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The Man in the Queue
The Man in the Queue
The Man in the Queue
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The Man in the Queue

Rating: 4 out of 5 stars

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Inspector Alan Grant searches for the identity of a man killed in the line at a theater and for the identity of the killer—whom no one saw.

A long line had formed for the standing-room-only section of the Woffington Theatre. London’s favorite musical comedy of the past two years was finishing its run at the end of the week. Suddenly, the line began to move, forming a wedge before the open doors as hopeful theatergoers nudged their way forward. But one man, his head sunk down upon his chest, slowly sank to his knees and then, still more slowly, keeled over on his face. Thinking he had fainted, a spectator moved to help, but recoiled in horror from what lay before him: the man in the queue had a small silver dagger neatly plunged into his back. With the wit and guile that have made Inspector Grant a favorite of mystery fans, the inspector sets about discovering just how a murder occurred among so many witnesses, none of whom saw a thing.
LanguageEnglish
PublisherTouchstone
Release dateJan 8, 2013
ISBN9781476733289
Author

Josephine Tey

Josephine Tey, author of The Daughter of Time and The Franchise Affair, was born Elizabeth MacKintosh in Inverness in Scotland in 1896. She trained and worked as a teacher before returning to her family home to look after her elderly parents. It was there that she took up writing. Although she described her crime writing, written under the pen name Josephine Tey, as ‘my weekly knitting’ she was and is recognized as a major writer of the Golden Age of Crime writing. She was also successful as a novelist and playwright, writing under the name of Gordon Daviot. Her plays were performed in London and on Broadway. A fiercely private woman, she died at her sister’s home in 1952.

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Reviews for The Man in the Queue

Rating: 3.9402985074626864 out of 5 stars
4/5

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  • Rating: 3 out of 5 stars
    3/5
    Tey was a fantastic writer, and her mystery novels are peppered with beautiful set-pieces, elegant descriptions and minor characters sketched with scythe-like precision. Her concept of the investigator who often makes mistakes and has to recalibrate is also fantastic, and the novel inadvertently has become a piece of historical writing: it's thoroughly enjoyable to keep reminding oneself that Grant can't just use a mobile phone, or look up a suspect's address in "the system". Very engaging.

    I will say the ending is rather abrupt, in contradistinction to the sometimes languid, well-paced rest of the novel. And, to be frank, Tey doesn't do a good job of hiding a major clue which - annoyingly - Grant doesn't seem to pick up! The clue doesn't reveal the killer, but it certainly points an arrow in a general direction. I hope that Tey meant for us to pick up on things that Grant doesn't, but I'm not so sure in this particular interest.

    But anyhow, she's great, and all of her books are worth reading on their own merits.
  • Rating: 2 out of 5 stars
    2/5
    I read this many years ago, along with Tey's other Alan Grant books, and remember loving it. But this reread showed all the faults. Stereotypes and prejudices abound, Grant overtly dismisses many cues, fails to reinterview interested parties, and misreads many clues. I knew way before the end who was really pertinent to the murder, and only couldn't put my finder on the doer because the person in question was so 'disguised' as harmless.If I'd read this today for the first time, I wouldn't have bothered with the following books, and missed [The Daughter of Time], which I remember quite fondly. But I don't think it worthwhile to reread the series unless I'm caught in a snowstorm with only old mysteries on the shelf.
  • Rating: 4 out of 5 stars
    4/5
    Excellent read. Well paced English mystery.
  • Rating: 3 out of 5 stars
    3/5
    A lot of time is misspent in Inspector Grant's musings, and the ending is contrived.
  • Rating: 4 out of 5 stars
    4/5
    There was a lot of suspense in the story, but it started to wear me out toward the end. Not sure if I want to read more of Tey's work.
  • Rating: 3 out of 5 stars
    3/5
    Full of cliches. Writing is very stilted. He writer had a thesaurus and was determined to use every word.
  • Rating: 4 out of 5 stars
    4/5
    Originally published in 1929 under the pen name Gordon Daviot. What I realized after this rereading is that the concept of the Rodeph---Hebrew for "pursuer"---is central to the story: Inspector Grant spends a lot of time hunting down the obvious culprit and, more importantly, the murder victim is a Rodeph, whom the killer believes can only be stopped by killing him.The last three paragraphs, part of brief first-person conversation at the end of the story, added an important moral question to what was otherwise just an enjoyable, difficult-but-maybe-not-impossble-to-guess murder mystery:"Well," I said to him, "it has been a queer case, but the queerest thing about it is that there isn't a villain in it.""Isn't there!" Grant said, with that twist to his mouth.Well, is there?
  • Rating: 4 out of 5 stars
    4/5
    Another excellent Josephine Tey (aka Gordon Daviot). This is the first starring Inspector Alan Grant. A man is murdered in line and his neighbors claim they saw nothing. In her next stories of Inspector Grant you will notice a marked difference; perhaps because this was Tey's first novel? In my opinion A Shilling for Candles offers a much more seasoned Tey, being that it was written seven years later. Nevertheless, everything I read from her was worth--my all time favorite being The Franchise Affair.

