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Copyright
HarperCollinsPublishers Ltd
1 London Bridge Street
London SE1 9GF
www.harpercollins.co.uk
First published in Great Britain by Heinemann 1947
Copyright © 1947 Rosalind Hicks Charitable Trust. All rights reserved.
www.agathachristie.com
Cover by ninataradesign.com © HarperCollins 2017
Agatha Christie asserts the moral right to be identified as the author of this work.
A catalogue copy of this book is available from the British Library.
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Source ISBN: 9780008131463
Ebook Edition © June 2017 ISBN: 9780007534951
Version: 2018-04-11
Epigraph
The moment of the rose and the moment of the yew tree are of equal duration
T. S. ELIOT
Contents
Cover
Title Page
Copyright
Epigraph
Prelude
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Epilogue
Also by Agatha Christie
About the Publisher
PRELUDE
I was in Paris when Parfitt, my man, came to me and said that a lady had called to see me. She said, he added, that it was very important.
I had formed by then the habit of never seeing people without an appointment. People who call to see you about urgent business are nearly invariably people who wish for financial assistance. The people who are in real need of financial assistance, on the other hand, hardly ever come and ask for it.
I asked Parfitt what my visitor’s name was, and he proffered a card. The card said: Catherine Yougoubian—a name I had never heard of and which, frankly, I did not much fancy. I revised my idea that she needed financial assistance and deduced instead that she had something to sell—probably one of those spurious antiques which command a better price when they are brought by hand and forced on the unwilling buyer with the aid of voluble patter.
I said I was sorry that I could not see Madame Yougoubian, but she could write and state her business.
Parfitt inclined his head and withdrew. He is very reliable—an invalid such as I am needs a reliable attendant—and I had not the slightest doubt that the matter was now disposed of. Much to my astonishment, however, Parfitt reappeared. The lady, he said, was very insistent. It was a matter of life and death and concerned an old friend of mine.
Whereupon my curiosity was suddenly aroused. Not by the message—that was a fairly obvious gambit; life and death and the old friend are the usual counters in the game. No, what stimulated my curiosity was the behaviour of Parfitt. It was not like Parfitt to come back with a message of that kind.
I jumped, quite wrongly, to the conclusion that Catherine Yougoubian was incredibly beautiful, or at any rate unusually attractive. Nothing else, I thought, would explain Parfitt’s behaviour.
And since a man is always a man, even if he be fifty and a cripple, I fell into the snare. I wanted to see this radiant creature who could overcome the defences of the impeccable Parfitt.
So I told him to bring the lady up—and when Catherine Yougoubian entered the room, revulsion of feeling nearly took my breath away!
True, I understand Parfitt’s behaviour well enough now. His judgment of human nature is quite unerring. He recognized in Catherine that persistence of temperament against which, in the end, all defences fall. Wisely, he capitulated straight away and saved himself a long and wearying battle. For Catherine Yougoubian has the persistence of a sledgehammer and the monotony of an oxyacetylene blowpipe: combined with the wearing effect of water dropping on a stone! Time is infinite for her if she wishes to achieve her object. She would have sat determinedly in my entrance hall all day. She is one of those women who have room in their heads for one idea only—which gives them an enormous advantage over less single-minded individuals.
As I say, the shock I got when she entered the room was tremendous. I was all keyed up to behold beauty. Instead, the woman who entered was monumentally, almost awe-inspiringly, plain. Not ugly, mark you; ugliness has its own rhythm, its own mode of attack, but Catherine had a large flat face like a pancake—a kind of desert of a face. Her mouth was wide and had a slight—a very slight—moustache on its upper lip. Her eyes were small and dark and made one think of inferior currants in an inferior bun. Her hair was abundant, ill-confined, and pre-eminently greasy. Her figure was so nondescript that it was practically not a figure at all. Her clothes covered her adequately and fitted her nowhere. She appeared neither destitute nor opulent. She had a determined jaw and, as I heard when she opened her mouth, a harsh and unlovely voice.
I threw a glance of deep reproach at Parfitt who met it imperturbably. He was clearly of the opinion that, as usual, he knew best.
‘Madame Yougoubian, sir,’ he said, and retired, shutting the door and leaving me at the mercy of this determined-looking female.
Catherine advanced upon me purposefully. I had never felt so helpless, so conscious of my crippled state. This was a woman from whom it would be advisable to run away, and I could not run.
She spoke in a loud firm voice.
‘Please—if you will be so good—you must come with me, please?’
It was less of a request than a command.
‘I beg your pardon?’ I said, startled.
‘I do not speak the English too good, I am afraid. But there is not time to lose—no, no time at all. It is to Mr Gabriel I ask you to come. He is very ill. Soon, very soon, he dies, and he has asked for you. So to see him you must come at once.’
