“So we get a step further in our description of the murderer—a person who had the opportunity to take these shoes of Ralph Paton’s from the Three Boars that day.”
He paused, and then said, with a slightly raised voice:
“There is one further point. The murderer must have been a person who had the opportunity to purloin that dagger from the silver table. You might argue that anyone in the house might have done so, but I will recall to you that Flora Ackroyd was very positive that the dagger was not there when she examined the silver table.”
He paused again.
“Let us recapitulate—now that all is clear. A person who was at the Three Boars earlier that day, a person who knew Ackroyd well enough to know that he had purchased a dictaphone, a person who was of a mechanical turn of mind, who had the opportunity to take the dagger from the silver table before Miss Flora arrived, who had with him a receptacle suitable for hiding the dictaphone—such as a black bag—and who had the study to himself for a few minutes after the crime was discovered while Parker was telephoning for the police. In fact—Dr. Sheppard!”
Twenty-six
AND NOTHING BUT THE TRUTH
There was a dead silence for a minute and a half.
Then I laughed.
“You’re mad,” I said.
“No,” said Poirot placidly. “I am not mad. It was the little discrepancy in time that first drew my attention to you—right at the beginning.”
“Discrepancy in time?” I queried, puzzled.
“But yes. You will remember that everyone agreed—you yourself included—that it took five minutes to walk from the lodge to the house—less if you took the short cut to the terrace. But you left the house at ten minutes to nine—both by your own statement and that of Parker, and yet it was nine o’clock when you passed through the lodge gates. It was a chilly night—not an evening a man would be inclined to dawdle; why had you taken ten minutes to do a five minutes’ walk? All along I realized that we had only your statement for it that the study window was ever fastened. Ackroyd asked you if you had done so—he never looked to see. Supposing, then, that the study window was unfastened? Would there be time in that ten minutes for you to run round the outside of the house, change your shoes, climb in through the window, kill Ackroyd, and get to the gate by nine o’clock? I decided against that theory since in all probability a man as nervous as Ackroyd was that night would hear you climbing in, and then there would have been a struggle. But supposing that you killed Ackroyd before you left—as you were standing beside his chair? Then you go out of the front door, run round to the summerhouse, take Ralph Paton’s shoes out of the bag you brought up with you that night, slip them on, walk through the mud in them, and leave prints on the window ledge, you climb in, lock the study door on the inside, run back to the summerhouse, change back into your own shoes, and race down to the gate. (I went through similar actions the other day, when you were with Mrs. Ackroyd—it took ten minutes exactly.) Then home—and an alibi—since you had timed the dictaphone for half past nine.”
“My dear Poirot,” I said in a voice that sounded strange and forced to my own ears, “you’ve been brooding over this case too long. What on earth had I to gain by murdering Ackroyd?”
“Safety. It was you who blackmailed Mrs. Ferrars. Who could have had a better knowledge of what killed Mr. Ferrars than the doctor who was attending him? When you spoke to me that first day in the garden, you mentioned a legacy received about a year ago. I have been unable to discover any trace of a legacy. You had to invent some way of accounting for Mrs. Ferrars’s twenty thousand pounds. It has not done you much good. You lost most of it in speculation—then you put the screw on too hard, and Mrs. Ferrars took a way out that you had not expected. If Ackroyd had learnt the truth he would have had no mercy on you—you were ruined for ever.”
“And the telephone call?” I asked, trying to rally. “You have a plausible explanation of that also, I suppose?”
“I will confess to you that it was my greatest stumbling block when I found that a call had actually been put through to you from King’s Abbot station. I at first believed that you had simply invented the story. It was a very clever touch, that. You must have some excuse for arriving at Fernly, finding the body, and so getting the chance to remove the dictaphone on which your alibi depended. I had a very vague notion of how it was worked when I came to see your sister that first day and inquired as to what patients you had seen on Friday morning. I had no thought of Miss Russell in my mind at that time. Her visit was a lucky coincidence, since it distracted your mind from the real object of my questions. I found what I was looking for. Among your patients that morning was the steward of an American liner. Who more suitable than he to be leaving for Liverpool by the train that evening? And afterwards he would be on the high seas, well out of the way. I noted that the Orion sailed on Saturday, and having obtained the name of the steward I sent him a wireless message asking a certain question. This is his reply you saw me receive just now.”
He held out the message to me. It ran as follows:
“Quite correct. Dr. Sheppard asked me to leave a note at a patient’s house. I was to ring him up from the station with the reply. Reply was ‘No answer.’”
“It was a clever idea,” said Poirot. “The call was genuine. Your sister saw you take it. But there was only one man’s word as to what was actually said—your own!”
I yawned.
“All this,” I said, “is very interesting—but hardly in the sphere of practical politics.”