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  • Rating: 4 out of 5 stars
    4/5
    A man in the queue to buy a ticket for a popular London show dies with a knife in his back . Inspector Grant investigates --a difficult case as the man is unidentified.
  • Rating: 2 out of 5 stars
    2/5
    Wow. I can't believe that this is the same writer who wrote Daughter of Time & The Franchise Affair. The plot is boring, the writing very uneven with too many dull descriptive passages. It was such a grind, I had to force myself to continue plodding on. After 50 pgs I had finally had enough & gave up. Too many wonderful books out there to waste your time on this one. My recommendation is don't bother.
  • Rating: 3 out of 5 stars
    3/5
    felt more disjointed and dated than other Tey's I have read, but intriguing to see how it all played out anyway
  • Rating: 4 out of 5 stars
    4/5
    The Man in the Queue, first published in 1929, is Josephine Tey's first novel. It introduces Inspector Alan Grant, a dapper little Scotland Yard man with a keen eye for detail. When a man is murdered while waiting in the queue for a popular play, Grant is given the case. But how often is a man murdered — with a dagger, no less — in such a public place? There are a hundred suspects, and none at all. (Please note that there are mild spoilers in this review.)It's interesting that Tey should start her mysteries with her detective's failure to unravel the case. Grant does have an uneasy feeling about the man he tracks down for the murder, but besides that he really doesn't figure out the tangle. I think I like that, actually. Grant can make mistakes like any other person; he isn't the omniscient Holmes or Poirot who always knows the answer and dazzles us all senseless at the end. Tey muses on the fact that an innocent man would have been hanged but for "a woman's fair dealing." It is astonishing (and sobering) how convincing a case can be built from circumstantial evidence. Sometimes justice does miscarry.And that's what I've come to appreciate about Tey, who is certainly not as flashy as some of her fellow murder-mystery authors. Her stories feel like they really could happen. The detective makes real mistakes. The events are mundane and the murders generally unspectacular. But through these stories the characters become more memorable because they don't have to compete with the staging of the murder or live up to the stereotype of the superhuman detective.I love Tey's distinction of the "looker-on" in Grant that makes cool observations from a detached part of his consciousness. It is, perhaps, what Terry Pratchett likes to call his Third Thoughts. Tey's style is subtly artistic, unassuming but deft. Most of the time she is occupied with the events of the story, but sometimes something fanciful slips in, like this:At noon London made you a present of an entertainment, rich and varied and amusing. But at midnight she made you a present of herself; at midnight you could hear her breathe.For readers new to Tey, this isn't a bad place to start (though I prefer The Franchise Affair or Miss Pym Disposes), and with it Tey claims her place among the brighter talents of the Golden Age of Detective Fiction. Recommended.
  • Rating: 3 out of 5 stars
    3/5
    While queuing to see a show in London, a man is found to have been stabbed. It is for Inspector Alan Grant to investigate..
    This is the first book by Josephine Tey, and my first reading of one of her stories which took a few chapters to get passed some of the over-written passages. These did start to disappear as the story progressed. Original written in 1929 I look forward to reading the next Grant story.
  • Rating: 5 out of 5 stars
    5/5
    People are lined up for one of the last performances of “Didn’t You Know,” a popular musical comedy. People are packed together and when the line starts to move, a man falls forward, landing on his face. He is dead and the weapon is sticking out of his back.Detective Inspector Alan Grant is given the case. When he questions those who were around the dead man, it seems no on saw or heard anything. No one even knows who the man is. Any identification has been removed from the man.Grant finds the dead man is named Sorrell and was a small time bookmaker (as in betting). Sorrell shared living space with another bookmaker named Lamont. While questioning Lamont, Grant notices some possible clues pointing to Lamont as the killer, but there are other clues that are contrary. Grant is not 100% sure of Lamont’s guilt, but feels that Lamont must be the killer.Grant nabs Lamont in Scotland, but on the way back to London, Brant starts have stronger second thoughts. It looks to be a solid case, but there are things that don’t jibe. Grant has a gut feeling that he could be wrong and is overlooking or missing something. Grant must make a decision.This is the first book in the Inspector Grant series by Josephine Tey. There were only six and I have one more to read to have read the series. I am looking forward to it. She did not write simple plots.
  • Rating: 4 out of 5 stars
    4/5
    The Man in the Queue by Josephine Tey - Good

    I seem to be in a bit of a rut at the moment in that I have now read eight books, this year, that are 'preserved in aspic' ie written decades ago but set in their present as opposed to written now about the past.

    Josephine Tey's crime novels fall into the same era(s) as Agatha Christie. They share a little in that some words and phrases are now not-pc and certainly, in this book, the word she used to describe the suspect made me shudder. Other than that, they could not be more different. None of the cosy, little grey cells of Poirot or Miss Marple, Inspector Grant is a man of action. A Police Inspector that interviews witnesses, puts men undercover to get information and chases suspects across hill and dale.... or in this case across London and Glen.

