (if he is a lawyer, which I doubt, since he doesn't seem to have an office, just an answering service, and he always wants to meet you in Hamburg Heaven: that's because he's fat, he can eat ten hamburgers and two bowls of relish and a whole lemon meringue pie). He asked me how I'd like to cheer up a lonely old man, at the same time pick up a hundred a week. I told him look, darling, you've got the wrong Miss Golightly, I'm not a nurse that does tricks on the side. I wasn't impressed by the honorarium either; you can do as well as that on trips to the powder room: any gent with the slightest chic will give you fifty for the girl's john, and I always ask for cab fare too, that's another fifty. But then he told me his client was Sally Tomato. He said dear old Sally had long admired me a la distance, so wouldn't it be a good deed if I went to visit him once a week. Well, I couldn't: it was too romantic."
"I don't know. It doesn't sound right."
She smiled. "You think I'm lying?"
"For one thing, they can't simply let anyone visit a prisoner."
"Oh, they don't. In fact they make quite a boring fuss. I'm supposed to be his niece."
"And it's as simple as that? For an hour's conversation he gives you a hundred dollars?"
"He doesn't, the lawyer does. Mr. O'Shaughnessy mails it to me in cash as soon as I leave the weather report."
"I think you could get into a lot of trouble," I said, and switched off a lamp; there was no need of it now, morning was in the room and pigeons were gargling on the fire escape.
"How?" she said seriously.
"There must be something in the law books about false identity. After all, you're not his niece. And what about this weather report?"
She patted a yawn. "But it's nothing. Just messages I leave with the answering service so Mr. O'Shaughnessy will know for sure that I've been up there. Sally tells me what to say, things like, oh, 'there's a hurricane in Cuba' and 'it's snowing in Palermo.' Don't worry, darling," she said, moving to the bed, "I've taken care of myself a long time." The morning light seemed refracted through her: as she pulled the bed covers up to my chin she gleamed like a transparent child; then she lay down beside me. "Do you mind? I only want to rest a moment. So let's don't say another word. Go to sleep."
I pretended to, I made my breathing heavy and regular. Bells in the tower of the next-door church rang the half-hour, the hour. It was six when she put her hand on my arm, a fragile touch careful not to waken. "Poor Fred," she whispered, and it seemed she was speaking to me, but she was not. "Where are you, Fred? Because it's cold. There's snow in the wind." Her cheek came to rest against my shoulder, a warm damp weight.
"Why are you crying?"
She sprang back, sat up. "Oh, for God's sake," she said, starting for the window and the fire escape, "I hate snoops."
The next day, Friday, I came home to find outside my door a grand-luxe Charles & Co. basket with her card: Miss Holiday Golightly, Traveling: and scribbled on the back in a freakishly awkward, kindergarten hand: Bless you darling Fred. Please forgive the other night. You were an angel about the whole thing. Mille tendresse - Holly. P.S. I won't bother you again. I replied, Please do, and left this note at her door with what I could afford, a bunch of street-vendor violets. But apparently she'd meant what she said; I neither saw nor heard from her, and I gathered she'd gone so far as to obtain a downstairs key. At any rate she no longer rang my bell. I missed that; and as the days merged I began to feel toward her certain far-fetched resentments, as if I were being neglected by my closest friend. A disquieting loneliness came into my life, but it induced no hunger for friends of longer acquaintance: they seemed now like a salt-free, sugarless diet. By Wednesday thoughts of Holly, of Sing Sing and Sally Tomato, of worlds where men forked over fifty dollars for the powder room, were so constant that I couldn't work. That night I left a message in her mailbox: Tomorrow is Thursday. The next morning rewarded me with a second note in the play-pen script: Bless you for reminding me. Can you stop for a drink tonight 6-ish?
I waited until ten past six, then made myself delay five minutes more.
A creature answered the door. He smelled of cigars and Knize cologne. His shoes sported elevated heels; without these added inches, one might have taken him for a Little Person. His bald freckled head was dwarf-big: attached to it were a pair of pointed, truly elfin ears. He had Pekingese eyes, unpitying and slightly bulged. Tufts of hair sprouted from his ears, from his nose; his jowls were gray with afternoon beard, and his handshake almost furry.
"Kid's in the shower," he said, motioning a cigar toward a sound of water hissing in another room. The room in which we stood (we were standing because there was nothing to sit on) seemed as though it were being just moved into; you expected to smell wet paint. Suitcases and unpacked crates were the only furniture. The crates served as tables. One supported the mixings of a martini; another a lamp, a Libertyphone, Holly's red cat and a bowl of yellow roses. Bookcases, covering one wall, boasted a half-shelf of literature. I warmed to the room at once, I liked its fly by-night look.
The man cleared his throat. "You expected?"
He found my nod uncertain. His cold eyes operated on me, made neat, exploratory incisions. "A lot of characters come here, they're not expected. You know the kid long?"
"Not very."
"So you don't know the kid long?"
"I live upstairs."
The answer seemed to explain enough to relax him. "You got the same layout?"
"Much smaller."
He tapped ash on the floor. "This is a dump. This is unbelievable. But the kid don't know how to live even when she's got the dough." His speech had a jerky metallic rhythm, like a teletype. "So," he said, "what do you think: is she or ain't she?"
"Ain't she what?"
"A phony."
"I wouldn't have thought so."
"You're wrong. She is a phony. But on the other hand you're right. She isn't a phony because she's a real phony. She believes all this crap she believes. You can't talk her out of it. I've tried with tears running down my cheeks. Benny Polan, respected everywhere, Benny Polan tried. Benny had it on his mind to marry her, she don't go for it, Benny spent maybe thousands sending her to head-shrinkers.
Even the famous one, the one can only speak German, boy, did he throw in the towel. You can't talk her out of these" - he made a fist, as though to crush an intangible - "ideas. Try it sometime. Get her to tell you some of the stuff she believes. Mind you," he said, "I like the kid. Everybody does, but there's lots that don't. I do. I sincerely like the kid. I'm sensitive, that's why. You've got to be sensitive to appreciate her: a streak of the poet. But I'll tell you the truth. You can beat your brains out for her, and she'll hand you horseshit on a platter. To give an example - who is she like you see her today? She's strictly a girl you'll read where she ends up at the bottom of a bottle of Seconals. I've seen it happen more times than you've got toes: and those kids, they weren't even nuts. She's nuts."
"But young. And with a great deal of youth ahead of her."
"If you mean future, you're wrong again. Now a couple of years back, out on the Coast, there was a time it could've been different. She had something working for her, she had them interested, she could've really rolled. But when you walk out on a thing like that, you don't walk back. Ask Luise Rainer. And Rainer was a star. Sure, Holly was no star; she never got out of the still department. But that was before The Story of Dr. Wassell. Then she could've really rolled. I know, see, cause I'm the guy was giving her the push." He pointed his cigar at himself. "O.J. Berman."
He expected recognition, and I didn't mind obliging him, it was all right by me, except I'd never heard of O.J. Berman. It developed that he was a Hollywood actor's agent.
"I'm the first one saw her. Out at Santa Anita. She's hanging around the track every day. I'm interested: professionally. I find out she's some jock's regular, she's living with the shrimp. I get the jock told Drop It if he don't want conversation with the vice boys: see, the kid's fifteen. But stylish: she's okay, she comes across. Even when she's wearing glasses this thick; even when she opens her mouth and you don't know if she's a hillbilly or an Okie or what. I still don't. My guess, nobody'll ever know where she came from. She's such a goddamn liar, maybe she don't know herself any more. But it took us a year to smooth out that accent. How we did it finally, we gave her French lessons: after she could imitate French, it wasn't so long she could imitate English. We modeled her along the Margaret Sullavan type, but she could pitch some curves of her own, people were interested, big ones, and to top it all, Benny Polan, a respected guy, Benny wants to marry her. An agent could ask for more? Then wham! The Story of Dr. Wassell. You see that picture? Cecil B. DeMille.
Gary Cooper. Jesus. I kill myself, it's all set: they're going to test her for the part of Dr. Wassell's nurse. One of his nurses, anyway. Then wham! The phone rings." He picked a telephone out of the air and held it to his ear. "She says, this is Holly, I say honey, you sound far away, she says I'm in New York, I say what the hell are you doing in New York when it's Sunday and you got the test tomorrow? She says I'm in New York cause I've never been to New York. I say get your ass on a plane and get back here, she says I don't want it. I say what's your angle, doll? She says you got to want it to be good and I don't want it, I say well, what the hell do you want, and she says when I find out you'll be the first to know. See what I mean: horseshit on a platter."
The red cat jumped off its crate and rubbed against his leg. He lifted the cat on the toe of his shoe and gave him a toss, which was hateful of him except he seemed not aware of the cat but merely his own irritableness.
"This is what she wants?" he said, flinging out his arms. "A lot of characters they aren't expected? Living off tips. Running around with bums. So maybe she could marry Rusty Trawler? You should pin a medal on her for that?"
He waited, glaring.
"Sorry, I don't know him."
"You don't know Rusty Trawler, you can't know much about the kid. Bad deal," he said, his tongue clucking in his huge head. "I was hoping you maybe had influence.
Could level with the kid before it's too late."
"But according to you, it already is."
He blew a smoke ring, let it fade before he smiled; the smile altered his face, made something gentle happen. "I could get it rolling again. Like I told you," he said, and now it sounded true, "I sincerely like the kid."
"What scandals are you spreading, O.J.?" Holly splashed into the room, a towel more or less wrapped round her and her wet feet dripping footmarks on the floor.
"Just the usual. That you're nuts.
"Fred knows that already."
"But you don't."
"Light me a cigarette, darling," she said, snatching off a bathing cap and shaking her hair. "I don't mean you, O.J. You're such a slob. You always nigger-lip."
She scooped up the cat and swung him onto her shoulder. He perched there with the balance of a bird, his paws tangled in her hair as if it were knitting yarn; and yet, despite these amiable antics, it was a grim cat with a pirate's cutthroat face; one eye was gluey-blind, the other sparkled with dark deeds.
"O.J. is a slob," she told me, taking the cigarette I'd lighted. "But he does know a terrific lot of phone numbers. What's David O. Selznick's number, O.J.?"
"Lay off."It's not a joke, darling. I want you to call him up and tell him what a genius Fred is. He's written barrels of the most marvelous stories. Well, don't blush, Fred: you didn't say you were a genius, I did. Come on, O.J. What are you going to do to make Fred rich?"
"Suppose you let me settle that with Fred."
"Remember," she said, leaving us, "I'm his agent. Another thing: if I holler, come zipper me up. And if anybody knocks, let them in."
