PART II THE EVIDENCE

PART II THE EVIDENCE 1 THE EVIDENCE OF THE WAGON LIT CONDUCTOR In the restaurant car all was in readiness. Poirot and M. Bouc sat together on one side of a table. The doctor sat across the aisle. On the table in front of Poirot was a plan of the Istanbul-Calais coach with the names of the passengers marked in red ink. The passports and tickets were in a pile at one side. There was writing paper, ink, pen, and pencils. "Excellent," said Poirot. "We can open our Court of Inquiry without more ado. First, I think, we should take the evidence of the Wagon Lit conductor. You probably know something about the man. What character has he? Is he a man on whose word you would place reliance?" "I should say so, most assuredly. Pierre Michel has been employed by the company for over fifteen years. He is a Frenchman—lives near Calais. Thoroughly respectable and honest. Not, perhaps, remarkable for brains." Poirot nodded comprehendingly. "Good," he said. "Let us see him."

53

Pierre Michel had recovered some of his assurance, but he was still extremely nervous. "I hope Monsieur will not think that there has been any negligence on my part," he said anxiously, his eyes going from Poirot to M. Bouc. "It is a terrible thing that has happened. I hope Monsieur does not think that it reflects on me in any way?" Having soothed the man's fears, Poirot began his questions. He first elicited Michel's name and address, his length of service, and the length of time he had been on this particular route. These particulars he already knew, but the routine questions served to put the man at his ease. "And now," went on Poirot, "let us come to the events of Last night. M. Ratchett retired to bed—when?"

54 "Almost immediately after dinner, Monsieur. Actually before we left Belgrade. So he did on the previous night. He had directed me to make up the bed while he was at dinner, and I did so." "Did anybody go into his compartment afterwards?" "His valet, Monsieur, and the young American gentleman, his secretary." "Anyone else?" "No, Monsieur, not that I know of." "Good. And that is the last you saw or heard of him?" "No, Monsieur. You forget he rang his bell about twenty to one—soon after we had stopped." "What happened exactly?" "I knocked at the door, but he called out and said he had made a mistake." "In English or in French?" "In French." "What were his words exactly?" "Ce n'est rien. Je me suis trompé." "Quite right," said Poirot. "That is what I heard. And then you went away?" "Did you go back to your seat?" "No, Monsieur, I went first to answer another bell that had just rung." "Now, Michel, I am going to ask you an important question. Where were you at a quarter past one?' "I, Monsieur? I was at my little seat at the end—facing up the corridor." "You are sure?" "Mais oui—at least—" "I went into the next coach, the Athens coach, to speak to my colleague there. We spoke about the snow. That was at some time soon after one o'clock. I cannot say exactly." "And you returned—when?" "One of my bells rang, Monsieur—I remember—I told you. It was the American lady. She had rung several times." "I recollect," said Poirot. "And after that?" "After that, Monsieur? I answered your bell and brought you some mineral water. Then, about half an hour later, I made up the bed in one of the other compartments—that of the young American gentleman, Mr. Ratchett's secretary." "Was Mr. MacQueen alone in his compartment when you went to make up his bed?" "The English Colonel from No. 15 was with him. They had been sitting talking." "What did the Colonel do when he left Mr. MacQueen?" "He went back to his own compartment."

55 "No. 15—that is quite close to your seat, is it not?" "Yes, Monsieur, it is the second compartment from that end of the corridor." "His bed was already made up?" "Yes, Monsieur. I had made it up while he was at dinner." "What time was all this?" "I could not say exactly, Monsieur. Not later than two o'clock certainly." "And after that?" "After that, Monsieur, I sat in my seat till morning." "You did not go again into the Athens coach?" "Perhaps you slept?" "I do not think so, Monsieur. The train being at a standstill prevented me from dozing off as I usually do." "Did you see any of the passengers moving up or down the corridor?" The man reflected. "One of the ladies went to the toilet at the far end, I think." "Which lady?" "I do not know, Monsieur. It was far down the corridor and she had her back to me. She had on a kimono of scarlet with dragons on it." Poirot nodded. "And after that?" "Nothing, Monsieur, until the morning." "You are sure?" "Ah, pardon—you yourself, Monsieur, opened your door and looked out for a second." "Good, my friend," said Poirot. "I wondered whether you would remember that. By the way, I was awakened by what sounded like something heavy falling against my door. Have you any idea what that could have been?" The man stared at him. "There was nothing, Monsieur. Nothing, I am positive of it." "Then I must have had the cauchemar," said Poirot philosophically. "Unless," put in M. Bouc, "it was something in the compartment next door that you heard." Poirot took no notice of the suggestion. Perhaps he did not wish to before the Wagon Lit conductor. "Let us pass to another point," he said. "Supposing that last night an assassin joined the train. Is it quite certain that he could not have left it after committing the crime?" Pierre Michel shook his head. "Nor that he can be concealed on it somewhere?" "It has been well searched," said M. Bouc. "Abandon that idea, my friend."

56 "Besides," said Michel, "no one could get on to the sleeping-car without my seeing them." "When was the last stop?" "Vincovci." "What time was that?" "We should have left there at 11:58, but owing to the weather we were twenty minutes late." "Someone might have come along from the ordinary part of the train?" "No, Monsieur. After the service of dinner, the door between the ordinary carriages and the sleeping-cars is locked." "Did you yourself descend from the train at Vincovci?" "Yes, Monsieur. I got down onto the platform as usual and stood by the step up into the train. The other conductors did the same." "What about the forward door—the one near the restaurant car?" "It is always fastened on the inside." "It is not so fastened now." The man looked surprised; then his face cleared. "Doubtless one of the passengers opened it to look out on the snow." "Probably," said Poirot. He tapped thoughtfully on the table for a minute or two. "Monsieur does not blame me?" said the man timidly. Poirot smiled on him kindly. "You have had the evil chance, my friend," he said. "Ah! one other point while I remember it. You said that another bell rang just as you were knocking at M. Ratchett's door. In fact I heard it myself Whose was it?" "It was the bell of Madame la Princesse Dragomiroff. She desired me to summon her maid." "And you did so?" Poirot studied the plan in front of him thoughtfully. Then he inclined his head. "That is all," he said, "for the moment." "Thank you, Monsieur." The man rose. He looked at M. Bouc. "Do not distress yourself," said the latter kindly; "I cannot see that there has been any negligence on your part." Gratified, Pierre Michel left the compartment.

57 2 THE EVIDENCE OF THE SECRETARY For a minute or two Poirot remained lost, in thought. "I think," he said at last, "that it would be well to have a further word with Mr. MacQueen, in view of what we now know." The young American appeared promptly. "Well," he said, "how are things going?" "Not too badly. Since our last conversation, I have learnt something—the identity of Mr. Ratchett." Hector MacQueen leaned forward interestedly. "Yes?" he said. " 'Ratchett,' as you suspected, was merely an alias. The man 'Ratchett' was Cassetti, who ran the celebrated kidnapping stunts—including the famous affair of little Daisy Armstrong." An expression of utter astonishment appeared on MacQueen's face. Then it darkened. "The damned skunk!" he exclaimed. "You had no idea of this, Mr. MacQueen?" "No, sir," said the young American decidedly. "If I had, I'd have cut off my right hand before it had a chance to do secretarial work for him!" "You feel strongly about the matter, Mr. MacQueen?" "I have a particular reason for doing so. My father was the district attorney who handled the case, Mr. Poirot. I saw Mrs. Armstrong more than once—she was a lovely woman. So gentle and heartbroken." His face darkened. "If ever a man deserved what he got, Ratchett—or Cassetti—is the man. I'm rejoiced at his end. Such a man wasn't fit to live!" "You almost feel as though you would have been willing to do the good deed yourself?" "I do. I—" He paused, then added rather guiltily, "Seems I'm kind of incriminating myself." "I should be more inclined to suspect you, Mr. MacQueen, if you displayed an inordinate sorrow at your employer's decease." "I don't think I could do that even to save myself from the chair," said MacQueen grimly. Then he added: "If I'm not being unduly curious, just how did you figure this out? Cassetti's identity, I mean." "By a fragment of a letter found in his compartment." "But surely—I mean—that was rather careless of the old man?" "That depends," said Poirot, "on the point of view."

58 The young man seemed to find this remark rather baffling. He stared at Poirot as though trying to make him out. "The task before me," said Poirot, "is to make sure of the movements of every one on the train. No offence need be taken, you understand. It is only a matter of routine." "Sure. Get right on with it and let me clear my character if I can." "I need hardly ask you the number of your compartment," said Poirot, smiling, "since I shared it with you for a night. It is the second-class compartment Nos. 6 and 7, and after my departure you had it to yourself." "That's right." "Now, Mr. MacQueen, I want you to describe your movements last night from the time of leaving the dining-car." "That's quite easy. I went back to my compartment, read a bit, got out on the platform at Belgrade, decided it was too cold, and got in again. I talked for a while to a young English lady who is in the compartment next to mine. Then I fell into conversation with that Englishman, Colonel Arbuthnot—as a matter of fact I think you passed us as we were talking. Then I went in to Mr. Ratchett and, as I told you, took down some memoranda of letters he wanted written. I said good tight to him and left him. Colonel Arbuthnot was still standing in the corridor. His compartment was already made up for the night, so I suggested that he should come along to mine. I ordered a couple of drinks and we got right down to it. Discussed world politics and the Government of India and our own troubles with Prohibition and the Wall Street crisis. I don't as a rule cotton to Britishers—they're a stiff-necked lot—but I liked this one." "Do you know what time it was when he left you?" "Pretty late. Nearly two o'clock, I should say." "You noticed that the train had stopped?" 'Oh, yes. We wondered a bit. Looked out and saw the snow lying very thick, but we didn't think it was serious." "What happened when Colonel Arbuthnot finally said good night?" "He went along to his compartment and I called to the conductor to make up my bed." "Where were you whilst he was making it?" "Standing just outside the door in the corridor smoking a cigarette." "And then?" "And then I went to bed and slept till morning." "During the evening did you leave the train at all?" "Arbuthnot and I thought we'd get out at—what was the name of the place?— Vincovci—to stretch our legs a bit. But it was bitterly cold—a blizzard on. We soon hopped back again."

59 "By which door did you leave the train?" "By the one nearest to our compartment." "The one next to the dining-car?" "Do you remember if it was bolted?" MacQueen considered. "Why, yes, I seem to remember it was. At least there was a kind of bar that fitted across the handle. Is that what you mean?" "Yes. On getting back into the train did you replace that bar?" "Why, no—I don't think I did. I got in last. No, I don't seem to remember doing so." He added suddenly, "Is that an important point?" "It may be. Now, I presume, Monsieur, that while you and Colonel Arbuthnot were sitting talking the door of your compartment into the corridor was open?" Hector MacQueen nodded. "I want you, if you can, to tell me if anyone passed along that corridor after the train left Vincovci up to the time you parted company for the night." MacQueen drew his brows together. "I think the conductor passed along once," he said, "coming from the direction of the dining-car. And a woman passed the other way, going towards it." "Which woman?" "I couldn't say. I didn't really notice. You see I was arguing a point with Arbuthnot. I just seem to remember a glimpse of some scarlet silk affair passing the door. I didn't look, and anyway I wouldn't have seen the person's face. As you know, my carriage faces the dining-car end of the train, so a woman going along the corridor in that direction would have her back to me as soon as she'd passed." Poirot nodded. "She was going to the toilet, I presume?" "I suppose so." "And you saw her return?" "Well, no, now that you mention it, I didn't notice her returning but I suppose she must have done so." "One more question. Do you smoke a pipe, Mr. MacQueen?" "No, sir, I do not." Poirot paused a moment. "I think that is all at present. I should now like to see the valet of Mr. Ratchett. By the way, did both you and he always travel second- class?" "He did. But I usually went first—if possible in the compartment adjoining Mr. Ratchett's. Then he had most of his baggage put in my compartment and yet could get at both it and me easily whenever he chose. But on this occasion all the first- class berths were booked except the one that he took." "I comprehend. Thank you, Mr. MacQueen."

60 3 THE EVIDENCE OF THE VALET The American was succeeded by the pale Englishman with the inexpressive face whom Poirot had already noticed on the day before. He stood waiting very correctly. Poirot motioned to him to sit down. "You are, I understand, the valet of M. Ratchett." "Yes, sir." "Your name?" "Edward Henry Masterman." "Your age?" "Thirty-nine." "And your home address?" "21 Friar Street, Clerkenwell." "You have heard that your master has been murdered?" "Yes, sir. A very shocking occurrence." "Will you now tell me, please, at what hour you last saw M. Ratchett?" The valet considered. "It must have been about nine o'clock, sir, last night. That or a little after." "Tell me in your own words exactly what happened." "I went in to Mr. Ratchett as usual, sir, and attended to his wants." "What were your duties exactly?" "To fold or hang up his clothes, sir, put his dental plate in water and see that he had everything he wanted for the night." "Was his manner much the same as usual?" The valet considered a moment. "Well, sir, I think he was upset." "In what way—upset?" "Over a letter he'd been reading. He asked me if it was I who had put it in his compartment. Of course I told him I hadn't done any such thing, but he swore at me and found fault with everything I did." "Was that unusual?" "Oh, no, sir. He lost his temper easily—as I say, it just depended what had happened to upset him." "Did your master ever take a sleeping draught?" Dr. Constantine leaned forward a little. "Always when travelling by train, sir. He said he couldn't sleep otherwise."

61 "Do you know what drug he was in the habit of taking?" "I couldn't say, I'm sure, sir. There was no name on the bottle—just 'The Sleeping Draught to be taken at bedtime.' " "Did he take it last night?" "Yes, sir. I poured it into a glass and put it on top of the toilet table ready for him." "You didn't actually see him drink it?" "What happened next?" "I asked if there was anything further, and also asked what time he would like to be called in the morning. He said he didn't want to be disturbed till he rang." "Was that usual?" "Quite usual, sir. When he was ready to get up he used to ring the bell for the conductor and then send him for me." "Was he usually an early or a late riser?" "It depended, sir, on his mood. Sometimes he'd get up for breakfast, sometimes he wouldn't get up till just on lunch time." "So that you weren't alarmed when the morning wore on and no summons came?" "Did you know that your master had enemies?" "Yes, sir." The man spoke quite unemotionally. "How did you know?" "I had heard him discussing some letters, sir, with Mr. MacQueen." "Had you an affection for your employer, Masterman?" Masterman's face became, if possible, even more inexpressive than it was normally. "I should hardly like to say that, sir. He was a generous employer." "But you didn't like him?" "Shall we put it that I don't care very much for Americans, sir?" "Have you ever been in America?" "Do you remember reading in the paper of the Armstrong kidnapping case?" A little colour came into the man's cheeks. "Yes, indeed, sir. A little baby girl, wasn't it? A very shocking affair." "Did you know that your employer, Mr. Ratchett, was the principal instigator in that affair?" "No, indeed, sir." The valet's tone held positive warmth and feeling for the first time. "I can hardly believe it, sir."