    Interesting little mystery with a few twists and turns along the way. Still of the cosy variety - no blood or forensic detail, but quite enjoyable.
  • Rating: 4 out of 5 stars
    4/5
    Tey's first Alan Grant detective story is a complex and entirely reasoned foray, with quite a literary flair, into the blatantly guilty who is actually innocent. Grant chases him through the wilds of Scotland and takes us along for the adventure.
  • Rating: 4 out of 5 stars
    4/5
    A murder committed in the crush of a queue. There's no obvious suspect, there are no clues. There's a murder weapon, it's stuck in the back of the victim. Who did it and why? Kept me guessing and I didn't pick the truth!
  • Rating: 4 out of 5 stars
    4/5
    ‘Yes,’ she said; ‘that’s all very well, but look at the long night there’ll be. You never know the minute you’ll waken up hungry and be glad of the sandwiches even if it’s only to pass the time. They’re chicken, and you don’t know when you’ll have chicken again. It’s a terribly poor country, Scotland. Goodness only knows what you’ll get to eat!’Grant said that Scotland nowadays was very like the rest of Britain, only more beautiful.‘I don’t know anything about beauty,’ said Mrs Field, putting the sandwiches resolutely away in the rug-strap, ‘but I do know that a cousin of mine was in service there once – she went for the season with her people from London – and there wasn’t a house to be seen in the whole countryside but their own, and not a tree. And the natives had never heard of teacakes, and called scones “skons.”’‘How barbaric!’ said Grant, folding his most ancient tweed lovingly away in his case. The Man in the Queue is Tey's first book in the Inspector Grant series and deals with the mystery of a murder that occurs in plain sight but has no witnesses. This is not a spoiler as such as this literally happens within the first few pages. From there on we are introduced to Scotland Yard's Alan Grant, who is the Inspector investigating the case. Grant is a great character - he is funny, contemplative, but also does not shirk away from action. Some of the funniest parts of this story are build around the dialogue that Grant has with various other characters. And the best part is that they are meant to be funny. They are not just funny because they are quaint - there is some freshness to the dialogues.‘No time is wasted that earns such a wealth of gratitude as I feel for you,’ said Struwwelpeter. ‘I was in the depths when you arrived. I can never paint on Monday mornings. There should be no such thing. Monday mornings should be burnt out of the calendar with prussic acid. And you have made a Monday morning actually memorable! It is a great achievement. Sometime when you are not too busy breaking the law come back and I’ll paint your portrait. You have a charming head.’Of course, this should not come as a surprise when we know that before writing this book, Tey had already become a successful writer of plays and other stories under her pseudonym of Gordon Daviot. But it was a bit of a surprise to me, because quite a few reviews of The Man in the Queue did mention that the book had not aged well, a criticism which also seems to be linked with the use of the slur "Dago" throughout the book. I can of course understand that criticism. However, having read two of her other novels in this series also, I am beginning to wonder whether Tey's use of satire and irony may have been at play here, too. She uses the term "Dago" so abundantly to refer to main suspect that I began to wonder whether this over-use was intended to show the assumptions that Tey may have suspected her readers at the time to make as being blinded by stereotype rather than the analysis of the facts. There are some other parts in the book that lead me to believe that Tey may actually have tried to dispel some of the stereotypes found in the pulp fiction of her time. (And of course, in her most famous work A Daughter of Time, we get to question again whether appearances really tell us anything about facts at all!) Notably, Tey includes a dinner conversation in which she shows up a character who is a racist as an ignorant bigot:"His race was a fetish with him, and he compared it at length with most of the other nations in Western Europe, to their extreme detriment. It was only towards the end of tea that Grant found, to his intense amusement, that Mr Logan had never been out of Scotland in his life. The despised Lowlanders he had met only during his training for the ministry some thirty years ago, and the other nations he had never known at all."I have no biographical proof for this notion of mine. Tey was a private person. Even Josephine Tey is a nom de plume. However, I am looking forward to finding out more about Tey and see whether I can put some meat on this bone in the course of reading more by and about her. As for The Man in the Queue, it is not a great mystery - which is another reason I am inclined to believe that Tey's interest lay more with the creation of ambiguity than with a plot that would thrill lovers of puzzles. There are no clues that would lead the reader to the ultimate solution of the murder. In fact, the ending and solution comes quite out of the blue. In that sense, I would even say that it might work as a mockery of the detective genre. (Maybe that is the reason why it took another 7 years for the next book in the series? I have no answers.) Still I found it very much worth reading."Well, he would find out from the Yard if there was anything new, and if not, he would fortify himself with tea. He needed it. And the slow sipping of tea conduced to thought. Not the painful tabulations of Barker, that prince of superintendents, but the speculative revolving of things which he, Grant, found more productive. He numbered among his acquaintances a poet and essayist, who sipped tea in a steady monotonous rhythm, the while he brought to birth his masterpieces. His digestive system was in a shocking condition, but he had a very fine reputation among the more precious of the modern littérateurs."