A multitude did. Within the next quarter-hour a stag party had taken over the apartment, several of them in uniform. I counted two Naval officers and an Air Force colonel; but they were outnumbered by graying arrivals beyond draft status. Except for a lack of youth, the guests had no common theme, they seemed strangers among strangers; indeed, each face, on entering, had struggled to conceal dismay at seeing others there. It was as if the hostess had distributed her invitations while zigzagging through various bars; which was probably the case. After the initial frowns, however, they mixed without grumbling, especially O.J. Berman, who avidly exploited the new company to avoid discussing my Hollywood future. I was left abandoned by the bookshelves; of the books there, more than half were about horses, the rest baseball. Pretending an interest in Horseflesh and How to Tell It gave me sufficiently private opportunity for sizing Holly's friends.
Presently one of these became prominent. He was a middle-aged child that had never shed its baby fat, though some gifted tailor had almost succeeded in camouflaging his plump and spankable bottom. There wasn't a suspicion of bone in his body; his face, a zero filled in with pretty miniature features, had an unused, a virginal quality: it was as if he'd been born, then expanded, his skin remaining unlined as a blown-up balloon, and his mouth, though ready for squalls and tantrums, a spoiled sweet puckering. But it was not appearance that singled him out; preserved infants aren't all that rare. It was, rather, his conduct; for he was behaving as though the party were his: like an energetic octopus, he was shaking martinis, making introductions, manipulating the phonograph. In fairness, most of his activities were dictated by the hostess herself: Rusty, would you mind; Rusty, would you please. If he was in love with her, then clearly he had his jealousy in check. A jealous man might have lost control, watching her as she skimmed around the room, carrying her cat in one hand but leaving the other free to straighten a tie or remove lapel lint; the Air Force colonel wore a medal that came in for quite a polish.
The man's name was Rutherfurd ("Rusty") Trawler. In 1908 he'd lost both his parents, his father the victim of an anarchist and his mother of shock, which double misfortune had made Rusty an orphan, a millionaire, and a celebrity, all at the age of five. He'd been a stand-by of the Sunday supplements ever since, a consequence that had gathered hurricane momentum when, still a schoolboy, he had caused his godfather-custodian to be arrested on charges of sodomy. After that, marriage and divorce sustained his place in the tabloid-sun. His first wife had taken herself, and her alimony, to a rival of Father Divine's. The second wife seems unaccounted for, but the third had sued him in New York State with a full satchel of the kind of testimony that entails. He himself divorced the last Mrs. Trawler, his principal complaint stating that she'd started a mutiny aboard his yacht, said mutiny resulting in his being deposited on the Dry Tortugas. Though he'd been a bachelor since, apparently before the war he'd proposed to Unity Mitford, at least he was supposed to have sent her a cable offering to marry her if Hitler didn't. This was said to be the reason Winchell always referred to him as a Nazi; that, and the fact that he attended rallies in Yorkville.
I was not told these things. I read them in The Baseball Guide, another selection off Holly's shelf which she seemed to use for a scrapbook. Tucked between the pages were Sunday features, together with scissored snippings from gossip columns. Rusty Trawler and Holly Golightly two-on-the-aisle at "One Touch of Venus" preem. Holly came up from behind, and caught me reading: Miss Holiday Golightly, of the Boston Golightlys, making every day a holiday for the 24-karat Rusty Trawler.
"Admiring my publicity, or are you just a baseball fan?" she said, adjusting her dark glasses as she glanced over my shoulder.
I said, "What was this week's weather report?"
She winked at me, but it was humorless: a wink of warning, "I'm all for horses, but I loathe baseball," she said, and the sub-message in her, voice was saying she wished me to forget she'd ever mentioned Sally Tomato. "I hate the sound of it on a radio, but I have to listen, it's part of my research. There're so few things men can talk about. If a man doesn't like baseball, then he must like horses, and if he doesn't like either of them, well, I'm in trouble anyway: he don't like girls. And how are you making out with O.J.?"
"We've separated by mutual agreement"
"He's an opportunity, believe me."
"I do believe you. But what have I to offer that would strike him as an opportunity?"
She persisted. "Go over there and make him think he isn't funny-looking. He really can help you, Fred."
"I understand you weren't too appreciative." She seemed puzzled until I said:
"The Story of Doctor Wassell"
"He's still harping?" she said, and cast across the room an affectionate look at Berman. "But he's got a point, I should feel guilty. Not because they would have given me the part or because I would have been good: they wouldn't and I wouldn't.
If I do feel guilty, I guess it's because I let him go on dreaming when I wasn't dreaming a bit. I was just vamping for time to make a few self-improvements: I knew damn well I'd never be a movie star. It's too hard; and if you're intelligent, it's too embarrassing. My complexes aren't inferior enough: being a movie star and having a big fat ego are supposed to go hand-in-hand; actually, it's essential not to have any ego at all. I don't mean I'd mind being rich and famous.
That's very much on my schedule, and someday I'll try to get around to it; but if it happens, I'd like to have my ego tagging along. I want to still be me when I wake up one fine morning and have breakfast at Tiffany's. You need a glass," she said, noticing my empty hands. "Rusty! Will you bring my friend a drink?"
She was still hugging the cat. "Poor slob," she said, tickling his head, "poor slob without a name. It's a little inconvenient, his not having a name. But I haven't any right to give him one: he'll have to wait until he belongs to somebody. We just sort of took up by the river one day, we don't belong to each other: he's an independent, and so am I. I don't want to own anything until I know I've found the place where me and things belong together. I'm not quite sure where that is just yet. But I know what it's like." She smiled, and let the cat drop to the floor. "It's like Tiffany's," she said. "Not that I give a hoot about jewelry. Diamonds, yes. But it's tacky to wear diamonds before you're forty; and even that's risky. They only look right on the really old girls. Maria Ouspenskaya. Wrinkles and bones, white hair and diamonds: I can't wait. But that's not why I'm mad about Tiffany's. Listen. You know those days when you've got the mean reds?"
"Same as the blues?"
"No," she said slowly. "No, the blues are because you're getting fat or maybe it's been raining too long. You're sad, that's all. But the mean reds are horrible. You're afraid and you sweat like hell, but you don't know what you're afraid of. Except something bad is going to happen, only you don't know what it is. You've had that feeling?"
"Quite often. Some people call it angst."
"All right. Angst. But what do you do about it?"
"Well, a drink helps."
"I've tried that. I've tried aspirin, too. Rusty thinks I should smoke marijuana, and I did for a while, but it only makes me giggle. What I've found does the most good is just to get into a taxi and go to Tiffany's. It calms me down right away, the quietness and the proud look of it; nothing very bad could happen to you there, not with those kind men in their nice suits, and that lovely smell of silver and alligator wallets. If I could find a real-life place that made me feel like Tiffany's, then I'd buy some furniture and give the cat a name. I've thought maybe after the war, Fred and I - " She pushed up her dark glasses, and her eyes, the differing colors of them, the grays and wisps of blue and green, had taken on a far-seeing sharpness. "I went to Mexico once. It's wonderful country for raising horses. I saw one place near the sea.
Fred's good with horses."
Rusty Trawler came carrying a martini; he handed it over without looking at me.
"I'm hungry," he announced, and his voice, retarded as the rest of him, produced an unnerving brat-whine that seemed to blame Holly. "It's seven-thirty, and I'm hungry.
You know what the doctor said."
"Yes, Rusty. I know what the doctor said."
"Well, then break it up. Let's go."
"I want you to behave, Rusty." She spoke softly, but there was a governess threat of punishment in her tone that caused an odd flush of pleasure, of gratitude, to pink his face.
"You don't love me," he complained, as though they were alone.' "Nobody loves naughtiness."
Obviously she'd said what he wanted to hear; it appeared to both excite and relax him. Still he continued, as though it were a ritual: "Do you love me?"
She patted him. "Tend to your chores, Rusty. And when I'm ready, we'll go eat wherever you want."
"Chinatown?"
"But that doesn't mean sweet and sour spareribs. You know what the doctor said."
As he returned to his duties with a satisfied waddle, I couldn't resist reminding her that she hadn't answered his question. "Do you love him?"
"I told you: you can make yourself love anybody. Besides, he had a stinking childhood."If it was so stinking, why does he cling to it?"
"Use your head. Can't you see it's just that Rusty feels safer in diapers than he would in a skirt? Which is really the choice, only he's awfully touchy about it. He tried to stab me with a butter knife because I told him to grow up and face the issue, settle down and play house with a nice fatherly truck driver. Meantime, I've got him on my hands; which is okay, he's harmless, he thinks girls are dolls, literally."
"Thank God."
"Well, if it were true of most men, I'd hardly be thanking God."
"I meant thank God you're not going to marry Mr. Trawler."
She lifted an eyebrow. "By the way, I'm not pretending I don't know he's rich.
Even land in Mexico costs something. Now," she said, motioning me forward, "let's get hold of O.J."
I held back while my mind worked to win a postponement. Then I remembered:
"Why Traveling?"
"On my card?" she said, disconcerted. "You think it's funny?"
"Not funny. Just provocative."
She shrugged. "After all, how do I know where I'll be living tomorrow? So I told them to put Traveling. Anyway, it was a waste of money, ordering those cards.
Except I felt I owed it to them to buy some little something. They're from Tiffany's."
She reached for my martini, I hadn't touched it; she drained it in two swallows, and took my hand. "Quit stalling. You're going to make friends with O.J."
An occurrence at the door intervened. It was a young woman, and she entered like a wind-rush, a squall of scarves and jangling gold. "H-H-Holly," she said, wagging a finger as she advanced, "you miserable h-h-hoarder. Hogging all these simply r-r-riveting m-m-men!"
She was well over six feet, taller than most men there. They straightened their spines, sucked in their stomachs; there was a general contest to match her swaying height.
Holly said, "What are you doing here?" and her lips were taut as drawn string.
"Why, n-n-nothing, sugar. I've been upstairs working with Yunioshi. Christmas stuff for the Ba-ba-zaar. But you sound vexed, sugar?" She scattered a roundabout smile. "You b-b-boys not vexed at me for butting in on your p-p-party?"
Rusty Trawler tittered. He squeezed her arm, as though to admire her muscle, and asked her if she could use a drink.
"I surely could," she said. "Make mine bourbon."
Holly told her, "There isn't any." Whereupon the Air Force colonel suggested he run out for a bottle.
"Oh, I declare, don't let's have a f-f-fuss. I'm happy with ammonia. Holly, honey," she said, slightly shoving her, "don't you bother about me. I can introduce myself."
She stooped toward O.J. Berman, who, like many short men in the presence of tall women, had an aspiring mist in his eye. "I'm Mag W-w-wildwood, from Wild-w-w wood, Arkansas. That's hill country."