62 "Nevertheless, it is true. Now, to pass to your own movements last night. A matter of routine, you understand. What did you do after leaving your master?" "I told Mr. MacQueen, sir, that the master wanted him. Then I went to my own compartment and read." "Your compartment was—" "The end second-class one, sir. Next to the dining-car." Poirot was looking at his plan. "I see—and you had which berth?" "The lower one, sir." "That is No. 4?" "Yes, sir." "Is there anyone in with you?" "Yes, sir. A big Italian fellow." "Does he speak English?" "Well, a kind of English, sir." The valet's tone was deprecating. "He's been in America—Chicago, I understand." "Do you and he talk together much?" "No, sir. I prefer to read." Poirot smiled. He could visualize the scene—the large, voluble Italian, and the snub direct administered by the gentleman's gentleman. "And what, may I ask, are you reading?" he inquired. "At present, sir, I am reading Love's Captive, by Mrs. Arabella Richardson." "A good story?" "I find it highly enjoyable, sir." "Well, let us continue. You returned to your compartment and read Love's Captive till—when?" "At about ten thirty, sir, this Italian wanted to go to bed. So the conductor came and made the beds up." "And then you went to bed and to sleep?" "I went to bed, sir, but I didn't sleep." "Why didn't you sleep?" "I had the toothache, sir." "Oh, là-là—that is painful." "Most painful, sir." "Did you do anything for it?" "I applied a little oil of cloves, sir, which relieved the pain a little, but I was still not able to get to sleep. I turned the light on above my head and continued to read—to take my mind off, as it were." "And did you not go to sleep at all?" "Yes, sir, I dropped off about four in the morning."

63 "And your companion?" "The Italian fellow? Oh, he just snored." "He did not leave the compartment at all during the night?" "Did you?" "Did you hear anything during the night?" "I don't think so, sir. Nothing unusual, I mean. The train being at a standstill made it all very quiet." Poirot was silent a moment or two. Then he spoke. "Well, I think there is very little more to be said. You cannot throw any light upon the tragedy?" "I'm afraid not. I'm sorry, sir." "As far as you know, was there any quarrel or bad blood between your master and Mr. MacQueen?" "Oh! no, sir. Mr. MacQueen was a very pleasant gentleman." "Where were you in service before you came to Mr. Ratchett?" "With Sir Henry Tomlinson, sir, in Grosvenor Square." "Why did you leave him?" "He was going to East Africa, sir, and did not require my services any longer. But I am sure he will speak for me, sir. I was with him some years." "And you have been with Mr. Ratchett—how long?" "Just over nine months, sir." "Thank you, Masterman. By the way, are you a pipe-smoker?" "No, sir. I only smoke cigarettes—gaspers, sir." "Thank you, that will do." Poirot gave him a nod of dismissal. The valet hesitated a moment. "You'll excuse me, sir, but the elderly American lady is in what I might describe as a state, sir. She's saying she knows all about the murderer. She's in a very excitable condition, sir." "In that case," said Poirot, smiling, "we had better see her next." "Shall I tell her, sir? She's been demanding to see someone in authority for a long time. The conductor's been trying to pacify her." "Send her to us, my friend," said Poirot. "We will listen to her story now."

64 4 THE EVIDENCE OF THE AMERICAN LADY Mrs. Hubbard arrived in the dining-car in such a state of breathless excitement that she was hardly able to articulate her words. "Now just tell me this—who's in authority here? I've got some very important information, very important indeed, and I'm going to tell it to someone in authority just as soon as I can. If you gentlemen—" Her wavering glance fluctuated between the three men. Poirot leaned forward. "Tell it to me, Madame," he said. "But first, pray be seated." Mrs. Hubbard plumped heavily down on to the seat opposite to him. "What I've got to tell you is just this. There was a murder on the train last night, and the murderer was right there in my compartment!" She paused to give dramatic emphasis to her words. "You are sure of this, Madame?" "Of course I'm sure! The idea! I know what I'm talking about. I'll tell you everything there is to tell. I'd gotten into bed and gone to sleep, and suddenly I woke up—everything was dark—and I knew there was a man in my compartment. I was just so scared I couldn't scream, if you know what I mean. I just lay there and thought, 'Mercy, I'm going to be killed!' I just can't describe to you how I felt. These nasty trains, I thought, and all the outrages I'd read of. And I thought, 'Well, anyway, he won't get my jewellery'—because, you see, I'd put that in a stocking and hidden it under my pillow—which isn't any too comfortable, by the way; kinda bumpy, if you know what I mean. But that's neither here nor there. Where was I?" "You realised, Madame, that there was a man in your compartment." "Yes, well, I just lay there with my eyes closed, and wondered what I'd do. And I thought, well, I'm just thankful that my daughter doesn't know the plight I'm in. And then, somehow, I got my wits about me and I felt about with my hand and I pressed the bell for the conductor. I pressed it and I pressed it, but nothing happened—and I can tell you, I thought my heart was going to stop beating. 'Mercy,' I said to myself, 'maybe they've murdered every single soul on the train.' It was at a standstill anyhow and there was a nasty quiet feel in the air. But I just went on pressing that bell and oh! the relief when I heard footsteps coming running down the corridor and a knock on the door! 'Come in,' I screamed, and I switched on the lights at the same time. And would you believe it, there wasn't a soul there!"

65 This seemed to Mrs. Hubbard to be a dramatic climax rather than an anticlimax. "And what happened next, Madame?" "Why, I told the man what had happened and he didn't seem to believe me. Seemed to imagine I'd dreamed the whole thing. I made him look under the seat, though he said there wasn't room for a man to squeeze himself in there. It was plain enough that the man had got away—but there had been a man there, and it just made me mad the way the conductor tried to soothe me down! I'm not one to imagine things, Mr.—I don't think I know your name?" "Poirot, Madame; and this is M. Bouc, a director of the company, and Dr. Constantine." Mrs. Hubbard murmured, "Pleased to meet you, I'm sure," to all three of them in an abstracted manner and then plunged once more into her recital. "Now I'm just not going to pretend I was as bright as I might have been. I got it into my head that it was the man from next door—the poor fellow who's been killed. I told the conductor to look at the door between the compartments, and sure enough it wasn't bolted. Well, I soon saw to that. I told him to bolt it then and there, and after he'd gone out I got up and put a suitcase against it to make sure." "What time was this, Mrs. Hubbard?" "Well, I'm sure I can't tell you. I never looked to see. I was so upset." "And what is your theory now?" "Why, I should say it was just as plain as plain could be. The man in my compartment was the murderer. Who else could he be?" "And you think he went back into the adjoining compartment?" "How do I know where he went? I had my eyes tight shut." "He might have slipped out through the door into the corridor." "Well, I couldn't say. You see, I had my eyes tight shut." Mrs. Hubbard sighed convulsively. "Mercy, I was scared! If my daughter only knew—" "You do not think, Madame, that what you heard was the noise of someone moving about next door—in the murdered man's compartment?" "No, I do not, Mr.—what is it?—Poirot. The man was right there in the same compartment with me. And what's more I've got proof of it." Triumphantly, she hauled a large handbag into view and proceeded to burrow in its interior. She took out in turn two large clean handkerchiefs, a pair of horn-rimmed glasses, a bottle of aspirin, a packet of Glauber's Salts, a celluloid tube of bright green peppermints, a bunch of keys, a pair of scissors, a book of American Express cheques, a snapshot of an extraordinarily plain-looking child, some letters, five strings of pseudo-Oriental beads, and a small metal object—a button.

66 "You see this button? Well, it's not one of my buttons. It's not off anything I've got. I found it this morning when I got up." As she placed it on the table, M. Bouc. leaned forward and gave an exclamation. "But this is a button from the tunic of a Wagon Lit attendant!" "There way be a natural explanation for that," said Poirot. He turned gently to the lady. "This button, Madame, may have dropped from the conductor's uniform, either when he searched your cabin or when he was making the bed up last night." "I just don't know what's the matter with all you people. Seems as though you don't want to do anything but make objections. Now listen here. I was reading a magazine last night before I went to sleep. Before I turned the light out, I placed that magazine on a little case that was standing on the floor near the window. Have you got that?" They assured her that they had. "Very well then. The conductor looked under the seat from near the door, and then he came in and bolted the door between me and the next compartment, but he never went near the window. Well, this morning that button was lying right on top of the magazine. What do you call that, I should like to know?" "That, Madame, I call evidence," said Poirot. The answer seemed to appease the lady. "It makes me madder than a hornet to be disbelieved," she explained. "You have given us most interesting and valuable evidence," said Poirot soothingly. "Now may I ask you a few questions?" "Why, certainly." "How was it, since you were nervous of this man Ratchett, that you hadn't already bolted the door between the compartments?" "I had," returned Mrs. Hubbard promptly. "Oh, you had?" "Well, as a matter of fact I asked that Swedish creature—a pleasant soul—if it was bolted, and she said it was." "How was it you couldn't see for yourself?" "Because I was in bed and my spongebag was hanging on the door-handle." "What time was it when you asked her to do this for you?" "Now let me think. It must have- been round about half-past ten or a quarter to eleven. She'd come along to see if I had an aspirin. I told her where to find it and she got it out of my grip." "You yourself were in bed?" Suddenly she laughed. "Poor soul—she was so upset! You see, she'd opened the door of the next compartment by mistake."

67 "Mr. Ratchett's?" "Yes. You know how difficult it is as you come along the train and all the doors are shut. She opened his by mistake. She was very distressed about it. He'd laughed, it seemed, and I guess he said something not quite nice. Poor thing, she certainly was upset. 'Oh! I make mistake,' she said. 'I ashamed make mistake. Not nice man,' she said. 'He say, "You too old." ' " Dr. Constantine sniggered, and Mrs. Hubbard immediately froze him with a glance. "He wasn't a nice kind of man," she said, "to say a thing like that to a lady. It's not right to laugh at such things." Dr. Constantine hastily apologised. "Did you hear any noise from Mr. Ratchett's compartment after that?" asked Poirot. "Well—not exactly." "What do you mean by that, Madame?" "Well—" She paused. "He snored." "Ah!—he snored, did he?" "Terribly. The night before, it kept me awake." "You didn't hear him snore after you had had the scare about a man being in your compartment?" "Why, Mr. Poirot, how could I? He was dead." "Ah, Yes, truly," said Poirot. He appeared confused. "Do you remember the affair of the Armstrong kidnap ping, Mrs. Hubbard?" he asked. "Yes, indeed I do. And how the wretch that did it escaped scot-free! My, I'd have liked to get my hands on him." "He has not escaped. He is dead. He died last night." "You don't mean—?' Mrs. Hubbard half rose from her chair in excitement. "But yes, I do. Ratchett was the man." "Well! Well, to think of that! I must write and tell my daughter. Now, didn't I tell you last night that that man had an evil face? I was right, you see. My daughter always says: 'When Mamma's got a hunch you can bet your bottom dollar it's O.K.' " "Were you acquainted with any of the Armstrong family, Mrs. Hubbard?" "No. They moved in a very exclusive circle. But I've always heard that Mrs. Armstrong was a perfectly lovely woman and that her husband worshipped her." "Well, Mrs. Hubbard, you have helped us very much—very much indeed. Perhaps you will give me your full name?" "Why, certainly. Caroline Martha Hubbard." "Will you write your address down here?"

68 Mrs. Hubbard did so, without ceasing to speak. "I just can't get over it. Cassetti—on this train. I had a hunch about that man, didn't I, Mr. Poirot?" "Yes, indeed, Madame. By the way, have you a scarlet silk dressing-gown?" "Mercy, what a funny question! Why, no. I've got two dressing-gowns with me—a pink flannel one that's kind of cosy for on board ship, and one my daughter gave me as a present—a kind of local affair in purple silk. But what in creation do you want to know about my dressing-gowns for?" "Well, you see, Madame, someone in a scarlet kimono entered either your or Mr. Ratchett's compartment last night. It is, as you said just now, very difficult when all the doors are shut to know which compartment is which." "Well, no one in a scarlet dressing-gown came into my compartment." "Then she must have gone into Mr. Ratchett's." Mrs. Hubbard pursed her lips together and said grimly: "That wouldn't surprise me any." Poirot leaned forward. "So you heard a woman's voice next door?" "I don't know how you guessed that, Mr. Poirot. I don't really. But—well—as a matter of fact, I did." "But when I asked you just now if you heard anything next door, you only said you heard Mr. Ratchett snoring." "Well, that was true enough. He did snore part of the time. As for the other—" Mrs. Hubbard got rather embarrassed. "It isn't a very nice thing to speak about." "What time was it when you heard a woman's voice?" "I can't tell you. I just woke up for a minute and heard a woman talking, and it was plain enough where she was. So I just thought, 'Well, that's the kind of man he is! I'm not surprised'—and then I went to sleep again. And I'm sure I should never have mentioned anything of the kind to three strange gentlemen if you hadn't dragged it out of me." "Was it before the scare about the man in your compartment, or after?" "Why, that's like what you said just now! He wouldn't have had a woman talking to him if he were dead, would he?" "Pardon. You must think me very stupid, Madame." "I guess even you get kinda muddled now and then. I just can't get over its being that monster Cassetti. What my daughter will say—" Poirot managed adroitly to help the good lady to replace the contents of her handbag, and he then shepherded her towards the door. At the last moment, he said: "You have dropped your handkerchief, Madame." Mrs. Hubbard looked at the little scrap of cambric he held out to her. "That's not mine, Mr. Poirot. I've got mine right here." "Pardon. I thought as it had the initial H on it—"

69 "Well, now, that's funny, but it's certainly not mine. Mine are marked C.M.H., and they're sensible things—not expensive Paris fallals. What good is a handkerchief like that to anybody's nose?" None of the three men seemed to have an answer to this question and Mrs. Hubbard sailed out triumphantly.

70 5 THE EVIDENCE OF THE SWEDISH LADY M. Bouc was handling the button that Mrs. Hubbard had left behind her. "This button. I cannot understand it. Does it mean that after all, Pierre Michel is involved in some way?" he asked. He paused, then continued, as Poirot did not reply. "What have you to say, my friend?" "That button, it suggests possibilities," said Poirot thoughtfully. "Let us interview next the Swedish lady before we discuss the evidence that we have heard." He sorted through the pile of passports in front of him. "Ah! here we are. Greta Ohlsson, age forty-nine." M. Bouc gave directions to the restaurant attendant, and presently the lady with the yellowish grey bun of hair and the long, mild, sheep-like face was ushered in. She peered short-sightedly at Poirot through her glasses, but was quite calm. It transpired that she understood and spoke French, so the conversation took place in that language. Poirot first asked her the questions to which he already knew the answers—her name, age, and address. He then asked her her occupation. She was, she told him, matron in a missionary school near Stamboul. She was a trained nurse. "You know, of course, of what took place last night, Mademoiselle?" "Naturally. It is very dreadful. And the American lady tells me that the murderer was actually in her compartment." "I hear, Mademoiselle, that you were the last person to see the murdered man alive?" "I do not know. It may be so. I opened the door of his compartment by mistake. I was much ashamed. It was a most awkward mistake." "You actually saw him?" "Yes. He was reading a book. I apologised quickly and withdrew." "Did he say anything to you?" A slight flush showed on the worthy lady's cheek. "He laughed and said a few words. I—I did not quite catch them." "And what did you do after that, Mademoiselle?" asked Poirot, passing from the subject tactfully. "I went in to the American lady, Mrs. Hubbard. I asked her for some aspirin and she gave it to me."

