Five Little Pigs (13 page)

Hercule Poirot read it through twice. Then he handed it back. He said:

“That is a very beautiful letter, mademoiselle—and a very remarkable one. A
very
remarkable one.”

“Caroline,” said Angela Warren, “was a very remarkable person.”

“Yes, an unusual mind…You take it that this letter indicates innocence?”

“Of course it does!”

“It does not say so explicitly.”

“Because Caro would know that I'd never dream of her being guilty!”

“Perhaps—perhaps…But it might be taken another way. In the sense that she was guilty and that in expiating her crime she will find peace.”

It fitted in, he thought, with the description of her in court. And he experienced in this moment the strongest doubts he had yet felt of the course to which he had committed himself. Everything so far had pointed unswervingly to Caroline Crale's guilt. Now, even her own words testified against her.

On the other side was only the unshaken conviction of Angela Warren. Angela had known her well, undoubtedly, but might not
her certainty be the fanatical loyalty of an adolescent girl, up in arms for a dearly loved sister?

As though she had read his thoughts Angela Warren said:

“No, Mr. Poirot—I
know
Caroline wasn't guilty.”

Poirot said briskly:

“The Bon Dieu knows I do not want to shake you on that point. But let us be practical. You say your sister was not guilty. Very well, then,
what really happened?
”

Angela nodded thoughtfully. She said:

“That is difficult, I agree. I suppose that, as Caroline said, Amyas committed suicide.”

“Is that likely from what you know of his character?”

“Very unlikely.”

“But you do not say, as in the first case, that you
know
it is impossible?”

“No, because, as I said just now, most people
do
do impossible things—that is to say things that seem out of character. But I presume, if you know them intimately, it wouldn't be out of character.”

“You knew your brother-in-law well?”

“Yes, but not like I knew Caro. It seems to me quite fantastic that Amyas should have killed himself—but I suppose he
could
have done so. In fact, he
must
have done so.”

“You cannot see any other explanation?”

Angela accepted the suggestion calmly, but not without a certain stirring of interest.

“Oh, I see what you mean…I've never really considered that possibility. You mean one of the other people killed him? That it was a deliberate cold-blooded murder….”

“It might have been, might it not?”

“Yes, it might have been…But it certainly seems very unlikely.”

“More unlikely than suicide?”

“That's difficult to say…On the face of it, there was no reason for suspecting anybody else. There isn't now when I look back….”

“All the same, let us consider the possibility. Who of those intimately concerned would you say was—shall we say—the most likely person?”

“Let me think. Well, I didn't kill him. And the Elsa creature certainly didn't. She was mad with rage when he died. Who else was there? Meredith Blake? He was always very devoted to Caroline, quite a tame cat about the house. I suppose that
might
give him a motive in a way. In a book he might have wanted to get Amyas out of the way so that he himself could marry Caroline. But he could have achieved that just as well by letting Amyas go off with Elsa and then in due time consoling Caroline. Besides I really can't
see
Meredith as a murderer. Too mild and too cautious. Who else was there?”

Poirot suggested: “Miss Williams? Philip Blake?”

Angela's grave face relaxed into a smile for a minute.

“Miss Williams? One can't really make oneself believe that one's governess could commit a murder! Miss Williams was always so unyielding and so full of rectitude.”

She paused a minute and then went on:

“She was devoted to Caroline, of course. Would have done anything for her. And she hated Amyas. She was a great feminist and disliked men. Is that enough for murder? Surely not.”

“It would hardly seem so,” agreed Poirot.

Angela went on:

“Philip Blake?” She was silent for some few moments. Then she said quietly: “I think, you know, if we're just talking of
likelihoods, he's
the most likely person.”

Poirot said:

“You interest me very much, Miss Warren. May I ask why you say that?”

“Nothing at all definite. But from what I remember of him, I should say he was a person of rather limited imagination.”

“And a limited imagination predisposes you to murder?”

“It might lead you to take a crude way of settling your difficulties. Men of that type get a certain satisfaction from action of some kind or other. Murder is a very crude business, don't you think so?”

“Yes—I think you are right…It is definitely a point of view, that. But all the same, Miss Warren, there must be more to it than that. What motive could Philip Blake possibly have had?”

Angela Warren did not answer at once. She stood frowning down at the floor.

Hercule Poirot said:

“He was Amyas Crale's best friend, was he not?”

She nodded.

“But there is something in your mind, Miss Warren. Something that you have not yet told me. Were the two men rivals, perhaps, over the girl—over Elsa?”

Angela Warren shook her head.