I stared at her. Frankly, I thought she was crazy. The name Gabriel made no impression upon me at all, partly, I daresay, because of her pronunciation. It did not sound in the least like Gabriel. But even if it had sounded like it, I do not think that it would have stirred a chord. It was all so long ago. It must have been ten years since I had even thought of John Gabriel.
‘You say someone is dying? Someone—er—that I know?’
She cast at me a look of infinite reproach.
‘But yes, you know him—you know him well—and he asks for you.’
She was so positive that I began to rack my brains. What name had she said? Gable? Galbraith? I had known a Galbraith, a mining engineer. Only casually, it is true; it seemed in the highest degree unlikely that he should ask to see me on his deathbed. Yet it is a tribute to Catherine’s force of character that I did not doubt for a moment the truth of her statement.
‘What name did you say?’ I asked. ‘Galbraith?’
‘No—no. Gabriel. Gabriel!’
I stared. This time I got the word right, but it only conjured up a mental vision of the Angel Gabriel with a large pair of wings. The vision fitted in well enough with Catherine Yougoubian. She had a resemblance to the type of earnest woman usually to be found kneeling in the extreme left-hand corner of an early Italian Primitive. She had that peculiar simplicity of feature combined with the look of ardent devotion.
She added, persistently, doggedly, ‘John Gabriel—’ and I got it!
It all came back to me. I felt giddy and slightly sick. St Loo, and the old ladies, and Milly Burt, and John Gabriel with his ugly dynamic little face, rocking gently back on his heels. And Rupert, tall and handsome like a young god. And, of course, Isabella …
I remembered the last time I had seen John Gabriel in Zagrade and what had happened there, and I felt rising in me a surging red tide of anger and loathing …
‘So he’s dying, is he?’ I asked savagely. ‘I’m delighted to hear it!’
‘Pardon?’
There are things that you cannot very well repeat when someone says ‘Pardon?’ politely to you. Catherine Yougoubian looked utterly uncomprehending. I merely said:
‘You say he is dying?’
‘Yes. He is in pain—in terrible pain.’
Well, I was delighted to hear that, too. No pain that John Gabriel could suffer would atone for what he had done. But I felt unable to say so to one who was evidently John Gabriel’s devoted worshipper.
What was there about the fellow, I wondered irritably, that always made women fall for him? He was ugly as sin. He was pretentious, vulgar, boastful. He had brains of a kind, and he was, in certain circumstances (low circumstances!) good company. He had humour. But none of these are really characteristics that appeal to women very much.
Catherine broke in upon my thoughts.
‘You will come, please? You will come quickly? There is no time to lose.’
I pulled myself together.
‘I’m sorry, my dear lady,’ I said, ‘but I’m afraid I cannot accompany you.’
‘But he asks for you,’ she persisted.
‘I’m not coming,’ I said.
‘You do not understand,’ said Catherine. ‘He is ill. He is dying; and he asks for you.’
I braced myself for the fight. I had already begun to realize (what Parfitt had realized at the first glance) that Catherine Yougoubian did not give up easily.
‘You are making a mistake,’ I said. ‘John Gabriel is not a friend of mine.’
She nodded her head vigorously.
‘But yes—but yes. He read your name in the paper—it say you are here as member of the Commission—and he say I am to find out where you live and to get you to come. And please you must come quick—very quick—for the doctor say very soon now. So will you come at once, please?’
It seemed to me that I had got to be frank. I said:
‘He may rot in Hell for all I care!’
‘Pardon?’
She looked at me anxiously, wrinkling her long nose, amiable, trying to understand …
‘John Gabriel,’ I said slowly and clearly, ‘is not a friend of mine. He is a man I hate—hate! Now do you understand?’
She blinked. It seemed to me that at last she was beginning to get there.
‘You say—’ she said it slowly, like a child repeating a difficult lesson—‘you say that—you—hate—John Gabriel? Is that what you say, please?’
‘That’s right,’ I said.
She smiled—a maddening smile.
‘No, no,’ she said indulgently, ‘that is not possible … No one could hate John Gabriel. He is very great—very good man. All of us who know him, we die for him gladly.’
‘Good God,’ I cried, exasperated. ‘What’s the man ever done that people should feel like that about him?’
Well, I had asked for it! She forgot the urgency of her mission. She sat down, she pushed back a loop of greasy hair from her forehead, her eyes shone with enthusiasm, she opened her mouth, and words poured from her …
She spoke, I think, for about a quarter of an hour. Sometimes she was incomprehensible, stumbling with the difficulties of the spoken word. Sometimes her words flowed in a clear stream. But the whole performance had the effect of a great epic.
