This book explores how Sarah Phelps draws out the Gothic horror themes in Agatha Christie's writing to reframe the sense of dread and themes of death. If the whodunit is traditionally a game between the text and the reader/viewer, then the use of these Gothic horror devices challenges our preconceptions of Agatha Christie's stories. In her adaptation of The Pale Horse (2020), the series embraces the aesthetics and narrative devices afforded by the Folk Horror genre to reposition the role of women in the story. In Christie's source novel, a middleman makes a bet with clients who want someone murdered. That client then visits the witches who, in turn, pass this information onto Zachariah Osborne, who then murders the victims with thallium poison. In the adapted text, Osborne (Bertie Carvel) seeks out the clients and uses spies to find out the names of the victims when they meet the witches. In Christie's version, they are nothing but hacks performing tricks on their clients; in Phelps’ version, the witches don't knowingly contribute to the murders, an interesting twist on where evil is found in the Folk Horror text.