It seemed a dance, Berman performing some fancy footwork to prevent his rivals cutting in. He lost her to a quadrille of partners who gobbled up her stammered jokes like popcorn tossed to pigeons. It was a comprehensible success. She was a triumph over ugliness, so often more beguiling than real beauty, if only because it contains paradox. In this case, as opposed to the scrupulous method of plain good taste and scientific grooming, the trick had been worked by exaggerating defects; she'd made them ornamental by admitting them boldly. Heels that emphasized her height, so steep her ankles trembled; a flat tight bodice that indicated she could go to a beach in bathing trunks; hair that was pulled straight back, accentuating the spareness, the starvation of her fashion-model face. Even the stutter, certainly genuine but still a bit laid on, had been turned to advantage. It was the master stroke, that stutter; for it contrived to make her banalities sound somehow original, and secondly, despite her tallness, her assurance, it served to inspire in male listeners a protective feeling. To illustrate: Berman had to be pounded on the back because she said, "Who can tell me w-w-where is the j-j-john?"; then, completing the cycle, he offered an arm to guide her himself.
"That," said Holly, "won't be necessary. She's been here before. She knows where it is." She was emptying ashtrays, and after Mag Wildwood had left the room, she emptied another, then said, sighed rather: "It's really very sad." She paused long enough to calculate the number of inquiring expressions; it was sufficient. "And so mysterious. You'd think it would show more. But heaven knows, she looks healthy.
So, well, clean. That's the extraordinary part. Wouldn't you," she asked with concern, but of no one in particular, "wouldn't you say she looked clean?"
Someone coughed, several swallowed. A Naval officer, who had been holding Mag Wildwood's drink, put it down.
"But then," said Holly, "I hear so many of these Southern girls have the same trouble." She shuddered delicately, and went to the kitchen for more ice.
Mag Wildwood couldn't understand it, the abrupt absence of warmth on her return; the conversations she began behaved like green logs, they fumed but would not fire. More unforgivably, people were leaving without taking her telephone number. The Air Force colonel decamped while her back was turned, and this was the straw too much: he'd asked her to dinner. Suddenly she was blind. And since gin to artifice bears the same relation as tears to mascara, her attractions at once dissembled. She took it out on everyone. She called her hostess a Hollywood degenerate. She invited a man in his fifties to fight. She told Berman, Hitler was right. She exhilarated Rusty Trawler by stiff-arming him into a corner. "You know what's going to happen to you?" she said, with no hint of a stutter. "I'm going to march you over to the zoo and feed you to the yak." He looked altogether willing, but she disappointed him by sliding to the floor, where she sat humming.
"You're a bore. Get up from there," Holly said, stretching on a pair of gloves. The remnants of the party were waiting at the door, and when the bore didn't budge Holly cast me an apologetic glance. "Be an angel, would you, Fred? Put her in a taxi.
She lives at the Winslow."
"Don't. Live Barbizon. Regent 4-5700. Ask for Mag Wildwood."
"You are an angel, Fred."
They were gone. The prospect of steering an Amazon into a taxi obliterated whatever resentment I felt. But she solved the problem herself. Rising on her own steam, she stared down at me with a lurching loftiness. She said, "Let's go Stork.
Catch lucky balloon," and fell full-length like an axed oak. My first thought was to run for a doctor. But examination proved her pulse fine and her breathing regular. She was simply asleep. After finding a pillow for her head, I left her to enjoy it.The following afternoon I collided with Holly on the stairs. "You" she said, hurrying past with a package from the druggist. "There she is, on the verge of pneumonia. A hang-over out to here. And the mean reds on top of it." I gathered from this that Mag Wildwood was still in the apartment, but she gave me no chance to explore her surprising sympathy. Over the weekend, mystery deepened. First, there was the Latin who came to my door: mistakenly, for he was inquiring after Miss Wildwood. It took a while to correct his error, our accents seemed mutually incoherent, but by the time we had I was charmed. He'd been put together with care, his brown head and bullfighter's figure had an exactness, a perfection, like an apple, an orange, something nature has made just right. Added to this, as decoration, were an English suit and a brisk cologne and, what is still more unlatin, a bashful manner. The second event of the day involved him again. It was toward evening, and I saw him on my way out to dinner. He was arriving in a taxi; the driver helped him totter into the house with a load of suitcases. That gave me something to chew on: by Sunday my jaws were quite tired.
Then the picture became both darker and clearer.
Sunday was an Indian summer day, the sun was strong, my window was open, and I heard voices on the fire escape. Holly and Mag were sprawled there on a blanket, the cat between them. Their hair, newly washed, hung lankly. They were busy, Holly varnishing her toenails, Mag knitting on a sweater. Mag was speaking.
"If you ask me, I think you're l-l-lucky. At least there's one thing you can say for Rusty. He's an American."
"Bully for him."
"Sugar. There's a war on."
"And when it's over, you've seen the last of me, boy."
"I don't feel that way. I'm p-p-proud of my country. The men in my family were great soldiers. There's a statue of Papadaddy Wildwood smack in the center of Wildwood."
"Fred's a soldier," said Holly. "But I doubt if he'll ever be a statue. Could be. They say the more stupid you are the braver. He's pretty stupid."
"Fred's that boy upstairs? I didn't realize he was a soldier. But he does look stupid."
"Yearning. Not stupid. He wants awfully to be on the inside staring out: anybody with their nose pressed against a glass is liable to look stupid. Anyhow, he's a different Fred. Fred's my brother."
"You call your own f-f-flesh and b-b-blood stupid?"
"If he is he is."
"Well, it's poor taste to say so. A boy that's fighting for you and me and all of us."
"What is this: a bond rally?"
"I just want you to know where I stand. I appreciate a joke, but underneath I'm a s-s-serious person. Proud to be an American. That's why I'm sorry about Jose." She put down her knitting needles. "You do think he's terribly good-looking, don't you?"
Holly said Hmn, and swiped the cat's whiskers with her lacquer brush. "If only I could get used to the idea of m-m-marrying a Brazilian. And being a B-b-brazilian myself. It's such a canyon to cross. Six thousand miles, and not knowing the language - "
"Go to Berlitz."
"Why on earth would they be teaching P-p-portu-guese? It isn't as though anyone spoke it. No, my only chance is to try and make Jose forget politics and become an American. It's such a useless thing for a man to want to be: the p-p-president of Brazil." She sighed and picked up her knitting. "I must be madly in love. You saw us together. Do you think I'm madly in love?"
"Well. Does he bite?"
Mag dropped a stitch. "Bite?"
"You. In bed."
"Why, no. Should he?" Then she added, censoriously: "But he does laugh."
"Good. That's the right spirit. I like a man who sees the humor; most of them, they're all pant and puff."
Mag withdrew her complaint; she accepted the comment as flattery reflecting on herself. "Yes. I suppose."
"Okay. He doesn't bite. He laughs. What else?"
Mag counted up her dropped stitch and began again, knit, purl, purl.
"I said - "
"I heard you. And it isn't that I don't want to tell you. But it's so difficult to remember. I don't d-d-dwell on these things. The way you seem to. They go out of my head like a dream. I'm sure that's the n-n-normal attitude."
"It may be normal, darling; but I'd rather be natural." Holly paused in the process of reddening the rest of the cat's whiskers. "Listen. If you can't remember, try leaving the lights on."
"Please understand me, Holly. I'm a very-very-very conventional person."
"Oh, balls. What's wrong with a decent look at a guy you like? Men are beautiful, a lot of them are, Jose is, and if you don't even want to look at him, well, I'd say he's getting a pretty cold plate of macaroni."
"L-l-lower your voice."
"You can't possibly be in love with him. Now. Does that answer your question?"
"No. Because I'm not a cold plate of m-m-macaroni. I'm a warm-hearted person.
It's the basis of my character."
"Okay. You've got a warm heart. But if I were a man on my way to bed, I'd rather take along a hot-water bottle. It's more tangible."
"You won't hear any squawks out of Jose," she said complacently, her needles flashing in the sunlight. "What's more, I am in love with him. Do you realize I've knitted ten pairs of Argyles in less than three months? And this is the second sweater." She stretched the sweater and tossed it aside. "What's the point, though?
Sweaters in Brazil. I ought to be making s-s-sun helmets."
Holly lay back and yawned. "It must be winter sometime."
"It rains, that I know. Heat. Rain. J-j-jungles."Heat. Jungles. Actually, I'd like that."
"Better you than me."
"Yes," said Holly, with a sleepiness that was not sleepy. "Better me than you."
On Monday, when I went down for the morning mail, the card on Hol

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Суббота, 29 Января 2011 г. 22:24 + в цитатник
The Big Four
Agatha Christie


1
The Unexpected Quest
I have met people who enjoy a channel crossing; men who can sit calmly in their deck-chairs and, on arrival, wait until the boat is moored, then gather their belongings together without fuss and disembark. Personally, I can never manage this. From the moment I get on board I feel that the time is too short to settle down to anything.
I move my suitcases from one spot to another, and if I go down to the saloon for a meal I bolt my food with an uneasy feeling that the boat may arrive unexpectedly whilst I am below. Perhaps all this is merely a legacy from one's short leaves in the war, when it seemed a matter of such importance to secure a place near the gangway, and to be amongst the first to disembark lest one should waste precious minutes of one's three or five days' leave.
On this particular July morning, as I stood by the rail and watched the white cliffs of Dover drawing nearer, I marvelled at the passengers who could sit calmly in their chairs and never even raise their eyes for the first sight of the native land. Yet perhaps their case was different from mine. Doubtless many of them had only crossed to Paris for the weekend, whereas I had spent the last year and a half on a ranch in the Argentine. I had prospered there, and my wife and I had both enjoyed the free and easy life of the South American continent, nevertheless it was with a lump in my throat that I watched the familiar shore draw nearer and nearer.
I had landed in France two days before, transacted some necessary business, and was now en route for London. I should be there some months—time enough to look up old friends, and one old friend in particular. A little man with an egg-shaped head and green eyes—Hercule Poirot! I proposed to take him completely by surprise. My last letter from the Argentine had given no hint of my intended voyage—indeed, that had been decided upon hurriedly as a result of certain business complications—and I spent many amused moments picturing to myself his delight and stupefaction on beholding me.
He, I knew, was not likely to be far from his headquarters.
The time when his cases had drawn him from one end of England to the other was past. His fame had spread, and no longer would he allow one case to absorb all his time. He aimed more and more, as time went on, at being considered a "consulting detective"—as much a specialist as a Harley Street physician. He had always scoffed at the popular idea of the human bloodhound who assumed wonderful disguises to track criminals, and who paused at every footprint to measure it.
"No, my friend Hastings," he would say; "we leave that to Giraud and his friends. Hercule Poirot's methods are his own. Order and method, and 'the little grey cells.' Sitting at ease in our own armchairs we see the things that these others overlook, and we do not jump to the conclusion like the worthy Japp."
No; there was little fear of finding Hercule Poirot far afield.
On arrival in London, I deposited my luggage at an hotel and drove straight on to the old address. What poignant memories it brought back to me! I hardly waited to greet my old landlady, but hurried up the stairs two at a time and rapped on Poirot's door.
