Slow Horses: Slough House Thriller 1

19

THE ROADWORKS have eased on Aldersgate Street. Traffic flows freely once more. If our inquisitive bus passenger of earlier acquaintance were to gaze at Slough House today on her way past, she might find its passage too swift for concentrated study, though on a London bus there always remains the possibility of inexplicable delay. But that aside, a glimpse is all that the new dispensation permits; one brief view of a young Chinese man with heavy-framed spectacles behind a monitor, and Slough House is in the past. Whatever used to happen there presumably continues to do so. Whatever haunts its fading paintwork doubtless still abides.

But fresh opportunities have arisen since our voyeur’s first journey. She can alight at the bus stop opposite, for instance, and take a seat, and gaze all day at the never-opening front door of Slough House, with no possibility that Jed Moody will emerge to encourage her departure. Such a vigil, though, would offer little in the way of entertainment, and besides, other views await: across the road, up the staircase at Barbican station, over the pedestrian bridge, a brief sortie along a bricked-walkway, and – weather permitting – she’ll find a dry low wall on which to perch, and perhaps light a cigarette, and feast at her leisure on what she can see through the waiting windows.

Which is more than can be seen from bus-level, certainly. For instance, it is now clear that the wobbling ziggurat to one side of the young Chinese man’s desk is composed of pizza boxes, and the tin pyramid to the other of Coke cans; and clear, too, that he appears to have sole occupation of this office. There is another desk, but its surface is clear; almost antiseptically so. It’s as if a particularly conscientious cleaner has obliterated all traces of the desk’s erstwhile occupant; a sterilisation which evidently leaves his former colleague undismayed, occupied as he is by whatever is unreeling on his screen.

This thorough decluttering is in marked contrast to the state of the adjoining office, which looks to have been abandoned at a moment’s notice. The desktops here are still littered with the usual detritus: diaries open to future events, uncapped pens, an alarm clock, a radio, a small gonk. Stuff which, upon a desk-worker’s abrupt departure, would usually find itself swept into the nearest cardboard box and carted home. But here it all remains, suggesting that whichever pair recently shared this office found good reason not to return; being guilty, perhaps, of the kind of offence which has rendered them not only persona non grata but in danger of incurring active hostility from above.

Onwards and upwards, though; onwards and upwards. From the Barbican perch, a view of the second floor is offered, and this is busier, or at any rate, more peopled. In one of the offices – for our watcher, the one to the left – a pair of workers sit at the same desk; or rather, one sits at the desk while her companion perches on its edge, both concentrating on a transistor radio. Meanwhile, in the next room – the one whose windows read W. W. Henderson, Solicitor and Commissioner for Oaths – a young man sits alone; a freshly barbered young man of average height; fair-haired, pale-skinned, grey-eyed; with a sharpish nose and a small mole on his upper lip. He sits unmoving, his gaze apparently focused on the desk in the other half of his room. This, like its counterpart in the occupied office downstairs, appears to have been swept clean of personal effects, leaving only the ubiquitous computer and keyboard, a telephone, and a battle-scarred blotter belonging to another era entirely. But closer inspection reveals something else on the desk’s surface; an object our watcher recognises as a hair-slide, or barrette, though whether that word forms part of the young man’s vocabulary is open to question. And yet for the moment at least it demands his full attention: an abandoned barrette on a blotter on an unoccupied desk.

So far, so pleasing, from our watcher’s point of view, but even from her current vantage point the topmost floor remains inaccessible; the blind drawn over its windows ensuring that whoever haunts this floor does so unobserved. That should be an end of it, then. Our watcher should move along, there being nothing more to see. And yet still she remains, as if she were in possession of some sophisticated piece of surveillance kit that allows her not only to study the people through the windows but to unpeel their actual thoughts, and thus learn that Roderick Ho’s constant trawling through the Service’s classified databases is a quest for the secret that ever eludes him, this being the nature of the sin for which he’s been banished to Slough House – for he is certain that he has committed no crimes that anyone is aware of. And he might be right about this, but the fact remains that he’s looking in the wrong place, since the reason for his exile lies not in his doings but simply in his being. For Roderick Ho is disliked by everyone he encounters, a direct result of his own palpable dislike for everyone else, and his expulsion from Regent’s Park was the administrative equivalent of the swatting of a fly. And if this explanation ever does occur to Ho, enlightenment will probably have its roots in that moment in the café on Old Street, when Catherine Standish called him Roddy.

