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Endless Night
Agatha Christie
Agatha Christie’s disturbing 1960s mystery thriller, reissued with a striking cover designed to appeal to the latest generation of Agatha Christie fans and book lovers.Gipsy’s Acre was a truly beautiful upland site with views out to sea – and in Michael Rogers it stirred a child-like fantasy.There, amongst the dark fir trees, he planned to build a house, find a girl and live happily ever after.Yet, as he left the village, a shadow of menace hung over the land. For this was the place where accidents happened. Perhaps Michael should have heeded the locals’ warnings: ‘There’s no luck for them as meddles with Gipsy’s Acre.’Michael Rogers is a man who is about to learn the true meaning of the old saying ‘In my end is my beginning…’
Copyright (#ulink_24aa7329-052f-50af-926e-5dfaa7d8cd87)
Published by HarperCollinsPublishers Ltd
1 London Bridge Street
London SE1 9GF
www.harpercollins.co.uk (http://www.harpercollins.co.uk)
First published in Great Britain by Collins, The Crime Club 1967
Endless Night™ is a trade mark of Agatha Christie Limited and Agatha Christie
and the Agatha Christie Signature are registered trade marks of Agatha Christie Limited in the UK and elsewhere.
Copyright © 1967 Agatha Christie Limited. All rights reserved.
www.agathachristie.com (http://www.agathachristie.com)
Cover by designedbydavid.co.uk (http://designedbydavid.co.uk) © HarperCollins/Agatha Christie Ltd 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: 9780008196394
Ebook Edition © February 2017 ISBN: 9780007422326
Version: 2017-04-11
Dedication (#ulink_09cb62e2-dde4-5358-a6a0-f8e6d1db61a9)
To Nora Prichard
from whom I first heard
the legend of Gipsy’s Acre
Epigraph (#ulink_360bb850-e4fb-58ba-b115-bf00b739a644)
Every Night and every Morn
Some to Misery are born.
Every Morn and every Night
Some are born to Sweet Delight,
Some are born to Sweet Delight,
Some are born to Endless Night,
William Blake
Auguries of Innocence
Contents
Cover (#u8d7ece43-02ed-5d3d-9e8e-ed109c98f3b4)
Title Page (#u4e305e17-b52f-5a77-9408-41f2b55ae0ab)
Copyright (#u71452de5-80ce-5020-8500-5fb2a3dde727)
Dedication (#ucd375dae-54d2-5da5-9a05-f12de1c033d6)
Epigraph (#u7c76dfa0-f192-5280-87be-3d979f4ce920)
Book I (#u95a8ef1a-cd5a-5703-bde1-a2d169c17cd8)
Chapter 1 (#uf6ff7f93-a673-5d28-8460-7d106bbed83c)
Chapter 2 (#u2dcb6d81-d6bf-5f31-b0bf-85e4b230af47)
Chapter 3 (#u350bdad4-e382-5177-b5d7-0e87cce1f6ed)
Chapter 4 (#u06e4b6cb-49ed-5a6f-b62b-73cbe0619578)
Chapter 5 (#u0ef903cb-f08c-546c-93b4-e935f67eac34)
Chapter 6 (#u590d3b5c-1864-58dc-b03c-946fd1ba02f3)
Chapter 7 (#u3a0c0da1-fad6-57d7-9f49-439d97f6c8f6)
Chapter 8 (#u65d10282-1d67-5596-a07a-778ff264edd0)
Book II (#u8a1e217d-be70-5316-bd34-90228e65386c)
Chapter 9 (#u855e8fa1-b2ad-587c-b295-8a1b14194a77)
Chapter 10 (#u04d5dcfc-e046-51ca-8960-0421494d3aae)
Chapter 11 (#u120db8bc-ee33-578d-9171-2b514724f8d8)
Chapter 12 (#ue778f334-bb25-5d4a-8806-24eb7c41e169)
Chapter 13 (#u93c1242b-ea25-5017-9503-299c38ea7bbc)
Chapter 14 (#uc26cef22-cd66-5516-971d-627fb97bbbd2)
Chapter 15 (#u01264898-6c10-5f47-9aba-e9b405e6fe8c)
Chapter 16 (#u7b04504f-7fa3-52ed-9086-50194a01d979)
Chapter 17 (#uc212696e-84a4-5486-ae68-ee434c666f60)
Chapter 18 (#u48b21ebe-0054-5dc7-88aa-edbbe9430f66)
Book III (#udf4ad931-9438-5992-b664-1c707b05ebfc)
Chapter 19 (#u4ff89fd5-b6f5-5637-890b-6b9ed6cf5649)
Chapter 20 (#u5232a7e4-0ae4-5712-bdf8-63f5c1b1fbbc)
Chapter 21 (#u86bd401c-2d1e-5126-a5da-83ff27f18d55)
Chapter 22 (#u65cee484-34e0-5201-85fa-6a063cf3a488)
Chapter 23 (#u14de6ae0-d6b6-5a89-9b56-7d48ef525703)
Chapter 24 (#u15ce490b-62d6-505a-b0fe-21176778d2fe)
Also by Agatha Christie (#uf9a0e100-a6fc-50c9-af68-0c92f5456a1c)
About the Publisher (#u130154da-8eb9-5933-be6e-e784714a52c7)
BOOK I (#ulink_83b45273-0da0-5664-9295-fd7e43746731)
CHAPTER 1 (#ulink_c29089d7-b375-56b1-a376-a9bcb99aef72)
In my end is my beginning … That’s a quotation I’ve often heard people say. It sounds all right—but what does it really mean?