"Enter, then," cried a familiar voice from within.
I strode in. Poirot stood facing me. In his arms he carried a small valise, which he dropped with a crash on beholding me.
"Mon ami, Hastings!" he cried. "Mon ami, Hastings!"
And, rushing forward, he enveloped me in a capacious embrace. Our conversation was incoherent and inconsequent.
Ejaculations, eager questions, incomplete answers, messages from my wife, explanations as to my journey, were all jumbled up together.
"I suppose there's someone in my old rooms?" I asked at last, when we had calmed down somewhat.
"I'd love to put up here again with you."
Poirot's face changed with startling suddenness. "Mon Dieu! but what a chance epouvantable. Regard around you, my friend."
For the first time I took note of my surroundings. Against the wall stood a vast ark of a trunk of prehistoric design. Near to it were placed a number of suitcases, ranged neatly in order of size from large to small.
"[Missing] every day I say to myself, I will write nothing in my letters—but oh! The surprise of the good Hastings when he beholds me!"
"But when are you going?''
Poirot looked at his watch. "In an hour's time."
"I thought you always said nothing would induce you to make a long sea voyage?"
Poirot closed his eyes and shuddered. "Speak not of it to me, my friend. My doctor, he assures me that one dies not of it—and it is for the one time only; you understand, that never—never shall I return."
He pushed me into a chair. "Come, I will tell you how it all came about. Do you know who is the richest man in the world? Richer even than Rockefeller? Abe Ryland."
"The American Soap King?"
"Precisely. One of his secretaries approached me. There is some very considerable, as you would call it, hocus-pocus going on in connection with a big company in Rio. He wished me to investigate matters on the spot. I refused. I told him that if the facts were laid before me, I would give him my expert opinion. But that he professed himself unable to do. I was to be put in possession of the facts only on my arrival out there."
"Normally, that would have closed the matter. To dictate to Hercule Poirot is sheer impertinence. But the sum offered was so stupendous that for the first time in my life I was tempted by mere money. It was a compettence—a fortune! And there was a second attraction—you, my friend. For this last year and a half I have been a very lonely old man. I thought to myself. Why not? I am beginning to weary of this unending solving of foolish problems. I have achieved sufficient fame. Let me take this money and settle down somewhere near my old friend."
I was quite affected by this token of Poirot's regard.
"So I accepted," he continued, "and in an hour's time I must leave to catch the boat train. One of life's little ironies, is it not? But I will admit to you, Hastings, that had not the money offered been so big, I might have hesitated, for just lately I have begun a little investigation of my own. Tell me, what is commonly meant by the phrase, 'The Big Four'?"
"I suppose it had its origin at the Versailles Conference, and then there's the famous 'Big Four' in the film world, and the term is used by hosts of smaller fry."
"I see," said Poirot thoughtfully. "I have come across the phrase, you understand, under certain circumstances where none of those explanations would apply. It seems to refer to a gang of international criminals or something of that kind; only—"
"Only what?" I asked, as he hesitated.
"Only that I fancy that it is something on a large scale. Just a little idea of mine, nothing more. Ah, but I must complete my packing. The time advances."
"Don't go," I urged. "Cancel your passage and come out on the same boat with me."
Poirot drew himself up and glanced at me reproachfully.
"Ah, it is that you do not understand! I have passed my word, you comprehend—the word of Hercule Poirot. Nothing but a matter of life or death could detain me now."
"And that's not likely to occur," I murmured ruefully. "Unless at the eleventh hour 'the door opens and the unexpected guest comes in.'"
I quoted the old saw with a slight laugh, and then, in the pause that succeeded it, we both started as a sound came from the inner room.
"What's that?" I cried.
"Mais oui" retorted Poirot. "It sounds very like your 'unexpected guest' in my bedroom."
"But how can anyone be in there? There's no door except into this room."
"Your memory is excellent, Hastings. Now for the deductions."
"The window! But it's a burglar, then? He must have had a stiff climb of it—I should say it was almost impossible."
I had risen to my feet and was striding in the direction of the door when the sound of a fumbling at the handle from the other side arrested me.
The door swung slowly open. Framed in the doorway stood a man. He was coated from head to foot with dust and mud; his face was thin and emaciated. He stared at us for a moment, and then swayed and fell. Poirot hurried to his side, then he looked up and spoke to me.
"Brandy—quickly."
I dashed some brandy into a glass and brought it. Poirot managed to administer a little, and together we raised him and carried him to the couch. In a few minutes he opened his eyes and looked round him with an almost vacant stare.
"What is it you want, monsieur?" said Poirot.
The man opened his lips and spoke in a queer mechanical voice.
"M. Hercule Poirot, 14 Farraway Street."
"Yes, yes; I am he."
The man did not seem to understand, and merely repeated in exactly the same tone: "M. Hercule Poirot, 14 Farraway Street."
Poirot tried him with several questions. Sometimes the man did not answer at all; sometimes he repeated the same phrase. Poirot made a sign to me to ring up on the telephone.
"Get Dr. Ridgeway to come round."
The doctor was in luckily; and as his house was only just round the corner, few minutes elapsed before he came bustling in.
"What's all this, eh?"
Poirot gave a brief explanation, and the doctor started examining our strange visitor, who seemed quite unconscious of his presence or ours.
"Hm!" said Dr. Ridgeway, when he had finished. "Curious case."
"Brain fever?" I suggested.
The doctor immediately snorted with contempt. "Brain fever! Brain fever! No such thing as brain fever. An invention of novelists. No; the man's had a shock of some kind. He's come here under the force of a persistent idea—to find M. Hercule Poirot, 14 Farraway Street—and he repeats those words mechanically without in the least knowing what they mean."
"Aphasia?" I said eagerly.
This suggestion did not cause the doctor to snort quite as violently as my last one had done. He made no answer, but handed the man a sheet of paper and a pencil.
"Let's see what he'll do with that," he remarked.
The man did nothing with it for some moments, then he suddenly began to write feverishly. With equal suddenness he stopped and let both paper and pencil fall to the ground. The doctor picked it up, and shook his head.
"Nothing here. Only the figure 4 scrawled a dozen times, each one bigger than the last. Wants to write 14 Farraway Street, I expect. It's an interesting case—very interesting. Can you possibly keep him here until this afternoon? I'm due at the hospital now, but I'll come back this afternoon and make all arrangements about him. It's too interesting a case to be lost sight of."
I explained Poirot's departure and the fact that I proposed to accompany him to Southampton.
"That's all right. Leave the man here. He won't get into mischief. He's suffering from complete exhaustion. Will probably sleep for eight hours on end. I'll have a word with that excellent Mrs. Funnyface of yours, and tell her to keep an eye on him."
And Dr. Ridgeway bustled out with his usual celerity. Poirot hastily completed his packing, with one eye on the clock.
"The time, it marches with a rapidity unbelievable. Come now, Hastings, you cannot say that I have left you with nothing to do. A most sensational problem."
"The man from the unknown. Who is he? What is he? Ah, sapristi, but I would give two years of my life to have this boat go tomorrow instead of today. There is something here very curious—very interesting. But one must have time—time. It may be days—or even months—before he will be able to tell us what he came to tell."
"I'll do my best, Poirot," I assured him. "I'll try to be an efficient substitute."
"Yes."
His rejoinder struck me as being a shade doubtful. I picked up the sheet of paper.
"If I were writing a story," I said lightly, "I should weave this in with your latest idiosyncrasy and call it The Mystery of the Big Four." I tapped the pencilled figures as I spoke.
And then I started, for our invalid, roused suddenly from his stupor, sat up in his chair and said clearly and distinctly:
"Li Chang Yen."
He had the look of a man suddenly awakened from sleep. Poirot made a sign to me not to speak. The man went on. He spoke in a clear, high voice, and something in his enunciation made me feel that he was quoting from some written report or lecture.
"Li Chang Yen may be regarded as representing the brains of the Big Four. He is the controlling and motive force. I have designated him, therefore, as Number One. Number Two is seldom mentioned by name. He is represented by an 'S' with two lines through it—the sign for a dollar; also by two stripes and a star. It may be conjectured, therefore, that he is an American subject, and that he represents the power of wealth. There seems no doubt that Number Three is a woman, and her nationality French. It is possible that she may be one of the sirens of the demi-monde, but nothing is known definitely. Number Four—"
His voice faltered and broke. Poirot leant forward.
"Yes," he prompted eagerly. "Number Four?"
His eyes were fastened on the man's face. Some overmastering terror seemed to be gaining the day; the features were distorted and twisted.
"The destroyer," gasped the man. Then, with a final convulsive movement, he fell back in a dead faint.
"Mon Dieu!" whispered Poirot, "I was right then. I was right."
"You think—?"
He interrupted me.
"Carry him on to the bed in my room. I have not a minute to lose if I would catch my train. Not that I want to catch it. Oh, that I could miss it with a clear conscience! But I gave my word. Come, Hastings!"
Leaving our mysterious visitor in the charge of Mrs. Pearson, we drove away, and duly caught the train by the skin of our teeth. Poirot was alternately silent and loquacious. He would sit staring out of the window like a man lost in a dream, apparently not hearing a word that I said to him. Then, reverting to animation suddenly, he would shower injunctions and commands upon me, and urge the necessity of constant marconigrams.
We had a long fit of silence just after we passed Woking. The train, of course, did not stop anywhere until Southhampton; but just here it happened to be held up by a signal.
"Ah! Sacre mille tonnerres!" cried Poirot suddenly. "But I have been an imbecile. I see clearly at last. It is undoubtedly the blessed saints who stopped the train. Jump, Hastings, but jump, I tell you."
In an instant he had unfastened the carriage door, and jumped out on the line.
"Throw out the suitcases and jump yourself."
I obeyed him. Just in time. As I alighted beside him, the train moved on.
"And now Poirot," I said, in some exasperation, "perhaps you will tell me what all this is about."
"It is, my friend, that I have seen the light."
"That," I said, "is very illuminating to me."
"It should be," said Poirot, "but I fear—I very much fear that it is not. If you can carry two of these valises, I think I can manage the rest."
2
The Man from the Asylum
Fortunately the train had stopped near a station. A short walk brought us to a garage where we were able to obtain a car, and half an hour later we were spinning rapidly back to London. Then, and not till then, did Poirot deign to satisfy my curiosity.
"You do not see? No more did I. But I see now. Hastings, I was being got out of the way."
"What!"
"Yes. Very cleverly. Both the place and the method were chosen with great knowledge and acumen. They were afraid of me."
"Who were?"
"Those four geniuses who have banded themselves together to work outside the law. A Chinaman, an American, a Frenchwoman, and—another. Pray the good God we arrive back in time, Hastings."
"You think there is danger to our visitor?"
"I am sure of it."