Meanwhile, on the next floor up, Min Harper and Louisa Guy share a desk. If Min retains a tendency to pat his pockets, to make sure he hasn’t lost anything, it’s a habit held in check for the time being; and if Louisa still grinds her teeth at moments of tension, either she is learning to control this, or is currently feeling no stress. And while there remains unfinished business between this pair, what commands their attention right now is the radio, which is informing them of the death of one Robert Hobden in a hit-and-run accident. Hobden, of course, was a fallen star, but that his passing is not un-newsworthy is evidenced by the contribution of Peter Judd, a politician as assuredly in the ascendant as Hobden was in decline. And what Judd has to say is this: that while Hobden’s attitudes and beliefs were, of course, utter hogwash, his career had not been without its highlights, and his tragic – yes, that was the word – Hobden’s tragic arc should serve as a warning of the inherent dangers of extremism, in whatever flag it draped itself. And as for his own ambitions, yes, since the question had been asked, Peter Judd would, actually, be prepared to, ah, leave his plough if so required and take up greater office for the common weal – an underused term, but one with historical and cultural resonance, if he might be pardoned the digression.

Leaving unexamined the question of whether Guy and Harper are in a forgiving mood, our watcher’s attention shifts now to River Cartwright, alone in the office next door. And what River Cartwright is thinking is that rewriting history is the Service’s favourite game; a topic he might illustrate from a hundred of the O.B.’s late-night stories, but which is most immediately realised for him in the fact of Sidonie Baker’s absence – not merely from the office, but from the records of the hospital in which she supposedly died, which have been so thoroughly sanitised as to offer reassurance as to the hygiene standards of the NHS. Just as she is not here now, so she was never there then. Indeed, River’s own memories and those of his colleagues aside, his only absolute proof of her having existed resides in the barrette he found in his car, and which he has placed on her desk. As for proof of her having ceased to exist, he has none. Which allows him to speculate – or perhaps a better word might be pretend – that what he imagined happened to her did not. And he is also thinking that tonight he will catch a train to Tonbridge, and spend time with his grandfather; and perhaps even call his mother. And that tomorrow he will return to Slough House, where daily boredom is perhaps not so absolutely guaranteed as it once was, now that the Second Desk at Regent’s Park is effectively in Jackson Lamb’s pocket.

And as for Lamb himself – as for Lamb, he remains the shape he ever was, and of much the same temper, and his current position is what it is most mornings: he is reclining in his chair to a degree that threatens its stability and studying his noticeboard, to the back of which is once more pinned the flight fund so briefly in the possession of Jed Moody. The flight fund’s existence, of course, is now known to River Cartwright, but Lamb has other secrets, and major among them is this: that all joes go to the well. River would baulk at the information, but Lamb knows it to be true: all joes go to the well in the end, slyly whoring themselves for the coin of their choice. Among the late slow horses, for example, Sid Baker wanted to do her duty, Struan Loy and Kay White sought favour, and Jed Moody needed to be back among the action. Lamb has known greater treacheries. After all, Charles Partner – one-time head of Five – sold himself for money.

There is movement behind him, and Catherine Standish enters, bearing a cup of tea. This she deposits on Lamb’s desk before departing again, no word having been spoken during the transaction. But Standish, though she doesn’t know it, occupies a place in what Lamb, when he’s forced to acknowledge it, thinks of as his conscience, for another lesson he has long absorbed, and one hardly limited to the Intelligence sphere, is that actions have consequences which harm and ensnare others. Once, in exchange for a service, Lamb revealed to Roderick Ho the sin that had left him in Slough House, and his story – that he had been responsible for an agent’s death – was, like all the best lies, true, though rendered harmless by the omission of details; that, for instance, it was Charles Partner’s death for which he had been responsible, an execution sanctioned by, among others, River Cartwright’s grandfather. For this act, Lamb’s reward was Slough House. Lamb, then, went to the well for peace and quiet, for a sanctuary in which to indulge his ironic self-disgust, and the killing of his former friend and mentor does not disturb his sleep. But the fact that it was, inevitably, Catherine Standish who found her boss’s body has been known to give him pause. Having found bodies in his time, Lamb is aware that such moments leave a scar. He has no intention of attempting to make amends for this, but if it lies within his power to do so, he will prevent further injury to her.

For the time being, though, he is contemplating immediate options. The status quo is the most obvious of these: Slough House is Lamb’s kingdom, and recent events have done nothing to change that. And should the unexpected arise, he always has his flight fund. But a third way seems to be suggesting itself; and this is that perhaps he is not as weary as he thought of the world of Regent’s Park and its ever-diminishing loyalties. Perhaps he washed his hands of it too soon. Certainly he’s had few moments of late to match that in which he watched Diana Taverner realise that he’d outplayed her, and if he can outplay her, he can surely find more worthy enemies. So far, this is idle fancy; something to fill the space between this cup of tea and the next. But who knows? Who knows.

Enough. Our watcher extinguishes, if she was smoking, her cigarette, and checks her watch, if she’s wearing one. Then stands and retraces her steps: along the bricked-walkway, over the pedestrian bridge, down the staircase at Barbican station, and onto Aldersgate Street. It is threatening rain again, which it always seems to do on this corner. And she has no umbrella. Never mind. If she walks fast enough, she can reach her destination without getting wet.

If another one ever turns up, she might even step onto a bus.