“Oh, no, not Philip.”

“What is there then?”

Angela Warren said slowly:

“Do you know the way that things suddenly come back to
you—after years perhaps. I'll explain what I mean. Somebody told me a story once, when I was eleven. I saw no point in that story whatsoever. It didn't worry me—it just passed straight over my head. I don't believe I ever, as they say, thought of it again. But about two years ago, sitting in the stalls at a revue, that story came back to me, and I was so surprised that I actually said aloud, ‘Oh,
now
I see the point of that silly story about the rice pudding.' And yet there had been no direct allusion on the same lines—only some fun sailing rather near the wind.”

Poirot said: “I understand what you mean, mademoiselle.”

“Then you will understand what I am going to tell you. I was once staying at a hotel. As I walked along a passage, one of the bedroom doors opened and a woman I knew came out. It was not her bedroom—and she registered the fact plainly on her face when she saw me.

“And I knew then the meaning of the expression I had once seen on Caroline's face when at Alderbury she came out of Philip Blake's room one night.”

She leant forward, stopping Poirot's words.

“I had no idea at the
time,
you understand. I
knew
things—girls of the age I was usually do—but I didn't connect them with reality. Caroline coming out of Philip Blake's bedroom was just Caroline coming out of Philip Blake's bedroom to me. It might have been Miss William's room or my room. But what I
did
notice was the expression on her face—a queer expression that I didn't know and couldn't understand. I didn't understand it until, as I have told you, the night in Paris when I saw that same expression on another woman's face.”

Poirot said slowly:

“But what you tell me, Miss Warren, is sufficiently astonishing. From Philip Blake himself I got the impression that he disliked your sister and always had done so.”

Angela said:

“I know. I can't explain it but there it is.”

Poirot nodded slowly. Already, in his interview with Philip Blake, he had felt vaguely that something did not ring true. That overdone animosity against Caroline—it had not, somehow, been natural.

And the words and phrases from his conversation with Meredith Blake came back to him. “Very upset when Amyas married—did not go near them for over a year….”

Had Philip, then, always been in love with Caroline? And had his love, when she chose Amyas, turned to bitterness and hate?

Yes, Philip had been too vehement—too biased. Poirot visualized him thoughtfully—the cheerful prosperous man with his golf and his comfortable house. What had Philip Blake really felt sixteen years ago.

Angela Warren was speaking.

“I don't understand it. You see, I've no experience in love affairs—they haven't come my way. I've told you this for what it's worth in case—in case it might have a bearing on what happened.”

(Covering letter received with manuscript)

Notes on Progress of Events Leading up to Murder of Amyas Crale on Sept., 19….

My friendship with deceased dates back to a very early period. His home and mine were next door to each other in the country, and our families were friends. Amyas Crale was a little over two
years older than I was. We played together as boys, in the holidays, though we were not at the same school.

From the point of view of my long knowledge of the man I feel myself particularly qualified to testify as to his character and general outlook on life. And I will say this straight away—to anyone who knew Amyas Crale well—the notion of his committing suicide is quite ridiculous. Crale would
never
have taken his own life. He was far too fond of living! The contention of the defence at the trial that Crale was obsessed by conscience, and took poison in a fit of remorse, is utterly absurd to anyone who knew the man. Crale, I should say, had very little conscience, and certainly not a morbid one. Moreover, he and his wife were on bad terms, and I don't think he would have had any scruples about breaking up what was, to him, a very unsatisfactory married life. He was prepared to look after her financial welfare and that of the child of the marriage, and I am sure would have done so generously. He was a very generous man—and altogether a warm-hearted and lovable person. Not only was he a great painter, but he was a man whose friends were devoted to him. As far as I know he had no enemies.

I had also known Caroline Crale for many years. I knew her before her marriage, when she used to come and stay at Alderbury. She was then a somewhat neurotic girl, subject to uncontrollable outbursts of temper, not without attraction, but unquestionably a difficult person to live with.

She showed her devotion to Amyas almost immediately. He, I do not think, was really very much in love with her. But they were frequently thrown together—she was, as I say, attractive, and they eventually became engaged. Amyas Crale's best friends were
rather apprehensive about the marriage, as they felt that Caroline was quite unsuited to him.

This caused a certain amount of strain in the first few years between Crale's wife and Crale's friends, but Amyas was a loyal friend and was not disposed to give up his old friends at the bidding of his wife. After a few years, he and I were on the same old terms and I was a frequent visitor at Alderbury. I may add that I stood godfather to the little girl, Carla. This proves, I think, that Amyas considered me his best friend, and it gives me authority to speak for a man who can no longer speak for himself.