Mrs. Pearson greeted us on arrival. Brushing aside her ecstasies of astonishment on beholding Poirot, we asked for information. It was reassuring. No one had called, and our guest had not made any sign.
With a sigh of relief we went up to the rooms. Poirot crossed the outer one and went through to the inner one.
Then he called me, his voice strangely agitated.
"Hastings, he's dead."
I came running to join him. The man was lying as we had left him, but he was dead, and had been dead some time. I rushed out for a doctor. Ridgeway, I knew, would not have returned yet. I found one almost immediately, and brought him back with me.
"He's dead right enough, poor chap. Tramp you've been befriending, eh?"
"Something of the kind," said Poirot evasively. "What was the cause of death, doctor?"
"Hard to say. Might have been some kind of fit. There are signs of asphyxiation. No gas laid on, is there?"
"No, electric light—nothing else."
"And both windows wide open, too. Been dead about two hours, I should say. You'll notify the proper people, won't you?"
He took his departure. Poirot did some necessary telephoning. Finally, somewhat to my surprise, he rang up our old friend Inspector Japp, and asked him if he could possibly come round.
No sooner were these proceedings completed than Mrs. Pearson appeared, her eyes as round as saucers.
"There's a man here from 'Anwell—from the 'Sylum. Did you ever? Shall I show him up?"
We signified assent, and a big burly man in uniform was ushered in.
"'Morning, gentlemen," he said cheerfully. "I've got reason to believe you've got one of my birds here. Escaped last night, he did."
"He was here," said Poirot quietly.
"Not got away again, has he?" asked the keeper, with some concern.
"He is dead."
The man looked more relieved than otherwise.
"You don't say so. Well, I dare say it's best for all parties."
"Was he—dangerous?"
"'Omicidal, d'you mean? Oh, no. 'Armless enough. Persecution mania very acute. Full of secret societies from China that had got him shut up. They're all the same."
I shuddered.
"How long had he been shut up?" asked Poirot.
"A matter of two years now."
"I see," said Poirot quietly. "It never occurred to anybody that he might—be sane?"
The keeper permitted himself to laugh.
"If he was sane, what would he be doing in a lunatic asylum? They all say they're sane, you know."
Poirot said no more. He took the man in to see the body. The identification came immediately.
"That's him—right enough," said the keeper callously; "funny sort of bloke, ain't he? Well, gentlemen, I had best go off now and make arrangements under the circumstances. We won't trouble you with the corpse much longer. If there's an inquest, you will have to appear at it, I dare say. Good morning, sir."
With a rather uncouth bow he shambled out of the room.
A few minutes later Japp arrived. The Scotland Yard Inspector was jaunty and dapper as usual.
"Here I am Moosior Poirot. What can I do for you? Thought you were off to the coral strands of somewhere or other today?"
"My good Japp, I want to know if you have ever seen this man before."
He led Japp into the bedroom. The inspector stared down at the figure on the bed with a puzzled face.
"Let me see now—he seems sort of familiar—and I pride myself on my memory, too. Why, God bless my soul, it's Mayerling!"
"And who is—or was—Mayerling?"
"Secret Service chap—not one of our people. Went to Russia five years ago. Never heard of again. Always thought the Bolshies had done him in."
"It all fits in," said Poirot, when Japp had taken his leave, "except for the fact that he seems to have died a natural death."
He stood looking down on the motionless figure with a dissatisfied frown. A puff of wind set the window-curtains flying out, and he looked up sharply.
"I suppose you opened the windows when you laid him down on the bed, Hastings?''
"No, I didn't," I replied. "As far as I remember, they were shut."
Poirot lifted his head suddenly. "Shut—and now they are open. What can that mean?"
"Somebody came in that way," I suggested.
"Possibly," agreed Poirot, but he spoke absently and without conviction. After a minute or two he said: "That is not exactly the point I had in mind, Hastings. If only one window was open it would not intrigue me so much. It is both windows being open that strikes me as curious."
He hurried into the other room.
"The sitting room window is open, too. That also we left shut. Ah!"
He bent over the dead man, examining the corners of the mouth minutely. Then he looked up suddenly.
"He has been gagged, Hastings. Gagged and then poisoned."
"Good heavens!" I exclaimed, shocked. "I suppose we shall find out all about it from the post-mortem."
"We shall find out nothing. He was killed by inhaling strong prussic acid. It was jammed right under his nose. Then the murderer went away again, first opening all the windows. Hydrocyanic acid is exceedingly volatile, but it has a pronounced smell of bitter almonds. With no trace of the smell to guide them, and no suspicion of foul play, death would be put down to some natural cause by the doctors. So this man was in the Secret Service, Hastings. And five years ago he disappeared in Russia."
"The last two years he's been in the Asylum," I said.
"But what of the three years before that?"
Poirot shook his head, and then caught my arm. "The clock, Hastings, look at the clock."
I followed his gaze to the mantelpiece. The clock had stopped at four o'clock.
"Mon ami, someone has tampered with it. It had still three days to run. It is an eight-day clock, you comprehend?"
"But what should they want to do that for? Some idea of a false scent by making the crime appear to have taken place at four o'clock?"
"No, no; rearrange your ideas, mon ami. Exercise your little grey cells. You are Mayerling. You hear something, perhaps—and you know well enough that your doom is sealed. You have just time to leave a sign. Four o'clock, Hastings. Number Four, the destroyer. Ah! an idea!"
He rushed into the other room and seized the telephone. He asked for Hanwell.
"You are the Asylum, yes, I understand there has been an escape today? What is that you say? A little moment, if you please. Will you repeat that? Ah! parfaitement."
He hung up the receiver, and turned to me.
"You heard, Hastings? There has been no escape."
"But the man who came—the keeper?" I said.
"I wonder—I very much wonder."
"You mean—?"
"Number Four—the destroyer."
I gazed at Poirot dumbfounded. A minute or two after, on recovering my voice, I said: "We shall know him again, anywhere, that's one thing. He was a man of very pronounced personality."
"Was he, mon ami! I think not. He was burly and bluff and red-faced, with a thick moustache and a hoarse voice. He will be none of those things by this time, and for the rest, he has nondescript eyes, nondescript ears, and a perfect set of false teeth. Identification is not such an easy matter as you seem to think. Next time—"
"You think there will be a next time?" I interrupted.
Poirot's face grew very grave. "It is a duel to the death, mon ami. You and I on the one side, the Big Four on the other. They have won the first trick; but they have failed in their plan to get me out of the way, and in the future they have to reckon with Hercule Poirot!"
3
We Hear More About Li Chang Yen
For a day or two after our visit from the fake Asylum attendant I was in some hopes that he might return, and I refused to leave the flat even for a moment. As far as I could see, he had no reason to suspect that we had penetrated his disguise. He might, I thought, return and try to remove the body, but Poirot scoffed at my reasoning.
"Mon ami," he said, "if you wish you may wait in to put salt on the little bird's tail, but for me I do not waste my time so."
"Well then, Poirot," I argued, "why did he run the risk of coming at all. If he intended to return later for the body, I can see some point in his visit. He would at least be removing the evidence against himself; as it is, he does not seem to have gained anything."
Poirot shrugged his most Gallic shrug. "But you do not see with the eyes of Number Four, Hastings," he said. "You talk of evidence, but what evidence have we against him? True, we have a body, but we have no proof even that the man was murdered—prussic acid, when inhaled, leaves no trace. Again, we can find no one who saw anyone enter the flat during our absence, and we have found out nothing about the movements of our late friend, Mayerling. . . ."
"No, Hastings, Number Four has left no trace, and he knows it. His visit we may call a reconnaissance. Perhaps he wanted to make quite sure that Mayerling was dead, but more likely, I think, he came to see Hercule Poirot, and to have speech with the adversary whom alone he must fear."
Poirot's reasoning appeared to me typically egotistical, but I forbore to argue.
"And what about the inquest?" I asked. "I suppose you will explain things clearly there, and let the police have a full description of Number Four."
"And to what end? Can we produce anything to impress a coroner's jury of your solid Britishers? Is our description of Number Four of any value? No; we shall allow them to call it 'Accidental Death,' and may be, although I have not much hope, our clever murderer will pat himself on the back that he deceived Hercule Poirot in the first round."
Poirot was right as usual. We saw no more of the man from the asylum, and the inquest, at which I gave evidence, but which Poirot did not even attend, aroused no public interest.
As, in view of his intended trip to South America, Poirot had wound up his affairs before my arrival, he had at this time no cases on hand, but although he spent most of his time in the flat I could get little out of him.
He remained buried in an armchair, and discouraged my attempts at conversation.
And then one morning, about a week after the murder, he asked me if I would care to accompany him on a visit he wished to make. I was pleased, for I felt he was making a mistake in trying to work things out so entirely on his own, and I wished to discuss the case with him. But I found he was not communicative. Even when I asked where we were going, he would not answer.
Poirot loves being mysterious. He will never part with a piece of information until the last possible moment. In this instance, having taken successively a bus and two trains, and arrived in the neighbourhood of one of London's most depressing southern suburbs, he consented at last to explain matters.
"We go, Hastings, to see the one man in England who knows most of the underground life of China."
"Indeed! Who is he?"
"A man you have never heard of—a Mr. John Ingles. To all intents and purposes, he is a retired Civil Servant of mediocre intellect, with a house full of Chinese curios with which he bores his friends and acquaintances."
"Nevertheless, I am assured by those who should know that the only man capable of giving me the information I seek is this same John Ingles."
A few moments more saw us ascending the steps of The Laurels, as Mr. Ingles's residence was called. Personally, I did not notice a laurel bush of any kind, so deduced that it had been named according to the usual obscure nomenclature of the suburbs.
We were admitted by an impassive-faced Chinese servant and ushered into the presence of his master. Mr. Ingles was a squarely-built man, somewhat yellow of countenance, with deep-set eyes that were oddly reflective in character. He rose to greet us, setting aside an open letter which he had held in his hand. He referred to it after his greeting.
"Sit down, won't you? Halsey tells me that you want some information and that I may be useful to you in the matter."
"That is so, monsieur. I ask of you if you have any knowledge of a man named Li Chang Yen?"
"That's rum—very rum indeed. How did you come to hear about the man?"
"You know him, then?"
"I've met him once. And I know something of him—not quite as much as I should like to. But it surprises me that anyone else in England should even have heard of him. He's a great man in his way—mandarin class and all that, you know—but that's not the crux of the matter."
"There's good reason to suppose that he's the man behind it all."
"Behind what?"
"Everything. The worldwide unrest, the labour troubles that beset every nation, and the revolutions that break out in some. There are people, not scaremongers, who know what they are talking about, and they say that there is a force behind the scenes which aims at nothing less then the disintegration of civilisation."
"In Russia, you know, there were many signs that Lenin and Trotsky were mere puppets whose every action was dictated by another's brain. I have no definite proof that would count with you, but I am quite convinced that this brain was Li Chang Yen's."
