Passenger to Frankfurt. Агата Кристи
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had gone across Hungerford Bridge, but it had never seemed to him a walk to take for pleasure. Beneath him was the river and crossing the bridge were large quantities of hurrying figures like himself. Their mackintoshes pulled round them, their hats pulled down and on the part of one and all of them an earnest desire to get home and out of the wind and rain as soon as possible. It would be, thought Sir Stafford Nye, very difficult to recognize anybody in this scurrying crowd. 7.20. Not a good moment to choose for a rendezvous of any kind. Perhaps it was Hungerford Bridge in Berkshire. Anyway, it seemed very odd.
He plodded on. He kept an even pace, not overtaking those ahead of him, pushing past those coming the opposite way. He went fast enough not to be overtaken by the others behind him, though it would be possible for them to do so if they wanted to. A joke, perhaps, thought Stafford Nye. Not quite his kind of joke, but someone else’s.
And yet—not her brand of humour either, he would have thought. Hurrying figures passed him again, pushing him slightly aside. A woman in a mackintosh was coming along, walking heavily. She collided with him, slipped, dropped to her knees. He assisted her up.
‘All right?’
‘Yes, thanks.’
She hurried on, but as she passed him, her wet hand, by which he had held her as he pulled her to her feet, slipped something into the palm of his hand, closing the fingers over it. Then she was gone, vanishing behind him, mingling with the crowd. Stafford Nye went on. He couldn’t overtake her. She did not wish to be overtaken, either. He hurried on and his hand held something firmly. And so, at long last it seemed, he came to the end of the bridge on the Surrey side.
A few minutes later he had turned into a small café and sat there behind a table, ordering coffee. Then he looked at what was in his hand. It was a very thin oilskin envelope. Inside it was a cheap quality white envelope. That too he opened. What was inside surprised him. It was a ticket.
A ticket for the Festival Hall for the following evening.
Sir Stafford Nye adjusted himself more comfortably in his seat and listened to the persistent hammering of the Nibelungen, with which the programme began.
Though he enjoyed Wagnerian opera, Siegfried was by no means his favourite of the operas composing the Ring. Rheingold and Götterdämmerung were his two preferences. The music of the young Siegfried, listening to the songs of the birds, had always for some strange reason irritated him instead of filling him with melodic satisfaction. It might have been because he went to a performance in Munich in his young days which had displayed a magnificent tenor of unfortunately over-magnificent proportions, and he had been too young to divorce the joy of music from the visual joy of seeing a young Siegfried that looked even passably young. The fact of an outsized tenor rolling about on the ground in an access of boyishness had revolted him. He was also not particularly fond of birds and forest murmurs. No, give him the Rhine Maidens every time, although in Munich even the Rhine Maidens in those days had been of fairly solid proportions. But that mattered less. Carried away by the melodic flow of water and the joyous impersonal song, he had not allowed visual appreciation to matter.
From time to time he looked about him casually. He had taken his seat fairly early. It was a full house, as it usually was. The intermission came. Sir Stafford rose and looked about him. The seat beside his had remained empty. Someone who was supposed to have arrived had not arrived. Was that the answer, or was it merely a case of being excluded because someone had arrived late, which practice still held on the occasions when Wagnerian music was listened to?
He went out, strolled about, drank a cup of coffee, smoked a cigarette, and returned when the summons came. This time, as he drew near, he saw that the seat next to his was filled. Immediately his excitement returned. He regained his seat and sat down. Yes, it was the woman of the Frankfurt Air Lounge. She did not look at him, she was looking straight ahead. Her face in profile was as clean-cut and pure as he remembered it. Her head turned slightly, and her eyes passed over him but without recognition. So intent was that non-recognition that it was as good as a word spoken. This was a meeting that was not to be acknowledged. Not now, at any event. The lights began to dim. The woman beside him turned.
‘Excuse me, could I look at your programme? I have dropped mine, I’m afraid, coming to my seat.’
‘Of course,’ he said.
He handed over the programme and she took it from him. She opened it, studied the items. The lights went lower. The second half of the programme began. It started with the overture to Lohengrin. At the end of it she handed back the programme to him with a few words of thanks.
‘Thank you so much. It was very kind of you.’
The next item was the Siegfried forest murmur music. He consulted the programme she had returned to him. It was then that he noticed something faintly pencilled at the foot of a page. He did not attempt to read it now. Indeed, the light would have not been sufficient. He merely closed the programme and held it. He had not, he was quite sure, written anything there himself. Not, that is, in his own programme. She had, he thought, had her own programme ready, folded perhaps in her handbag and had already written some message ready to pass to him. Altogether, it seemed to him, there was still that atmosphere of secrecy, of danger. The meeting on Hungerford Bridge and the envelope with the ticket forced into his hand. And now the silent woman who sat beside him. He glanced at her once or twice with the quick, careless glance that one gives to a stranger sitting next to one. She lolled back in her seat; her high-necked dress was of dull black crêpe, an antique torque of gold encircled her neck. Her dark hair was cropped closely and shaped to her head. She did not glance at him or return any look. He wondered. Was there someone in the seats of the Festival Hall watching her—or watching him? Noting whether they looked or spoke to each other? Presumably there must be, or there must be at least the possibility of such a thing. She had answered his appeal in the newspaper advertisement. Let that be enough for him. His curiosity was unimpaired, but he did at least know now that Daphne Theodofanous—alias Mary Ann—was here in London. There were possibilities in the future of his learning more of what was afoot. But the plan of campaign must be left to her. He must follow her lead. As he had obeyed her in the airport, so he would obey her now and—let him admit it—life had become suddenly more interesting. This was better than the boring conferences of his political life. Had a car really tried to run him down the other night? He thought it had. Two attempts—not only one. It was easy enough to imagine that one was the target of assault, people drove so recklessly nowadays that you could easily fancy malice aforethought when it was not so. He folded his programme, did not look at it again. The music came to its end. The woman next to him spoke. She did not turn her head or appear to speak to him, but she spoke aloud, with a little sigh between the words as though she was communing with herself or possibly to her neighbour on the other side.
‘The young Siegfried,’ she said, and sighed again.
The programme ended with the March from Die Meistersinger. After enthusiastic applause, people began to leave their seats. He waited to see if she would give him any lead, but she did not. She gathered up her wrap, moved out of the row of chairs, and with a slightly accelerated step, moved along with other people and disappeared in the crowd.
Stafford Nye regained his car and drove home. Arrived there, he spread out the Festival Hall programme on his desk and examined it carefully, after putting the coffee to percolate.
The programme was disappointing to say the least of it. There did not appear to be any message inside. Only on one page above the list of the items, were the pencil marks that he had vaguely observed. But they were not words or letters or even figures. They appeared to be merely a musical notation. It was as though someone had scribbled a phrase of music with a somewhat inadequate pencil. For a moment it occurred to Stafford Nye there might perhaps be a secret message he could bring out by applying heat. Rather gingerly, and in a way rather ashamed of his melodramatic