“You think not? Remember what I said—the truth goes to Inspector Raglan in the morning. But, for the sake of your good sister, I am willing to give you the chance of another way out. There might be, for instance, an overdose of a sleeping draught. You comprehend me? But Captain Ralph Paton must be cleared—ça va sans dire. I should suggest that you finish that very interesting manuscript of yours—but abandoning your former reticence.”
“You seem to be very prolific of suggestions,” I remarked. “Are you sure you’ve quite finished?”
“Now that you remind me of the fact, it is true that there is one thing more. It would be most unwise on your part to attempt to silence me as you silenced M. Ackroyd. That kind of business does not succeed against Hercule Poirot, you understand.”
“My dear Poirot,” I said, smiling a little, “whatever else I may be, I am not a fool.”
I rose to my feet.
“Well, well,” I said, with a slight yawn, “I must be off home. Thank you for a most interesting and instructive evening.”
Poirot also rose and bowed with his accustomed politeness as I passed out of the room.
Twenty-seven
APOLOGIA
Five a.m. I am very tired—but I have finished my task. My arm aches from writing.
A strange end to my manuscript. I meant it to be published some day as the history of one of Poirot’s failures! Odd, how things pan out.
All along I’ve had a premonition of disaster, from the moment I saw Ralph Paton and Mrs. Ferrars with their heads together. I thought then that she was confiding in him; as it happened I was quite wrong there, but the idea persisted even after I went into the study with Ackroyd that night, until he told me the truth.
Poor old Ackroyd. I’m always glad that I gave him a chance. I urged him to read that letter before it was too late. Or let me be honest—didn’t I subconsciously realize that with a pigheaded chap like him, it was my best chance of getting him not to read it? His nervousness that night was interesting psychologically. He knew danger was close at hand. And yet he never suspected me.
The dagger was an afterthought. I’d brought up a very handy little weapon of my own, but when I saw the dagger lying in the silver table, it occurred to me at once how much better it would be to use a weapon that couldn’t be traced to me.
I suppose I must have meant to murder him all along. As soon as I heard of Mrs. Ferrars’s death, I felt convinced that she would have told
him everything before she died. When I met him and he seemed so agitated, I thought that perhaps he knew the truth, but that he couldn’t bring himself to believe it, and was going to give me the chance of refuting it.
So I went home and took my precautions. If the trouble were after all only something to do with Ralph—well, no harm would have been done. The dictaphone he had given me two days ago to adjust. Something had gone a little wrong with it, and I persuaded him to let me have a go at it, instead of sending it back. I did what I wanted to, and took it up with me in my bag that evening.
I am rather pleased with myself as a writer. What could be neater, for instance, than the following:
“The letters were brought in at twenty minutes to nine. It was just on ten minutes to nine when I left him, the letter still unread. I hesitated with my hand on the door handle, looking back and wondering if there was anything I had left undone.”
All true, you see. But suppose I had put a row of stars after the first sentence! Would somebody then have wondered what exactly happened in that blank ten minutes?
When I looked round the room from the door, I was quite satisfied. Nothing had been left undone. The dictaphone was on the table by the window, timed to go off at nine-thirty (the mechanism of that little device was rather clever—based on the principle of an alarm clock), and the armchair was pulled out so as to hide it from the door.
I must admit that it gave me rather a shock to run into Parker just outside the door. I have faithfully recorded that fact.
Then later, when the body was discovered, and I sent Parker to telephone for the police, what a judicious use of words: “I did what little had to be done!” It was quite little—just to shove the dictaphone into my bag and push back the chair against the wall in its proper place. I never dreamed that Parker would have noticed that chair. Logically, he ought to have been so agog over the body as to be blind to everything else. But I hadn’t reckoned with the trained servant complex.
I wish I could have known beforehand that Flora was going to say she’d seen her uncle alive at a quarter to ten. That puzzled me more than I can say. In fact, all through the case there have been things that puzzled me hopelessly. Everyone seems to have taken a hand.
My greatest fear all through has been Caroline. I have fancied she might guess. Curious the way she spoke that day of my “strain of weakness.”
Well, she will never know the truth. There is, as Poirot said, one way out….
I can trust him. He and Inspector Raglan will manage it between them. I should not like Caroline to know. She is fond of me, and then, too, she is proud…My death will be a grief to her, but grief passes….
When I have finished writing, I shall enclose this whole manuscript in an envelope and address it to Poirot.
And then—what shall it be? Veronal? There would be a kind of poetic justice. Not that I take any responsibility for Mrs. Ferrars’s death. It was the direct consequence of her own actions. I feel no pity for her.
I have no pity for myself either.
So let it be Veronal.
But I wish Hercule Poirot had never retired from work and come here to grow vegetable marrows.