"Oh, come," I protested, "isn't that a bit farfetched? How would a Chinaman cut any ice in Russia?"
Poirot frowned at me irritably. "For you, Hastings," he said, "everything is farfetched that comes not from your own imagination; for me, I agree with this gentleman. But continue, I pray, monsieur."
"What exactly he hopes to get out of it all I cannot pretend to say for certain," went on Mr. Ingles; "but I assume his disease is one that has attacked great brains from the time of Akbar and Alexander to Napoleon—a lust for power and personal supremacy. Up to modern times armed force was necessary for conquest, but in this century of unrest a man like Li Chang Yen can use other means. I have evidence that he has unlimited money behind him for bribery and propaganda, and there are signs that he controls some scientific force more powerful than the world has dreamed of."
Poirot was following Mr. Ingles's words with the closest attention.
"And in China?" he asked. "He moves there too?"
The other nodded in emphatic assent. "There," he said, "although I can produce no proof that would count in a court of law, I speak from my own knowledge. I know personally every man who counts for anything in China today, and this I can tell you: the men who loom most largely in the public eye are men of little or no personality. They are marionettes who dance to the wires pulled by a master hand, and that hand is Li Chang Yen's. His is the controlling brain of the East today. We don't understand the East—we never shall; but Li Chang Yen is its moving spirit. Not that he comes out into the limelight—oh, not at all; he never moves from his palace in Peking. But he pulls strings—that's it, pulls strings—and things happen far away."
"And is there no one to oppose him?" asked Poirot.
Mr. Ingles leant forward in his chair. "Four men have tried in the last four years," he said slowly; "men of character, and honesty, and brain power. Any one of them might in time have interfered with his plans." He paused.
"Well? "I queried.
"Well, they are dead. One wrote an article, and mentioned Li Chang Yen's name in connection with the riots in Peking, and within two days he was stabbed in the street. His murderer was never caught. The offences of the other two were similar. In a speech or an article, or in conversation, each linked Li Chang Yen's name with rioting or revolution and within a week of his indiscretion each was dead. One was poisoned; one died of cholera, an isolated case—not part of an epidemic; and one was found dead in his bed. The cause of the last death was never determined, but I was told by a doctor who saw the corpse that it was burnt and shrivelled as though a wave of electrical energy of incredible power had passed through it."
"And Li Chang Yen?" inquired Poirot. "Naturally nothing is traced to him, but there are signs, eh?"
Mr. Ingles shrugged. "Oh, signs—yes, certainly. And once I found a man who would talk, a brilliant young Chinese chemist who was a protйgй of Li Chang Yen's. He came to me one day, this chemist, and I could see that he was on the verge of a nervous breakdown. He hinted to me of experiments on which he'd been engaged in Li Chang Yen's palace under the mandarin's direction—experiments on coolies in which the most revolting disregard for human life and suffering had been shown. His nerve had completely broken, and he was in the most pitiable state of terror. I put him to bed in a top room of my own house, intending to question him the next day—and that, of course, was stupid of me."
"How did they get him?" demanded Poirot.
"That I shall never know. I woke that night to find my house in flames, and was lucky to escape with my life. Investigation showed that a fire of amazing intensity had broken out on the top floor, and the remains of my young chemist friend were charred to a cinder."
I could see from the earnestness with which he had been speaking that Mr. Ingles was a man mounted on his hobby horse, and evidently he, too, realised that he had been carried away, for he laughed apologetically.
"But, of course," he said, "I have no proofs, and you, like the others, will merely tell me that I have a bee in my bonnet."
"On the contrary," said Poirot quietly, "we have every reason to believe your story. We ourselves are more than a little interested in Li Chang Yen."
"Very odd your knowing about him. Didn't fancy a soul in England had ever heard of him. I'd rather like to know how you did come to hear of him—if it's not indiscreet."
"Not in the least, monsieur. A man took refuge in my rooms. He was suffering badly from shock, but he managed to tell us enough to interest us in this Li Chang Yen. He described four people—the Big Four—an organisation hitherto undreamed of. Number One is Li Chang Yen, Number Two is an unknown American, Number Three an equally unknown Frenchwoman, Number Four may be called the executive of the organisation—the Destroyer. My informant died. Tell me, monsieur, is that phrase known to you at all? The Big Four."
"Not in connection with Li Chang Yen. No, I can't say it is. But I've heard it, or read it, just lately—and in some unusual connection too. Ah, I've got it."
He rose and went across to an inlaid lacquer cabinet—an exquisite thing, as even I could see. He returned with a letter in his hand.
"Here you are. Note from an old sea-faring man I ran against once in Shanghai. Hoary old reprobate—maudlin with drink by now, I should say. I took this to be the ravings of alcoholism."
He read it aloud:
"Dear sir,—You may not remember me, but you did me a good turn once in Shanghai. Do me another now. I must have money to get out of the country. I'm well hid here, I hope, but any day they may get me. The Big Four, I mean. It's life or death. I've plenty of money, but I daren't get at it, for fear of putting them wise. Send me a couple of hundred in notes. I'll repay it faithful—I swear to that."
"Your servant, sir, Jonathan Whalley .''
"Dated from Granite Bungalow, Hoppaton, Dartmoor. I'm afraid I regarded it as rather a crude method of relieving me of a couple of hundred which I can ill spare. If it's any use to you—" He held it out.
"Je vous remercie, monsieur. I start for Hoppaton a l'heure memo."
"Dear me, this is very interesting. Supposing I came along too? Any objection?"
"I should be charmed to have your company, but we must start at once. We shall not reach Dartmoor until close on nightfall, as it is."
John Ingles did not delay us more than a couple of minutes, and soon we were in the train moving out of Paddington bound for the West Country. Hoppaton was a small village clustering in a hollow right on the fringe of the moorland. It was reached by a nine-mile drive from Moretonhamstead. It was about eight o'clock when we arrived; but as the month was July, the daylight was still abundant.
We drove into the narrow street of the village and then stopped to ask our way of an old rustic.
"Granite Bungalow," said the old man reflectively, "it be Granite Bungalow you do want? Eh?"
We assured him that this was what we did want.
The old man pointed to a small grey cottage at the end of the street. "There be the Bungalow. Do yee want to see t'Inspector?"
"What Inspector?" asked Poirot sharply; "what do you mean?"
"Haven't yee heard about t'murder, then? A shocking business t'was seemingly. Pools of blood, they do say."
"Mon Dieu!" murmured Poirot. "This Inspector of yours, I must see him at once.''
Five minutes later we were closeted with Inspector Meadows. The Inspector was inclined to be stiff at first, but at the magic name of Inspector Japp of Scotland Yard, he unbent.
"Yes, sir; murdered this morning. A shocking business. They 'phoned to Moreton, and I came out at once. Looked a mysterious thing to begin with. The old man—he was about seventy, you know, and fond of his glass, from all I hear—was lying on the floor of the living room. There was a bruise on his head and his throat was cut from ear to ear. Blood all over the place, as you can understand. The woman who cooks for him, Betsy Andrews, she told us that her master had several little Chinese jade figures, that he'd told her were very valuable, and these had disappeared. That, of course, looked like assault and robbery; but there were all sorts of difficulties in the way of that solution. The old fellow had two people in the house; Betsy Andrews, who is a Hoppaton woman, and a rough kind of manservant, Robert Grant. Grant had gone to the farm to fetch the milk, which he does every day, and Betsy had stepped out to have a chat with a neighbour. She was only away twenty minutes—between ten and half-past—and the crime must have been done then. Grant returned to the house first. He went in by the back door, which was open—no one locks up doors round here—not in broad daylight, at all events—put the milk in the larder, and went into his own room to read the paper and have a smoke. Had no idea anything unusual had occurred—at least, that's what he says. Then Betsy comes in, goes into the living room, sees what's happened, and lets out a screech to wake the dead. That's all fair and square."
"Someone got in whilst those two were out, and did the poor old man in. But it struck me at once that he must be a pretty cool customer. He'd have to come right up the village street, or creep through someone's back yard. Granite Bungalow has got houses all round it, as you can see. How was it that no one had seen him?"
The Inspector paused with a flourish.
"Aha, I perceive your point," said Poirot. "To continue?"
"Well, sir, fishy, I said to myself—fishy. And I began to look about me. Those jade figures, now. Would a common tramp ever suspect that they were valuable? Anyway, it was madness to try such a thing in broad daylight. Suppose the old man had yelled for help?"
"I suppose. Inspector," said Mr. Ingles, "that the bruise on the head was inflicted before death?"
"Quite right, sir. First knocked him silly, the murderer did, and then cut his throat. That's clear enough. But how the dickens did he come or go? They notice strangers quick enough in a little place like this. It came to me all at once—nobody did come. I took a good look round. It had rained the night before, and there were footprints clear enough going in and out of the kitchen."
"In the living room there were two sets of footprints only (Betsy Andrews' stopped at the door)—Mr. Whalley's (he was wearing carpet slippers) and another man's. The other man had stepped in the bloodstains, and I traced his bloody footprints—I beg your pardon, sir."
"Not at all," said Mr. Ingles, with a faint smile; "the adjective is perfectly understood."
"I traced them to the kitchen—but not beyond. Point Number One. On the lintel of Robert Grant's door was a faint smear—a smear of blood. That's point Number Two. Point Number Three was when I got hold of Grant's boots—which he had taken off—and fitted them to the marks. That settled it. It was an inside job. I warned Grant and took him into custody; and what do you think I found packed away in his portmanteau? The little jade figures and a ticket-of-leave. Robert Grant was also Abraham Biggs, convicted for felony and housebreaking five years ago."
The Inspector paused triumphantly.
"What do you think of that, gentlemen?"
"I think," said Poirot, "that it appears a very clear case—of a surprising clearness, in fact. This Biggs, or Grant, he must be a man very foolish and uneducated, eh?"
"Oh, he is that—a rough, common sort of fellow. No idea of what a footprint may mean."
"Clearly he reads not the detective fiction! Well, Inspector, I congratulate you. We may look at the scene of the crime. Yes?"
"I'll take you there myself this minute. I'd like you to see those footprints."
"I, too, should like to see them. Yes, yes, very interesting, very ingenious."
We set out forthwith. Mr. Ingles and the Inspector forged ahead. I drew Poirot back a little so as to be able to speak to him out of the Inspector's hearing.
"What do you really think, Poirot? Is there more in this than meets the eye?"
"That is just the question, mon ami. Whalley says plainly enough in his letter that the Big Four are on his track, and we know, you and I, that the Big Four is no bogey for the children. Yet everything seems to say that this man Grant committed the crime. Why did he do so? For the sake of the little jade figures? Or is he an agent of the Big Four? I confess that this last seems more likely. However valuable the jade, a man of that class was not likely to realise the fact—at any rate, not to the point of committing murder for them. (That, par exemple, ought to have struck the Inspector.) He could have stolen the jade and made off with it instead of committing a brutal and quite purposeless murder. Ah, yes; I fear our Devonshire friend has not used his little grey cells. He has measured footprints, and has omitted to reflect and arrange his ideas with the necessary order and method."