She spoke with reverence, with awe, with humility, with worship. She spoke of John Gabriel as one speaks of a Messiah—and that clearly was what he was to her. She said things of him that to me seemed wildly fantastic and wholly impossible. She spoke of a man tender, brave, and strong. A leader and a succourer. She spoke of one who risked death that others might live; of one who hated cruelty and injustice with a white and burning flame. He was to her a Prophet, a King, a Saviour—one who could give to people courage that they did not know they had, and strength that they did not know they possessed. He had been tortured more than once; crippled, half-killed; but somehow his maimed body had overcome its disabilities by sheer willpower, and he had continued to perform the impossible.
‘You do not know, you say, what he has done?’ she ended. ‘But everyone knows Father Clement—everyone!’
I stared—for what she said was true. Everyone has heard of Father Clement. His is a name to conjure with, even if some people hold that it is only a name—a myth—and that the real man has never existed.
How shall I describe the legend of Father Clement? Imagine a mixture of Richard Coeur de Lion and Father Damien and Lawrence of Arabia. A man at once a fighter and a Saint and with the adventurous recklessness of a boy. In the years that had succeeded the war of 1939–45, Europe and the East had undergone a black period. Fear had been in the ascendant, and Fear had bred its new crop of cruelties and savageries. Civilization had begun to crack. In India and Persia abominable things had happened; wholesale massacres, famines, tortures, anarchy …
And through the black mist a figure, an almost legendary figure had appeared—the man calling himself ‘Father Clement’—saving children, rescuing people from torture, leading his flock by impassable ways over mountains, bringing them to safe zones, settling them in communities. Worshipped, loved, adored—a legend, not a man.
And according to Catherine Yougoubian, Father Clement was John Gabriel, former MP for St Loo, womanizer, drunkard; the man who first, last and all the time, played for his own hand. An adventurer, an opportunist, a man with no virtues save the virtue of physical courage.
Suddenly, uneasily, my incredulity wavered. Impossible as I believed Catherine’s tale to be, there was one point of plausibility. Both Father Clement and John Gabriel were men of unusual physical courage. Some of those exploits of the legendary figure, the audacity of the rescues, the sheer bluff, the—yes, the impudence of his methods, were John Gabriel’s methods all right.
But John Gabriel had always been a self-advertiser. Everything he did, he did with an eye on the gallery. If John Gabriel was Father Clement, the whole world would surely have been advised of the fact.
No, I didn’t—I couldn’t—believe …
But when Catherine stopped breathless, when the fire in her eyes died down, when she said in her old persistent monotonous manner, ‘You will come now, yes, please?’ I shouted for Parfitt.
He helped me up and gave me my crutches and assisted me down the stairs and into a taxi, and Catherine got in beside me.
I had to know, you see. Curiosity, perhaps? Or the persistence of Catherine Yougoubian? (I should certainly have had to give way to her in the end!) Anyway, I wanted to see John Gabriel. I wanted to see if I could reconcile the Father Clement story with what I knew of the John Gabriel of St Loo. I wanted, perhaps, to see if I could see what Isabella had seen—what she must have seen to have done as she had done …
I don’t know what I expected as I followed Catherine Yougoubian up the narrow stairs and into the little back bedroom. There was a French doctor there, with a beard and a pontifical manner. He was bending over his patient, but he drew back and motioned me forward courteously.
I noticed his eyes appraising me curiously. I was the person that a great man, dying, had expressed a wish to see …
I had a shock when I saw Gabriel. It was so long since that day in Zagrade. I would not have recognized the figure that lay so quietly on the bed. He was dying, I saw that. The end was very near now. And it seemed to me that I recognized nothing I knew in the face of the man lying there. For I had to acknowledge that, as far as appearances went, Catherine had been right. That emaciated face was the face of a Saint. It had the marks of suffering, of agony … It had the asceticism. And it had, finally, the spiritual peace …
And none of these qualities had anything to do with the man whom I had known as John Gabriel.
Then he opened his eyes and saw me—and he grinned. It was the same grin, the same eyes—beautiful eyes in a small ugly clown’s face.
His voice was very weak. He said, ‘So she got you! Armenians are wonderful!’
Yes, it was John Gabriel. He motioned to the doctor. He demanded in his weak suffering imperious voice, a promised stimulant. The doctor demurred—Gabriel overbore him. It would hasten the end, or so I guessed, but Gabriel made it clear that a last spurt of energy was important and indeed necessary to him.
The doctor shrugged his shoulders and gave in. He administered the injection and then he and Catherine left me alone with the patient.
Gabriel began at once.
