Big Four Part 18

"In what way?"

Poirot settled himself back in his chair, straightened a box of matches which I had thrown carelessly down on the table, and a.s.sumed an att.i.tude that I knew only too well. I saw that he was prepared to hold forth at some length.

"See you, Hastings, we have to contend against four adversaries; that is, against four different personalities. With Number One we have never come into personal contact--we know him, as it were, only by the impress of his mind--and in pa.s.sing, Hastings, I will tell you that I begin to understand that mind very well--a mind most subtle and Oriental--every scheme and plot that we have encountered has emanated from the brain of Li Chang Yen. Number Two and Number Three are so powerful, so high up, that they are for the present immune from our attacks. Nevertheless what is their safeguard is, by a perverse chance, our safeguard also. They are so much in the limelight that their movements must be carefully ordered. And so we come to the last member of the gang--we come to the man known as Number Four."

Poirot's voice altered a little, as it always did when speaking of this particular individual.

"Number Two and Number Three are able to succeed, to go on their way unscathed, owing to their notoriety and their a.s.sured position. Number Four succeeds for the opposite reason--he succeeds by the way of obscurity. Who is he? n.o.body knows. What does he look like? Again n.o.body knows. How many times have we seen him, you and I? Five times, is it not? And could either of us say truthfully that we could be sure of recognising him again?"

I was forced to shake my head, as I ran back in my mind over those five different people who, incredible as it seemed, were one and the same man. The burly lunatic asylum keeper, the man in the b.u.t.toned up overcoat in Paris, James, the footman, the quiet young medical man in the Yellow Jasmine case, and the Russian Professor. In no way did any two of these people resemble each other.

"No," I said hopelessly. "We've nothing to go by whatsoever."

Poirot smiled.

"Do not, I pray of you, give way to such enthusiastic despair. We know one or two things."

"What kind of things?" I asked sceptically.

"We know that he is a man of medium height, and of medium or fair colouring. If he were a tall man of swarthy complexion he could never have pa.s.sed himself off as the fair stocky doctor. It is child's play, of course, to put on an additional inch or so for the part of James, or the Professor. In the same way he must have a short straight nose. Additions can be built on to a nose by skilful make up, but a large nose cannot be successfully reduced at a moment's notice. Then again, he must be a fairly young man, certainly not over thirty-five. You see, we are getting somewhere. A man between thirty and thirty-five, of medium height and colouring, an adept in the art of make up, and with very few or any teeth of his own."

"What?"

"Surely, Hastings. As the keeper, his teeth were broken and discoloured, in Paris they were even and white, as the doctor they protruded slightly, and as Savaronoff they had unusually long canines. Nothing alters the face so completely as a different set of teeth.

You see where all this is leading us?"

"Not exactly," I said cautiously.

"A man carries his profession written in his face, they say."

"He's a criminal," I cried.

"He is an adept in the art of making up."

"It's the same thing."

"Rather a sweeping statement, Hastings, and one which would hardly be appreciated by the theatrical world. Do you not see that the man is, or has been, at one time or another, an actor?"

"An actor?"

"But certainly. He has the whole technique at his finger-tips. Now there are two cla.s.ses of actors, the one who sinks himself in his part, and the one who manages to impress his personality upon it. It is from the latter cla.s.s that actor managers usually spring. They seize a part and mould it to their own personality. The former cla.s.s is quite likely to spend its days doing Mr. Lloyd George at different music halls, or impersonating old men with beards in repertory plays. It is among that former cla.s.s that we must look for our Number Four.

He is a supreme artist in the way he sinks himself in each part he plays."

I was growing interested.

"So you fancy you may be able to trace his ident.i.ty through his connection with the stage?"

"Your reasoning is always brilliant, Hastings."

"It might have been better," I said coldly, "if the idea had come to you sooner. We have wasted a lot of time."

"You are in error, mon ami. No more time has been wasted than was unavoidable. For some months now my agents have been engaged on the task. Joseph Aarons is one of them. You remember him? They have compiled a list for me of men fulfilling the necessary qualifications--young men round about the age of thirty, of more or less nondescript appearance, and with a gift for playing character parts--men, moreover, who have definitely left the stage within the last three years."

"Well?" I said, deeply interested.

"The list was, necessarily, rather a long one. For some time now, we have been engaged on the task of elimination. And finally we have boiled the whole thing down to four names. Here they are, my friend."

