Agatha Christie - The Moving Finger

I have often recalled the morning when the first of the anonymous letters came.

It arrived at breakfast and I turned it over in the idle way one does when time goes slowly and every event must be spun out to its full extent. It was, I saw, a local letter with a typewritten address. I opened it before the two with London postmarks, since one of them was clearly a bill, and on the other I recognised the handwriting of one of my more tiresome cousins.

It seems odd, now, to remember that Joanna and I were more amused by the letter than anything else. We hadn't, then, the faintest inkling of what was to come – the trail of blood and violence and suspicion and fear.

One simply didn't associate that sort of thing with Lymstock.

I see that I have begun badly. I haven't explained Lymstock.

When I took a bad crash flying, I was afraid for a long time, in spite of soothing words from doctors and nurses, that I was going to be condemned to lie on my back all my life. Then at last they took me out of the plaster and I learned cautiously to use my limbs, and finally Marcus Kent, my doctor, clapped me on my back and told me that everything was going to be all right, but that I'd got to go and live in the country and lead the life of a vegetable for at least six months.

"Go to some part of the world where you haven't any friends. Get right away from things. Take an interest in local politics, get excited about village gossip, absorb all the local scandal. Small beer – that's the prescription for you. Absolute rest and quiet."

Rest and quiet! It seems funny to think of that now.

And so Lymstock – and Little Furze.

Lymstock had been a place of importance at the time of the Norman Conquest. In the twentieth century it was a place of no importance whatsoever. It was three miles from a main road – a little provincial market town with a sweep of moorland rising above it. Little Furze was situated on the road leading up to the moors. It was a prim, low, white house with a sloping Victorian veranda painted a faded green.

My sister Joanna, as soon as she saw it, decided that it was the ideal spot for a convalescent. Its owner matched the house, a charming little old lady, quite incredibly Victorian, who explained to Joanna that she would never have dreamed of letting her house if "things had not been so different nowadays – this terrible taxation."

So everything was settled, and the agreement signed, and in due course Joanna and I arrived and settled in, while Miss Emily Barton went into rooms in Lymstock kept by a former parlourmaid ("my faithful Florence ") and we were looked after by Miss Barton's present maid, Partridge, a grim but efficient personage who was assisted by a daily "girl."

As soon as we had been given a few days to settle down, Lymstock came solemnly to call. Everybody in Lymstock had a label – "rather like happy families," as Joanna said.

There was Mr. Symmington the lawyer, thin and dry, with his querulous bridge-playing wife. Dr. Griffith – the dark, melancholy doctor – and his sister who was big and hearty. The vicar, a scholarly absent-minded elderly man and his erratic eager-faced wife. Rich dilettante Mr. Pye of Prior's End, and finally Miss Emily Barton herself, the perfect spinster of village tradition.

Joanna fingered the cards with something like awe.

"I didn't know," she said in an awestruck voice, "that people really called with cards!"

"That," I told her, "is because you know nothing about the country."

Joanna is very pretty and very gay, and she likes dancing and cocktails and love affairs and rushing about in high-powered cars. She is definitely and entirely urban.

"At any rate," said Joanna, "I look all right."

I studied her critically and was not able to agree.

Joanna was dressed (by Mirotin) for 'le sport'. The effect was quite charming, but a bit startling for Lymstock.

"No," I said. "You're all wrong. You ought to be wearing an old faded tweed skirt with a nice cashmere jumper matching it and perhaps a rather baggy cardigan coat, and you'd wear a felt hat and thick stockings and old well-worn brogues. Your face is all wrong, too," I added.

"What's wrong with that? I've got on my Country Tan Make-Up No. 2."

"Exactly," I said. "If you lived here, you would have just a little powder to take the shine off the nose and you would almost certainly be wearing all your eyebrows instead of only a quarter of them."

Joanna laughed, and said that coming to the country was a new experience and she was going to enjoy it.

"I'm afraid you'll be terribly bored," I said remorsefully.

"No, I shan't. I really was fed up with all my crowd, and though you won't be sympathetic I really was very cut up about Paul. It will take me a long time to get over it."

I was skeptical over this. Joanna's love affairs always run the same course. She has a mad infatuation for some completely spineless young man who is a misunderstood genius. She listens to his endless complaints and works to get him recognition. Then, when he is ungrateful, she is deeply wounded and says her heart is broken – until the next gloomy young man comes along, which is usually about three weeks later.

I did not take Joanna's broken heart very seriously, but I did see that living in the country was like a new game to my attractive sister. She entered with zest into the pastime of returning calls. We duly received invitations to tea and to bridge, which we accepted, and issued invitations in our turn.

To us, it was all novel and entertaining – a new game.

And, as I say, when the anonymous letter came, it struck me, at first, as amusing too.

For a minute or two after opening the letter, I stared at it uncomprehendingly. Printed words had been cut out and pasted on a sheet of paper.

The letter, using terms of the coarsest character, expressed the writer's opinion that Joanna and I were not brother and sister.

"Hullo," said Joanna. "What is it?"

"It's a particularly foul anonymous letter," I said.

I was still suffering from shock. Somehow one didn't expect that kind of thing in the placid backwater of Lymstock.

Joanna at once displayed lively interest.

"No? What does it say?"

In novels, I have noticed, anonymous letters of a foul and disgusting character are never shown, if possible, to women. It is implied that women must at all cost be shielded from the shock it might give their delicate nervous systems.

I am sorry to say it never occurred to me not to show the letter to Joanna. I handed it to her at once.

She vindicated my belief in her toughness by displaying no emotion but that of amusement.

"What an awful bit of dirt! I've always heard about anonymous letters, but I've never seen one before. Are they always like this?"

"I can't tell you," I said. "It's my first experience, too."

Joanna began to giggle.

"You must have been right about my make-up, Jerry. I suppose they think I just must be an abandoned female!"

"That," I said, "coupled with the fact that our father was a tall, dark, lantern-jawed man and our mother a fair-haired blue-eyed little creature, and that I take after him and you take after her."

Joanna nodded thoughtfully. "Yes, we're not a bit alike. Nobody would take us for brother and sister."

"Somebody certainly hasn't," I said with feeling.

Joanna said she thought it was rightfully funny. She dangled the letter thoughtfully by one corner and asked what we were to do with it.

"The correct procedure, I believe," I said, "is to drop it into the fire with a sharp exclamation of disgust."

I suited the action to the word, and Joanna applauded.

"You did that beautifully," she said. "You ought to have been on the stage. It's lucky we still have fires, isn't it?"