* * *
The Agatha Christie Collection
THE HERCULE POIROT MYSTERIES
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The Mysterious Affair at Styles
The Murder on the Links
Poirot Investigates
The Murder of Roger Ackroyd
The Big Four
The Mystery of the Blue Train
Peril at End House
Lord Edgware Dies
Murder on the Orient Express
Three Act Tragedy
Death in the Clouds
The A.B.C. Murders
Murder in Mesopotamia
Cards on the Table
Murder in the Mews and Other Stories
Dumb Witness
Death on the Nile
Appointment with Death
Hercule Poirot’s Christmas
Sad Cypress
One, Two, Buckle My Shoe
Evil Under the Sun
Five Little Pigs
The Hollow
The Labors of Hercules
Taken at the Flood
The Underdog and Other Stories
Mrs. McGinty’s Dead
After the Funeral
Hickory Dickory Dock
Dead Man’s Folly
Cat Among the Pigeons
The Clocks
Third Girl
Hallowe’en Party
Elephants Can Remember
Curtain: Poirot’s Last Case
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Join the legendary spinster sleuth from St. Mary Mead in solving murders far and wide.
The Murder at the Vicarage
The Body in the Library
The Moving Finger
A Murder Is Announced
They Do It with Mirrors
A Pocket Full of Rye
4:50 From Paddington
The Mirror Crack’d
A Caribbean Mystery
At Bertram’s Hotel
Nemesis
Sleeping Murder
Miss Marple: The Complete Short Story Collection
THE TOMMY AND TUPPENCE MYSTERIES
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The Secret Adversary
Partners in Crime
N or M?
By the Pricking of My Thumbs
Postern of Fate
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Don’t miss a single one of Agatha Christie’s stand-alone novels and short-story collections.
The Man in the Brown Suit
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The Seven Dials Mystery
The Mysterious Mr. Quin
The Sittaford Mystery
Parker Pyne Investigates
Why Didn’t They Ask Evans?
Murder Is Easy
The Regatta Mystery and Other Stories
And Then There Were None
Towards Zero
Death Comes as the End
Sparkling Cyanide
The Witness for the Prosecution and Other Stories
Crooked House
Three Blind Mice and Other Stories
They Came to Baghdad
Destination Unknown
Ordeal by Innocence
Double Sin and Other Stories
The Pale Horse
Star over Bethlehem: Poems and Holiday Stories
Endless Night
Passenger to Frankfurt
The Golden Ball and Other Stories
The Mousetrap and Other Plays
The Harlequin Tea Set
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About the Author
Agatha Christie is the most widely published author of all time and in any language, outsold only by the Bible and Shakespeare. Her books have sold more than a billion copies in English and another billion in a hundred foreign languages. She is the author of eighty crime novels and short-story collections, nineteen plays, two memoirs, and six novels written under the name Mary Westmacott.
She first tried her hand at detective fiction while working in a hospital dispensary during World War I, creating the now legendary Hercule Poirot with her debut novel The Mysterious Affair at Styles. With The Murder in the Vicarage, published in 1930, she introduced another beloved sleuth, Miss Jane Marple. Additional series characters include the husband-and-wife crime-fighting team of Tommy and Tuppence Beresford, private investigator Parker Pyne, and Scotland Yard detectives Superintendent Battle and Inspector Japp.
Many of
Christie’s novels and short stories were adapted into plays, films, and television series. The Mousetrap, her most famous play of all, opened in 1952 and is the longest-running play in history. Among her best-known film adaptations are Murder on the Orient Express (1974) and Death on the Nile (1978), with Albert Finney and Peter Ustinov playing Hercule Poirot, respectively. On the small screen Poirot has been most memorably portrayed by David Suchet, and Miss Marple by Joan Hickson and subsequently Geraldine McEwan and Julia McKenzie.
Christie was first married to Archibald Christie and then to archaeologist Sir Max Mallowan, whom she accompanied on expeditions to countries that would also serve as the settings for many of her novels. In 1971 she achieved one of Britain’s highest honors when she was made a Dame of the British Empire. She died in 1976 at the age of eighty-five. Her one hundred and twentieth anniversary was celebrated around the world in 2010.
www.AgathaChristie.com
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THE AGATHA CHRISTIE COLLECTION
The Man in the Brown Suit
The Secret of Chimneys
The Seven Dials Mystery
The Mysterious Mr. Quin
The Sittaford Mystery
Parker Pyne Investigates
Why Didn’t They Ask Evans?
Murder Is Easy
The Regatta Mystery and Other Stories
And Then There Were None
Towards Zero
Death Comes as the End
Sparkling Cyanide
The Witness for the Prosecution and
Other Stories
Crooked House
Three Blind Mice and Other Stories
They Came to Baghdad
Destination Unknown
The Murder of Roger Ackroyd Page 23