To come to the actual events of which I have been asked to write, I arrived down at Alderbury (so I see by an old diary) five days before the crime. That is, on Sept. 13th. I was conscious at once of a certain tension in the atmosphere. There was also staying in the house Miss Elsa Greer whom Amyas was painting at the time.

It was the first time I had seen Miss Greer in the flesh, but I had been aware of her existence for some time. Amyas had raved about her to me a month previously. He had met, he said, a marvellous girl. He talked about her so enthusiastically that I said to him jokingly: “Be careful, old boy, or you'll be losing your head again.” He told me not to be a bloody fool. He was painting the girl; he'd no personal interest in her. I said: “Tell that to the marines! I've heard you say that before.” He said: “This time it's different;” to which I answered somewhat cynically: “It always is!” Amyas then looked quite worried and anxious. He said: “You don't understand. She's just a girl. Not much more than a child.” He added that she had very modern views and was absolutely free from
old-fashioned prejudices. He said: “She's honest and natural and absolutely fearless!”

I thought to myself, though I didn't say so, that Amyas had certainly got it badly this time. A few weeks later I heard comments from other people. It was said that the “Greer girl was absolutely infatuated.” Somebody else said that it was a bit thick of Amyas considering how young the girl was, whereupon somebody else sniggered and said that Elsa Greer knew her way about all right. Further remarks were that the girl was rolling in money and had always got everything she wanted, and also that “she was the one who was making most of the running.” There was a question as to what Crale's wife thought about it—and the significant reply that she must be used to that sort of thing by now, to which someone demurred by saying they'd heard that she was jealous as hell and led Crale such an impossible life that any man would be justified in having a fling from time to time.

I mention all this because I think it is important that the state of affairs before I got down there should be fully realized.

I was interested to see the girl—she was remarkably good-looking and very attractive—and I was, I must admit, maliciously amused to note that Caroline was cutting up very rough indeed.

Amyas Crale himself was less light-hearted than usual. Though to anyone who did not know him well, his manner would have appeared much as usual, I who knew him so intimately noted at once various signs of strain, uncertain temper, fits of moody abstraction, general irritability of manner.

Although he was always inclined to be moody when painting, the picture he was at work upon did not account entirely for the strain he showed. He was pleased to see me and said as soon as we
were alone: “Thank goodness you've turned up, Phil. Living in a house with four women is enough to send any man clean off his chump. Between them all they'll send me into a lunatic asylum.”

It was certainly an uncomfortable atmosphere. Caroline, as I said, was obviously cutting up rough about the whole thing. In a polite, well-bred way, she was ruder to Elsa than one would believe possible—without a single actually offensive word. Elsa herself was openly and flagrantly rude to Caroline. She was top dog and she knew it—and no scruples of good breeding restrained her from overt bad manners. The result was that Crale spent most of his time scrapping with the girl Angela when he wasn't painting. They were usually on affectionate terms, though they teased and fought a good deal. But on this occasion there was an edge in everything Amyas said or did, and the two of them really lost their tempers with each other. The fourth member of the party was the governess. “A sour-faced hag,” Amyas called her. “She hates me like poison. Sits there with her lips set together, disapproving of me without stopping.”

It was then that he said:

“God damn all women! If a man is to have any peace he must steer clear of women!”

“You oughtn't to have married,” I said. “You're the sort of man who ought to have kept clear of domestic ties.”

He replied that it was too late to talk about that now. He added that no doubt Caroline would be only too glad to get rid of him. That was the first indication I had that something unusual was in the wind.

I said: “What's all this? Is this business with the lovely Elsa serious then?” He said with a sort of groan:

“She
is
lovely, isn't she? Sometimes I wish I'd never seen her.”

I said: “Look here, old boy, you must take a hold on yourself. You don't want to get tied up with any more women.” He looked at me and laughed. He said: “It's all very well for you to talk. I can't let women alone—simply can't do it—and if I could, they wouldn't let me alone!” Then he shrugged those great shoulders of his, grinned at me and said: “Oh well, it will all pan out in the end, I expect. And you must admit the picture is good?”

He was referring to the portrait he was doing of Elsa, and although I had very little technical knowledge of painting, even I could see that it was going to be a work of especial power.

Whilst he was painting, Amyas was a different man. Although he would growl, groan, frown, swear extravagantly, and sometimes hurl his brushes away, he was really intensely happy.