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  • Rating: 3 out of 5 stars
    3/5
    I've nothing really to say about this except to describe the entire plot which I do not feel like doing and which I will probably forget in about a week anyway. A man is murdered in a queue, but no one knows who he is which makes it hard to determine why he was murdered. Red herrings abound and the resolution is completely whackadoodle but it was pretty entertaining. Apparently, I had the cleaned up version that removed outright slurs but still maintained its racist and classist charm (ex. stabbing is so un-English! Guess we should look for a hot-blooded, swarthy Latin! Or a poor person).
  • Rating: 3 out of 5 stars
    3/5
    It's like, you know. Okay.
  • Rating: 3 out of 5 stars
    3/5
    I've been on a Josephine Tey kick lately (she's one of the Golden Age writers I came to late). And while I've enjoyed the others I've read, especially _Miss Pym Disposes_, I have to say that this one was difficult. I was put off by the casual racism in the use of the word "Dago" to describe the prime suspect, and even understanding that as part of the historical context didn't keep Inspector Grant's insistence on using it from bothering me a lot. I will note, though, that it's interesting how, once Grant has a name for his man, he stops calling him a Dago and actually empathizes with him. Still, by that point, the damage had been done.Someone's review of _Miss Pym_ mentioned the reliance on factors like phrenology and breeding (i.e., eugenics) to solve the case...and with that interesting observation in mind, I couldn't help but see the same kind of plot playing out here. _The Man in the Queue_ is rescued, however, by the twist that keeps it from falling in line with that kind of "logic."Despite all that, though, this is another clever, witty mystery by Tey, with some interesting characterizations and some gorgeous descriptions, such as this one:"He lingered in the door to watch the flat purple outline of the islands to the west. The stillness was full of the clear, faraway sounds of evening. The air smelt of peat smoke and the sea. The first lights of the village shone daffodil-clear here and there. The sea grew lavender, and the sands became a pale shimmer in the dusk."
  • Rating: 3 out of 5 stars
    3/5
    Stasia, knowing I like Agatha Christie, gave me a bunch of Josephine Tey's mysteries. They are not quite the same style, but have that great England-in-the-1930s vibe.
  • Rating: 3 out of 5 stars
    3/5
    This is the first time I'd heard of Josephine Tey or read one of her books. It was a rather odd mystery, as Inspector Grant spends the entire time zeroing in on a particular suspect and feeling like something was not quite right...and then the twist comes at the end and the truth is revealed but no thanks to his abilities as a police inspector.For a huge Agatha Christie fan, this felt tame as a mystery, but I found the characters intriguing and drawn subtly enough to keep my interest.I see that some of Ms. Tey's other works have gotten higher ratings here, so maybe I will try one of them some time.
  • Rating: 3 out of 5 stars
    3/5
    An enjoyable read though not the best Inspector Grant novel. The inspector investigates the death of a man, stabbed in the back in a London theatre queue. Some passages in Scotland remind me of John Buchan, but the ending is a bit of a cheat - from memory both Agatha Christie and Dorothy Sayers mention the problem of the watertight crime in their fiction... Also some of the language is dated and racist. Still if you are a fan of Tey and Grant then it's worth a look - but beginners should start with "Daughter of Time" or "The Franchise Affair".
  • Rating: 4 out of 5 stars
    4/5
    It's hard to believe Tey died 60 years ago. Yes, some of the book is dated (It was first published in 1929!) but that doesn't really detract from the enjoyment. A good read.
  • Rating: 2 out of 5 stars
    2/5
    Rather a disappointment. I had looked forward to reading this book, remembering how much I enjoyed Tey's "The Daughter of Time" which I read as a teenager more than thirty years.Sadly this book had noting of the sterling qualities of "The Daughter of Time", and subsided into mindless tweeness lacking any semblance of feasible plot or plausible characters.
  • Rating: 4 out of 5 stars
    4/5
    The first book in Josephine Teys’ series that introduces Scotland Yard’s Inspector Alan Grant, The Man In the Queue is a fascinating look at the solving of a murder in the days before forensics and computers. A deceptively simple murder of a man standing in line for a theatre performance. Unfortunately neither the identity of the victim or the murderer will come easy to Inspector Grant.The story follows along as the Inspector painstakingly tracks down each miniscule clue in order to firstly identify the man that was stabbed in the back, and then to build a picture of his life and who was in it that could possible be the murderer. The story, the language and it’s careless and casual racism are all a bit dated, but it is interesting to look at this early mystery of hers simply for the influence she has had on future writers. Her many references to World War I, even years after that event, certainly highlight the impact this war had on a generation. Although the ending seems to come out of the blue, the clues are there, but as we are so firmly embedded in Alan Grant’s mindset, we, like him, don’t pick them up.The story, like the solving of this murder, tends to plod along until we switch to the Scottish Highlands, at that point the story took off for me, and I read avidly to the end. I would say not the best of her work, but certainly interesting enough to encourage me to continue with the series.
  • Rating: 4 out of 5 stars
    4/5
    Josephine Tey is one of my favorite authors, easily the equal of Dorothy Sayers and Agatha Christie. Sadly, she wrote only eight mystery novels. I find half of those eight (Miss Pym Disposes, The Franchise Affair, Brat Farrar and The Daughter of Time) absolutely brilliant and two others (To Love and Be Wise, The Singing Sands) very, very good indeed. Unfortunately, I find Man in the Queue, her first novel, merely good.Which doesn't mean it isn't worth reading. I was struck at the start at just how strong is Tey's prose, as she describes a queue of people waiting to buy tickets for a London musical comedy. When the line moves forward, a man keels over, a stiletto in his back, and the seven people near him are detained by the police but all of them claim to have witnessed nothing. As it turns out, the corpse has nothing to identify him, so the first order of business is finding out just who was the man in the queue.Investigating is Inspector Alan Grant of Scotland Yard, and he's a rather bland figure in this novel. Likable, but he doesn't have the quirks or emotional complexities or flashy brilliance that mark out a Sherlock Holmes, Hercule Poirot or Lord Peter Wimsey from the start. There are also ethnic stereotypes expressed by Grant in this novel, no question. The introduction by Robert Barnard that appears in new editions of the Tey novels, even accuses Tey of being anti-semitic and anti-working class. I don't see that in my reread of four of the Tey novels so far, and don't remember it in the ones I haven't read for decades. However, I'd say there's a difference between a novel or its author being bigoted, and the characters expressing prejudice. And I'd note that Grant's assumptions based on such stereotypes prove wrong.There are other flaws. Towards the end traces of first person appear out of the blue, as if there was originally a frame that was dropped but a few "I" statements got missed being edited out. I think the main complaint veteran mystery readers will have is that Tey doesn't play fair and allow you to solve the mystery along with her detective. The resolution, although it doesn't conflict with what we've known and makes sense of the complexities of the case, does come out of the blue. I still enjoyed this--Tey is always a pleasure to read. And if I don't rate this higher, that's because her first novel really just doesn't match her best. She's one who got stronger as she went along. But that just means that if you start here, you only have better to look forward to.
  • Rating: 3 out of 5 stars
    3/5
    Although an “interesting” first mystery novel -- and a very promising one -- this book has a number of flaws. It is unclear what “type” of mystery novel Tey (Elizabeth Mackintosh) was attempting to write. Was it a police procedural? An action adventure? A discourse on the realities of justice? Insightful examination of the moral and intellectual quandaries of a detective? All these different types of mystery novels seemed to have been wedged together into one and unfortunately, the seams do show. At different times in the book the writer functions as a disinterested observer of life, as the omniscient recorder of the thoughts of all the characters and as a disembodied “I” who knows and interacts with the detective. Tey’s writing shows great promise and even with the technical difficulties mentioned above this is certainly a book that would be enjoyed by most fans of the British murders mysteries written in the 1920s.Spoilers ahead.The last few lines of the book ask the reader to consider the question of who has been the villain. The person we finally come to realize did the murder? Most people would argue no. The person who was murdered? One could make a good argument that that was the case. Or are we to think of the person whose actions motivated the behaviour of the murderer? It is perhaps only in retrospect and after years of public education that readers are likely to realize that the core story of this novel is that of a man who continues to feel ownership of a woman who has long since left him behind. One might even say that he becomes a stalker. Certainly at the time this was first published there would have been many who would have felt far more sympathy for the man whose disappointment in love leads him to suicide than for the woman who rejected him. Indeed the writer, and the major characters, do not seem to be excessively concerned that this man was willing to kill a woman rather than “lose" her. When once one realizes that this is a story about a woman lashing out to protect another woman from a man who is willing to commit murder-suicide then the story changes from one of cozy murder into a frightening glimpse of how little things have really changed in the last 100 years.
  • Rating: 3 out of 5 stars
    3/5
    The introduction to Tey's sleuth,Inspector Alan Grant, who I loved so much in Daughter of Time. In this book, Tey's first published, Grant must figure out who stabbed an apparently friendless man in the line for a popular London musical.While I felt it dragged on a little, I can see how this book launched Tey's career. The ending really was unforeseeable so the mystery is there until the end. I'll continue with the other Grant mysteries.