71 "Did she ask you whether the communicating door between her compartment and that of Mr. Ratchett was bolted?" "And was it?" "And after that?" "After that I went back to my compartment, took the aspirin, and lay down." "What time was all this?" "When I got into bed it was five minutes to eleven. I know because I looked at my watch before I wound it up." "Did you go to sleep quickly?" "Not very quickly. My head got better, but I lay awake some time." "Had the train come to a stop before you went to sleep?" "I do not think so. We stopped, I think, at a station just as I was getting drowsy." "That would be Vincovci. Now your compartment, Mademoiselle, is this one?" He indicated it on the plan. "That is so, yes." "You had the upper or the lower berth?" "The lower berth, No. 10." "And you had a companion?' "Yes, a young English lady. Very nice, very amiable. She had travelled from Baghdad." "After the train left Vincovci, did she leave the compartment?" "No, I am sure she did not." "Why are you sure if you were asleep?" "I sleep very lightly. I am used to waking at a sound. I am sure that if she had come down from the berth above I should have awakened." "Did you yourself leave the compartment?" "Not until this morning." "Have you a scarlet silk kimono, Mademoiselle?" "No, indeed. I have a good comfortable dressing-gown of Jaeger material." "And the lady with you, Miss Debenham? What colour is her dressing-gown?' "A pale mauve aba such as you buy in the East." Poirot nodded. Then he asked in a friendly tone: "Why are you taking this journey? A holiday?" "Yes, I am going home for a holiday. But first I am going to Lausanne to stay with a sister for a week or so." "Perhaps you will be so amiable as to write me down the name and address of your sister?' "With pleasure."

72 She took the paper and pencil he gave her and wrote down the name and address as requested. "Have you ever been in America, Mademoiselle?" "No. I very nearly went once. I was to go with an invalid lady, but the plan was cancelled at the last moment. I much regretted this. They are very good, the Americans. They give much money to found schools and hospitals. And they are very practical." "Do you remember hearing of the Armstrong kidnapping case?" "No, what was that?" Poirot explained. Greta Ohlsson was indignant. Her yellow bun of hair quivered with her emotion. "That there are in the world such evil men! It tries one's faith. The poor mother—my heart aches for her." The amiable Swede departed, her kindly face flushed, her eyes suffused with tears. Poirot was writing busily on a sheet of paper. "What is it you write there, my friend?" asked M. Bouc. "Mon cher, it is my habit to be neat and orderly. I make here a little chronological table of events." He finished writing and passed the paper to M. Bouc.

9.15 Train leaves Belgrade. about 9.40 Valet leaves Ratchett with sleeping draught beside him. about 10.00 MacQueen leaves Ratchett. about 10.40 Greta Ohlsson sees Ratchett (last seen alive). N.B. He was awake reading a book. 0.10 Train leaves Vincovci (late). 0.30 Train runs into a snowdrift. 0.37 Ratchett's bell rings. Conductor answers it. Ratchett says: "Ce n'est rien. Je me suis trompé." about 1.17 Mrs. Hubbard thinks man is in her carriage. Rings for conductor.

M. Bouc nodded approval. "That is very clear," he said. "There is nothing there that strikes you as at all odd?" "No, it seems all quite clear and aboveboard. It seems quite plain that the crime was committed at 1.15. The evidence of the watch shows us that, and Mrs. Hubbard's story fits in. For my mind, I will make a guess at the identity of the murderer. I say, my friend, that it is the big Italian. He comes from America—from Chicago—and remember an Italian's weapon is the knife, and he stabs not once but several times." "That is true." "Without a doubt, that is the solution of the mystery. Doubtless he and this Ratchett were in this kidnapping business together. Cassetti is an Italian name. In

73 some way Ratchett did on him what they call the double-cross. The Italian tracks him down, sends him warning letters first, and finally revenges himself upon him in a brutal way. It is all quite simple." Poirot shook his head doubtfully. "It is hardly so simple as that, I fear," he murmured. "Me, I am convinced it is the truth," said M. Bouc, becoming more and more enamoured of his theory. "And what about the valet with the toothache who swears that the Italian never left the compartment?" "That is the difficulty." Poirot twinkled. "Yes, it is annoying, that. Unlucky for your theory, and extremely lucky for our Italian friend that M. Ratchett's valet should have had the toothache." "It will be explained," said M. Bouc with magnificent certainty. Poirot shook his head again. "No, it is hardly so simple as that," he murmured again.

74 6 THE EVIDENCE OF THE RUSSIAN PRINCESS "Let us hear what Pierre Michel has to say about this button," he said. The Wagon Lit conductor was recalled. He looked at them inquiringly. M. Bouc cleared his throat. "Michel," he said, "here is a button from your tunic. It was found in the American lady's compartment. What have you to say for yourself about it?" The conductor's hand went automatically to his tunic. "I have lost no button, Monsieur," he said. "There must be some mistake." "That is very odd." "I cannot account for it, Monsieur." The man seemed astonished, but not in any way guilty or confused. M. Bouc said meaningly: "Owing to the circumstances in which it was found, it seems fairly certain that this button was dropped by the man who was in Mrs. Hubbard's compartment last night when she rang the bell." "But, Monsieur, there was no one there. The lady must have imagined it." "She did not imagine it, Michel. The assassin of M. Ratchett passed that way— and dropped that button." As the significance of M. Bouc's words became plain to him, Pierre Michel flew into a violent state of agitation. "It is not true, Monsieur; it is not true!" he cried. "You are accusing me of the crime. Me, I am innocent. I am absolutely innocent! Why should I want to kill a Monsieur whom I have never seen before?" "Where were you when Mrs. Hubbard's bell rang?" "I told you, Monsieur, in the next coach talking to my colleague." "We will send for him." "Do so, Monsieur, I implore you, do so." The conductor of the next coach was summoned. He immediately confirmed Pierre Michel's statement. He added that the conductor from the Bucharest coach had also been there. The three of them had been discussing the situation caused by the snow. They had been talking some ten minutes when Michel fancied he heard a bell. As he opened the doors connecting the two coaches, they had all heard it plainly—a bell ringing repeatedly. Michel had run post-haste to answer it. "So you see, Monsieur, I am not guilty," cried Michel anxiously. "And this button from a Wagon Lit tunic, how do you explain it?" "I cannot, Monsieur. It is a mystery to me. All my buttons are intact."

75 Both of the other conductors also declared that they had not lost a button; also that they had not been inside Mrs. Hubbard's compartment at any time. "Calm yourself, Michel," said M. Bouc, "and cast your mind back to the moment when you ran to answer Mrs. Hubbard's bell. Did you meet anyone at all in the corridor?" "Did you see anyone going away from you down the corridor in the other direction?" "Again, no, Monsieur." "Odd," said M. Bouc. "Not so very," said Poirot. "It is a question of time. Mrs. Hubbard wakes to find someone in her compartment. For a minute or two she lies paralysed, her eyes shut. Probably it was then that the man slipped out into the corridor. Then she starts ringing the bell. But the conductor does not come at once. It is only the third or fourth peal that he hears. I should say myself that there was ample time—" "For what? For what, mon cher! Remember, there are thick drifts of snow all round the train." "There are two courses open to our mysterious assassin," said Poirot slowly. "He could retreat into either of the toilets or—he could disappear into one of the compartments." "But they were all occupied." "You mean that he could retreat into his own compartment?" Poirot nodded. "It fits—it fits;' murmured M. Bouc. "During that ten minutes' absence of the conductor, the murderer comes from his own compartment, goes into Ratchett's, kills him, locks and chains the door on the inside, goes out through Mrs. Hubbard's compartment, and is back safely in his own compartment by the time the conductor arrives." Poirot murmured: "It is not quite so simple as that, my friend. Our friend the doctor here will tell you so." With a gesture M. Bouc signified that the three conductors might depart. "We have still to see eight passengers," said Poirot. "Five first-class passengers—Princess Dragomiroff, Count and Countess Andrenyi, Colonel Arbuthnot, and Mr. Hardman. Three second-class passengers—Miss Debenham, Antonio Foscarelli, and the lady's-maid, Fräulein Schmidt." "Whom will you see first—the Italian?" "How you harp on your Italian! No, we will start at the top of the tree. Perhaps Madame la Princesse will be so good as to spare us a few moments of her time. Convey that message to her, Michel."

76 "Oui, Monsieur," said the conductor, who was just leaving the car. "Tell her we can wait on her in her compartment if she does not wish to put herself to the trouble of coming here," called M. Bouc. But Princess Dragomiroff declined to take this course. She appeared in the dining-car, inclined her head slightly and sat down opposite Poirot. Her small toad-like face looked even yellower than the day before. She was certainly ugly, and yet, like the toad, she had eyes like jewels, dark and imperious, revealing latent energy and an intellectual force that could be felt at once. Her voice was deep, very distinct, with a slight grating quality in it. She cut short a flowery phrase of apology from M. Bouc. "You need not offer apologies, Messieurs. I understand a murder has taken place. Naturally you must interview all the passengers. I shall be glad to give you all the assistance in my power." "You are most amiable, Madame," said Poirot. "Not at all. It is a duty. What do you wish to know?" "Your full Christian names and address, Madame. Perhaps you would prefer to write them yourself?" Poirot proffered a sheet of paper and pencil, but the Princess waved them aside. "You can write it," she said. "There is nothing difficult. Natalia Dragomiroff, 17 Avenue Kléber, Paris." "You are travelling home from Constantinople, Madame?" "Yes. I have been staying at the Austrian Embassy. My maid is with me." "Would you be so good as to give me a brief account of your movements last night from dinner onwards?" "Willingly. I directed the conductor to make up my bed whilst I was in the dining-car. I retired to bed immediately after dinner. I read until the hour of eleven, when I turned out my light. I was unable to sleep owing to certain rheumatic pains from which I suffer. At about a quarter to one I rang for my maid. She massaged me and then read aloud till I felt sleepy. I cannot say exactly, when she left me. It may have been half an hour afterward, it may have been later." "The train had stopped then?" "The train had stopped." "You heard nothing—nothing unusual during the time, Madame?" "I heard nothing unusual." "What is your maids name?" "Hildegarde Schmidt." "She has been with you long?" "Fifteen years." "You consider her trustworthy?" "Absolutely. Her people come from an estate of my late husband's in Germany."

77 "You have been in America, I presume, Madame?" The abrupt change of subject made the old lady raise her eyebrows. "Many times." "Were you at any time acquainted with a family of the name of Armstrong—a family in which a tragedy occurred?" With some emotion in her voice the old lady said: "You speak of friends of mine, Monsieur." "You knew Colonel Armstrong well, then?" "I knew him slightly, but his wife, Sonia Armstrong, was my god-daughter. I was on terms of friendship with her mother, the actress, Linda Arden. Linda Arden was a great genius, one of the greatest tragic actresses in the world. As Lady Macbeth, as Magda, there was no one to touch her. I was not only an admirer of her art, I was a personal friend." "She is dead?" "No, no, she is alive, but she lives in complete retirement. Her health is very delicate, and she has to lie on a sofa most of the time." "There was, I think, a second daughter?" "Yes, much younger than Mrs. Armstrong." "And she is alive?" "Certainly." "Where is she?" The old woman bent an acute glance at him. "I must ask you the reason for these questions. What have they to do with the matter in hand—the murder on this train?" "They are connected in this way, Madame: the man who was murdered was the man responsible for the kidnapping and murder of Mrs. Armstrong's child." "Ah!" The straight brows came together. Princess Dragomiroff drew herself a little more erect. "In my view, then, this murder is an entirely admirable happening! You will pardon my slightly biased point of view." "It is most natural, Madame. And now to return to the question you did not answer. Where is the younger daughter of Linda Arden, the sister of Mrs. Armstrong?" "I honestly cannot tell you, Monsieur. I have lost touch with the younger generation. I believe she married an Englishman some years ago and went to England, but at the moment I cannot recollect the name." She paused a minute and then said: "Is there anything further you want to ask me, gentlemen?"

78 "Only one thing, Madame, a somewhat personal question. The colour of your dressing-gown." She raised her eyebrows slightly. "I must suppose you have a reason for such a question. My dressing-gown is of black satin." "There is nothing more, Madame. I am much obliged to you for answering my questions so promptly." She made a slight gesture with her heavily beringed hand. Then as she rose, and the others rose with her, she stopped. "You will excuse me, Monsieur," she said, "but may I ask your name? Your face is somehow familiar to me." "My name, Madame, is Hercule Poirot—at your service." She was silent a minute, then: "Hercule Poirot," she said. "Yes. I remember now. This is Destiny." She walked away, very erect, a little stiff in her movements. "Voilà une grande dame," said M. Bouc. "What do you think of her, my friend?" But Hercule Poirot merely shook his head. "I am wondering," he said, "what she meant by Destiny."

79 7 THE EVIDENCE OF COUNT AND COUNTESS ANDRENYI Count and Countess Andrenyi were next summoned. The Count, however, entered the dining-car alone. There was no doubt that he was a fine-looking man seen face to face. He was at least six feet in height, with broad shoulders and slender hips. He was dressed in very well-cut English tweeds and might have been taken for an Englishman had it not been for the length of his moustache and something in the line of the cheekbone. "Well, Messieurs," he said, "what can I do for you?" "You understand, Monsieur," said Poirot, "that in view of what has occurred I am obliged to put certain questions to all the passengers." "Perfectly, perfectly," said the Count easily. "I quite understand your position. Not, I fear, that my wife and I can do much to assist you. We were asleep and heard nothing at all." "Are you aware of the identity of the deceased, Monsieur?" "I understood it was the big American—a man with a decidedly unpleasant face. He sat at that table at meal times." He indicated with a nod of his head the table at which Ratchett and MacQueen had sat. "Yes, yes, Monsieur, you are perfectly correct. I meant—did you know the name of the man?" "No." The Count looked thoroughly puzzled by Poirot's queries. "If you want to know his name," he said, "surely it is on his passport?" "The name on his passport is Ratchett," said Poirot. "But that, Monsieur, is not his real name. He is the man Cassetti, who was responsible for a celebrated kidnapping outrage in America." He watched the Count closely as he spoke, but the latter seemed quite unaffected by this piece of news. He merely opened his eyes a little. "Ah!" he said. "That certainly should throw light upon the matter. An extraordinary country, America." "You have been there, perhaps, Monsieur le Comte?" "I was in Washington for a year." "You knew, perhaps, the Armstrong family?" "Armstrong—Armstrong—it is difficult to recall. One met so many." He smiled, shrugged his shoulders. "But to come back to the matter in hand, gentlemen," he said. "What more can I do to assist you?"

80 "You retired to rest—when, Monsieur le Comte?" Hercule Poirot's eyes stole to his plan. Count and Countess Andrenyi occupied compartment Nos. 12 and 13 adjoining. "We had one compartment made up for the night whilst we were in the dining- car. On returning we sat in the other for a while—" "Which number would that be?" "No. 13. We played piquet together. At about eleven o'clock my wife retired for the night. The conductor made up my compartment and I also went to bed. I slept soundly until morning." "Did you notice the stopping of the train?" "I was not aware of it till this morning." "And your wife?" The Count smiled. "My wife always takes a sleeping draught when travelling by train. She took her usual dose of trional." He paused. "I am sorry I am not able to assist you in any way." Poirot passed him a sheet of paper and a pen. "Thank you, Monsieur le Comte. It is a formality, but will you just let me have your name and address?" The Count wrote slowly and carefully. "It is just as well that I should write this for you," he said pleasantly. "The spelling of my country estate is a little difficult for those unacquainted with the language." He passed the paper across to Poirot and rose. "It will be quite unnecessary for my wife to come here," he said. "She can tell you nothing more than I have." A little gleam came into Poirot's eye. "Doubtless, doubtless," he said. "But all the same I think I should like to have just one little word with Madame la Comtesse." "I assure you it is quite unnecessary." The Count's voice rang out authoritatively. Poirot blinked gently at him. "It will be a mere formality," he said. "But, you understand, it is necessary for my report." "As you please." The Count gave way grudgingly. He made a short foreign bow and left the dining-car. Poirot reached out a hand to a passport. It set out the Count's names and titles. He passed on to the further information. "Accompanied by, wife; Christian name, Elena Maria; maiden name, Goldenberg; age, twenty." A spot of grease had been dropped on it at some time by a careless official.