4
The Importance of a Leg of Mutton
The Inspector drew a key from his pocket and unlocked the door of Granite Bungalow. The day had been fine and dry, so our feet were not likely to leave any prints; nevertheless, we wiped them carefully on the mat before entering.
A woman came up out of the gloom and spoke to the Inspector, and he turned aside. Then he spoke over his shoulder.
"Have a good look round, Mr. Poirot, and see all there is to be seen. I'll be back in about ten minutes. By the way, here's Grant's boot. I brought it along with me for you to compare the impressions."
We went into the living room, and the sound of the Inspector's footsteps died away outside. Ingles was attracted immediately by some Chinese curios on a table in the corner, and went over to examine them. He seemed to take no interest in Poirot's doings. I, on the other hand, watched him with breathless interest. The floor was covered with a dark-green linoleum which was ideal for showing up footprints. A door at the farther end led into the small kitchen. From there another door led into the scullery (where the back door was situated), and another into the bedroom which had been occupied by Robert Grant. Having explored the ground, Poirot commented upon it in a low running monologue.
"Here is where the body lay; that big dark stain and the splashes all around mark the spot. Traces of carpet slippers and 'number nine' boots, you observe, but all very confused. Then two sets of tracks leading to and from the kitchen; whoever the murderer was, he came in that way. You have the boot, Hastings? Give it to me."
He compared it carefully with the prints. "Yes, both made by the same man, Robert Grant. He came in that way, killed the old man, and went back to the kitchen. He had stepped in the blood; see the stains he left as he went out? Nothing to be seen in the kitchen—all the village has been walking about in it. He went into his own room—no, first he went back again to the scene of the crime—was that to get the little jade figures? Or had he forgotten something that might incriminate him?"
"Perhaps he killed the old man the second time he went in?" I suggested.
"Mais non, you do not observe. On one of the outgoing footmarks stained with blood there is superimposed an ingoing one. I wonder what he went back for—the little jade figures as an afterthought? It is all ridiculous—stupid."
"Well, he's given himself away pretty hopelessly."
"N'est-ce pas? I tell you, Hastings, it goes against reason. It offends my little grey cells. Let us go into his bedroom—ah, yes; there is the smear of blood on the lintel and just a trace of footmarks—the bloodstained."
"Robert Grant's footmarks, and his only, near the body—Robert Grant the only man who went near the house. Yes, it must be so."
"What about the old woman?" I said suddenly. "She was in the house alone after Grant had gone for the milk. She might have killed him and then gone out. Her feet would leave no prints if she hadn't been outside."
"Very good, Hastings. I wondered whether that hypothesis would occur to you. I had already thought of it and rejected it. Betsy Andrews is a local woman, well known hereabouts. She can have no connection with the Big Four; and, besides, old Whalley was a powerful fellow, by all accounts. This is a man's work—not a woman's."
"I suppose the Big Four couldn't have had some diabolical contrivance concealed in the ceiling—something which descended automatically and cut the old man's throat and was afterwards drawn up again?"
"Like Jacob's ladder? I know, Hastings, that you have an imagination of the most fertile—but I implore of you to keep it within bounds."
I subsided, abashed. Poirot continued to wander about, poking into rooms and cupboards with a profoundly dissatisfied expression on his face. Suddenly he uttered an excited yelp, reminiscent of a Pomeranian dog. I rushed to join him. He was standing in the larder in a dramatic attitude. In his hand he was brandishing a leg of mutton!
"My dear Poirot!" I cried. "What is the matter? Have you suddenly gone mad?"
"Regard, I pray you, this mutton. But regard it closely!"
I regarded it as closely as I could, but could see nothing unusual about it. It seemed to me a very ordinary leg of mutton. I said as much. Poirot threw me a withering glance.
"But do you not see this—and this—and this—"
He illustrated each "this" with a jab at the unoffending joint, dislodging small icicles as he did so.
Poirot had just accused me of being imaginative, but I now felt that he was far more wildly so than I had ever been. Did he seriously think these slivers of ice were crystals of a deadly poison? That was the only construction I could put upon his extraordinary agitation.
"It's frozen meat," I explained gently. "Imported, you know. New Zealand."
He stared at me for a moment or two and then broke into a strange laugh.
"How marvellous is my friend Hastings! He knows everything—but everything! How do they say—Inquire Within Upon Everything. That is my friend Hastings."
He flung down the leg of mutton onto its dish again and left the larder. Then he looked through the window.
"Here comes our friend the Inspector. It is well. I have seen all I want to see here." He drummed on the table absentmindedly, as though absorbed in calculation, and then asked suddenly, "What is the day of the week, mon ami?"
"Monday," I said, rather astonished. "What—?"
"Ah! Monday, is it? A bad day of the week. To commit a murder on a Monday is a mistake."
Passing back to the living room, he tapped the glass on the wall and glanced at the thermometer.
"Set fair, and seventy degrees Fahrenheit. An orthodox English summer's day."
Ingles was still examining various pieces of Chinese pottery.
"You do not take much interest in this inquiry, monsieur?" said Poirot.
The other gave a slow smile. "It's not my job, you see. I'm a connoisseur of some things, but not of this. So I just stand back and keep out of the way. I've learnt patience in the East."
The Inspector came bustling in, apologising for having been so long away. He insisted on taking us over most of the ground again, but finally we got away.
"I must appreciate your thousand politenesses. Inspector," said Poirot, as we were walking down the village street again. "There is just one more request I should like to put to you."
"You want to see the body, perhaps, sir?"
"Oh, dear me, no! I have not the least interest in the body. I want to see Robert Grant."
"You'll have to drive back with me to Moreton to see him, sir."
"Very well, I will do so. But I must see him and be able to speak to him alone."
The Inspector caressed his upper lip. "Well, I don't know about that, sir."
"I assure you that if you can get through to Scotland Yard you will receive full authority."
"I've heard of you, of course, sir, and I know you've done us a good turn now and again. But it's very irregular."
"Nevertheless, it is necessary," said Poirot calmly. "It is necessary for this reason—Grant is not the murderer."
"What? Who is then?"
"The murderer was, I should fancy, a youngish man. He drove up to Granite Bungalow in a trap, which he left outside. He went in, committed the murder, came out, and drove away again. He was bare-headed, and his clothing was slightly bloodstained."
"But—but the whole village would have seen him!"
"Not under certain circumstances."
"Not if it was dark, perhaps; but the crime was committed in broad daylight."
Poirot merely smiled.
"And the horse and trap, sir—how could you tell that? Any amount of wheeled vehicles have passed along outside. There's no mark of one in particular to be seen."
"Not with the eyes of the body, perhaps; but with the eyes of the mind, yes."
The Inspector touched his forehead significantly with a grin at me. I was utterly bewildered, but I had faith in Poirot. Further discussion ended in our all driving back to Moreton with the Inspector. Poirot and I were taken to Grant, but a constable was to be present during the interview. Poirot went straight to the point.
"Grant, I know you to be innocent of this crime. Relate to me in your own words exactly what happened."
The prisoner was a man of medium height, with a somewhat unpleasing cast of features. He looked a jailbird if ever a man did.
"Honest to God, I never did it," he whined. "Someone put those little glass figures amongst my traps. It was a frame-up, that's what it was. I went straight to my rooms when I came in, like I said. I never knew a thing till Betsy screeched out. S'welp me, God, I didn't."
Poirot rose. "If you can't tell me the truth, that is the end of it."
"But, guv'nor—"
"You did go into the room—you did know your master was dead; and you were just preparing to make a bolt of it when the good Betsy made her terrible discovery."
The man stared at Poirot with a dropped jaw.
"Come now, is it not so? I tell you solemnly—on my word of honour—that to be frank now is your only chance."
"I'll risk it," said the man suddenly. "It was just as you say. I came in, and went straight to the master—and there he was, dead on the floor and blood all round."
"Then I got the wind up proper. They'd ferret out my record, and for a certainty they'd say it was me as had done him in. My only thought was to get away—at once—before he was found—"
"And the jade figures?"
The man hesitated. "You see—"
"You took them by a kind of reversion to instinct, as it were? You had heard your master say that they were valuable, and you felt you might as well go the whole hog. That, I understand. Now, answer me this. Was it the second time that you went into the room that you took the figures?"
"I didn't go in a second time. Once was enough for me."
"You are sure of that?"
"Absolutely certain."
"Good. Now, when did you come out of prison?"
"Two months ago."
"How did you obtain this job?"
"Through one of them Prisoners' Help Societies. Bloke met me when I came out."
"What was he like?"
"Not exactly a parson, but looked like one. Soft black hat and mincing way of talking. Got a broken front tooth. Spectacled chap. Saunders his name was. Said he hoped I was repentant, and that he'd find me a good post. I went to old Whalley on his recommendation."
Poirot rose once more. "I thank you. I know all now. Have patience." He paused in the doorway and added: "Saunders gave you a pair of boots, didn't he?"
Grant looked very astonished. "Why, yes, he did. But how did you know?"
"It is my business to know things," said Poirot gravely.
After a word or two to the Inspector, the three of us went to the White Hart and discussed eggs and bacon and Devonshire cider.
"Any elucidations yet?" asked Ingles, with a smile.
"Yes, the case is clear enough now; but, see you, I shall have a good deal of difficulty in proving it. Whalley was killed by order of the Big Four—but not by Grant. A very clever man got Grant the post and deliberately planned to make him the scapegoat—an easy matter with Grant's prison record. He gave him a pair of boots, one of two duplicate pairs. The other he kept himself. It was all so simple. When Grant is out of the house, and Betsy is chatting in the village (which she probably did every day of her life), he drives up wearing the duplicate boots, enters the kitchen, goes through into the living room, fells the old man with a blow, and then cuts his throat. Then he returns to the kitchen, removes the boots, puts on another pair, and, carrying the first pair, goes out to his trap and drives off again."
Ingles looked steadily at Poirot. "There's a catch in it still. Why did nobody see him?"
"Ah! That is where the cleverness of Number Four, I am convinced, comes in. Everybody saw him—and yet nobody saw him. You see, he drove up in a butcher's cart!"
I uttered an exclamation. "The leg of mutton?"
"Exactly, Hastings, the leg of mutton. Everybody swore that no one had been to Granite Bungalow that morning, but, nevertheless, I found in the larder a leg of mutton, still frozen. It was Monday, so the meat must have been delivered that morning; for if on Saturday, in this hot weather, it would not have remained frozen over Sunday. So someone had been to the Bungalow, and a man on whom a trace of blood here and there would attract no attention."
"Damned ingenious!" cried Ingles approvingly.