He tossed me over a sheet of paper. I read its contents aloud.

"Ernest Luttrell. Son of a North Country parson.

Always had a kink of some kind in his moral makeup.

Was expelled from his public school. Went on the stage at the age of twenty-three. (There followed a list of parts he had played, with dates and places.) Addicted to drugs. Supposed to have gone to Australia four years ago. Cannot be traced after leaving England. Age 32, height 5 ft. 10 Vi in., clean-shaven, hair brown, nose straight, complexion fair, eyes gray.

"John St. Maur. a.s.sumed name. Real name not known. Believed to be of c.o.c.kney extraction. On stage since quite a child. Did music hall impersonations. Not been heard of for three years. Age, about 33, height 5 ft.

10 in., slim build, blue eyes, fair colouring.

"Austen Lee. a.s.sumed name. Real name Austen Foly. Good family. Always had taste for acting and distinguished himself in that way at Oxford. Brilliant war record. Acted in-- (The usual list followed. It included many Repertory plays.) An enthusiast on criminology.

Had bad nervous breakdown as the result of a motor accident three and a half years ago, and has not appeared on the stage since. No clue to his present whereabouts.

Age 35, height 5 ft. 9Vi in., complexion fair, eyes blue, hair brown.

"Claud Darrell. Supposed to be real name. Some mystery about his origin. Played at music halls, and also in Repertory plays. Seems to have had no intimate friends. Was in China in 1919. Returned by way of j America. Played a few parts in New York. Did not appear on the stage one night, and has never been heard of since. New York police say most mysterious disappearance.

Age about 33, hair brown, fair complexion, gray eyes. Height 5 ft. 10 Vi in.

"Most interesting," I said, as I laid down the paper.

"And so this is the result of the investigation of months? These four names. Which of them are you inclined to suspect?"

Poirot made an eloquent gesture.

"Mon ami, for the moment it is an open question. I would just point out to you that Claud Darrell has been in China and America--a fact not without significance, perhaps, but we must not allow ourselves to be unduly biased by that point. It may be a mere coincidence."

"And the next step?" I asked eagerly.

"Affairs are already in train. Every day cautiously worded advertis.e.m.e.nts will appear. Friends and relatives of one or the other will be asked to communicate with my solicitor at his office. Even to-day we might-- Aha, the telephone! Probably it is, as usual, the wrong number, and they will regret to have troubled us, but it may be--yes, it may be--that something has arisen."

I crossed the room and picked up the receiver.

"Yes, yes. M. Poirot's rooms. Yes, Captain Hastings speaking. Oh, it's you, Mr. McNeil! (McNeil and Hodgson were Poirot's solicitors.) I'll tell him. Yes, we'll come round at once."

I replaced the receiver and turned to Poirot, my eyes dancing with excitement.

"I say, Poirot, there's a woman there. Friend of Claud Darrell's. Miss Flossie Monro. McNeil wants you to come round."

"At the instant!" cried Poirot, disappearing into his bedroom, and reappearing with a hat.

A taxi soon took us to our destination, and we were ushered into Mr. McNeil's private office. Sitting in the arm-chair facing the solicitor was a somewhat lurid looking lady no longer in her first youth. Her hair was of an impossible yellow, and was prolific in curls over each ear, her eyelids were heavily blackened, and she had by no means forgotten the rouge and the lip salve.

"Ah, here is M. Poirot.'" said Mr. McNeil. "M. Poirot, this is Miss-er-Monro, who has very kindly called to give us some information."

"Ah, but that is most kind!" cried Poirot.

He came forward with great empress.e.m.e.nt, and shook the lady warmly by the hand.

"Mademoiselle blooms like a flower in this dry-asdust old office." he added, careless of the feelings of Mr. McNeil.

This outrageous flattery was not without effect. Miss Monro blushed and simpered.

"Oh, go on now, Mr. Poirot!" she exclaimed. "I know what you Frenchmen are like."

"Mademoiselle, we are not mute like Englishmen before beauty. Not that I am a Frenchman-1 am a Belgian, you see."

"I've been to Ostend myself," said Miss Monro.

The whole affair, as Poirot would have said, was marching splendidly.

"And so you can tell us something about Mr. Claud Darrell?" continued Poirot.

"I knew Mr. Darrell very well at one time," explained the lady. "And I saw your advertis.e.m.e.nt, being out of a shop for the moment, and my time being my own, I said 154 Agatha Christie to myself: There, they want to know about poor old Claudie-- lawyers, too--maybe it's a fortune looking for the rightful heir, I'd better go round at once."