It was only when he came back to the house for meals that the hostile atmosphere between the women got him down. That hostility came to a head on Sept. 17th. We had had an embarrassing lunch. Elsa had been particularly—really, I think
insolent
is the only word for it! She had ignored Caroline pointedly, persistently addressing the conversation to Amyas as though he and she were alone in the room. Caroline had talked lightly and gaily to the rest of us, cleverly contriving so that several perfectly innocent-sounding remarks should have a sting. She hadn't got Elsa Greer's scornful honesty—with Caroline every thing was oblique, suggested rather than said.

Things came to a head after lunch in the drawing room just as we were finishing coffee. I had commented on a carved head in highly polished beechwood—a very curious thing, and Caroline said: “That is the work of a young Norwegian sculptor. Amyas and I admire his work very much. We hope to go and see him next
summer.” That calm assumption of possession was too much for Elsa. She was never one to let a challenge pass. She waited a minute or two and then she spoke in her clear, rather overemphasized voice. She said: “This would be a lovely room if it was properly fixed. It's got far too much furniture in it. When I'm living here I shall take all the rubbish out and just leave one or two good pieces. And I shall have copper-coloured curtains, I think—so that the setting sun will just catch them through that big western window.” She turned to me and said. “Don't you think that would be rather lovely?”

I didn't have time to answer. Caroline spoke, and her voice was soft and silky and what I can only describe as dangerous. She said:

“Are you thinking of buying this place, Elsa?”

Elsa said: “It won't be necessary for me to buy it.”

Caroline said: “What do you mean?” And there was no softness in her voice now. It was hard and metallic. Elsa laughed. She said: “Must we pretend? Come now, Caroline, you know very well what I mean!”

Caroline said: “I've no idea.”

Elsa said to that: “Don't be such an ostrich. It's no good pretending you don't see and know all about it. Amyas and I care for each other. This isn't your home. It's his. And after we're married I shall live here with him!”

Caroline said: “I think you're crazy.”

Elsa said: “Oh no, I'm not, my dear, and you know it. It would be much simpler if we were honest with each other. Amyas and I love each other—you've seen that clearly enough. There's only one decent thing for you to do. You've got to give him his freedom.”

Caroline said: “I don't believe a word of what you are saying.”

But her voice was unconvincing. Elsa had got under her guard all right.

And at that minute Amyas Crale came into the room and Elsa said with a laugh:

“If you don't believe me, ask him.”

And Caroline said: “I will.”

She didn't pause at all. She said:

“Amyas, Elsa says you want to marry her. Is this true?”

Poor Amyas. I felt sorry for him. It makes a man feel a fool to have a scene of that kind forced upon him. He went crimson and started blustering. He turned on Elsa and asked her why the devil she couldn't have held her tongue?

Caroline said: “Then it
is
true?”

He didn't say anything, just stood there passing his finger round inside the neck of his shirt. He used to do that as a kid when he got into a jam of any kind. He said—and he tried to make the words sound dignified and authoritative—and of course couldn't manage it, poor devil:

“I don't want to discuss it.”

Caroline said: “But we're going to discuss it!”

Elsa chipped in and said:

“I think it's only fair to Caroline that she should be told.”

Caroline said, very quietly:

“Is it true, Amyas?”

He looked a bit ashamed of himself. Men do when women pin them down in a corner.

She said:

“Answer me, please. I've got to know.”

He flung up his head then—rather the way a bull does in the bullring. He snapped out:

“It's true enough—but I don't want to discuss it now.”

And he turned and strode out of the room. I went after him. I didn't want to be left with the women. I caught up with him on the terrace. He was swearing. I never knew a man swear more heartily. Then he raved:

“Why couldn't she hold her tongue? Why the devil couldn't she hold her tongue? Now the fat's in the fire. And I've got to finish that picture—do you hear, Phil? It's the best thing I've done. The best thing I've ever done in my
life
. And a couple of damn' fool women want to muck it up between them!”

Then he calmed down a little and said women had no sense of proportion.

I couldn't help smiling a little. I said:

“Well, dash it all, old boy, you have brought this on yourself.”

“Don't I know it,” he said, and groaned. Then he added: “But you must admit, Phil, that a man couldn't be blamed for losing his head about her. Even Caroline ought to understand that.”

I asked him what would happen if Caroline got her back up and refused to give him a divorce.

But by now he had gone off into a fit of abstraction. I repeated the remark and he said absently:

“Caroline would never be vindictive. You don't understand, old boy.”

“There's the child,” I pointed out.

He took me by the arm.

“Phil, old boy, you mean well—but don't go on croaking like
a raven. I can manage my affairs. Everything will turn out all right. You'll see if it doesn't.”