Book preview

The Man in the Queue - Josephine Tey

1 MURdER

IT WAS BETWEEN seven and eight o’clock on a March evening, and all over London the bars were being drawn back from pit and gallery doors. Bang, thud, and clank. Grim sounds to preface an evening’s amusement. But no last trump could have so galvanized the weary attendants on Thespis and Terpsichore standing in patient columns of four before the gates of promise. Here and there, of course, there was no column. At the Irving, five people spread themselves over the two steps and sacrificed in warmth what they gained in comfort; Greek tragedy was not popular. At the Playbox there was no one; the Playbox was exclusive, and ignored the existence of pits. At the Arena, which had a three weeks’ ballet season, there were ten persons for the gallery and a long queue for the pit. But at the Woffington both human strings tailed away apparently into infinity. Long ago a lordly official had come down the pit queue and, with a gesture of his outstretched arm that seemed to guillotine hope, had said, All after here standing room only. Having thus, with a mere contraction of his deltoid muscle, separated the sheep from the goats, he retired in Olympian state to the front of the theatre, where beyond the glass doors there was warmth and shelter. But no one moved away from the long line. Those who were doomed to stand for three hours more seemed indifferent to their martyrdom. They laughed and chattered, and passed each other sustaining bits of chocolate in torn silver paper. Standing room only, was it? Well, who would not stand, and be pleased to, in the last week of Didn’t You Know? Nearly two years it had run now, London’s own musical comedy, and this was its swan song. The stalls and the circle had been booked up weeks ago, and many foolish virgins, not used to queues, had swelled the waiting throng at the barred doors because bribery and corruption had proved unsuccessful at the box office. Every soul in London, it seemed, was trying to crowd into the Woffington to cheer the show just once again. To see if Golly Gollan had put a new gag into his triumph of foolery—Gollan who had been rescued from a life on the road by a daring manager, and had been given his chance and had taken it. To sun themselves yet once more in the loveliness and sparkle of Ray Marcable, that comet that two years ago had blazed out of the void into the zenith and had dimmed the known and constant stars. Ray danced like a blown leaf, and her little aloof smile had killed the fashion for dentrifice advertisements in six months. Her indefinable charm, the critics called it, but her followers called it many extravagant things, and defined it to each other with hand-wavings and facial contortions when words proved inadequate to convey the whole of her faery quality. Now she was going to America, like all the good things, and after the last two years London without Ray Marcable would be an unthinkable desert. Who would not stand forever just to see her once more?

