The Pale Horse. Agatha Christie

by Mark Easterbrook

      There are two methods, it seems to me, of approaching this strange business of the Pale Horse. In spite of the dictum of the White King, it is difficult to achieve simplicity. One cannot, that is to say, ‘Begin at the beginning, go on to the end, and then stop.’ For where is the beginning?

      To a historian, that always is the difficulty. At what point in history does one particular portion of history begin?

      In this case, you can begin at the moment when Father Gorman set forth from his presbytery to visit a dying woman. Or you can start before that, on a certain evening in Chelsea.

      Perhaps, since I am writing the greater part of this narrative myself, it is there that I should begin.

       CHAPTER 1

       Mark Easterbrook’s Narrative

      The Espresso machine behind my shoulder hissed like an angry snake. The noise it made had a sinister, not to say devilish, suggestion about it. Perhaps, I reflected, most of our contemporary noises carry that implication. The intimidating angry scream of jet planes as they flash across the sky; the slow menacing rumble of a tube train approaching through its tunnel; the heavy road transport that shakes the very foundations of your house … Even the minor domestic noises of today, beneficial in action though they may be, yet carry a kind of alert. The dish-washers, the refrigerators, the pressure cookers, the whining vacuum cleaners—‘Be careful,’ they all seem to say. ‘I am a genie harnessed to your service, but if your control of me fails …’

      A dangerous world—that was it, a dangerous world.

      I stirred the foaming cup placed in front of me. It smelt pleasant.

      ‘What else will you have? Nice banana and bacon sandwich?’

      It seemed an odd juxtaposition to me. Bananas I connected with my childhood—or occasionally flambé with sugar and rum. Bacon, in my mind, was firmly associated with eggs. However, when in Chelsea, eat as Chelsea does. I agreed to a nice banana and bacon sandwich.

      Although I lived in Chelsea—that is to say, I had had a furnished flat there for the last three months—I was in every other way a stranger in these parts. I was writing a book on certain aspects of Mogul architecture, but for that purpose I could have lived in Hampstead or Bloomsbury or Streatham or Chelsea and it would have been all the same to me. I was oblivious of my surroundings except for the tools of my trade, and the neighbourhood in which I lived was completely indifferent to me, I existed in a world of my own.

      On this particular evening, however, I had suffered from one of those sudden revulsions that all writers know.

      Mogul architecture, Mogul Emperors, the Mogul way of life—and all the fascinating problems it raised, became suddenly as dust and ashes. What did they matter? Why did I want to write about them?

      I flicked back various pages, rereading what I had written. It all seemed to me uniformly bad—poorly written and singularly devoid of interest. Whoever had said ‘History is bunk’ (Henry Ford?) had been absolutely right.

      I pushed back my manuscript with loathing, got up and looked at my watch. The time was close on eleven p.m. I tried to remember if I had had dinner … From my inner sensations I thought not. Lunch, yes, at the Athenaeum. That was a long time ago.

      I went and looked into the refrigerator. There was a small remnant of desiccated tongue. I looked at it without favour. So it was that I wandered out into the King’s Road, and eventually turned into an Espresso Coffee Bar with the name Luigi written in red neon light across its window, and was now contemplating a bacon and banana sandwich whilst I reflected on the sinister implications of present-day noises and their atmospheric effects.

      All of them, I thought, had something in common with my early memories of pantomime. Davy Jones arriving from his locker in clouds of smoke! Trap doors and windows that exuded the infernal powers of evil, challenging and defying a Good Fairy Diamond, or some such name, who in turn waved an inadequate-looking wand and recited hopeful platitudes as to the ultimate triumph of good in a flat voice, thus prefacing the inevitable ‘song of the moment’ which never had anything to do with the story of that particular pantomime.

      It came to me suddenly that evil was, perhaps, necessarily always more impressive than good. It had to make a show! It had to startle and challenge! It was instability attacking stability. And in the end, I thought, stability will always win. Stability can survive the triteness of Good Fairy Diamond; the flat voice, the rhymed couplet, even the irrelevant vocal statement of ‘There’s a Winding Road runs down the Hill, To the Olde World Town I love.’ All very poor weapons it would seem, and yet those weapons would inevitably prevail. The pantomime would end in the way it always ended. The staircase, and the descending cast in order of seniority, with Good Fairy Diamond, practising the Christian virtue of humility and not seeking to be first (or, in this case, last) but arriving about half-way through the procession, side by side with her late opponent, now seen to be no longer the snarling Demon King breathing fire and brimstone, but just a man dressed up in red tights.

      The Espresso hissed again in my ear. I signalled for another cup of coffee and looked around me. A sister of mine was always accusing me of not being observant, not noticing what was going on. ‘You live in a world of your own,’ she would say accusingly. Now, with a feeling of conscious virtue, I took note of what was going on. It was almost impossible not to read about the coffee bars of Chelsea and their patrons every day in the newspapers; this was my chance to make my own appraisal of contemporary life.

      It was rather dark in the Espresso, so you could not see very clearly. The clientele were almost all young people. They were, I supposed vaguely, what was called the off-beat generation. The girls looked, as girls always did look to me nowadays, dirty. They also seemed to be much too warmly dressed. I had noticed that when I had gone out a few weeks ago to dine with some friends. The girl who had sat next to me had been about twenty. The restaurant was hot, but she had worn a yellow wool pullover, a black skirt and black woollen stockings, and the perspiration poured down her face all through the meal. She smelt of perspiration-soaked wool and also, strongly, of unwashed hair. She was said, according to my friends, to be very attractive. Not to me! My only reaction was a yearning to throw her into a hot bath, give her a cake of soap and urge her to get on with it! Which just showed, I suppose, how out of touch with the times I was. Perhaps it came of having lived abroad so much. I recalled with pleasure Indian women with their beautifully-coiled black hair, and their saris of pure bright colours hanging in graceful folds, and the rhythmic sway of their bodies as they walked …

      I was recalled from these pleasant thoughts by a sudden accentuation of noise. Two young women at the table next to me had started a quarrel. The young men who were with them tried to adjust things, but without avail.

      Suddenly they were screaming at each other. One girl slapped the other’s face, the second dragged the first from her chair. They fought each other like fishwives, screaming abuse hysterically. One was a tousled red-head, the other a lank-haired blonde.

      What the quarrel was about, apart from terms of abuse, I did not gather. Cries and catcalls arose from other tables.

      ‘Attagirl! Sock her, Lou!’

      The proprietor behind the bar, a slim Italian-looking fellow with sideburns, whom I had taken to be Luigi, came to intervene in a voice that was pure cockney London.

      ‘Nah then—break it up—break it up—You’ll ’ave the whole street in in a minute. You’ll ’ave the coppers here. Stop it, I say.’

      But the lank blonde had the red-head by the hair and was tugging furiously as she screamed:

      ‘You’re nothing but a man-stealing bitch!’

      ‘Bitch yourself.’

      Luigi