‘I want you to know about Isabella’s death.’
I told him that I knew all about that.
‘No,’ he said, ‘I don’t think you do …’
It was then that he described to me that final scene in the café in Zagrade.
I shall tell it in its proper place.
After that, he only said one thing more. It is because of that one thing more that I am writing this story.
Father Clement belongs to history. His incredible life of heroism, endurance, compassion, and courage belongs to those people who like writing the lives of heroes. The communities he started are the foundation of our new tentative experiments in living, and there will be many biographies of the man who imagined and created them.
This is not the story of Father Clement. It is the story of John Merryweather Gabriel, a VC in the war, an opportunist, a man of sensual passions and of great personal charm. He and I, in our different way, loved the same woman.
We all start out as the central figure of our own story. Later we wonder, doubt, get confused. So it has been with me. First it was my story. Then I thought it was Jennifer and I together—Romeo and Juliet, Tristan and Iseult. And then, in my darkness and disillusionment, Isabella sailed across my vision like the moon on a dark night. She became the central theme of the embroidery, and I—I was the cross-stitch background—no more. No more, but also no less, for without the drab background, the pattern will not stand out.
Now, again, the pattern has shifted. This is not my story, not Isabella’s story. It is the story of John Gabriel.
The story ends here, where I am beginning it. It ends with John Gabriel. But it also begins here.
CHAPTER 1
Where to begin? At St Loo? At the meeting in the Memorial Hall when the prospective Conservative candidate, Major John Gabriel, VC, was introduced by an old (a very old) general, and stood there and made his speech, disappointing us all a little by his flat, common voice and his ugly face, so that we had to fortify ourselves by the recollection of his gallantry and by reminding ourselves that it was necessary to get into touch with the People—the privileged classes were now so pitifully small!
Or shall I begin at Polnorth House, in the long low room that faced the sea, with the terrace outside where my invalid couch could be drawn out on fine days and I could look out to the Atlantic with its thundering breakers, and the dark grey rocky point which broke the line of the horizon and on which rose the battlements and the turrets of St Loo Castle—looking, as I always felt, like a water colour sketch done by a romantic young lady in the year 1860 or thereabouts.
For St Loo Castle has that bogus, that phony air of theatricality, of spurious romance which can only be given by something that is in fact genuine. It was built, you see, when human nature was unselfconscious enough to enjoy romanticism without feeling ashamed of it. It suggests sieges, and dragons, and captive princesses and knights in armour, and all the pageantry of a rather bad historical film. And, of course, when you come to think of it, a bad film is exactly what history really is.
When you looked at St Loo Castle, you expected something like Lady St Loo, and Lady Tressilian, and Mrs Bigham Charteris, and Isabella. The shock was that you got them!
Shall I begin there, with the visit paid by those three old ladies with their erect bearing, their dowdy clothing, their diamonds in old-fashioned settings? With my saying to Teresa in a fascinated voice, ‘But they can’t—they simply can’t—be real?’
Or shall I start a little earlier; at the moment, for instance, when I got into the car and started for Northolt Aerodrome to meet Jennifer …?
But behind that again is my life—which had started thirty-eight years before and which came to an end that day …
This is not my story. I have said that before. But it began as my story. It began with me, Hugh Norreys. Looking back over my life, I see that it has been a life much like any other man’s life. Neither more interesting, nor less so. It has had the inevitable disillusionments and disappointments, the secret childish agonies; it has had also the excitements, the harmonies, the intense satisfactions arising from oddly inadequate causes. I can choose from which angle I will view my life—from the angle of frustration, or as a triumphant chronicle. Both are true. It is, in the end, always a question of selection. There is Hugh Norreys as he sees himself, and Hugh Norreys as he appears to others. There must actually be, too, Hugh Norreys as he appears to God. There must be the essential Hugh. But his story is the story that only the recording angel can write. It comes back to this: How much do I know, now, of the young man who got into the train at Penzance in the early days of 1945 on his way to London? Life had, I should have said if asked, on the whole treated me well. I liked my peacetime job of schoolmastering. I had enjoyed my war experiences—I had my job waiting to return to—and the prospect of a partnership and a headmastership in the future. I had had love affairs that hurt me, and I had had love affairs that had satisfied me, but none that went deep. I had family ties that were adequate, but not too close. I was thirty-seven and on that particular day I was conscious of something of which I had been half-conscious for some time. I was waiting for something … for an experience, for a supreme event …
Everything up to then in my life, I suddenly felt, had been superficial—I was waiting now for something real. Probably everyone experiences such a feeling once at least in their lives. Sometimes it comes early, sometimes late. It is a moment that corresponds to the moment in a cricket match when you go in to bat …