It had been drizzling since five o’clock, and every now and then a light chill air lifted the drizzle and half playfully swept the queue from end to end with it in one long brushstroke That discouraged no one—even the weather could not take itself seriously tonight; it had merely sufficient tang to provide a suitable apéritif to the fare in front of them. The queue twiddled its toes, and Cockneywise made the most of whatever entertainment provided itself in the dark canyon of the lane. First there had come the newsboys, small things with thin, impassive faces and wary eyes. They had flickered down the queue like wildfire and disappeared, leaving behind a trail of chatter and fluttering papers. Then a man with legs shorter than his body laid a ragged strip of carpet on the damp pavement and proceeded to tie himself into knots until he looked as a spider does when it is taken unawares, his mournful toad’s eyes gleaming now and then from totally unexpected places in the writhing mass, so that even the most indifferent spectator felt his spine trickle. He was succeeded by a man who played popular airs on the fiddle, happily oblivious of the fact that his E string was half a tone flat. Then, simultaneously, came a singer of sentimental ballads and a syncopated orchestra of three. After they had scowled at each other for a moment or two, the soloist tried to rush things on the possession-being-nine-points principle, by breaking into a wailing Because You Came to Me, but the leader of the orchestra, handing his guitar to a lieutenant, proceeded to interview the tenor, with his elbows out and his hands lifted. The tenor tried to ignore him by looking over his head, but found it difficult, because the musician was half a head taller than himself and appeared to be ubiquitous. He persevered for another two lines, and then the ballad wavered uncertainly into bitter expostulation in his natural voice, and two minutes later he faded up the dark alley, mumbling threats and complaints, and the orchestra broke into the latest dance tune. This being more to the taste of the moderns than inappropriate resurrection of decayed sentiment, they promptly forgot all about the poor victim of force majeure, and twiddled their toes in time to the lively measure. After the orchestra, and severally, came a conjurer, an evangelist, and a man who allowed himself to be tied up in a rope with imposing-looking knots, and as imposingly worked himself free.

All these did their little turn and moved on to another performance elsewhere, and each one before leaving made a tour of the line, thrusting limp but importunate headgear into the meagre interstices of the queue, and saying, Thank you! Thank you! as encouragement to the bountiful. By way of punctuation to the programme, there had been vendors of sweetmeats, vendors of matches, vendors of toys, vendors even of picture post cards. And the crowd had parted good-naturedly with their pence and found amusement sufficient to their needs.

Now a shudder ran down the line—a shudder that the experienced recognized as but one thing. Stools were given up or folded into handbags, food disappeared, purses appeared. The doors were open. The lovely exciting gamble had begun. Was it to be win, place, or lose by the time they came to the wicket? Up in the front of the queue where the order was less mathematically two-and-two than down in the open, the excitement of the door-opening had for a moment or two overcome the habitual place-keeping instincts of the Englishman—I say Englishman advisedly; the Scot has none of it—and there had been a mild pushing and readjustment before the queue had become immobile in a wedged and short-breathing mass before the guichet, which was immediately inside the pit door. The clink and rattle of coin on brass proclaimed the continual hurried transactions which made the lucky ones free of paradise. The very sound of it made those behind strain forward unconsciously until the crowd in front protested as audibly as their crushed lungs permitted, and a policeman went down the queue to remonstrate. Now then, now then, stand back a bit. There’s plenty of time. You won’t get in by pushing. All in good time. Now and then the whole line tottered forward a few inches as the emancipated ones ran in twos and threes from the head of it, like beads rolling from a broken string. Now a fat woman held them up by fumbling in her bag for more money. Surely the fool could have found out before now the exact amount required instead of keeping them back like this. As if conscious of their hostility she turned to the man behind her and said angrily:

 ’Ere, I’ll thank you to stop shoving. Can’t a lady be allowed to take out her purse without every one losing their manners?

But the man she addressed took no notice. His head was sunk on his chest. Only the top of his soft hat met her beady indignant gaze. She snorted, and moving away from him to face the box office squarely laid down the money she had been searching for. And as she did so the man sank slowly to his knees, so that those behind almost fell over him, stayed like that for a moment, and then keeled still more slowly over on his face.

Chap fainted, said some one. No one moved for a moment or two. Minding one’s own business in a crowd today is as much an instinct of self-preservation as a chameleon’s versatility. Perhaps some one would claim the chap. But no one did; and so a man with more social instinct or more self-importance than the rest moved forward to help the collapsed one. He was about to bend over the limp heap when he stopped as if stung and recoiled hastily. A woman shrieked three times, horribly; and the pushing, heaving queue froze suddenly to immobility.

In the white clear light of the naked electric in the roof, the man’s body, left alone by the instinctive withdrawal of the others, lay revealed in every detail. And rising slantwise from the gray tweed of his coat was a little silver thing that winked wickedly in the baleful light.

It was the handle of a dagger.

Almost before the cry of Police! had gone up, the constable had come from his job of pacification at the other end of the queue. At the first of the woman’s shrieks he had turned. No one shrieked like that except when faced by sudden death. Now he stood looking for a moment at the picture, bent over the man, turned his head gently to the light, released it, and said to the man at the guichet:

Phone for the ambulance and the police.

He turned his rather shocked gaze on the queue.

