The Man in the Queue ag-1

by Josephine Tey

  A light rain felt across the window-pane with stealthy fingers. The end of the good weather, thought Grant. A silence followed, dark and absolute. It was as if an advance guard, a scout, had spied out the land and gone away to report. There was the long, far-away sigh of the wind that had been asleep for days. Then the first blast of the fighting battalions of the rain struck the window in a wild rattle. The wind tore and raved behind them, hounding them to suicidal deeds of valour. And presently the drip, drip from the roof began a constant gentle monotone beneath the wild symphony, intimate and soothing as the tick of a clock. Grant's eyes closed to it, and before the squall had retreated, muttering into the distance, he was asleep.

  But in the morning, a grey morning veiled in dispirited drizzle, the theory still looked watertight — with judicious plugging at the weak spot, and it was not until, hard on the track of the dead man's friend, he was interviewing the manager of the Adelphi branch of the Westminster Bank that he found his nicely made house of cards pattering round his ears.

  The agent was a quiet, grey man whose unluminous skin had somehow taken on the appearance of a banknote. In his manner, however, he was more like a general practitioner than a financial adviser. Grant found himself momentarily expecting to feel Mr. Dawson's dry fingertips on his wrist. But Mr. Dawson this morning was a mixture of Mercury and Juggernaut. This was his report.

  The five notes in which the inspector was interested had all of them been paid over the counter on the 3rd of the month as part of a payment of two hundred and twenty-three pounds ten shillings. The money had been drawn by a client of theirs who had a running account in the bank. His name was Albert Sorrell, and he ran a small bookmaker's business in Minley Street. The sum drawn represented the whole of the money deposited with them except a pound, which had been left presumably with the intention of keeping the account open.

  Good! thought Grant; the friend is a bookmaker too.

  Had Mr. Dawson known Mr. Sorrell by sight? he asked.

  No, not very well, but his cashier would be able to tell the inspector all about him; and he summoned the cashier. "This is Inspector Grant from Scotland Yard. He wants a description of Mr. Albert Sorrell, and I have told him that you will provide him with one."

  The cashier provided a very telling one. With a minuteness that defeated any hope of a mistake, he described the dead man.

  When he had finished, Grant sat thinking at top speed. What did it mean? Had the dead man owed the money to the friend, and had the friend taken all he possessed and afterwards been seized with a too tardy charity? Was that how the notes had come into the friend's possession? On the 3rd, too. That was ten days before the murder.

  Did Sorrell draw the money himself? he asked.

  No, the cashier said; the cheque had been presented by a stranger. Yes, he remembered him. He was very dark, thin, medium height or a little under, with high cheekbones. Foreign-looking, a little.

  The Levantine!

  Grant was seized with a mixture of exhilaration and breathlessness — rather as Alice must have felt during her express journey with the Red Queen. Things marched, but at what a bat!

  He asked to see the cheque, and it was produced. "You don't think that this is a forgery?" Such a thought had not occurred to them. Both the amount and the signature had been made out in Mr. Sorrell's handwriting, and that was unusual in an attempt at forgery. They brought out other cheques of the dead man's, and exhibited them. They refused to entertain the thought that the cheque was not genuine. "If it is a forgery," Mr. Dawson said, "it is incredibly good. Even if it were proved a forgery, I should have difficulty in believing it. I think you may take it that it is a genuine cheque."

  And the foreigner had drawn it. The foreigner had had all Sorrell's deposit with the exception of twenty shillings. And ten days later he had stuck Sorrell in the back. Well, if it proved nothing else, it proved the existence of a relationship between the two men which would be useful when it came to evidence in a court of law.

  "Have you the numbers of the rest of the notes handed over in the money to Sorrell?" They had, and Grant took a list of them. Then he inquired what Sorrell's address was, and was told that they had no home address, but that his office was at 32 Minley Street, off Charing Cross Road.

  As Grant walked up to Minley Street from the Strand he began to digest the news. The Levantine had drawn the money with a cheque made payable to Sorrell and endorsed by Sorrell. Theft seemed to be ruled out by the fact that Sorrell had made no fuss in the ten days intervening between the paying out of the money and his death. Therefore the cheque had been given to the foreigner by Sorrell himself. Why had it not been made payable to the foreigner? Because it had been a transaction in which the Levantine had no intention of letting his name appear. Had he been «bleeding» Sorrell? Had his asking for something, which Raoul Legarde had reported as being the tenor of their conversation on the night of the murder, been but a further demand for money? Had the Levantine been not an unlucky companion in Sorrell's ruin but the means of it? At least that transaction over the counter of the Westminster Bank explained Sorrell's pennilessness and intended suicide.