"Yes, he is clever. Number Four."
"As clever as Hercule Poirot?'' I murmured.
My friend threw me a glance of dignified reproach. "There are some jests that you should not permit yourself, Hastings," he said sententiously. "Have I not saved an innocent man from being sent to the gallows? That is enough for one day."
5
Disappearance of a Scientist
Personally, I don't think that, even when a jury had acquitted Robert Grant, alias Biggs, of the murder of Jonathan Whalley, Inspector Meadows was entirely convinced of his innocence. The case which he had built up against Grant—the man's record, the jade which he had stolen, the boots which fitted the footprints so exactly—was to his matter-of-fact mind too complete to be easily upset; but Poirot, compelled much against his inclination to give evidence, convinced the jury. Two witnesses were produced who had seen a butcher's cart drive up to the bungalow on that Monday morning, and the local butcher testified that his cart only called there on Wednesdays and Fridays.
A woman was actually found who, when questioned, remembered seeing the butcher's man leaving the bungalow, but she could furnish no useful description of him. The only impression he seemed to have left on her mind was that he was clean-shaven, of medium height, and looked exactly like a butcher's man. At this description Poirot shrugged his shoulders philosophically.
"It is as I tell you, Hastings," he said to me, after the trial. "He is an artist, this one. He disguises himself not with the false beard and the blue spectacles. He alters his features, yes; but that is the least part. For the time being he is the man he would be. He lives in his part."
Certainly I was compelled to admit that the man who had visited us from Hanwell had fitted in exactly with my idea of what an Asylum attendant should look like. I should never for a moment have dreamt of doubting that he was genuine.
It was all a little discouraging, and our experience on Dartmoor did not seem to have helped us at all. I said as much to Poirot, but he would not admit that we had gained nothing.
"We progress," he said; "we progress. At every contact with this man we learn a little of his mind and his methods. Of us and our plans he knows nothing."
"And there, Poirot." I protested, "he and I seem to be in the same boat. You don't seem to me to have any plans, you seem to sit and wait for him to do something."
Poirot smiled. "Mon ami, you do not change. Always the same Hastings, who would be up and at their throats. Perhaps," he added, as a knock sounded on the door, "you have here your chance; it may be our friend who enters." And he laughed at my disappointment when Inspector Japp and another man entered the room.
"Good evening, moosior," said the Inspector. "Allow me to introduce Captain Kent of the United States Secret Service."
Captain Kent was a tall, lean American, with a singularly impassive face which looked as though it had been carved out of wood.
"Pleased to meet you, gentlemen," he murmured, as he shook hands jerkily.
Poirot threw an extra log on the fire, and brought forward more easy-chairs. I brought out glasses and the whisky and soda. The captain took a deep draught, and expressed appreciation.
"Legislation in your country is still sound," he observed.
"And now to business," said Japp. "Moosior Poirot here made a certain request to me. He was interested in some concern that went by the name of the Big Four, and he asked me to let him know at any time if I came across a mention of it in my official line of business. I didn't take much stock in the matter, but I remembered what he said, and when the captain here came over with rather a curious story, I said at once, 'We'll go round to Moosior Polrot's.'"
Poirot looked across at Captain Kent, and the American took up the tale.
"You may remember reading, M. Poirot, that a number of torpedo boats and destroyers were sunk by being dashed upon the rocks off the American coast. It was just after the Japanese earthquake, and the explanation given was that the disaster was the result of a tidal wave. Now, a short time ago, a round-up was made of certain crooks and gunmen, and with them were captured some papers which put an entirely new face upon the matter. They appeared to refer to some organisation called the 'Big Four,' and gave an incomplete description of some powerful wireless installation—a concentration of wireless energy far beyond anything so far attempted, and capable of focusing a beam of great intensity upon some given spot. The claims made for this invention seemed manifestly absurd, but I turned them in to headquarters for what they were worth, and one of our highbrow professors got busy on them. Now it appears that one of your British scientists read a paper upon the subject before the British Association."
"His colleagues didn't think great shakes of it, by all accounts, thought it far-fetched and fanciful, but your scientist stuck to his guns, and declared that he himself was on the eve of success in his experiments."
"Eh, bien?" demanded Poirot, with interest.
"It was suggested that I should come over here and get an interview with this gentleman. Quite a young fellow, he is, Halliday by name. He is the leading authority on the subject, and I was to get from him whether the thing suggested was any way possible."
"And was it?" I asked eagerly.
"That's just what I don't know. I haven't seen Mr. Halliday—and I'm not likely to, by all accounts."
"The truth of the matter is," said Japp, shortly, '' Halliday's disappeared.''
"When?"
"Two months ago."
"Was his disappearance reported?"
"Of course it was. His wife came to us in a great state. We did what we could, but I knew all along it would be no good."
"Why not?"
"Never is—when a man disappears that way." Japp winked.
"What way?"
"Paris."
"So Halliday disappeared in Paris?"
"Yes. Went over there on scientific work—so he said. Of course, he'd have to say something like that. But you know what it means when a man disappears over there. Either it's Apache work, and that's the end of it—or else its voluntary disappearance—and that's a great deal the commoner of the two, I can tell you. Gay Paree and all that, you know. Sick of home life. Halliday and his wife had had a tiff before he started, which all helps to make it a pretty clear case.''
"I wonder," said Poirot thoughtfully.
The American was looking at him curiously.
"Say, mister," he drawled, "what's this Big Four idea?"
"The Big Four," said Poirot, "is an international organisation which has at its head a Chinaman. He is known as Number One. Number Two is an American. Number Three is a Frenchwoman. Number Four, the 'Destroyer,' is an Englishman."
"A Frenchwoman, eh?" The American whistled.
"And Halliday disappeared in France. Maybe there's something in this. What's her name?"
"I don't know. I know nothing about her."
"But it's a mighty big proposition, eh?" suggested the other.
Poirot nodded, as he arranged the glasses in a neat row on the tray. His love of order was as great as ever.
"What was the idea in sinking those boats? Are the Big Four a German stunt?''
"The Big Four are for themselves—and for themselves only, M. le Capitaine. Their aim is world domination."
The American burst out laughing, but broke off at the sight of Poirot's serious face.
"You laugh, monsieur." said Poirot, shaking a finger at him. "You reflect not—you use not the little grey cells of the brain. Who are these men who send a portion of your navy to destruction simply as a trial of their power? For that was all it was. Monsieur, a test of this new force of magnetical attraction which they hold."
"Go on with you, moosior," said Japp good-humouredly. "I've read of super criminals many a time, but I've never come across them. Well, you've heard Captain Kent's story. Anything further I can do for you?"
"Yes, my good friend. You can give me the address of Mrs. Halliday—and also a few words of introduction to her if you will be so kind."
Thus it was that the following day saw us bound for Chetwynd Lodge, near the village of Chobham in Surrey.
Mrs. Halliday received us at once, a tall, fair woman, nervous and eager in manner. With her was her little girl, a beautiful child of five.
Poirot explained the purpose of our visit.
"Oh! Monsieur Poirot, I am so glad, so thankful. I have heard of you, of course. You will not be like these Scotland Yard people, who will not listen or try to understand. And the French Police are just as bad—worse, I think. They are all convinced that my husband has gone off with some other woman. But he wasn't like that! All he thought of in life was his work. Half our quarrels came from that. He cared for it more than he did for me."
"Englishmen, they are like that," said Poirot soothingly. "And if it is not work, it is the games, the sport. All those things they take au grand serieux. Now, madame, recount to me exactly, in detail, and as methodically as you can, the exact circumstances of your husband's disappearance."
"My husband went to Paris on Thursday, the 20th of July. He was to meet and visit various people there connected with his work, amongst them Madame Olivier."
Poirot nodded at the mention of the famous French woman chemist, who had eclipsed even Madame Curie in the brilliance of her achievements. She had been decorated by the French Government, and was one of the most prominent personalities of the day.
"He arrived there in the evening and went at once to the Hotel Castiglione in the Rue de Castiglione. On the following morning, he had an appointment with Professor Bourgoneau, which he kept. His manner was normal and pleasant. The two men had a most interesting conversation, and it was arranged that he should witness some experiments in the professor's laboratory on the following day. He lunched alone at the Cafe Royal, went for a walk in the Bois, and then visited Madame Olivier at her house at Passy. There, also, his manner was perfectly normal. He left about six. Where he dined is not known, probably alone at some restaurant. He returned to the hotel about eleven o'clock and went straight up to his room, after inquiring if any letters had come for him. On the following morning, he walked out of the hotel, and has not been seen again."
"At what time did he leave the hotel? At the hour when he would normally leave it to keep his appointment at Professor Bourgoneau's laboratory?"
"We do not know. He was not remarked leaving the hotel. But no petit dejeuner was served to him, which seems to indicate that he went out early."
"Or he might, in fact, have gone out again after he came in the night before?"
"I do not think so. His bed had been slept in, and the night porter would have remembered anyone going out at that hour."
"A very just observation, madame. We may take it, then, that he left early on the following morning—and that is reassuring from one point of view. He is not likely to have fallen a victim to any Apache assault at that hour. His baggage, now, was it all left behind?"
Mrs. Halliday seemed rather reluctant to answer, but at last she said: "No—he must have taken one small suitcase with him."
"Hm," said Poirot thoughtfully, "I wonder where he was that evening. If we knew that, we should know a great deal. Whom did he meet?—there lies the mystery. Madame, myself I do not of necessity accept the view of the police; with them is it always 'Cherchez la femme.' Yet it is clear that something occurred that night to alter your husband's plans. You say he asked for letters on returning to the hotel. Did he receive any?"
"One only, and that must have been the one I wrote him on the day he left England."
Poirot remained sunk in thought for a full minute, then he rose briskly to his feet.
"Well, madame, the solution of the mystery lies in Paris, and to find it I myself journey to Paris on the instant."
"It is all a long ti

АААА!!!!!

Среда, 23 Июня 2010 г. 19:20 + в цитатник
послезавтра Выпускной, все здорово!!!
Платье итальянского дизайнера , бриллианты сваровски, туфли лобьютон,ногти!!!
Все обещает быть просто здорово, хотя главное поступить в институт !!!
Не хочу расставаться со школой((

БЕСИТ!!!

Четверг, 27 Мая 2010 г. 13:12 + в цитатник
Как так можно?
Был такой шанс, а он не воспользовался!!!
Как он не замечает свой инфантильность, все так мило! Как в детском саду!!
Идиот!
 (500x357, 35Kb)

Моя первая запись)))

Понедельник, 15 Марта 2010 г. 13:22 + в цитатник
Начну вести мой дневник с этого дня, буду делиться впечатлениями и писать на интересные мне темы)

Дневник Lqwev

Понедельник, 15 Марта 2010 г. 13:07 + в цитатник
Дневник про все и для всех)Welcom=**


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