Any one here know the gentleman?

But no one claimed acquaintance with the still thing on the floor.

Behind the man there had been a prosperous suburban couple. The woman was moaning continuously and without expression, Oh, let’s go home, Jimmy! Oh, let’s go home! On the opposite side of the guichet stood the fat woman, arrested by this sudden horror, grasping her ticket in her black cotton gloves but making no effort to secure a seat now that the way lay open to her. Down the waiting line behind, the news went like fire in stubble—a man had been murdered!—and the crowd in the sloping vestibule began to mill suddenly in hopeless confusion as some tried to get away from the thing that had spoiled all thought of entertainment, and some tried to push forward to see, and some indignant ones fought to keep the place they had stood so many hours for.

Oh, let’s go home, Jimmy! Oh, let’s go home!

Jimmy spoke for the first time. I don’t think we can, old girl, until the police decide whether they want us or not.

The constable heard him and said, "You’re quite right there. You can’t go. You first six will stay where you are—and you, missus, he added to the fat woman. The rest come on." And he waved them on as he would wave the traffic past a broken-down car.

Jimmy’s wife broke into hysterical sobbing, and the fat woman expostulated. She had come to see the show and didn’t know anything about the man. The four people behind the suburban couple were equally reluctant to be mixed up in a thing they knew nothing about, with results that no one could foresee. They too protested their ignorance.

Maybe, said the policeman, but you’ll have to explain all that at the station. There’s nothing to be scared of, he added for their comfort, and rather unconvincingly in the circumstances.

So the queue came on. The doorkeeper brought a green curtain from somewhere and covered up the body. The automatic clink and rattle of coin began again and went on, indifferent as rain. The doorkeeper, moved from his habitual Jovian abstraction by their plight or by the hope of reward, offered to keep their rightful seats for the seven derelicts. Presently came the ambulance and the police from Gowbridge Police Station. An inspector had a short interview with each of the detained seven, took names and addresses, and dismissed them with a warning to be ready to come up if called upon. Jimmy took his sobbing wife away to a taxi, and the other five straggled soberly into the seats over which the doorkeeper was brooding, just as the curtain rose on the evening performance of Didn’t You Know?

2 INSPECTOR GRANT

SUPERINTENDENT BARKER applied a carefully manicured forefinger to the ivory bell-push on the under side of his table, and kept it there until a minion appeared.

Tell Inspector Grant that I want to see him, he said to the minion, who was doing his best to look obsequious in the great man’s presence, but was frustrated in his good intention by an incipient embonpoint which compelled him to lean back a little in order to preserve his balance, and by the angle of his nose which was the apotheosis of impudence. Bitterly conscious of failure, the minion withdrew to deliver the message and to bury the memory of his confusion among the unsympathetic perfection of files and foolscap from which he had been summoned, and presently Inspector Grant came into the room and greeted his chief cheerily as one man to another. And his chief’s face brightened unconsciously in his presence.

If Grant had an asset beyond the usual ones of devotion to duty and a good supply of brains and courage, it was that the last thing he looked like was a police officer. He was of medium height and slight in build, and he was—now, if I say dapper, of course you will immediately think of something like a tailor’s dummy, something perfected out of all individuality, and Grant is most certainly not that; but if you can visualize a dapperness that is not of the tailor’s dummy type, then that is Grant. Barker had for years striven unsuccessfully to emulate his subordinate’s chic; he succeeded merely in looking too carefully dressed. He lacked the flair for things sartorial as he lacked flair in most things. He was a plodder. But that was the worst that could be said about him. And when he started plodding after some one, that some one usually wished he had never been born.

He regarded his subordinate now with an admiration untinged with any resentment, appreciated his son-of-the-morning atmosphere—he himself had been awake most of the night with sciatica—and came to business.

Gowbridge are very sick, he said. In fact, Gow Street went so far as to insinuate that it was a conspiracy.

Oh? Some one been pulling their legs?

No, but last night’s affair is the fifth big thing in their district in the last three days, and they’re fed up. They want us to take this last affair over.

What is that? The theatre-queue business, is it?

Yes, and you are O.C. investigations. So get busy. You can have Williams. I want Barber to go down to Berkshire about that Newbury burglary. The locals down there will want a lot of soft soap because we have been called in, and Barber is better at that than Williams. I think that is all. Better get down to Gow Street right away. Good luck.

Half an hour later Grant was interviewing the Gowbridge police surgeon. Yes, the surgeon said, the man had been dead when he was brought into hospital. The weapon was a thin, exceedingly sharp stiletto. It had been driven into the man’s back on the left side of the backbone with such force that the hilt had pressed his garments to a wad which had kept any blood from flowing. What had escaped had oozed out round the wound without coming to the outer surface at all. In his opinion the man had been stabbed a considerable time—perhaps ten minutes or more—before he had collapsed as the people in front moved away. In a squash like that he would be held up and moved along by the crowd. In fact, it would have been a sheer impossibility to fall if one had wanted to in such a closely packed mob. He thought it highly unlikely that the man was even aware that he had been struck. So much pressing and squeezing and involuntary hurting went on on these occasions that a sudden and not too painful blow would not be noticed.

And about the person who stabbed him? Anything peculiar about the stabbing?

No, except that the man was strong and left-handed.

Not a woman?