  Then who had sent the twenty-five pounds? Grant refused to believe that the man who had had all Sorrell had, and who had stuck him in the back at not getting more, would have disbursed such a sum for so slight a reason. There was some one else. And the some one else knew the Levantine well enough to be in receipt of at least twenty-five pounds of the amount that the Levantine had received from Sorrell. Moreover, the some one else and the dead man had lived together, as witnessed by the dead man's fingerprints on the envelope which had contained the twenty-five pounds. The sentimentality of the action and the lavishness of the amount spoke of a woman, but the handwriting people had been very sure that the printing was a man's work. And of course that some one else had also owned the gun with which Sorrell had contemplated putting an end to himself. It was a pretty tangle, but at least it was a tangle — closely related and growing closer, so that at any moment he might pick up a lucky thread which, when pulled, would unravel the whole thing. It seemed to him that he had only to find out about the dead man's habits and life generally and he would have the Levantine.

  Minley Street has, in common with the lesser turnings off Charing Cross Road, that half secretive, half disgruntled air that makes it forbidding. A stranger turning into it has an uncomfortable feeling of being unwelcome, as if he had blundered unwittingly into private property; he feels as a newcomer feels in a small café under the half surprised, half resentful scrutiny of the habitués. But Grant, if he was not an habitué of Minley Street, was at least no stranger to it. He knew it as most of the Yard know the purlieus of Charing Cross Road and Leicester Square. If the outwardly respectable but sly faces of the houses said anything to him, it was "Oh, here again, are you?" At 32 a painted wooden notice announced that on the first floor were the offices of Albert Sorrell, Turf Accountant, and Grant turned in at the doorway and climbed the dim stairs smelling of the charwoman's Monday-morning ministrations. The stairs came to a pause at a wide landing, and Grant knocked at the door which had Sorrell's name on it. As he expected, there was no answer. He tried the door, and found it locked. He was about to turn away, when there was a stealthy sound from inside. Grant knocked again loudly. In the subsequent pause he could hear the loud hum of the distant traffic and the footsteps of the people below on the street, but no sound came from inside the room. Grant bent to the keyhole. There was no key in it, but the view he obtained was not extensive — the corner of a desk and the top of a coal-scuttle. The room he was looking into was the back one of the two which had evidently constituted Sorrell's offices. Grant stayed where he was for a little, motionless and expectant, but nothing living crossed the small still-life picture that the keyhole framed. He rose to go away, but, before he had taken the first step, again there was that stealthy sound. As Grant cocked his head the better to listen, he became aware that over the banister of the floor above hung an inverte
d human head, grotesque and horrible, its hair spread round it by the force of gravity into a Struwwelpeter effect.

  Finding itself observed, the head said mildly, "Are you looking for some one?"

  "The evidence points that way, doesn't it?" said Grant nastily. "I'm looking for the man who has these offices."

  "Oh?" said the head, as if this were an entirely new idea. It disappeared, and a moment later appeared right way up in its proper place as part of a young man in a dirty painter's smock, who came down the last flight to the landing, smelling of turpentine and smoothing down his mop of hair with paint-covered fingers.

  "I don't think that man's been here for quite a while now," he said. "I have the two floors above — my rooms and my studio — and I used to pass him on the stairs and hear his — his — I don't know what you call them. He was a bookie, you know."

  "Clients?" suggested Grant.

  "Yes. Hear what I presume were his clients coming sometimes. But I'm sure it's more than a fortnight since I saw or heard him."

  "Did he go to the course, do you know?" Grant asked.

  "Where's that?" asked the artist.

  "I mean, did he go to the races every day?"

  The artist did not know.

  "Well, I want to get into his offices. Where can I get a key?"

  The artist presumed that Sorrell had the key. The agent for the property had an office off Bedford Square. He could never remember the name of the street or the number, but he could find his way there. He had lost the key of his own room or he would have offered it for a trial on Sorrell's door.

  "And what do you do when you go out?" asked Grant, curiosity for a moment overcoming his desire to get behind the locked door.

  "I just leave it unlocked," said this happy wight. "If any one finds anything in my rooms worth stealing, they're cleverer than I am."

  And then suddenly, apparently within a yard of them and just inside the locked door, that stealthy sound that was hardly sound — merely a heard movement.