81 "A diplomatic passport," said M. Bouc. "We must be careful, my friend, to give no offence. These people can have nothing to do with the murder." "Be easy, mon vieux, I will be most tactful. A mere formality." His voice dropped as the Countess Andrenyi entered the dining-car. She looked timid and extremely charming. "You wish to see me, Messieurs?" "A mere formality, Madam la Comtesse." Poirot rose gallantly, bowed her into the seat opposite him. "It is only to ask you if you saw or heard anything last night that may throw light upon this matter." "Nothing at all, Monsieur. I was asleep." "You did not hear, for instance, a commotion going on in the compartment next to yours? The American lady who occupies it had quite an attack of hysterics and rang for the conductor." "I heard nothing, Monsieur. You see, I had taken a sleeping draught." "Ah! I comprehend. Well, I need not detain you further." Then, as she rose swiftly—"Just one little minute. These particulars—your maiden name, age and so on—they are correct?" "Quite correct, Monsieur." "Perhaps you will sign this memorandum to that effect, then." She signed quickly, in a graceful slanting hand-writing—Elena Andrenyi. "Did you accompany your husband to America, Madame?" "No, Monsieur." She smiled, flushed a little. "We were not married then; we have been married only a year." "Ah, yes, thank you, Madame. By the way, does your husband smoke?" She stared at him as she stood poised for departure. "A pipe?" "No. Cigarettes and cigars." "Ah! Thank you." She lingered, her eyes watching him curiously. Lovely eyes they were, dark and almond-shaped with very long black lashes that swept the exquisite pallor of her cheeks. Her lips, very scarlet in the foreign fashion, were parted just a little. She looked exotic and beautiful. "Why did you ask me that?" "Madame," Poirot waved an airy hand, "detectives have to ask all sorts of questions. For instance, perhaps you will tell me the colour of your dressing- gown?" She stared at him. Then she laughed. "it is corn-coloured chiffon. Is that really important?" "Very important, Madame."

82 She asked curiously: "Are you really a detective, then?" "At your service, Madame." "I thought there were no detectives on the train when it passed through Jugo- Slavia—not until one got to Italy." "I am not a Jugo-Slavian detective, Madame. I am an international detective." "You belong to the League of Nations?" "I belong to the world, Madame," said Poirot dramatically. He went on: "I work mainly in London. You speak English?" he added in that language. "I speak a leetle, yes." Her accent was charming. Poirot bowed once more. "We will not detain you further, Madame. You see, it was not so very terrible." She smiled, inclined her head and departed. "Elle est jolie femme," said M. Bouc appreciatively. He sighed. "Well, that did not advance us much." "No," said Poirot. "Two people who saw nothing and heard nothing." "Shall we now see the Italian?" Poirot did not reply for a moment. He was studying a grease spot on a Hungarian diplomatic passport.

83 8 THE EVIDENCE OF COLONEL ARBUTHNOT Poirot roused himself with a slight start. His eyes twinkled a little as they met the eager ones of M. Bouc. "Ah! my dear old friend," he said, "you see I have become what they call the snob! The first class, I feel it should be attended to before the second class. Next, I think, we will interview the good-looking Colonel Arbuthnot." Finding the Colonel's French to be of a severely limited description, Poirot conducted his interrogatory in English. Arbuthnot's name, age, home address and exact military standing were all ascertained. Poirot proceeded: "It is that you come home from India on what is called the leave—what we can call en permission?" Colonel Arbuthnot, uninterested in what a pack of foreigners called anything, replied with true British brevity, "Yes." "But you do not come home on the P. & O. boat?" "No." "Why not?" "I chose to come by the overland route for reasons of my own." ("And that," his manner seemed to say, "is one for you, you interfering little jackanapes.") "You came straight through from India?" The Colonel replied drily: "I stopped for one night to see Ur of the Chaldees, and for three days in Baghdad with the A.O.C., who happens to be an old friend of mine." "You stopped three days in Baghdad. I understand that the young English lady, Miss Debenham, also comes from Baghdad. Perhaps you met her there?" "No, I did not. I first met Miss Debenham when she and I shared the railway convoy car from Kirkuk to Nissibin." Poirot leaned forward. He became persuasive and a little more foreign than he need have been. "Monsieur, I am about to appeal to you. You and Miss Debenham are the only two English people on the train. It is necessary that I should ask you each your opinion of the other." "Highly irregular," said Colonel Arbuthnot coldly.

84 "Not so. You see, this crime, it was most probably committed by a woman. The man was stabbed no fewer than twelve times. Even the chef de train said at once, 'It is a woman.' Well, then, what is my first task? To give all the women travelling on the Istanbul-Calais coach what Americans call the 'once-over.' But to judge of an Englishwoman is difficult. They are very reserved, the English. So I appeal to you, Monsieur, in the interest of justice. What sort of person is this Miss Debenham? What do you know about her?" "Miss Debenham," said the Colonel with some warmth, "is a lady." "Ah!" said Poirot with every appearance of being much gratified. "So you do not think that she is likely to be implicated in this crime?" "The idea is absurd," said Arbuthnot. "The man was a perfect stranger—she had never seen him before." "Did she tell you so?" "She did. She commented at once upon his somewhat unpleasant appearance. If a woman is concerned, as you seem to think (to my mind without any evidence but on a mere assumption), I can assure you that Miss Debenham could not possibly be implicated." "You feel warmly in the matter," said Poirot with a smile. Colonel Arbuthnot gave him a cold stare. "I really don't know what you mean," he said. The stare seemed to abash Poirot. He dropped his eyes and began fiddling with the papers in front of him. "All this is by the way," he said. "Let us be practical and come to facts. This crime, we have reason to believe, took place at a quarter past one last night. It is part of the necessary routine to ask everyone on the train what he or she was doing at that time." "Quite so. At a quarter past one, to the best of my belief, I was talking to the young American fellow—secretary to the dead man." "Ah! were you in his compartment, or was he in yours?" "I was in his." "That is the young man of the name of MacQueen?" "He was a friend or acquaintance of yours?" "No, I never saw him before this journey. We fell into casual conversation yesterday and both became interested. I don't as a rule like Americans—haven't any use for 'em—" Poirot smiled, remembering MacQueen's strictures on "Britishers." "—but I liked this young fellow. He'd got hold of some tomfool idiotic ideas about the situation in India. That's the worst of Americans—they're so sentimental and idealistic. Well, he was interested in what I had to tell him. I've had nearly

85 thirty years' experience of the country. And I was interested in what he had to tell me about the working of Prohibition in America. Then we got down to world politics in general. I was quite surprised to look at my watch and find it was a quarter to two." "That is the time you broke up this conversation?" "What did you do then?" "Walked along to my own compartment and turned in." "Your bed was made up ready?" "That is the compartment—let me see—No. 15—the one next but one to the end away from the dining-car?" "Where was the conductor when you went to your compartment?" "Sitting at the end at a little table. As a matter of fact MacQueen called him just as I went in to my own compartment." "Why did he call him?" "To make up his bed, I suppose. The compartment hadn't been made up for the night." "Now, Colonel Arbuthnot, I want you to think carefully. During the time you were talking to Mr. MacQueen, did anyone pass along the corridor outside the door?" "A good many people, I should think. I wasn't paying attention." "Ah! but I am referring to—let us say, the last hour and a half of your conversation. You got out at Vincovci, didn't you?" "Yes, but only for about a minute. There was a blizzard on. The cold was something frightful. Made one quite thankful to get back to the fug, though as a rule I think the way these trains are overheated is something scandalous." M. Bouc sighed. "It is very difficult to please everybody," he said. "The English they open everything—then others they come along and shut everything. It is very difficult." Neither Poirot nor Colonel Arbuthnot paid any attention to him. "Now, Monsieur, cast your mind back," said Poirot encouragingly. "It was cold outside. You have returned to the train. You sit down again, you smoke—perhaps a cigarette—perhaps a pipe—" He paused for the fraction of a second. "A pipe for me. MacQueen smoked cigarettes." "The train starts again. You smoke your pipe. You discuss the state of Europe— of the world. It is late now. Most people have retired for the night. Does anyone pass the door? Think."

86 Arbuthnot frowned in the effort of remembrance. "Difficult to say," he said. "You see I wasn't paying any attention." "But you have the soldier's observation for detail. You notice without noticing, so to speak." The Colonel thought again, but shook his head. "I couldn't say. I don't remember anyone passing except the conductor. Wait a minute—and there was a woman, I think." "You saw her? Was she old—young?" "Didn't see her. Wasn't looking that way. just a rustle and a sort of smell of scent." "Scent? A good scent?" "Well, rather fruity, if you know what I mean. I mean you'd smell it a hundred yards away. But mind you," the Colonel went on hastily, "this may have been earlier in the evening. You see, as you said just now, it was just one of those things you notice without noticing, so to speak. Some time that evening I said to myself— 'Woman—scent—got it on pretty thick.' But when it was I can't be sure, except that—why, yes, it must have been after Vincovci." "Why?" "Because I remember—sniffing, you know—just when I was talking about the utter washout Stalin's Five Year Plan was turning out. I know the idea woman brought the idea of the position of women in Russia into my mind. And I know we hadn't got on to Russia until pretty near the end of our talk." "You can't pin it down more definitely than that?" "N-no. It must have been roughly within the last half-hour." "It was after the train had stopped?" The other nodded. "Yes, I'm almost sure it was." "Well, we will pass from that. Have you ever been in America, Colonel Arbuthnot?" "Never. Don't want to go." "Did you ever know a Colonel Armstrong?" "Armstrong—Armstrong—I've known two or three Armstrongs. There was Tommy Armstrong in the 60th—you don't mean him? And Selby Armstrong—he was killed on the Somme." "I mean the Colonel Armstrong who married an American wife and whose only child was kidnapped and killed." "Ah, yes, I remember reading about that—shocking affair. I don't think I actually ever came across the fellow, though of course I knew of him. Toby Armstrong. Nice fellow. Everybody liked him. He had a very distinguished career. Got the V.C."

87 "The man who was killed last night was the man responsible for the murder of Colonel Armstrong's child." Arbuthnot's face grew rather grim. "Then in my opinion the swine deserved what he got. Though I would have preferred to see him properly hanged—or electrocuted, I suppose, over there." "In fact, Colonel Arbuthnot, you prefer law and order to private vengeance?" "Well, you can't go about having blood feuds and stabbing each other like Corsicans or the Mafia," said the Colonel. "Say what you like, trial by jury is a sound system." Poirot looked at him thoughtfully for a minute or two. "Yes," he said. I am sure that would be your view. Well, Colonel Arbuthnot, I do not think there is anything more I have to ask you. There is nothing you yourself can recall last night that in any way snuck you—or shall we say strikes you now, looking back—as suspicious?" Arbuthnot considered for a moment or two. "No," he said. "Nothing at all. Unless—" he hesitated. "But yes, continue, I pray of you." "Well, it's nothing really," said the Colonel slowly. "But you said anything." "Yes, yes. Go on." "Oh! it's nothing. A mere detail. But as I got back to my compartment I noticed that the door of the one beyond mine—the end one, you know—" "Yes, No. 16." "Well, the door of it was not quite closed. And the fellow inside peered out in a furtive sort of way. Then he pulled the door to quickly. Of course I know there's nothing in that—but it just struck me as a bit odd. I mean, it's quite usual to open a door and stick your head out if you want to see anything. But it was the furtive way he did it that caught my attention." "Ye-es," said Poirot doubtfully. "I told you there was nothing to it," said Arbuthnot, apologetically. "But you know what it is—early hours of the morning—everything very still. The thing had a sinister look—like a detective story. All nonsense really." He rose. "Well, if you don't want me any more—" "Thank you, Colonel Arbuthnot, there is nothing else." The soldier hesitated for a minute. His first natural distaste for being questioned by "foreigners" had evaporated. "About Miss Debenham," he said rather awkwardly. "You can take it from me that she's all right. She's a pukka sahib." Flushing a little, he withdrew. "What," asked Dr. Constantine with interest, "does a pukka sahib mean?"

88 "It means," said Poirot, "that Miss Debenham's father and brothers were at the same kind of school as Colonel Arbuthnot was." "Oh! said Dr. Constantine, disappointed. "Then it has nothing to do with the crime at all." "Exactly,", said, Poirot. He fell into a reverie, beating a light tattoo on the table. Then he looked up. "Colonel Arbuthnot smokes a pipe," he said. "In the compartment of Mr. Ratchett I found a pipe-cleaner. Mr. Ratchett smoked only cigars." "You think—?" "He is the only man so far who admits to smoking a pipe. And he knew of Colonel Armstrong—perhaps actually did know him, though he won't admit it." "So you think it possible—?" Poirot shook his head violently. "That is just it—it is impossible—quite impossible—that an honourable, slightly stupid, upright Englishman should stab an enemy twelve times with a knife! Do you not feel, my friends, how impossible it is?" "That is the psychology," said M. Bouc. "And one must respect the psychology. This crime has a signature, and it is certainly not the signature of Colonel Arbuthnot. But now to our next interview." This time M. Bouc did not mention the Italian. But he thought of him.

89 9 THE EVIDENCE OF MR. HARDMAN The last of the first-class passengers to be interviewed, Mr. Hardman, was the big flamboyant American who had shared a table with the Italian and the valet. He wore a somewhat loud check suit, a pink shirt, and a flashy tie-pin, and was rolling something round his tongue as he entered the dining-car. He had a big, fleshy, coarse-featured face, with a good-humoured expression. "Morning, gentlemen," he said. "What can I do for you?" "You have heard of this murder, Mr.—er—Hardman?" "Sure." He shifted the chewing gum deftly. "We are of necessity interviewing all the passengers on the train." "That's all right by me. Guess that's the only way to tackle the job." Poirot consulted the passport lying in front of him. "You are Cyrus Bethman Hardman, United States subject, forty-one years of age, travelling salesman for typewriting ribbons?" "O.K. That's me." you are travelling from Stamboul to Paris?" "That's so." "Reason?" "Business." "Do you always travel first-class, Mr. Hardman?" "Yes, sir. The firm pays my travelling expenses. " He winked. "Now, Mr. Hardman, we come to the events of last night." The American nodded. "What can you tell us about the matter?" "Exactly nothing at all." "Ah, that is a pity. Perhaps, Mr. Hardman, you will tell us exactly what you did last night from dinner onwards?" For the first time the American did not seem ready with his reply. At last he said: "Excuse me, gentlemen, but just who are you? Put me wise." "This is M. Bouc, a director of the Compagnie des Wagons Lits. This gentleman is the doctor who examined the body." "And you yourself?" "I am Hercule Poirot. I am engaged by the company to investigate this matter." "I've heard of you," said Mr. Hardman. He reflected a minute or two longer. "Guess I'd better come clean."

90 "It will certainly be advisable for you to tell us all you know," said Poirot drily. "You'd have said a mouthful if there was anything I did know. But I don't. I know nothing at all—just as I said. But I ought to know something. That's what makes me sore. I ought to." "Please explain, Mr. Hardman." Mr. Hardman sighed, removed the chewing gum, and dived into a pocket. At the same time his whole personality seemed to undergo a change. He became less of a stage character and more of a real person. The resonant nasal tones of his voice became modified. "That passport's a bit of bluff," he said. "That's who I really am." Poirot scrutinised the card flipped across to him. M. Bouc peered over his shoulder.

