Part I

Chapter 1

‘You do see, don’t you, that she’s got to be killed?’

The question floated out into the still night air, seemed to hang there a moment and then driftaway down into the darkness towards the Dead Sea.

Hercule Poirot paused a minute with his hand on the window catch. Frowning, he shut itdecisively, thereby¹ excluding any injurious night air! Hercule Poirot had been brought up tobelieve that all outside air was best left outside, and that night air was especially dangerous to thehealth.

As he pulled the curtains neatly² over the window and walked to his bed, he smiled tolerantly tohimself.

‘You do see, don’t you, that she’s got to be killed?’

Curious words for one Hercule Poirot, detective, to overhear on his first night in Jerusalem.

‘Decidedly, wherever I go, there is something to remind me of crime!’ he murmured to himself.

His smile continued as he remembered a story he had once heard concerning Anthony Trollopethe novelist. Trollope was crossing the Atlantic at the time and had overheard two fellowpassengers discussing the last published installment³ of one of his novels.

‘Very good,’ one man had declared. ‘But he ought to kill off that tiresome⁴ old woman.’

With a broad smile the novelist had addressed them:

‘Gentlemen, I am much obliged to you! I will go and kill her immediately!’

Hercule Poirot wondered what had occasioned the words he had just overheard. Acollaboration, perhaps, over a play or a book.

He thought, still smiling: ‘Those words might be remembered, one day, and given a moresinister meaning.’

There had been, he now recollected⁵, a curious nervous intensity⁶ in the voice—a tremor⁷ thatspoke of some intense emotional strain. A man’s voice—or a boy’s…Hercule Poirot thought to himself as he turned out the light by his bed: ‘I should know that voiceagain…’

II

Their elbows on the window-sill, their heads close together, Raymond and Carol Boynton gazedout into the blue depths of the night. Nervously⁸, Raymond repeated his former words: ‘You dosee, don’t you, that she’s got to be killed?’

Carol Boynton stirred slightly. She said, her voice deep and hoarse⁹: ‘It’s horrible…’

‘It’s not more horrible than this!’

‘I suppose not…’

Raymond said violently: ‘It can’t go on like this—it can’t…We must do something…And thereisn’t anything else we can do…’

Carol said—but her voice was unconvincing and she knew it: ‘If we could get away somehow—?’

‘We can’t.’ His voice was empty and hopeless. ‘Carol, you know we can’t…’

The girl shivered. ‘I know, Ray—I know.’

He gave a sudden short, bitter laugh.

‘People would say we were crazy—not to be able just to walk out—’

Carol said slowly: ‘Perhaps we—are crazy!’

‘I dare say. Yes, I dare say we are. Anyway, we soon shall be…I suppose some people wouldsay we are already—here we are calmly planning, in cold blood, to kill our own mother!’

Carol said sharply: ‘She isn’t our own mother!’

‘No, that’s true.’

There was a pause and then Raymond said, his voice now quietly matter-of-fact: ‘You do agree,Carol?’

Carol answered steadily¹⁰: ‘I think she ought to die—yes…’

Then she broke out suddenly: ‘She’s mad…I’m quite sure she’s mad…She—she couldn’ttorture us like she does if she were sane¹¹. For years we’ve been saying: “This can’t go on!” and ithas gone on! We’ve said, “She’ll die some time”—but she hasn’t died! I don’t think she ever willdie unless—’

Raymond said steadily: ‘Unless we kill her…’

‘Yes.’

She clenched¹² her hands on the window-sill in front of her.

Her brother went on in a cool, matter-of-fact tone, with just a slight tremor denoting his deepunderlying excitement.

‘You see why it’s got to be one of us, don’t you? With Lennox, there’s Nadine to consider. Andwe couldn’t bring Jinny into it.’

Carol shivered.

‘Poor Jinny…I’m so afraid…’

‘I know. It’s getting pretty bad, isn’t it? That’s why something’s got to be done quickly—beforeshe goes right over the edge.’

Carol stood up suddenly, pushing back the tumbled chestnut¹³ hair from her forehead.

‘Ray,’ she said, ‘you don’t think it’s really wrong, do you?’

He answered in that same would-be dispassionate tone. ‘No. I think it’s just like killing¹⁴ a maddog—something that’s doing harm in the world and must be stopped. This is the only way ofstopping it.’

Carol murmured: ‘But they’d—they’d send us to the chair just the same…I mean we couldn’texplain what she’s like…It would sound fantastic…In a way, you know, it’s all in our ownminds!’

Raymond said: ‘Nobody will ever know. I’ve got a plan. I’ve thought it all out. We shall bequite safe.’

Carol turned suddenly round on him.

‘Ray—somehow or another—you’re different. Something’s happened to you…What’s put allthis into your head?’

‘Why should you think anything’s happened to me?’

He turned his head away, staring out into the night.

‘Because it has…Ray, was it that girl on the train?’

‘No, of course not—why should it be? Oh, Carol, don’t talk nonsense. Let’s get back again to—to—’

‘To your plan? Are you sure it’s a—good plan?’

‘Yes. I think so…We must wait for the right opportunity, of course. And then—if it goes allright—we shall be free—all of us.’

‘Free?’ Carol gave a little sigh. She looked up at the stars. Then suddenly she shook from headto foot in a sudden storm of weeping.

‘Carol, what’s the matter?’

She sobbed¹⁵ out brokenly: ‘It’s so lovely—the night and the blueness and the stars. If only wecould be part of it all…If only we could be like other people instead of being as we are—all queerand warped¹⁶ and wrong.’

‘But we shall be—all right—when she’s dead!’

‘Are you sure? Isn’t it too late? Shan’t we always be queer and different?’

‘No, no, no.’

‘I wonder—’

‘Carol, if you’d rather not—’

She pushed his comforting arm aside.

‘No, I’m with you—definitely I’m with you! Because of the others—especially Jinny. We mustsave Jinny!’

Raymond paused a moment. ‘Then—we’ll go on with it?’

‘Yes!’

‘Good. I’ll tell you my plan…’

He bent¹⁷ his head to hers.

 

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