Mr. McNeil rose.

"Well, Monsieur Poirot, shall I leave you for a little conversation with Miss Monro?"

"You are too amiable. But stay--a little idea presents itself to me. The hour of the dejeuner approaches. Mademoiselle will perhaps honour me by coming out to luncheon with me?"

Miss Monro's eyes glistened. It struck me that she was in exceedingly low water, and that the chance of a square meal was not to be despised.

A few minutes later saw us all in a taxi, bound for one of London's most expensive restaurants. Once arrived there, Poirot ordered a most delectable lunch, and then turned to his guest.

"And for wine, mademoiselle? What do you say to champagne?"

Miss Monro said nothing--or everything.

The meal started pleasantly. Poirot replenished the lady's gla.s.s with thoughtful a.s.siduity, and gradually slid on to the topic nearest his heart.

"The poor Mr. Darrell. What a pity he is not with us."

"Yes, indeed," sighed Miss Monro. "Poor boy, I do wonder what's become of him." "It is a long time since you have seen him, yes?"

"Oh, simply ages--not since the war. He was a funny boy, Claudie, very close about things, never told you a word about himself. But, of course, that all fits in if he's a missing heir. Is it a t.i.tle, Mr. Poirot?"

"Alas, a mere heritage," said Poirot unblushingly.

"But you see, it may be a question of identification.

That is why it is necessary for us to find some one who FR1;

THE BIG FOUR 155

knew him very well indeed. You knew him very well, did you not, mademoiselle."

"I don't mind telling you, Mr. Poirot. You're a gentleman. You know how to order a lunch for a lady-- which is more than some of these young whippersnappers do nowadays. Downright mean, I call it. As I was saying, you being a Frenchman won't be shocked. Ah, you Frenchmen! Naughty, naughty!" She wagged her finger at him in an excess of archness. "Well, there it was, me and Claudie, two young things--what else could you expect? And I've still a kindly feeling for him.

Though, mind you, he didn't treat me well--no, he didn't--he didn't treat me well at all. Not as a lady should be treated. They're all the same when it comes to a question of money."

"No, no, mademoiselle, do not say that," protested Poirot, filling up her gla.s.s once more. "Could you now describe this Mr. Darrell to me?"

"He wasn't anything so very much to look at," said Flossie Monro dreamily. "Neither tall nor short, you know, but quite well set up. Spruce looking. Eyes a sort of blue-gray. And more or less fair-haired, I suppose.

But oh, what an artist! / never saw any one to touch him in the profession! He'd have made his name before now if it hadn't been for jealousy. Ah, Mr. Poirot, jealousy--you wouldn't believe it, you really wouldn't, what we artists have to suffer through jealousy. Why, I remember once at Manchester--"

We displayed what patience we could in listening to a long complicated story about a pantomime, and the infamous conduct of the princ.i.p.al boy. Then Poirot led her gently back to the subject of Claud Darrell.

"It is very interesting, all this that you are able to tell us, mademoiselle, about Mr. Darrell. Women are such wonderful observers--they see everything, they notice the little detail that escapes the mere man. I have seen a woman identify one man out of a dozen others--and why, do you think? She had observed that he had a trick of stroking his nose when he was agitated. Now would a man ever have thought of noticing a thing like that?"

"Did you ever!" cried Miss Monro. "I suppose we do notice things. I remember Claudie, now I come to think of it, always fiddling with his bread at table. He'd get a little piece between his fingers and then dab it round to pick up crumbs. I've seen him do it a hundred times.

Why, I'd know him anywhere by that one trick of his."

"Is not that just what I say? The marvellous observation of a woman. And did you ever speak to him about this little habit of his, mademoiselle?"

"No, I didn't, Mr. Poirot. You know what men are!

They don't like you to notice things--especially if it should seem you were telling them off about it. I never said a word--but many's the time I smiled to myself.

Bless you, he never knew he was doing it even."

Poirot nodded gently. I noticed that his own hand was shaking a little as he stretched it out to his gla.s.s.

"Then there is always handwriting as a means of establishing ident.i.ty," he remarked. "Without doubt you have preserved a letter written by Mr. Darrell?"

Flossie Monro shook her head regretfully.

"He was never one for writing. Never wrote me a line in his life."