Poirot knew the name as that of one of the best-known and most reputable private detective agencies in New York. "Now, Mr. Hardman," he said, "let us hear the meaning of this." "Sure. Things came about this way. I'd come over to Europe trailing a couple of crooks—nothing to do with this business. The chase ended in Stamboul. I wired the Chief and got his instructions to return, and I would have been making my tracks back to little old New York when I got this." He pushed across a letter.

THE TOKATLLAN HOTEL

Dear Sir: You have been pointed out to me as an operative of the McNeil Detective Agency. Kindly report at my suite at four o'clock this afternoon. S. E. RATCHETT

91 "I reported at the time stated, and Mr. Ratchett put me wise to the situation. He showed me a couple of letters he'd got." "He was alarmed?" "Pretended not to be, but he was rattled, all right. He put up a proposition to me. I was to travel by the same train as he did to Parrus and see that nobody got him. Well, gentlemen, I did travel by the same train, and in spite of me, somebody did get him. I certainly feel sore about it. It doesn't look any too good for me." "Did he give you any indication of the line you were to take?" "Sure. He had it all taped out. It was his idea that I should travel in the compartment alongside his. Well, that blew up right at the start. The only place I could get was berth No. 16, and I had a job getting that. I guess the conductor likes to keep that compartment up his sleeve. But that's neither here nor there. When I looked all round the situation, it seemed to me that No. 16 was a pretty good strategic position. There was only the dining-car in front of the Stamboul sleeping- car, and the door onto the platform at the front end was barred at night. The only way a thug could come was through the rear-end door to the platform, or along the train from the rear, and in either case he'd have to pass right by my compartment." "You had no idea, I suppose, of the identity of the possible assailant?" "Well, I knew what he looked like. Mr. Ratchett described him to me." "What?" All three men leaned forward eagerly. Hardman went on. "A small man—dark—with a womanish kind of voice. That's what the old man said. Said, too, that he didn't think it would be the first night out, More likely the second or third." "He knew something," said M. Bouc. "He certainly knew more than he told his secretary," commented Poirot thoughtfully. "Did he tell you anything about this enemy of his? Did he, for instance, say why his life was threatened?" "No, he was kinda reticent about that part of it. just said the fellow-was out for his blood and meant to get it." "A small man—dark—with a womanish voice," repeated Poirot thoughtfully. Then, fixing a sharp glance on Hardman, he asked: "You knew who he really was, of course?" "Which, Mister?" "Ratchett. You recognised him?" "I don't get you." "Ratchett was Cassetti, the Armstrong murderer." Mr. Hardman gave vent to a prolonged whistle.

92 "That certainly is some surprise!" he said. "Yes, sir! No, I didn't recognise him. I was away out West when that case came on. I suppose I saw photos of him in the papers, but I wouldn't recognise my own mother when a newspaper photographer got through with her. Well, I don't doubt that a few people had it in for Cassetti all right." Do you know of anyone connected with the Armstrong case who answers to that description: small—dark—womanish voice?" Hardman reflected a minute or two. "It's hard to say. Pretty nearly everyone connected with that case is dead." "There was the girl who threw herself out of the window, remember." "Sure. That's a good point, that. She was a foreigner of some kind. Maybe she had some Wop relations. But you've got to remember that there were other cases besides the Armstrong one. Cassetti had been running this kidnapping stunt for some time. You can't concentrate on that only." Ah, but we have reason to believe that this crime is connected with the Armstrong case." Mr. Hardman cocked an inquiring eye. Poirot did not respond. The American shook his head. "I can't call to mind anybody answering that description in the Armstrong case," he said slowly. "But of course I wasn't in it and didn't know much about it." "Well, continue your narrative, Mr. Hardman." "There's very little to tell. I got my sleep in the daytime and stayed awake on the watch at night. Nothing suspicious happened the first night. Last night was the same, as far as I was concerned. I had my door a little ajar and watched. No stranger passed." "You are sure of that, Mr. Hardman?" "I'm plumb certain. Nobody got on that train from outside, and nobody came along the train from the rear carriages. I'll take my oath on that." "Could you see the conductor from your position?" "Sure. He sits on that little seat almost flush with my door." "Did he leave that seat at all after the train stopped at Vincovci?" "That was the last station? Why, yes, he answered a couple of bells—that would be just after the train came to a halt for good. Then, after that, he went past me into the rear coach—was there about a quarter of an hour. There was a bell ringing like mad and he came back running. I stepped out into the corridor to see what it was all about—felt a mite nervous, you understand—but it was only the American dame. She was raising hell about something or other, I grinned. Then he went on to another compartment and came back and got a bottle of mineral water for someone. After that he settled down in his seat till he went up to the far end to

93 make somebody's bed up. I don't think he stirred after that until about five o'clock this morning." "Did he doze off at all?" "That I can't say. He may have." Poirot nodded. Automatically his hands straightened the papers on the table. He picked up the official card once more. "Be so good as just to initial this," he said. The other complied. "There is no one, I suppose, who can confirm your story of your identity, Mr. Hardman?" "On this train? Well, not exactly. Unless it might be young MacQueen. I know him well enough—I've seen him in his father's office in New York. But that's not to say he'll remember me from a crowd of other operatives. No, Mr. Poirot, you'll have to wait and cable New York when the snow lets up. But it's O.K. I'm not telling the tale. Well, so long, gentlemen. Pleased to have met you, Mr. Poirot." Poirot proffered his cigarette case. "But perhaps you prefer a pipe?" "Not me." He helped himself, then strode briskly off. The three men looked at each other. "You think he is genuine?" asked Dr. Constantine. "Yes, yes. I know the type. Besides, it is a story that would be very easy to disprove." "He has given us a piece of very interesting evidence," said M. Bouc. "Yes, indeed." "A small man—dark—with a high-pitched voice," said M. Bouc thoughtfully. "A description which applies to no one on the train," said Poirot.

94 10 THE EVIDENCE OF THE ITALIAN "And now," said Poirot with a twinkle in his eye, "we will delight the heart of M. Bouc and see the Italian." Antonio Foscarelli came into the dining-car with a swift, cat-like tread. His face beamed. It was a typical Italian face, sunny-looking and swarthy. He spoke French well and fluently with only a slight accent. "Your name is Antonio Foscarelli?" "You are, I see, a naturalised American subject?" The American grinned. "Yes, Monsieur. It is better for my business." "You are an agent for Ford motor cars?" "Yes, you see—" A voluble exposition followed. At the end of it anything that the three men did not know about Foscarelli's business methods, his journeys, his income, and his opinion of the United States and most European countries seemed a negligible factor. This was not a man who had to have information dragged from him. It gushed out. His good-natured, childish face beamed with satisfaction as, with a last eloquent gesture, he paused and wiped his forehead with a handkerchief. "So you see," he said. "I do big business. I am up to date. I understand salesmanship!" "You have been in the United States, then, for the last ten years on and off." Yes, Monsieur. Ah! well do I remember the day I first took the boat—to go to America, so far away! My mother, my little sister—" Poirot cut short the flood of reminiscence. "During your sojourn in the United States, did you ever come across the deceased?" "Never. But I know the type. Oh! yes." He snapped his fingers expressively. "It is very respectable, very well-dressed, but underneath it is all wrong. Out of my experience I should say he was the big crook. I give you my opinion for what it is worth." "Your opinion is quite right," said Poirot drily. "Ratchett was Cassetti, the kidnapper." "What did I tell you? I have learned to be very acute—to read the face. It is necessary. Only in America do they teach you the proper way to sell. I—"

95 "You remember the Armstrong case?" "I do not quite remember. The name, yes? It was a little girl, a baby, was it not?" "Yes, a very tragic affair." The Italian seemed the first person to demur to this view. "Ah! well, these things they happen," he said philosophically, "in a great civilisation such as America—" Poirot cut him short. "Did you ever come across any members of the Armstrong family?" "No, I do not think so. It is difficult to say. I will give you some figures. Last year alone, I sold—" "Monsieur, pray confine yourself to the point." The Italian's hands flung themselves out in a gesture of apology. "A thousand pardons." "Tell me, if you please, your exact movements last night from dinner onwards." "With pleasure. I stay here as long as I can. It is more amusing. I talk to the American gentleman at my table. He sells typewriter ribbons. Then I go back to my compartment. It is empty. The miserable John Bull who shares it with me is away attending to his master. At last he comes back—very long face as usual. He will not talk—says yes and no. A miserable race, the English—not sympathetic. He sits in the corner, very stiff, reading a book, Then the conductor comes and makes our beds." "Nos. 4 and 5," murmured Poirot. "Exactly—the end compartment. Mine is the upper berth. I get up there. I smoke and read. The little Englishman has, I think, the toothache. He gets out a little bottle of stuff that smells very strong. He lies in bed and groans. Presently I sleep. Whenever I wake I hear him groaning." "Do you know if he left the carriage at all during the night?" "I do not think so. That, I should hear. The light from the corridor—one wakes up automatically thinking it is the customs examination at some frontier." "Did he ever speak of his master? Ever express any animus against him?" "I tell you he did not speak. He was not sympathetic. A fish." "You smoke, you say—a pipe, cigarettes, cigar?" "Cigarettes only." Poirot proffered one, which he accepted. "Have you ever been to Chicago?" inquired M. Bouc. "Oh! yes—a fine city—but I know best New York, Cleveland, Detroit. You have been to the States? No? You should go. It—" Poirot pushed a sheet of paper across to him. "If you will sign this, and put your permanent address, please." The Italian wrote with a flourish. Then he rose, his smile as engaging as ever.

96 "That is all? You do not require me further? Good day to you, Messieurs. I wish we could get out of the snow. I have an appointment in Milan." He shook his head sadly. "I shall lose the business." He departed. Poirot looked at his friend. "He has been a long time in America," said M. Bouc, "and he is an Italian, and Italians use the knife! And they are great liars! I do not like Italians." "Ça se voit," said Poirot with a smile "Well, it may be that you are right, but I will point out to you, my friend, that there is absolutely no evidence against the man." "And what about the psychology? Do not Italians stab?" "Assuredly," said Poirot. "Especially in the heat of a quarrel. But this—this is a different kind of crime. I have the little idea, my friend, that this is a crime very carefully planned and staged. It is a far-sighted, long-headed crime. it is not—how shall I express it?—a Latin crime. It is a crime that shows traces of a cool, resourceful, deliberate brain—I think an Anglo-Saxon brain—" He picked up the last two passports. "Let us now," he said, "see Miss Mary Debenham."

97 11 THE EVIDENCE OF MISS DEBENHAM When Mary Debenham entered the dining-car she confirmed Poirot's previous estimate of her. She was very neatly dressed in a little black suit with a French grey shirt, and the smooth waves of her dark head were neat and unruffled. Her manner was as calm and unruffled as her hair. She sat down opposite Poirot and M. Bouc and looked at them inquiringly. "Your name is Mary Hermione Debenham and you are twenty-six years of age?" began Poirot. "English?" "Will you be so kind, Mademoiselle, as to write down your permanent address on this piece of paper?" She complied. Her writing was clear and legible. "And now, Mademoiselle, what have you to tell us of the affair last night?" "I am afraid I have nothing to tell you. I went to bed and slept." "Does it distress you very much, Mademoiselle, that a crime has been committed on this train?" The question was clearly unexpected. Her grey eyes widened a little. "I don't quite understand you?" "It was a perfectly simple question that I asked you, Mademoiselle. I will repeat it. Are you very much distressed that a crime should have been committed on this train?" "I have not really thought about it from that point of view. No, I cannot say that I am at all distressed." "A crime—it is all in the day's work to you, eh?" "It is naturally an unpleasant thing to have happen," said Mary Debenham quietly. "You are very Anglo-Saxon, Mademoiselle. Vous n'éprouvez pas d'émotion." She smiled a little. "I am afraid I cannot have hysterics to prove my sensibility. After all, people die every day." "They die, yes. But murder is a little more rare." "Oh! certainly." "You were not acquainted with the dead man?" "I saw him for the first time when lunching here yesterday."

98 "And how did he strike you?" "I hardly noticed him." "He did not impress you as an evil personality?" She shrugged her shoulders slightly. "Really, I cannot say I thought about it." Poirot looked at her keenly. "You are, I think, a little bit contemptuous of the way I prosecute my inquiries," he said with a twinkle. "Not so, you think, would an English inquiry be conducted. There everything would be cut and dried—it would be all kept to the facts—a well- ordered business. But I, Mademoiselle, have my little originalities. I look first at my witness, I sum up his or her character, and I frame my questions accordingly. just a little minute ago I am asking questions of a gentleman who wants to tell me all his ideas on every subject. Well, him I keep strictly to the point. I want him to answer yes or no. This or that. And then you come. I see at once that you will be orderly and methodical. You will confine yourself to the matter in hand. Your answers will be brief and to the point. And because, Mademoiselle, human nature is perverse, I ask of you quite different questions. I ask what you feel, what you think. It does not please you, this method?" "If you will forgive my saying so, it seems somewhat of a waste of time. Whether or not I liked Mr. Ratchett's face does not seem likely to be helpful in finding out who killed him." "Do you know who the man Ratchett really was, Mademoiselle?" She nodded. "Mrs. Hubbard has been telling everyone." "And what do you think of the Armstrong affair?" "It was quite abominable," said the girl crisply. Poirot looked at her thoughtfully. "You are travelling from Baghdad, I believe, Miss Debenham?" "To London?" "What have you been doing in Baghdad?" "I have been acting as governess to two children." "Are you returning to your post after your holiday?" "I am not sure." "Why is that?" "Baghdad is rather out of things. I think I should prefer a post in London if I can hear of a suitable one." "I see. I thought, perhaps, you might be going to be married." Miss Debenham did not reply. She raised her eyes and looked Poirot full in the face. The glance said plainly: "You are impertinent."

99 "What is your opinion of the lady who shares your compartment—Miss Ohlsson?" "She seems a pleasant, simple creature." "What colour is her dressing-gown?" Mary Debenham stared. "A kind of brownish colour—natural wool." "Ah! I may mention without indiscretion, I hope, that I noticed the colour of your dressing-gown on the way from Aleppo to Stamboul. A pale mauve, I believe." "Yes, that is right." "Have you any other dressing-gown, Mademoiselle? A scarlet dressing-gown, for example?" "No, that is not mine." Poirot leant forward. He was like a cat pouncing on a mouse. "Whose, then?' The girl drew back a little, startled. "I don't know. What do you mean?" "You do not say, 'No, I have no such thing.' You say, 'That is not mine.' Meaning that such a thing does belong to someone else." She nodded. "Somebody else on this train?" 'Yes." "Whose is it?" "I told you just now: I don't know. I woke up this morning about five o'clock with the feeling that the train had been standing still for a long time. I opened the door and looked out into the corridor, thinking we might be at a station. I saw someone in a scarlet kimono some way down the corridor." "And you don't know who it was? Was she fair, or dark, or grey-haired?" "I can't say. She had on a shingle cap and I only saw the back of her head." "And in build?" "Tallish and slim, I should judge, but it's difficult to say. The kimono was embroidered with dragons." "Yes, yes, that is right—dragons." He was silent a minute. He murmured to himself. "I cannot understand. I cannot understand. None of this makes sense." Then, looking up, he said: "I need not keep you further, Mademoiselle." "Oh!" She seemed rather taken aback but rose promptly. In the doorway, however, she hesitated a minute and then came back. "The Swedish lady—Miss Ohlsson, is it?—seems rather worried. She says you told her she was the last person to see this man alive. She thinks, I believe, that you suspect her on that account. Can't I tell her that she has made a mistake? Really, you know, she is the kind of creature who wouldn't hurt a fly." She smiled a little as she spoke.