  The artist's eyebrows disappeared into the Struwwelpeter hair. He jerked his head at the door and looked interrogatively at the inspector. Without a word Grant took him by the arm and drew him down the stairs to the first turn. "Look here," he said, "I'm a plain-clothes man — know what that is?" for the artist's innocence as to courses had shaken any faith he might have had in his worldly knowledge. The artist said, "Yes, a bobby," and Grant let him away with it. "I want to get into that room. Is there a yard at the back where I can see the window of the room?"

  There was, and the artist led him to the ground floor and through a dark passage to the back of the house, where they came out into a little bricked yard that might have been part of a village inn. A low outhouse with a lead roof was built against the wall, and directly above it was the window of Sorrell's office. It was open a little at the top and had an inhabited air.

  "Give me a leg up," said Grant, and was hoisted onto the roof of the outhouse. As he drew his foot from the painty clasp of his assistant, he said, "I might tell you that you are conniving at a felony. This is house-breaking and entirely illegal."

  "It is the happiest moment of my life," the artist said. "I have always wanted to break the law, but a way has never been vouchsafed me. And now to do it in the company of a policeman is joy that I did not anticipate my life would ever provide."

  But Grant was not listening to him. His eyes were on the window. Slowly he drew himself up until his head was just below the level of the window-sill. Cautiously he peered over. Nothing moved in the room. A movement behind him startled him. He looked around to see the artist joining him on the roof. "Have you a weapon," he whispered, "or shall I get you a poker or something?" Grant shook his head, and with a sudden determined movement flung up the lower half of the window and stepped into the room. Not a sound followed but his own quick breathing. The wan, grey light lay on the thick dust of a deserted office. But the door facing him, which led into the front room, was ajar. With an abrupt three steps he had reached and thrown it open. And as he did so, out of the second room with a wail of terror sprang a large black cat. It cleared the rear room at a bound and was through the open window before the inspector recognized it for what it was. There was an agonized yell from the artist, a clatter and a crash. Grant went to the window, to hear queer choked moans coming from the yard below. He slid hastily to the edge of the outhouse and beheld his companion in crime sitting on the grimy bricks, holding his evidently painful head, while his body was convulsed in the throes of a still more painful laughter. Reassured, Grant went back to the room for a glance at the drawers of Sorrell's desk. They were all empty — methodically and carefully cleared. The front room had been used as another office, not a living-room. Sorrell must have lived elsewhere. Grant closed the window and, sliding down the lead roof, dropped into the yard. The artist was still sobbing, but had got the length of wiping his eyes.

  "Are you hurt?" Grant asked.

  "Only my ribs," said Struwwelpeter. "The abnormal excitation of the intercostal muscles has nearly broken them." He struggled to his feet.

  "Well, that's twenty minutes wasted," said Grant, "but I had to satisfy myself." He followed the hobbling artist through the dark passage again.

  "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."

  A thought occurred to Grant. "I suppose you couldn't draw Sorrell from memory?"

  Struwwelpeter considered. "I think I could," he said. "Come up a minute." He led Grant into the welter of canvases, paints, lengths of stuff, and properties of all kinds which he called his studio. Except for the dust it looked as though a flood had passed and left the contents of the room in the haphazard relationships and curious angles that only receding water can achieve. After some flinging about of things that might be expected to be concealing something, the artist produced a bottle of Indian ink, and after another search a fine brush. He made six or seven strokes with the brush on a blank sheet of a sketching block, considered it critically, and having torn it from the block handed it over to Grant.

  "It isn't quite correct, but it's good enough for an impression," he said.

  Grant was astonished at the cleverness of it. The ink was not yet dry on the paper, but the artist had brought the dead man to life. The sketch had that slight exaggeration of characteristics that is halfway to caricature, but it lived as no photographic representation could have done. The artist had even conveyed the look of half-anxious eagerness in the eyes which Sorrell's had presumably worn in life. Grant thanked him heartfeltly and gave him his card.

  "If there is ever anything I can do for you, come and see me," he said, and went away without waiting to see the altering expression on Struwwelpeter's face as he took in the significance of the card.

  Near Cambridge Circus are the palatial offices of Laurence Murray — Lucky-Folk-Bet-With-Laury Murray — one of the biggest bookmakers in London. As Grant was going past on the other side of the street, he saw the genial Murray arrive in his car and enter the offices. He had known Laury Murray fairly well for some years, and he crossed the street now and followed him into the shining headquarters of his greatness. He sent in his name and was led through a vast wilderness of gleaming wood, brass, and glass partitions and abounding telephones to the sanctum of the great man, hung round with pictures of great thoroughbreds.