Agatha Christie - Adventure of the Christmas Pudding and other stories

Stillingfleet murmured, "That's so - of course."

"Why did I feel that in talking to Mr Farley I was talking to a mountebank, to an actor playing a part? Because he was playing a part! Consider the setting. The dim room, the green shaded light turned blindingly away from the figure in the chair. What did I see - the famous patchwork dressing-gown, the beaked nose (faked with that useful substance, nose putty), the white crest of hair, the powerful lenses concealing the eyes. What evidence is there that Mr Farley ever had a dream? Only the story I was told and the evidence of Mrs Farley. What evidence is there that Benedict Farley kept a revolver in his desk? Again only the story told me and the word of Mrs Farley. Two people carried this fraud through - Mrs Farley and Hugo Cornworthy. Cornworthy wrote the letter to me, gave instructions to the butler, went out ostensibly to the cinema, but let himself in again immediately with a key, went to his room, made himself up, and played the part of Benedict Farley.

"And so we come to this afternoon. The opportunity for which Mr Cornworthy has been waiting arrives. There are two witnesses on the landing to swear that no one goes in or out of Benedict Farley's room. Cornworthy waits until a particularly heavy batch of traffic is about to pass. Then he leans out of his window, and with the lazytongs which he has purloined from the desk next door he holds an object against the window of that room. Benedict Farley comes to the window. Cornworthy snatches back the tongs and as Farley leans out, and the lorries are passing outside, Cornworthy shoots him with the revolver that he has ready. There is a blank wall opposite, remember. There can be no witness of the crime. Cornworthy waits for over half an hour, then gathers up some papers, conceals the lazytongs and the revolver between them, and goes out on to the landing and into the next room. He replaces the tongs on the desk, lays down the revolver after pressing the dead man's fingers on it, and hurries out with the news of Mr Farley's 'suicide.'

"He arranges that the letter to me shall be found and that I shall arrive with my story - the story I heard from Mr Farley's own lips - of his extraordinary 'dream' - the strange compulsion he felt to kill himself! A few credulous people will discuss the hypnotism theory - but the main result will be to confirm without a doubt that the actual hand that held the revolver was Benedict Farley's own."

Hercule Poirot's eyes went to the widow's face - the dismay - the ashy pallor - the blind fear.

"And in due course," he finished gently, "the happy ending would have been achieved. A quarter of a million and two hearts that beat as one..."

John Stillingfleet, M.D., and Hercule Poirot walked along the side of Northway House. On their right was the towering wall of the factory. Above them, on their left, were the windows of Benedict Farley's and Hugo Cornworthy's rooms. Hercule Poirot stopped and picked up a small object - a black stuffed cat.

"Voilà," he said. "That is what Cornworthy held in the lazytongs against Farley's window. You remember, he hated cats? Naturally he rushed to the window."

"Why on earth didn't Cornworthy come out and pick it up after he'd dropped it?"

"How could he? To do so would have been definitely suspicious. After all, if this object where found what would anyone think - that some child had wandered round here and dropped it."

"Yes," said Stillingfleet with a sigh. "That's probably what the ordinary person would have thought. But not good old Hercule! D'you know, old horse, up to the very last minute I thought you were leading up to some subtle theory of highfalutin' psychological 'suggested' murder? I bet those two thought so too! Nasty bit of goods, the Farley. Goodness, how she cracked! Cornworthy might have got away with it if she hadn't had hysterics and tried to spoil your beauty by going for you with her nails. I only got her off you just in time."

He paused a minute and then said:

"I rather like the girl. Grit, you know, and brains. I suppose I'd be thought to be a fortune hunter if I had a shot at her...?"

"You are too late, my friend. There is already someone sur le tapis. Her father's death has opened the way to happiness."

"Take it all round, she had a pretty good motive for bumping off the unpleasant parent."

"Motive and opportunity are not enough," said Poirot. "There must also be the criminal temperament!"

"I wonder if you'll ever commit a crime, Poirot?" said Stillingfleet. "I bet you could get away with it all right. As a matter of fact, it would be too easy for you - I mean the thing would be off as definitely too unsporting."

"That," said Poirot, "is a typically English idea."

The two men rounded the corner of the shrubbery.

"Well, there you are," said Raymond West. "That's it."

Horace Bindler took a deep, appreciative breath.

"How wonderful," he cried. His voice rose in a high screech of aesthetic delight, then deepened in reverent awe. "It's unbelievable. Out of this world! A period piece of the best."

"I thought you'd like it," said Raymond West complacently.

"Like it?" Words failed Horace. He unbuckled the strap of his camera and got busy. "This will be one of the gems of my collection," he said happily. "I do think, don't you, that it's rather amusing to have a collection of monstrosities? The idea came to me one night seven years ago in my bath. My last real gem was in the Campo Santo at Genoa, but I really think this beats it. What's it called?"

"I haven't the least idea," said Raymond.

"I suppose it's got a name?"

"It must have. But the fact is that it's never referred to round here as anything but Greenshaw's Folly."

"Greenshaw being the man who built it?"

"Yes. In eighteen sixty or seventy or thereabouts. The local success story of the time. Barefoot boy who had risen to immense prosperity. Local opinion is divided as to why he built this house, whether it was sheer exuberance of wealth or whether it was done to impress his creditors. If the latter, it didn't impress them. He either went bankrupt or the next thing to it. Hence the name, Greenshaw's Folly." Horace's camera clicked.

"There," he said in a satisfied voice. "Remind me to show you Number Three-ten in my collection. A really incredible marble mantelpiece in the Italian manner." He added, looking at the house, "I can't conceive of how Mr Greenshaw thought of it all."

"Rather obvious in some ways," said Raymond. "He had visited the châteaux of the Loire, don't you think? Those turrets. And then, rather unfortunately, he seems to have travelled in the Orient. The influence of the Taj Mahal is unmistakable. I rather like the Moorish wing," he added, "and the traces of a Venetian palace."

"One wonders how he ever got hold of an architect to carry out these ideas."

Raymond shrugged his shoulders.

"No difficulty about that, I expect," he said. "Probably the architect retired with a good income for life while poor old Greenshaw went bankrupt."

"Could we look at it from the other side?" asked Horace, "or are we trespassing?"

"We're trespassing all right," said Raymond, "but I don't think it will matter."

He turned toward the corner of the house and Horace skipped after him.

"But who lives here? Orphans or holiday visitors? It can't be a school. No playing fields or brisk efficiency."

"Oh, a Greenshaw lives here still," said Raymond over his shoulder. "The house itself didn't go in the crash. Old Greenshaw's son inherited it. He was a bit of a miser and lived here in a corner of it. Never spent a penny. Probably never had a penny to spend. His daughter lives here now. Old lady - very eccentric."

As he spoke Raymond was congratulating himself on having thought of Greenshaw's Folly as a means of entertaining his guest. These literary critics always professed themselves as longing for a weekend in the country and were wont to find the country extremely boring when they got there. Tomorrow there would be the Sunday papers, and for today Raymond West congratulated himself on suggesting a visit to Greenshaw's Folly to enrich Horace Bindler's well-known collection of monstrosities.