100 "What time was it that she went to fetch the aspirin from Mrs. Hubbard?" "Just after half-past ten." "She was away—how long?" "About five minutes." "Did she leave the compartment again during the night?" "No." Poirot turned to the doctor. "Could Ratchett have been killed as early as that?" The doctor shook his head. "Then I think you can reassure your friend, Mademoiselle." "Thank you." She smiled suddenly at him, a smile that invited sympathy. "She's like a sheep, you know. She gets anxious and bleats." She turned and went out.

101 12 THE EVIDENCE OF THE GERMAN LADY'S-MAID M. Bouc was looking at his friend curiously. "I do not quite understand you, mon vieux. You were trying to do—what?" "I was searching for a flaw, my friend." "A flaw?" "Yes—in the armour of a young lady's self-possession. I wished to shake her sang-froid. Did I succeed? I do not know. But I know this: she did not expect me to tackle the matter as I did." "You suspect her," said M. Bow slowly. "But why? She seems a very charming young lady—the last person in the world to be mixed up in a crime of this kind." "I agree," said Constantine. "She is cold. She has not emotions. She would not stab a man—she would sue him in the law courts." Poirot sighed. "You must, both of you, get rid of your obsession that this is an unpremeditated and sudden crime. As for the reasons why I suspect Miss Debenham, there are two. One is because of something that I overheard, and that you do not as yet know." He retailed to them the curious interchange of phrases he had overheard on the journey from Aleppo. "That is curious, certainly," said M. Bouc when he had finished. "It needs explaining. If it means what you suspect it means, then they are both of them in it together—she and the stiff Englishman." Poirot nodded. "And that is just what is not borne out by the facts," he said. "See you, if they were both in this together, what should we expect to find? That each of them would provide an alibi for the other. Is not that so? But no—that does not happen. Miss Debenham's alibi is provided by a Swedish woman whom she has never seen before, and Colonel Arbuthnot's alibi is vouched for by MacQueen, the dead mans secretary. No, that solution of the puzzle is too easy." "You said there was another reason for your suspicions of her," M. Bouc, reminded him. Poirot smiled. "Ah! but that is only psychological. I ask myself, is it possible for Miss Debenham to have planned this crime? Behind this business, I am convinced, there is a cool, intelligent, resourceful brain. Miss Debenham answers to that description."

102 M. Bouc shook his head. "I think you are wrong, my friend. I do not see that young English girl as a criminal." "Ah! Well," said Poirot, picking up the last passport. "To the final name on our list. Hildegarde Schmidt, lady's-maid." Summoned by the attendant, Hildegarde Schmidt came into the restaurant car and stood waiting respectfully. Poirot motioned her to sit down. She did so, folding her hands and waiting placidly till he questioned her. She seemed a placid creature altogether—eminently respectable, perhaps not over- intelligent. Poirot's methods with Hildegarde Schmidt were a complete contrast to his handling of Mary Debenham. He was at his kindest and most genial, setting the woman at her ease. Then, having got her to write down her name and address, he slid gently into his questions. The interview took place in German. "We want to know as much as possible about what happened last night," he said. "We know that you cannot give us much information bearing on the crime itself, but you may have seen or heard something that, while conveying nothing to you, may be valuable to us. You understand?" She did not seem to. Her broad, kindly face remained set in its expression of placid stupidity as she answered: "I do not know anything, Monsieur." "Well, for instance you know that your mistress sent for you last night." "That, yes." "Do you remember the time?" "I do not, Monsieur. I was asleep, you see, when the attendant came and told me." "Yes, yes. Was it usual for you to be sent for in this way?" "It was not unusual, Monsieur. The gracious lady often required attention at night. She did not sleep well." "Eh bien, then, you received the summons and you got up. Did you put on a dressing-gown?" "No, Monsieur, I put on a few clothes. I would not like to go in to her Excellency in my dressing-gown." "And yet it is a very nice dressing-gown—scarlet, is it not?" She stared at him. "It is a dark blue flannel dressing-gown, Monsieur." "Ah! continue. A little pleasantry on my part, that is all. So you went along to Madame la Princesse. And what did you do when you got there?"

103 "I gave her massage, Monsieur, and then I read aloud. I do not read aloud very well, but her Excellency says that is all the better—so it sends her better to sleep. When she became sleepy, Monsieur, she told me to go, so I closed the book and I returned to my own compartment." "Do you know what time that was?" "Well, how long had you been with Madame la Princesse?" "About half an hour, Monsieur." "Good, continue." "First, I fetched her Excellency an extra rug from my compartment. It was very cold in spite of the heating. I arranged the rug over her, and she wished me good night. I poured her out some mineral water. Then I turned out the light and left her. "And then?" "There is nothing more, Monsieur. I returned to my carriage and went to sleep." "And you met no one in the corridor?" "You did not, for instance, see a lady in a scarlet kimono with dragons on it?" Her mild eyes bulged at him. "No, indeed, Monsieur. There was nobody about except the attendant. Everyone was asleep." "But you did see the conductor?" "What was he doing!" "He came out of one of the compartments, Monsieur." "What?" M. Bouc leaned forward. "Which one?" Hildegarde Schmidt looked frightened again, and Poirot cast a reproachful glance at his friend. "Naturally," he said. "The conductor often has to answer bells at night. Do you remember which compartment it was?" "It was about the middle of the coach, Monsieur. Two or three doors from Madame la Princesse." "Ah! tell us, if you please, exactly where this was and what happened?" "He nearly ran into me, Monsieur. It was when I was returning from my compartment to that of the Princess with the rug." "And he came out of a compartment and almost collided with you. In which direction was he going?" "Towards me, Monsieur. He apologised and passed on down the corridor towards the dining-car. A bell began ringing, but I do not think he answered it." She paused and then said: "I do not understand. How is it—" Poirot spoke reassuringly.

104 "It is just a question of time," he said. "All a matter of routine. This poor conductor, he seems to have had a busy night—first waking you and then answering bells." "It was not the same conductor who woke me, Monsieur. It was another one." "Ah! another one! Had you seen him before?" "Ah!—do you think you would recognise him if you saw him?" "I think so, Monsieur." Poirot murmured something in M. Bouc's ear. The latter got up and went to the door to give an order. Poirot was continuing his questions in an easy, friendly manner. "Have you ever been to America, Fräulein Schmidt?" "Never, Monsieur. It must be a fine country." "You have heard, perhaps, who this man who was killed really was—that he was responsible for the death of a little child?" "Yes, I have heard, Monsieur. It was abominable—wicked. The good God should not allow such things. We are not so wicked as that in Germany." Tears had come into the woman's eyes. Her strong, motherly soul was moved. "It was an abominable crime," said Poirot gravely. He drew a scrap of cambric from his pocket and handed it to her. "Is this your handkerchief, Fräulein Schmidt?" There was a moment's silence as the woman examined it. She looked up after a minute. The colour had mounted a little in her face. "Ah! no, indeed. It is not mine, Monsieur." "It has the initial H, you see. That is why I thought it was yours." "Ah! Monsieur, it is a lady's handkerchief, that. A very expensive handkerchief. Embroidered by hand. It comes from Paris, I should say." "It is not yours and you do not know whose it is?" "I? Oh! no, Monsieur." Of the three listening, only Poirot caught the nuance of hesitation in the reply. M. Bouc whispered in his ear. Poirot nodded and said to the woman: "The three sleeping-car attendants are coming in. Will you be so kind as to tell me which is the one you met last night as you were going with the rug to the Princess?" The three men entered. Pierre Michel, the big blond conductor of the Athens- Paris coach, and the stout burly conductor of the Bucharest one. Hildegarde Schmidt looked at them and immediately shook her head. "No, Monsieur," she said. "None of these is the man I saw last night." "But these are the only conductors on the train. You must be mistaken."

105 "I am quite sure, Monsieur. These are all tall, big men. The one I saw was small and dark. He had a little moustache. His voice when he said 'Pardon' was weak, like a woman's. Indeed, I remember him very well, Monsieur."

106 13 SUMMARY OF THE PASSENGERS' EVIDENCE "A small dark man with a womanish voice," said M. Bouc. The three conductors and Hildegarde Schmidt had been dismissed. M. Bouc made a despairing gesture. "But I understand nothing—but nothing, of all of this! The enemy that this Ratchett spoke of, he was then on the train after all? But where is he now? How can he have vanished into thin air? My head, it whirls. Say something, then, my friend, I implore you. Show me how the impossible can be possible!" "It is a good phrase that," said Poirot. "The impossible cannot have happened, therefore the impossible must be possible in spite of appearances." "Explain to me, then, quickly, what actually happened on the train last night." "I am not a magician, mon cher. I am, like you, a very puzzled man. This affair advances in a very strange manner." "It does not advance at all. It stays where it was." Poirot shook his head. "No, that is not true. We are more advanced. We know certain things. We have heard the evidence of the passengers." "And what has that told us? Nothing at all." "I would not say that, my friend." "I exaggerate, perhaps. The American Hardman, and the German maid—yes, they have added something to our knowledge. That is to say, they have made the whole business more unintelligible than it was." "No, no, no," said Poirot soothingly. M. Bouc turned upon him. "Speak, then, let us hear the wisdom of Hercule Poirot." "Did I not tell you that I was, like you, a very puzzled man? But at least we can face our problem. We can arrange such facts as we have with order and method." "Pray continue, Monsieur," said Dr. Constantine. Poirot cleared his throat and straightened a piece of blotting-paper. "Let us review the case as it stands at this moment. First, there are certain indisputable facts. This man, Ratchett or Cassetti, was stabbed in twelve places and died last night. That is fact one." "I grant it you—I grant it, mon vieux," said M. Bouc with a gesture of irony. Hercule Poirot was not at all put out. He continued calmly.

107 "I will pass over for the moment certain rather peculiar appearances which Dr. Constantine and I have already discussed together. I will come to them presently. The next fact of importance, to my mind, is the time of the crime." "That, again, is one of the few things we do know," said M. Bouc. "The crime was committed at a quarter past one this morning. Everything goes to show that that was so." "Not everything. You exaggerate. There is, certainly, a fair amount of evidence to support that view." "I am glad you admit that at least." Poirot went on calmly, unperturbed by the interruption. "We have before us three possibilities. "(1)—that the crime was committed, as you say, at a quarter past one. This is supported by the evidence of the watch, by the evidence of Mrs. Hubbard, and by the evidence of the German woman, Hildegarde Schmidt. It agrees with the evidence of Dr. Constantine. "(2)—that the crime was committed later, and that the evidence of the watch was deliberately faked in order to mislead. "(3)—that the crime was committed earlier, and the evidence faked for the same reason as above. "Now if we accept possibility (1) as the most likely to have occurred, and the one supported by most evidence, we must also accept certain facts arising from it. If the crime was committed at a quarter past one, the murderer cannot have left the train, and the questions arise: Where is he? And who is he? "To begin with, let us examine the evidence carefully. We first hear of the existence of this man—the small dark man with a womanish voice—from the man Hardman. He says that Ratchett told him of this person and employed him to watch out for the man. There is no evidence to support this; we have only Hardman's word for it. Let us next examine the question: Is Hardman the person he pretends to be an operative of a New York detective agency? "What to my mind is so interesting in this case is that we have none of the facilities afforded to the police. We cannot investigate the bona fides of any of these people. We have to rely solely on deduction. That, to me, makes the matter very much more interesting. There is no routine work. It is all a matter of the intellect. I ask myself: Can we accept Hardman's account of himself? I make my decision and I answer 'Yes.' I am of the opinion that we can accept Hardman's account of himself." "You rely on the intuition? What the Americans call 'the hunch'?" asked Dr. Constantine. "Not at all. I regard the probabilities. Hardman is travelling with a false passport—that will at once make him an object of suspicion. The first thing that the

108 police will do when they do arrive upon the scene is to detain Hardman and cable as to whether his account of himself is true. In the case of many of the passengers, to establish their bona fides will be difficult; in most cases it will probably not be attempted, especially since there seems nothing in the way of suspicion attaching to them. But in Hardman's case it is simple. Either he is the person he represents himself to be, or he is not. Therefore I say that all will prove to be in order." "You acquit him of suspicion?" "Not at all. You misunderstand me. For all I know, any American detective might have his own private reasons for wishing to murder Ratchett. No, what I am saying is that I think we can accept Hardman's own account of himself. This story, then, that he tells of Ratchett's seeking him out and employing him is not unlikely, and is most probably—though not of course certainly—true. If we are going to accept it as true, we must see if there is any confirmation of it. We find it in rather an unlikely place—in the evidence of Hildegarde Schmidt. Her description of the man she saw in Wagon Lit uniform tallies exactly. Is there any further confirmation of these two stories? There is. There is the button that Mrs. Hubbard found in her compartment. And there is also another corroborating statement which you may not have noticed." "What is that?" "The fact that both Colonel Arbuthnot and Hector MacQueen mention that the conductor passed their carriage. They attached no importance to the fact, but, Messieurs, Pierre Michel has declared that he did not leave his seat except on certain specified occasions—none of which would take him down to the far end of the coach past the compartment in which Arbuthnot and MacQueen were sitting. "Therefore this story, the story of a small dark man with a womanish voice dressed in Wagon Lit uniform, rests on the testimony, direct or indirect, of four witnesses." "One small point," said Dr. Constantine. "If Hildegarde Schmidt's story is true, how is it that the real conductor did not mention having seen her when he came to answer Mrs. Hubbard's bell?" "That is explained, I think. When he arrived to answer Mrs. Hubbard, the maid was in with her mistress. When she finally returned to her own compartment, the conductor was in with Mrs. Hubbard." M. Bouc had been waiting with difficulty until they had finished. "Yes, yes, my friend," he said impatiently to Poirot. "But whilst I admire your caution, your method of advancing a step at a time, I submit that you have not yet touched the point at issue. We are all agreed that this person exists. The point is, where did he go?" Poirot shook his head reprovingly.

109 "You are in error. You are inclined to put the cart before the horse. Before I ask myself, 'Where did this man vanish to?' I ask myself, 'Did such a man really exist?' Because, you see, if the man were an invention—a fabrication—how much easier to make him disappear! So I try to establish first that there really is such a flesh-and-blood person." "And having arrived at the fact that there is—eh bien, where is he now?" "There are only two answers to that, mon cher. Either he is still hidden on the train in a place of such extraordinary ingenuity that we cannot even think of it; or else he is, as one might say, two persons. That is, he is both himself—the man feared by M. Ratchett—and a passenger on the train so well disguised that M. Ratchett did not recognise him." "It is an idea, that," said M. Bouc, his face lighting up. Then it clouded over again. "But there is one objection—" Poirot took the words out of his mouth. "The height of the man. It is that you would say? With the exception of Mr. Ratchett's valet, all the passengers are big men—the Italian, Colonel Arbuthnot, Hector MacQueen, Count Andrenyi. Well, that leaves us the valet—not a very likely supposition. But there is another possibility. Remember the 'womanish' voice. That gives us a choice of alternatives. The man may be disguised as a woman, or, alternatively, he may actually be a woman. A tall woman dressed in men's clothes would look small." "But surely Ratchett would have known—" "Perhaps he did know. Perhaps, already, this woman had attempted his life, wearing a mares clothes the better to accomplish her purpose. Ratchett may have guessed that she would use the same trick again, so he tells Hardman to look for a man. But he mentions, however, a womanish voice." "It is a possibility," said M. Bouc. "But—" "Listen, my friend, I think that I should now tell you of certain inconsistencies noticed by Dr. Constantine." He retailed at length the conclusions that he and the doctor had arrived at together from the nature of the dead man's wounds. M. Bouc groaned and held his head again. "I know," said Poirot sympathetically. "I know exactly how you feel. The head spins, does it not?" "The whole thing is a fantasy!" cried M. Bouc. "Exactly. It is absurd—improbable—it cannot be. So I myself have said. And yet, my friend, there it is! One cannot escape from the facts." "It is madness!" "Is it not? It is so mad, my friend, that sometimes I am haunted by the sensation that really it must be very simple. ... But that is only one of my 'little ideas'!" "Two murderers," groaned M. Bouc. "And on the Orient Express—"

110 The thought almost made him weep. "And now let us make the fantasy more fantastic," said Poirot cheerfully. "Last night on the train, there are two mysterious strangers. There is the Wagon Lit attendant answering to the description given us by M. Hardman, and seen by Hildegarde Schmidt, Colonel Arbuthnot and M. MacQueen. There is also a woman in a red kimono—a tall slim woman, seen by Pierre Michel, Miss Debenham, M. MacQueen and myself (and smelt, I may say, by Colonel Arbuthnot!). Who was she? No one on the train admits to having a scarlet kimono. She, too, has vanished. Was she one and the same with the spurious Wagon Lit attendant? Or was she some quite distinct personality? Where are they, these two? And incidentally, where are the Wagon Lit uniform and the scarlet kimono?" "Ah! that is something definite." M. Bouc sprang up eagerly. "We must search all the passengers' luggage. Yes, that will be something." Poirot rose also. "I will make a prophecy," he said. "You know where they are?" "I have a little idea." "Where, then?" "You will find the scarlet kimono in the baggage of one of the men, and you will find the uniform of the Wagon Lit conductor in the baggage of Hildegarde Schmidt." "Hildegarde Schmidt? You think—" "Not what you are thinking. I will put it like this. If Hildegarde Schmidt is guilty, the uniform may be found in her baggage. But if she is innocent, it certainly will be." "But how—" began M. Bouc and stopped. "What is this noise that approaches?" he cried. "It resembles a locomotive in motion." The noise drew nearer. It consisted of shrill cries and protests in a woman's voice. The door at the end of the dining-car burst open. Mrs. Hubbard burst in. "It's too horrible!" she cried. It's just too horrible. In my sponge-bag. My sponge-bag! A great knife—all over blood?" And suddenly toppling forward, she fainted heavily on M. Bouc's shoulder.

111 14 THE EVIDENCE OF THE WEAPON With more vigour than chivalry, A Bouc deposited the fainting lady with her head on the table. Dr. Constantine yelled for one of the restaurant attendants, who came at a run. "Keep her head so," said the doctor. "If she revives give her a little cognac. You understand?" Then he hurried off after the other two. His interest lay wholly in the crime— swooning middle-aged ladies did not interest him at all. It is possible that Mrs. Hubbard revived rather more quickly by these methods than she might otherwise have done. A few minutes later she was sitting up, sipping cognac from a glass proffered by the attendant, and talking once more. "I just can't tell you how terrible it was! I don't suppose anybody on this train can understand my feelings. I've always been very, very sensitive ever since I was a child. The mere sight of blood—ugh! Why, even now I get faint when I think about it!" The attendant proffered the glass again. "Encore un peu, Madame?" "D'you think I'd better? I'm a lifelong teetotaller. I never touch spirits or wine at any time. All my family are abstainers. Still, perhaps as this is only medicinal— " She sipped once more. In the meantime Poirot and M. Bouc, closely followed by Dr. Constantine, had hurried out of the restaurant car and along the corridor of the Stamboul coach towards Mrs. Hubbard's compartment. Every traveller on the train seemed to be congregated outside the door. The conductor, a harassed look on his face, was keeping them back. "Mais il n'y a rien à voir," he said, and repeated the sentiment in several other languages. "Let me pass if you please," said M. Bouc. Squeezing his rotundity past the obstructing passengers he entered the compartment, Poirot close behind him. "I am glad you have come, Monsieur," said the conductor with a sigh of relief. "Everyone has been trying to enter. The American lady—such screams as she gave—ma foi, I thought she too had been murdered! I came at a run, and there she was screaming like a mad woman; and she cried out that she must fetch you, and

112 she departed screeching at the top of her voice and telling everybody whose carriage she passed what had occurred." He added, with a gesture of the hand: "It is in there, Monsieur. I have not touched it." Hanging on the handle of the door that gave access to the next compartment was a large-checked rubber sponge-bag. Below it on the floor, just where it had fallen from Mrs. Hubbard's hand, was a straight-bladed dagger—a cheap affair, sham Oriental with an embossed hilt and a tapering blade. The blade was stained with patches of what looked like rust. Poirot picked it up delicately. "Yes," he murmured. "There is no mistake. Here is our missing weapon all right—eh, doctor?" The doctor examined it. "You need not be so careful," said Poirot. "There will be no fingerprints on it save those of Mrs. Hubbard." Constantine's examination did not take long. "It is the weapon all right," he said. "It would account for any of the wounds." "I implore you, my friend, do not say that!" The doctor looked astonished. "Already we are heavily overburdened by coincidence. Two people decided to stab M. Ratchett last night. It is too much of a good thing that both of them should select the same weapon." "As, to that, the coincidence is not perhaps so great as it seems," said the doctor. "Thousands of these sham Eastern daggers are made and shipped to the bazaars of Constantinople." "You console me a little, but only a little," said Poirot. He looked thoughtfully at the door in front of him, then, lifting off the sponge- bag, he tried the handle. The door did not budge. About a foot above the handle was the door bolt. Poirot drew it back and tried again, but still the door remained fast. "We locked it from the other side, you remember," said the doctor. "That is true," said Poirot absently. He seemed to be thinking about something else. His brow was furrowed as though in perplexity. "It agrees, does it not?" said M. Bouc. "The man passes through this carriage. As he shuts the communicating door behind him he feels the sponge-bag. A thought comes to him and he quickly slips the blood-stained knife inside. Then, all unwitting that he has awakened Mrs. Hubbard, he slips out through the other door into the corridor." "As you say," murmured Poirot. "That is how it must have happened." But the puzzled look did not leave his face. "But what is it?" demanded M. Bouc. "There is something, is there not, that does not satisfy you?"

113 Poirot darted a quick took at him. "The same point does not strike you? No, evidently not. Well, it is a small matter." The conductor looked into the carriage. "The American lady is coming back." Dr. Constantine looked rather guilty. He had, he felt, treated Mrs. Hubbard rather cavalierly. But she had no reproaches for him. Her energies were concentrated on another matter. "I'm going to say one thing right out," she said breathlessly as she arrived in the doorway. "I'm not going on any longer in this compartment! Why, I wouldn't sleep in it to-night if you paid me a million dollars." "But, Madame—" "I know what you are going to say, and I'm telling you right now that I won't do any such thing! Why, I'd rather sit up all night in the corridor." She began to cry. "Oh, if my daughter could only know—if she could see me now, why—" Poirot interrupted firmly. "You misunderstand, Madame. Your demand is most reasonable. Your baggage shall be changed at once to another compartment." Mrs. Hubbard lowered her handkerchief. "is that so? Oh! I feel better right away. But surely it's all full, unless one of the gentlemen—" M. Bouc spoke. "Your baggage, Madame, shall be moved out of this coach altogether. You shall have a compartment in the next coach, which was put on at Belgrade." "Why, that's splendid. I'm not an extra nervous woman, but to sleep in that compartment next door to a dead man!" She shivered. "It would drive me plumb crazy." "Michel," called M. Bouc. "Move this baggage into a vacant compartment in the Athens-Paris coach." "Yes, Monsieur. The same one as this—the No. 3?" "No," said Poirot before his friend could reply. "I think it would be better for Madame to have a different number altogether. The No. 12, for instance." "Bien, Monsieur." The conductor seized the luggage. Mrs. Hubbard turned gratefully to Poirot. "That's very kind and delicate of you. I appreciate it, I assure you." "Do not mention it, Madame. We will come with you and see you comfortably installed." Mrs. Hubbard was escorted by the three men to her new home. She looked round her happily. "This is fine." "It suits you, Madame? It is, you see, exactly like the compartment you have left."

114 "That's so—only it faces the other way. But that doesn't matter, for these trains go first one way and then the other. I said to my daughter, 'I want a carriage facing the engine.' and she said, 'Why, Mamma, that'll be no good to you, for if you go to sleep one way, when you wake up, the train's going the other!' And it was quite true what she said. Why, last evening we went into Belgrade one way and out the other." "At any rate, Madame, you are quite happy and contented now?" "Well, no, I wouldn't say that. Here we are stuck in a snowdrift and nobody doing anything about it, and my boat sailing the day after to-morrow." "Madame," said M. Bouc, "we are all in the same case—every one of us." "Well, that's true," admitted Mrs. Hubbard. "But nobody else has had a murderer walking right through her compartment in the middle of the night. "What still puzzles me, Madame," said Poirot, "is how the man got into your compartment if the communicating door was bolted as you say. You are sure that it was bolted?" "Why, the Swedish lady tried it before my eyes." "Let us just reconstruct that little scene. You were lying in your bunk—so—and you could not see for yourself, you say?" "No, because of the sponge-bag. Oh! my, I shall have to get a new sponge-bag. It makes me feel sick at my stomach to look at this one." Poirot picked up the sponge-bag and hung it on the handle of the communicating door into the next carriage. "Précisément. I see," he said. "The bolt is just underneath the handle—the sponge-bag masks it. You could not see from where you were lying whether the bolt was turned or not." "Why, that's just what I've been telling you!" "And the Swedish lady, Miss Ohlsson, stood so, between you and the door. She tried it and told you it was bolted." "That's so." "All the same, Madame, she may have made an error. You see what I mean." Poirot seemed anxious to explain. "The bolt is just a projection of metal—so. When it is turned to the right, the door is locked. When it is left straight, the door is unlocked. Possibly she merely tried the door, and as it was locked on the other side she may have assumed that it was locked on your side." "Well, I guess that would be rather stupid of her." "Madame, the most kind, the most amiable, are not always the cleverest." "That's so, of course." "By the way, Madame, did you travel out to Smyrna this way?" "No. I sailed right to Stamboul, and a friend of my daughter's, Mr. Johnson (a perfectly lovely man, I'd like to have you know him), met me and showed me all

115 round Stamboul. But it was a very disappointing city—all tumbling down; and as for those mosques, and putting on those great shuffling things over your shoes— where was I?" "You were saying that Mr. Johnson met you." "That's so, and he saw me on board a French Messageries boat for Smyrna, and my daughter's husband was waiting right on the quay. What he'll say when he hears about all this! My daughter said this would be just the safest, easiest way imaginable. 'You just sit in your carriage,' she said, 'and you land right in Parrus, and there the American Express will meet you.' And, oh, dear, what am I to do about cancelling my steamship passage? I ought to let them know. I can't possibly make it now. This is just too terrible—" Mrs. Hubbard showed signs of tears once more. Poirot, who had been fidgeting slightly, seized his opportunity. "You have had a shock, Madame. The restaurant attendant shall be instructed to bring you along some tea and some biscuits." "I don't know that I'm so set on tea," said Mrs. Hubbard tearfully. "That's more an English habit." "Coffee, then, Madame. You need some stimulant—" "That cognac's made my head feel mighty funny. I think I would like some coffee." "Excellent. You must revive your forces." "My, what a funny expression!" "But first, Madame, a little matter of routine. You permit that I make a search of your baggage!" "What for?" "We are about to commence a search of all the passengers' luggage. I do not want to remind you of an unpleasant experience, but your sponge-bag— remember." "Mercy! Perhaps you'd better! I just couldn't bear to get any more surprises of that kind." The examination was quickly over. Mrs. Hubbard was travelling with the minimum of luggage—a hat-box, a cheap suitcase, and a well-burdened travelling bag. The contents of all three were simple and straightforward, and the examination would not have taken more than a couple of minutes had not Mrs. Hubbard delayed matters by insisting on due attention being paid to photographs of "my daughter" and of two rather ugly children—"my daughter's children. Aren't they cunning?"

116 15 THE EVIDENCE OF THE PASSENGERS' LUGGAGE Having delivered himself of various polite insincerities, and having told Mrs. Hubbard that he would order coffee to be brought to her, Poirot was able to take his leave accompanied by his two friends. "Well, we have made a start and drawn, a blank," observed M. Bouc. "Whom shall we attack next?" "It would be simplest, I think, just to proceed along the train, carriage by carriage. That means that we start with No. 16—the amiable Mr. Hardman." Mr. Hardman, who was smoking a cigar, welcomed them affably. "Come right in, gentlemen. That is, if it's humanly possible. It's just a mite cramped in here for a party." M. Bouc explained the object of their visit, and the big detective nodded comprehendingly. "That's O.K. To tell the truth I've been wondering you didn't get down to it sooner. Here are my keys, gentlemen, and if you like to search my pockets too, why, you're welcome. Shall I reach the grips down for you?" "The conductor will do that. Michel!" The contents of Mr. Hardman's two "grips" were soon examined and passed. They contained, perhaps, an undue proportion of spirituous liquor. Mr. Hardman winked. "It's not often they search your grips at the frontiers—not if you fix the conductor. I handed out a wad of Turkish notes right away, and there's been no trouble so far." "And at Paris?" Mr. Hardman winked again. "By the time I get to Paris," he said, "what's left over of this little lot will go into a bottle labelled hairwash." "You are not a believer in Prohibition, Monsieur Hardman," said M. Bouc with a smile. "Well," said Hardman, "I can't say Prohibition has ever worried me any." "Ah!" said M. Bouc. "The speakeasy." He pronounced the word with care, savouring it. "Your American terms are so quaint, so expressive," he said. "Me, I would much like to go to America," said Poirot. "You'd learn a few go-ahead methods over there," said Hardman. "Europe needs waking up. She's half asleep."

117 "It is true that America is the country of progress," agreed Poirot. "There is much that I admire about Americans. Only—I am perhaps old-fashioned—but me, I find the American women less charming than my own countrywomen. The French or the Belgian girl, coquettish, charming—I think there is no one to touch her." Hardman turned away to peer out at the snow for a minute. "Perhaps you're right, M. Poirot," he said. "But I guess every nation likes its own girls best." He blinked as though the snow hurt his eyes. "Kind of dazzling, isn't it?" he remarked. "Say, gentlemen, this business is getting on my nerves. Murder and the snow and all. And nothing doing. Just hanging about and killing time. I'd like to get busy after someone or something." "The true Western spirit of hustle," said Poirot with a smile. The conductor replaced the bags and they moved on to the next compartment. Colonel Arbuthnot was sitting in a corner smoking a pipe and reading a magazine. Poirot explained their errand. The Colonel made no demur. He had two heavy leather suitcases. "The rest of my kit has gone by long sea," he explained. Like most Army men the Colonel was a neat packer. The examination of his baggage took only a few minutes. Poirot noted a packet of pipe-cleaners. "You always use the same kind?" he asked. "Usually. If I can get 'em." "Ah!" Poirot nodded. These pipe-cleaners corresponded exactly with the one he had found on the floor of the dead man's compartment. Dr. Constantine remarked as much when they were out in the corridor again. "Tout de même," murmured Poirot, "I can hardly believe it. It is not dans son caractère, and when you have said that, you have said everything." The door of the next compartment was closed. It was that occupied by Princess Dragomiroff. They knocked on the door and the Princess's deep voice called "Entrez!" M. Bouc was spokesman. He was very deferential and polite as he explained their errand. The Princess listened to him in silence, her small toad-like face quite impassive. "If it is necessary, Messieurs," she said quietly when he had finished, "that is all there is to it. My maid has the keys. She will attend to it with you." "Does your maid always carry your keys, Madame?" asked Poirot. "Certainly, Monsieur." "And if, during the night at one of the frontiers, the customs officials should require a piece of luggage to be opened?" The old lady shrugged her shoulders. "It is very unlikely. But in such a case, the conductor would fetch her." "You trust her, then, implicitly, Madame?"

