The Murder Of Roger Ackroyd - Christie Agatha (читать книги полностью TXT) 📗

Chapter 24. Apologia

Five a.m. I am very tired - but I have finished my task. My arm aches from writing.

A strange end to my manuscript. I meant it to be published some day as the history of one of Poirot's failures!

Odd, how things pan out.

All along I've had a premonition of disaster, from the moment I saw Ralph Paton and Mrs Ferrars with their heads together. I thought then that she was confiding in him, as it happened I was quite wrong there, but the idea persisted even after I went into the study with Ackroyd that night, until he told me the truth.

Poor old Ackroyd. I'm always glad that I gave him a chance. I urged him to read that letter before it was too late.

Or let me be honest - didn't I subconsciously realize that with a pig-headed chap like him, it was my best chance of getting him not to read it? His nervousness that night was interesting psychologically. He knew danger was close at hand. And yet he never suspected me.

The dagger was an afterthought. I'd brought up a very handy little weapon of my own, but when I saw the dagger lying in the silver table, it occurred to me at once how much better it would be to use a weapon that couldn't be traced to me.

I suppose I must have meant to murder him all along. As soon as I heard of Mrs Ferrars's death, I felt convinced that she would have told him everything before she died. When I met him and he seemed so agitated, I thought that perhaps he knew the truth, but that he couldn't bring himself to believe it, and was going to give me the chance of refuting it.

So I went home and took my precautions. If the trouble were after all only something to do with Ralph - well, no harm would have been done. The dictaphone he had given me two days ago to adjust. Something had gone a little wrong with it, and I persuaded him to let me have a go at it, instead of sending it back. I did what I wanted to, and took it up with me in my bag that evening.

I am rather pleased with myself as a writer. What could be neater, for instance, than the following: 'The letters were brought in at twenty minutes to nine. It was just on ten minutes to nine when I left him, the letter still unread.

I hesitated with my hand on the door handle, looking back and wondering if there was anything I had left undone.' All true, you see. But suppose I had put a row of stars after the first sentence! Would somebody then have wondered what exactly happened in that blank ten minutes?

When I looked round the room from the door, I was quite satisfied. Nothing had been left undone. The dictaphone was on the table by the window, timed to go off at ninethirty (the mechanism of that little device was rather clever - based on the principle of an alarm clock), and the armchair was pulled out so as to hide it from the door.

I must admit that it gave me rather a shock to run into Parker just outside the door. I have faithfully recorded that fact.

Then later, when the body was discovered, and I sent Parker to telephone for the police, what a judicious use of words: 'I did what little had to be done!' It was quite little just to shove the dictaphone into my bag and push back the chair against the wall in its proper place. I never dreamed that Parker would have noticed that chair. Logically, he ought to have been so agog over the body as to be blind to everything else. But I hadn't reckoned with the trained servant complex.

I wish I could have known beforehand that Flora was going to say she'd seen her uncle alive at a quarter to ten.

That puzzled me more than I can say. In fact, all through the case there have been things that puzzled me hopelessly.

Everyone seems to have taken a hand.

My greatest fear all through has been Caroline. I have fancied she might guess. Curious the way she spoke that day of my 'strain of weakness.' Well, she will never know the truth. There is, as Poirot said, one way out…

I can trust him. He and Inspector Raglan will manage it between them. I should not like Caroline to know. She is fond of me, and then, too, she is proud… My death will be a grief to her, but grief passes…

When I have finished writing, I shall enclose this whole manuscript in an envelope and address it to Poirot.

And then - what shall it be? Veronal? There would be a kind of poetic justice. Not that I take any responsibility for Mrs Ferrars's death. It was the direct consequence of her own actions. I feel no pity for her.

I have no pity for myself either.

So let it be veronal.

But I wish Hercule Poirot had never retired from work and come here to grow vegetable marrows.