No, it would need more strength than a woman has to drive the blade in as it has been driven. You see, there was no room for a backsweep of the arm. The blow had to be delivered from a position of rest. Oh no, it was a man’s work. And a determined man’s, too.

Can you tell me anything about the dead man himself? asked Grant, who liked to hear a scientific opinion on any subject.

Not much. Well nourished—prosperous, I should say.

Intelligent?

Yes, very, I should think.

What type?

What type of occupation, do you mean?

No, I can deduce that for myself. What type of—temperament, I suppose you’d call it?

Oh, I see. The surgeon thought for a moment. He looked doubtfully at his interlocutor. Well, no one can say that for a certainty—you understand that? And when Grant had acknowledged the qualification: But I should call him one of the ‘lost cause’ type. He raised his eyebrows interrogatively at the inspector and, assured of his understanding, added, He had practical enough qualities in his face, but his hands were a dreamer’s. You’ll see for yourself.

Together they viewed the body. It was that of a young man of twenty-nine or thirty, fair-haired, hazel-eyed, slim, and of medium height. The hands, as the doctor had pointed out, were long and slim and not used to manual work. Probably stood a lot, said the surgeon with a glance at the man’s feet. And walked with his left toe turned in.

Do you think his assailant had any knowledge of anatomy? asked Grant. It was almost incredible that so small a hole had let a man’s life out.

It wasn’t done with the precision of a surgeon, if that’s what you mean. As for a knowledge of anatomy, practically every one who is old enough to have lived through the war has a working knowledge of anatomy. It may have been just a lucky shot—and I rather think it was.

Grant thanked him and came to business with the Gow Street officials. On the table were laid out the scanty contents of the man’s pockets. Grant was conscious of a faint dismay when he saw their fewness. A white cotton handkerchief, a small pile of loose change (two half-crowns, two sixpences, a shilling, four pennies, and a halfpenny), and—unexpected—a service revolver. The handkerchief was well worn but had no laundry mark or initial. The revolver was fully loaded.

Grant examined them in a disgusted silence. Laundry marks on his clothes? he asked.

No, there were no marks of any kind.

And no one had come to claim him? Not even any one to make inquiries?

No, no one but that old madwoman who laid claim to every one the police found.

Well, he would see the clothes for himself. Painstakingly he examined each article of clothing. Both hat and shoes were well worn, the shoes so much so that the maker’s name, which should have been on the lining, had been obliterated. The hat when new had been bought from a firm who owned shops all over London and the provinces. Both were good of their kind, and though well worn neither was shabby. The blue suit was fashionable if rather too pronounced in cut, and the same might be said of the grey overcoat. The man’s linen was good if not expensively so, and the shirt was of a popular shade. All the clothes, in fact, had belonged to a man who either took an interest in clothes or was accustomed to the society of those who did. A salesman in a men’s outfitter’s, perhaps. As the Gowbridge people had said, there were no laundry marks. That meant either that the man had wanted to hide his identity or that his linen was washed habitually at home. Since there was no sign of any obliteration of marks it followed that the latter was the reasonable explanation. On the other hand, the tailor’s name had been deliberately removed from the suit. That and the scantiness of the man’s belongings pointed certainly to a desire on his part to conceal his identity.

Lastly—the dagger. It was a wicked little weapon in its viperish slenderness. The handle was of silver, about three inches long, and represented the figure of some saint, bearded and robed. Here and there it was touched with enamel in bright primitive colours such as adorn sacred images in Catholic countries. In general it was of a type fairly common in Italy and along the south coast of Spain. Grant handled it gingerly.

How many people have had their hands on it? he asked.

The police had commandeered it as soon as the man had arrived in hospital and it could be removed. No one had touched it since. But the expression of satisfaction was wiped from Grant’s face when the information was added that it had been tested for fingerprints and had been found blank. Not even a blurred one spoiled the shining surface of the smug saint.

Well, said Grant, I’ll take these and get on. He left instructions with Williams to take the dead man’s fingerprints and to have the revolver examined for peculiarities. To his own sight it seemed to be an exceedingly ordinary service revolver of a type which since the war has been as common in Britain as grandfather clocks. But, as has been said, Grant liked to hear authorities on their own subject. He himself took a taxi and spent the rest of the day interviewing the seven persons who had been nearest the unknown when he collapsed the previous night.

As the taxi bore him hither and thither he let his thought play round and over the situation. He had not the faintest hope that these people he interviewed would be of use to him. They had one and all denied any knowledge of the man when first questioned, and they were not likely to alter their minds as to that now. Also, if any of them had seen a companion with the dead man previously, or had noticed anything suspicious, they would have been only too ready to say so. It was Grant’s experience that ninety-nine people proffered useless information where one was silent. Again, the surgeon had said that the man had been stabbed some time before it had been noticed, and no assassin was going to stay in the immediate neighbourhood of his victim until the deed was discovered. Even if the possibility of a bluff had occurred to the murderer, the chances of a connexion between himself and his victim being established were too good to allow a sensible man—and a man bent on self-preservation is usually shrewd enough—to indulge in it. No, the man who did it had left the queue some time before. He must find some one who had noticed the murdered man before his death and had seen him in converse with some one. There was, of course, the possibility to be faced that there had been no converse, that the murderer had merely taken up a place behind his victim and slipped away when the thing was done. In that case he had to find some one who had seen a man leave the

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