118 "I have told you so already," said the Princess quietly. "I do not employ people whom I do not trust." "Yes," said Poirot thoughtfully. "Trust is indeed something in these days. It is perhaps better to have a homely woman whom one can trust than a more chic maid—for example, some smart Parisienne." He saw the dark intelligent eyes come slowly round and fasten themselves upon his face. "What exactly are you implying, M. Poirot?" "Nothing, Madame. I? Nothing." "But yes. You think, do you not, that I should have a smart Frenchwoman to attend to my toilet?" "It would be perhaps more usual, Madame." She shook her head. "Schmidt is devoted to me." Her voice dwelt lingeringly on the words. "Devotion—c'est impayable." The German woman had arrived with the keys. The Princess spoke to her in her own language, telling her to open the valises and help the gentlemen in their search. She herself remained in the corridor looking out at the snow, and Poirot remained with her, leaving M. Bouc to the task of searching the luggage. She regarded him with a grim smile. "Well, Monsieur, do you not wish to see what my valises contain?" He shook his head. "Madame, it is a formality, that is all." "Are you so sure?" "In your case, yes." "And yet I knew and loved Sonia Armstrong. What do you think, then? That I would not soil my hands with killing such canaille as that man Cassetti? Well, perhaps you are right." She was silent a minute or two. Then she said: "With such a man as that, do you know what I should have liked to do? I should have liked to call to my servants: 'Flog this man to death and fling him out on the rubbish heap!' That is the way things were done when I was young, Monsieur." Still he did not speak, just listened attentively. She looked at him with a sudden impetuosity. "You do not say anything, M. Poirot. What is it that you are thinking, I wonder?" He looked at her with a very direct glance. "I think, Madame, that your strength is in your will—not in your arm." She glanced down at her thin, black-clad arms ending in those claw-like yellow hands with the rings on the fingers. "It is true," she said. "I have no strength in these—none. I do not know whether I am sorry or glad." Then she turned abruptly back towards her carriage where the maid was busily packing up the cases.

119 The Princess cut short M. Bouc's apologies. "There is no need for you to apologise, Monsieur," she said. "A murder has been committed. Certain actions have to be performed. That is all there is to it." "Vous êtes bien aimable, Madame." She inclined her head slightly as they departed. The doors of the next two carriages were shut. M. Bouc paused and scratched his head. "Diable!" he said. "This may be awkward. These are diplomatic passports. Their luggage is exempt." "From customs examination, yes. But a murder is different." "I know. All the same—we do not want to have complications." "Do not distress yourself, my friend. The Count and Countess will be reasonable. See how amiable Princess Dragomiroff was about it." "She is truly grande dame. These two are also of the same position, but the Count impressed me as a man of somewhat truculent disposition. He was not pleased when you insisted on questioning his wife. And this will annoy him still further. Suppose—eh?—we omit them. After all, they can have nothing to do with the matter. Why should I stir up needless trouble for myself?" "I do not agree with you," said Poirot. "I feel sure that Count Andrenyi will be reasonable. At any rate let us make the attempt." And before M. Bouc could reply, he rapped sharply on the door of No. 13. A voice from within cried "Entrez!" The Count was sitting in the corner near the door reading a newspaper. The Countess was curled up in the opposite corner near the window. There was a pillow behind her head and she seemed to have been asleep. "Pardon, Monsieur le Comte," began Poirot. "pray forgive this intrusion. It is that we are making a search of all the baggage on the train. In most cases a mere formality. But it has to be done. M. Bouc suggests that, as you have a diplomatic passport, you might reasonably claim to be exempt from such a search." The Count considered for a moment. "Thank you," he said. "But I do not think that I care to have an exception made in my case. I should prefer that our baggage should be examined like that of the other passengers." He turned to his wife. "You do not object, I hope, Elena?" "Not at all," said the Countess without hesitation. A rapid and somewhat perfunctory search followed. Poirot seemed to be trying to mask an embarrassment by making various small pointless remarks, such as: "Here is a label all wet on your suitcase, Madame," as he lifted down a blue morocco case with initials on it and a coronet.

120 The Countess did not reply to this observation. She seemed, indeed, rather bored by the whole proceeding, remaining curled up in her corner and staring dreamily out through the window whilst the men searched her luggage in the compartment next door. Poirot finished his search by opening the little cupboard above the washbasin and taking a rapid glance at its contents—a sponge, face cream, powder and a small bottle labelled trional. Then with polite remarks on either side, the search party withdrew. Mrs. Hubbard's compartment, that of the dead man, and Poirot's own came next. They now came to the second-class carriages. The first one, Nos. 10 and 11, was occupied by Mary Debenham, who was reading a book, and Greta Ohlsson, who was fast asleep but woke with a start at their entrance. Poirot repeated his formula. The Swedish lady seemed agitated, Mary Debenham calmly indifferent. He addressed himself to the Swedish lady. "If you permit, Mademoiselle, we will examine your baggage first, and then perhaps you would be so good as to see how the American lady is getting on. We have moved her into one of the carriages in the next coach, but she is still very much upset as the result of her discovery. I have ordered coffee to be sent to her, but I think she is of those to whom someone to talk to is a necessity of the first order." The good lady was instantly sympathetic. She would go immediately. It must have been indeed a terrible shock to the nerves, and already the poor lady was upset by the journey and leaving her daughter. Ah, yes, certainly she would go at once—her case was not locked—and she would take with her some sal ammoniac. She bustled off. Her possessions were soon examined. They were meagre in the extreme. She had evidently not yet noticed the missing wires from the hat-box. Miss Debenham had put her book down. She was watching Poirot. When he asked her, she handed over her keys. Then, as he lifted down a case and opened it, she said: "Why did you send her away, M. Poirot?" "I, Mademoiselle! Why, to minister to the American lady." "An excellent pretext—but a pretext all the same." "I don't understand you, Mademoiselle." "I think you understand me very well." She smiled. "You wanted to get me alone. Wasn't that it?" "You are putting words into my mouth, Mademoiselle." "And ideas into your head? No, I don't think so. The ideas are already there. That is right, isn't it?" "Mademoiselle, we have a proverb—"

121 "Qui s'excuse s'accuse—is that what you were going to say? You must give me the credit for a certain amount of observation and common sense. For some reason or other you have got it into your head that I know something about this sordid business—this murder of a man I never saw before." "You are imagining things, Mademoiselle." "No, I am not imagining things at all. But it seems to me that a lot of time is wasted by not speaking the truth—by beating about the bush instead of coming straight out with things." "And you do not like the waste of time. No, you like to come straight to the point. You like the direct method. Eh bien, I will give it to you, the direct method. I will ask you the meaning of certain words that I overheard on the journey from Syria. I had got out of the train to do what the English call 'stretch the legs' at the station of Konya. Your voice and the Colonel's, Mademoiselle, they came to me out of the night. You said to him, 'Not now. Not now. When it's all over. When it's behind us.' What did you mean by those words, Mademoiselle?" She asked very quietly, "Do you think I meant—murder?" "It is I who am asking you, Mademoiselle." She sighed—was lost a minute in thought. Then, as though rousing herself, she said: "Those words had a meaning, Monsieur, but not one that I can tell you. I can only give you my solemn word of honour that I had never set eyes on this man Ratchett in my life until I saw him on this train." "And—you refuse to explain those words?" "Yes, if you like to put it that way—I refuse. They had to do with—with a task I had undertaken." "A task that is now ended?" "What do you mean?" "It is ended, is it not?" "Why should you think so?" "Listen, Mademoiselle, I will recall to you another incident. There was a delay to the train on the day we were to reach Stamboul. You were very agitated, Mademoiselle. You, so calm, so self-controlled. You lost that calm." "I did not want to miss my connection." "So you said. But, Mademoiselle, the Orient Express leaves Stamboul every day of the week. Even if you had missed the connection it would only have been a matter of twenty-four hours' delay." Miss Debenham for the first time showed signs of losing her temper. "You do not seem to realise that one may have friends awaiting one's arrival in London, and that a day's delay upsets arrangements and causes a lot of annoyance."

122 "Ah, it is like that? There are friends awaiting your arrival? You do not want to cause them inconvenience?" "Naturally." "And yet—it is curious—" "What is curious?" "On this train—again we have a delay. And this time a more serious delay, since there is no possibility of sending a telegram to your friends or of getting them on the long—the long—" "Long distance? The telephone, you mean." "Ah, yes, the portmanteau call, as you say in England." Mary Debenham smiled a little in spite of herself. "Trunk call," she corrected. "Yes, as you say, it is extremely annoying not to be able to get any word through, either by telephone or by telegraph." "And yet, Mademoiselle, this time your manner is quite different. You no longer betray the impatience. You are calm and philosophical." Mary Debenham flushed and bit her lip. She no longer felt inclined to smile. "You do not answer, Mademoiselle?" "I am sorry. I did not know that there was anything to answer." "Your change of attitude, Mademoiselle." "Don't you think that you are making rather a fuss about nothing, M. Poirot?" Poirot spread out his hands in an apologetic gesture. "It is perhaps a fault with us detectives. We expect the behaviour to be always consistent. We do not allow for changes of mood." Mary Debenham made no reply. "You know Colonel Arbuthnot well, Mademoiselle?" He fancied that she was relieved by the change of subject. "I met him for the first time on this journey." "Have you any reason to suspect that he may have known this man Ratchett?" She shook her head decisively. "I am quite sure he didn't." "Why are you sure?" "By the way he spoke." "And yet, Mademoiselle, we found a pipe-cleaner on the floor of the dead man's compartment. And Colonel Arbuthnot is the only man on the train who smokes a pipe." He watched her narrowly, but she displayed neither surprise nor emotion, merely said: "Nonsense. It's absurd. Colonel Arbuthnot is the last man in the world to be mixed up in a crime—especially a theatrical kind of crime like this." It was so much what Poirot himself thought that he found himself on the point of agreeing with her. He said instead:

123 "I must remind you that you do not know him very well, Mademoiselle." She shrugged her shoulders. "I know the type well enough." He said very gently: "You still refuse to tell me the meaning of those words: 'When it's behind us'?" She replied coldly, "I have nothing more to say." "It does not matter," said Hercule Poirot. "I shall find out." He bowed and left the compartment, closing the door after him. "Was that wise, my friend?" asked M. Bouc. "You have put her on her guard— and through her, you have put the Colonel on his guard also." "Mon ami, if you wish to catch a rabbit you put a ferret into the hole, and if the rabbit is there—he runs. That is all I have done." They entered the compartment of Hildegarde Schmidt. The woman was standing in readiness, her face respectful but unemotional. Poirot took a quick glance through the contents of the small case on the seat. Then he motioned to the attendant to get down the bigger suitcase from the rack. "The keys?" he said. "It is not locked, Monsieur." Poirot undid the hasps and lifted the lid. "Aha!" he said, and turning to M. Bouc, "You remember what I said? Look here a little moment!" On the top of the suitcase was a hastily rolled-up brown Wagon Lit uniform. The stolidity of the German woman underwent a sudden change. "Ach!" she cried. "That is not mine. I did not put it there. I have never looked in that case since we left Stamboul. Indeed, indeed, it is true!" She looked from one to another of the men pleadingly. Poirot took her gently by the arm and soothed her. "No, no, all is well. We believe you. Do not be agitated. I am sure you did not hide the uniform there as I am sure that you are a good cook. See. You are a good cook, are you not?" Bewildered, the woman smiled in spite of herself, "Yes, indeed, all my ladies have said so. I—" She stopped, her mouth open, looking frightened again. "No, no," said Poirot. "I assure you all is well. See, I will tell you how this happened. This man, the man you saw in Wagon Lit uniform, comes out of the dead man's compartment. He collides with you. That is bad luck for him. He has hoped that no one will see him. What to do next? He must get rid of his uniform. It is now not a safeguard, but a danger." His glance went to M. Bow and Dr. Constantine, who were listening attentively. "There is the snow, you see. The snow which confuses all his plans. Where can he hide these clothes? All the compartments are full. No, he passes one whose door

124 is open, showing it to be unoccupied. It must be the one belonging to the woman with whom he has just collided. He slips in, removes the uniform and jams it hurriedly into a suitcase on the rack. It may be some time before it is discovered." "And then?" said M. Bouc. "That we must discuss," Poirot said with a warning glance. He held up the tunic. A button, the third down, was missing. Poirot slipped his hand into the pocket and took out a conductor's pass-key, used to unlock the doors of the compartments. "Here is the explanation of how one man was able to pass through locked doors," said M. Bouc. "Your questions to Mrs. Hubbard were unnecessary. Locked or not locked, the man could easily get through the communicating door. After all, if a Wagon Lit uniform, why not a Wagon Lit key?" "Why not indeed?" returned Poirot. "We might have known it, really. You remember that Michel said that the door into the corridor of Mrs. Hubbard's compartment was locked when he came in answer to her bell." "That is so, Monsieur," said the conductor. "That is why I thought the lady must have been dreaming." "But now it is easy," continued M. Bouc. "Doubtless he meant to relock the communicating door, also, but perhaps he heard some movement from the bed and it startled him." "We have now," said Poirot, "only to find the scarlet kimono." "True. And these last two compartments are occupied by men." "We will search all the same." "Oh! assuredly. Besides, I remember what you said." Hector MacQueen acquiesced willingly in the search. "I'd just as soon you did," he said with a rueful smile. "I feel I'm definitely the most suspicious character on the train. You've only got to find a will in which the old man left me all his money, and that'll just about fix things." M. Bouc bent a suspicious glance upon him. "That's only my fun," added MacQueen hastily. "He'd never have left me a cent, really. I was just useful to him—languages and so on. You're likely to be out of luck, you know, if you don't speak anything but good American. I'm no linguist myself, but I know what I call Shopping and Hotel—snappy bits in French and German and Italian." His voice was a little louder than usual. It was as though he were slightly uneasy over the search in spite of his expressed willingness. Poirot emerged. "Nothing," he said. "Not even a compromising bequest!" MacQueen sighed. "Well, that's a load off my mind," he said humorously.

125 They moved on to the last compartment. The examination of the luggage of the big Italian and of the valet yielded no result. The three men stood at the end of the coach looking at each other. "What next?" said M. Bouc. "We will go back to the dining-car," said Poirot. "We know now all that we can know. We have the evidence of the passengers, the evidence of their baggage, the evidence of our eyes. ... We can expect no further help. It must be our part now to use our brains." He felt in his pocket for his cigarette case. It was empty. "I will join you in a moment," he said. "I shall need the cigarettes. This is a very difficult, a very curious, affair. Who wore that scarlet kimono? Where is it now? I wish I knew. There is something in this case—some factor—that escapes me! It is difficult because it has been made difficult. But we will discuss it. Pardon me a moment." He went hurriedly along the corridor to his own compartment. He had, he knew, a further supply of cigarettes in one of his valises. He got it down and snapped back the lock. Then he sat back on his heels and stared. Neatly folded on the top of the case was a thin scarlet silk kimono embroidered with dragons. "So," he murmured. "It is like that. A defiance. Very well, I take it up."

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