Five Little Pigs - Agatha Christie [36]
Absently, Poirot stretched a hand through the window. He pulled off a spray of jasmine leaves just breaking from their woody stem.
Meredith Blake moved resolutely across the floor. On the wall was a picture covered with a dust sheet. He jerked the dust sheet away.
Poirot caught his breath. He had seen so far, four pictures of Amyas Crale’s: two at the Tate, one at a London dealer’s, one, the still life of roses. But now he was looking at what the artist himself had called his best picture, and Poirot realized at once what a superb artist the man had been.
The painting had an old superficial smoothness. At first sight it might have been a poster, so seemingly crude were its contrasts. A girl, a girl in a canary-yellow shirt and dark-blue slacks, sitting on a grey wall in full sunlight against a background of violent blue sea. Just the kind of subject for a poster.
But the first appearance was deceptive; there was a subtle distortion—an amazing brilliance and clarity in the light. And the girl—
Yes, here was life. All there was, all there could be of life, of youth, of sheer blazing vitality. The face was alive and the eyes….
So much life! Such passionate youth! That, then, was what Amyas Crale had seen in Elsa Greer, which had made him blind and deaf to the gentle creature, his wife. Elsa was life. Elsa was youth.
A superb, slim, straight creature, arrogant, her head turned, her eyes insolent with triumph. Looking at you, watching you—waiting….
Hercule Poirot spread out his hands. He said:
“It is a great—yes, it is great—”
Meredith Blake said, a catch in his voice:
“She was so young—”
Poirot nodded. He thought to himself.
“What do most people mean when they say that? So young. Something innocent, something appealing, something helpless. But youth is not that! Youth is crude, youth is strong, youth is powerful—yes, and cruel! And one thing more—youth is vulnerable.”
He followed his host to the door. His interest was quickened now in Elsa Greer whom he was to visit next. What would the years have done to that passionate, triumphant crude child?
He looked back at the picture.
Those eyes. Watching him…watching him…Telling him something….
Supposing he couldn’t understand what they were telling him? Would the real woman be able to tell him? Or were those eyes saying something that the real woman did not know?
Such arrogance, such triumphant anticipation.
And then Death had stepped in and taken the prey out of those eager, clutching young hands….
And the light had gone out of those passionately anticipating eyes. What were the eyes of Elsa Greer like now?
He went out of the room with one last look.
He thought: “She was too much alive.”
He felt—a little—frightened….
Eight
THIS LITTLE PIG HAD ROAST BEEF
The house in Brook Street had Darwin tulips in the window boxes. Inside the hall a great vase of white lilac sent eddies of perfume towards the open front door.
A middle-aged butler relieved Poirot of his hat and stick. A footman appeared to take them and the butler murmured deferentially:
“Will you come this way, sir?”
Poirot followed him along the hall and down three steps. A door was opened, the butler pronounced his name with every syllable correct.
Then the door closed behind him and a tall thin man got up from a chair by the fire and came towards him.
Lord Dittisham was a man just under forty. He was not only a Peer of the Realm, he was a poet. Two of his fantastical poetic dramas had been staged at vast expense and had had a succès d’estime. His forehead was rather prominent, his chin was eager, and his eyes and his mouth unexpectedly beautiful.
He said:
“Sit down, Mr. Poirot.”
Poirot sat down and accepted a cigarette from his host. Lord Dittisham shut the box, struck a match and held it for Poirot to light his cigarette, then he himself sat down and looked thoughtfully at his visitor.
Then he said:
“It is my wife you have come to see, I know.”
Poirot answered: