Free A Murder of Quality by John le Carré Page A

disappeared quickly into the shadow of the house.
    Smiley set off along the road again, back towards the town. After walking for about ten minutes he stopped and looked again towards the Rodes’ house a hundred yards across the playing fields. It lay in the shadow of a small coppice of fir trees, dark and secret against the white fields. A narrow lane led towards the house; there was a brick pillar-box on one corner and a small oak sign-post, quite new, pointed along the lane, which must, he decided, lead to the village of Pylle. The legend upon the sign was obscured by a film of snow, and Smiley brushed it away with his hand, so that he could read the words ‘North Fields’, done in a contrived suburban Gothic script which must have caused D’Arcy considerable discomfort. The snow in the lane was untrodden; obviously more had fallen recently. There could not be much traffic between Pylle and Carne. Glancing quickly up and down the main road he began making his way along the lane. The hedge rose high on either side, and soon Smiley could see nothing but the pale sky above him, and the straggling willow wands reaching towards it. Once he thought he heard the sound of a footstep, close behind him, but when he stopped he heard nothing but the furtive rustle of the laden hedges. He grew more conscious of the cold: it seemed to hang in the still damp of the sunken road, to clutch and hold him like the chill air of an empty house. Soon the hedge on his left gave way to a sparse line of trees, which Smiley judged to belong to the coppice he had seen from the road. The snow beneath the trees was patchy, and the bare ground looked suddenly ugly and torn. The lane took him in a gradual curve to the left and, quite suddenly, the house stood before him, gaunt and craggy in the moonlight. The walls were brick and flint, half obscured by the mass of ivy which grew in profusion across them, tumbling over the porch in a tangled mane.
    He glanced towards the garden. The coppice which bordered the lane encroached almost as far as the corner of the house, and extended to the far end of the lawn, screening the house from the playing fields. The murderer had reached the house by a path which led across the lawn and through the trees to the lane at the farthest end of the garden. Looking carefully at the snow on the lawn, he was able to discern the course of the path. The white glazed door to the left of the house must lead to the conservatory … And suddenly he knew he was afraid – afraid of the house, afraid of the sprawling dark garden. The knowledge came to him like an awareness of pain. The ivy walls seemed to reach forward and hold him, like an old woman cosseting an unwilling child. The house was large, yet dingy, holding to itself unearthly shapes, black and oily in the sudden contrasts of moonlight. Fascinated despite his fear, he moved towards it. The shadows broke and reformed, darting swiftly and becoming still, hiding in the abundant ivy, or merging with the black windows.
    He observed in alarm the first involuntary movement of panic. He was afraid, then suddenly the senses joined in one concerted cry of terror, where sight and sound and touch could no longer be distinguished in the frenzy of his brain. He turned round and ran back to the gate. As he did so, he looked over his shoulder towards the house.
    A woman was standing in the path, looking at him, and behind her the conservatory door swung slowly on its hinges.
    For a second she stood quite still, then turned and ran back towards the conservatory. Forgetting his fear, Smiley followed. As he reached the corner of the house, he saw to his astonishment that she was standing at the door, rocking it gently back and forth in a thoughtful, leisurely way, like a child. She had her back to Smiley, until suddenly she turned to him and spoke, with a soft Dorset drawl, and the childish lilt of a simpleton:
    ‘I thought you was the Devil, Mister, but you’m got no wings.’
    Smiley