Is there ever any particular spot where one can put one’s finger and say: ‘It all began that day, at such a time and such a place, with such an incident?’
Did my story begin, perhaps, when I noticed the Sale Bill hanging on the wall of the George and Dragon, announcing Sale by Auction of that valuable property ‘The Towers’, and giving particulars of the acreage, the miles and furlongs, and the highly idealized portrait of ‘The Towers’ as it might have been perhaps in its prime, anything from eighty to a hundred years ago?
I was doing nothing particular, just strolling along the main street of Kingston Bishop, a place of no importance whatever, killing time. I noticed the Sale Bill. Why? Fate up to its dirty work? Or dealing out its golden handshake of good fortune? You can look at it either way.
Or you could say, perhaps, that it all had its beginnings when I met Santonix, during the talks I had with him; I can close my eyes and see: his flushed cheeks, the over-brilliant eyes, and the movement of the strong yet delicate hand that sketched and drew plans and elevations of houses. One house in particular, a beautiful house, a house that would be wonderful to own!
My longing for a house, a fine and beautiful house, such a house as I could never hope to have, flowered into life then. It was a happy fantasy shared between us, the house that Santonix would build for me—if he lasted long enough …
A house that in my dreams I would live in with the girl that I loved, a house in which just like a child’s silly fairy story we should live together ‘happy ever afterwards’. All pure fantasy, all nonsense, but it started that tide of longing in me. Longing for something I was never likely to have.
Or if this is a love story—and it is a love story, I swear—then why not begin where I first caught sight of Ellie standing in the dark fir trees of Gipsy’s Acre?
Gipsy’s Acre. Yes, perhaps I’d better begin there, at the moment when I turned away from the Sale board with a little shiver because a black cloud had come over the sun, and asked a question carelessly enough of one of the locals, who was clipping a hedge in a desultory fashion nearby.
‘What’s this house, The Towers, like?’
I can still see the queer face of the old man, as he looked at me sideways and said:
‘That’s not what us calls it here. What sort of a name is that?’ He snorted disapproval. ‘It’s many a year now since folks lived in it and called it The Towers.’ He snorted again.
I asked him then what he called it, and again his eyes shifted away from me in his old wrinkled face in that queer way country folk have of not speaking to you direct, looking over your shoulder or round the corner, as it were, as though they saw something you didn’t; and he said:
‘It’s called hereabouts Gipsy’s Acre.’
‘Why is it called that?’ I asked.
‘Some sort of a tale. I dunno rightly. One says one thing, one says another.’ And then he went on, ‘Anyway, it’s where the accidents take place.’
‘Car accidents?’
‘All kinds of accidents. Car accidents mainly nowadays. It’s a nasty corner there, you see.’
‘Well,’ I said, ‘if it’s a nasty curve, I can well see there might be accidents.’
‘Rural Council put up a Danger sign, but it don’t do no good, that don’t. There are accidents just the same.’
‘Why Gipsy?’ I asked him.
Again his eyes slipped past me and his answer was vague.
‘Some tale or other. It was gipsies’ land once, they say, and they were turned off, and they put a curse on it.’
I laughed.
‘Aye,’ he said, ‘you can laugh but there’s places as is cursed. You smart-Alecks in town don’t know about them. But there’s places as is cursed all right, and there’s a curse on this place. People got killed here in the quarry when they got the stone out to build. Old Geordie he fell over the edge there one night and broke his neck.’
‘Drunk?’ I suggested.
‘He may have been. He liked his drop, he did. But there’s many drunks as fall—nasty falls—but it don’t do them no lasting harm. But Geordie, he got his neck broke. In there,’ he pointed up behind him to the pine-covered hill, ‘in Gipsy’s Acre.’
Yes, I suppose that’s how it began. Not that I paid much attention to it at the time. I just happened to remember it. That’s all. I think—that is, when I think properly—that I built it up a bit in my mind. I don’t know if it was before or later that I asked if there were still gipsies about there. He said there weren’t many anywhere nowadays. The police were always moving them on, he said. I asked:
‘Why doesn’t anybody like gipsies?’
‘They’re a thieving lot,’ he said, disapprovingly. Then he peered more closely at me. ‘Happen you’ve got gipsy blood yourself?’ he suggested, looking hard at me.
