Detective Superintendent Richard Jury (Vertigo 42, 2014, etc.) joins with the usual friends and relations and a covey of London black cab drivers to unravel a spectacularly public double murder.
Moments after cabbie Robbie Parsons drops American astrophysicist David Moffit and his beautiful British wife, Rebecca, in front of the Artemis Club, the exclusive casino/art gallery run by enterprising Leonard Zane, a man steps out of nowhere and shoots the two visitors dead. Even more remarkably, he gets into Robbie’s cab, takes it to Waterloo Station, and catches a train to Heathrow without breaking a sweat. Unbeknownst to his passenger, Robbie has alerted his buddies in the black-cab network, and one of them, Patty Haigh, follows the shooter, steals a ticket for his flight to Dubai, chats him up, and ends up traveling in the next first-class pod. Patty, the latest in a long line of Grimes’ tough, unflappable, endlessly resourceful preteen female heroes, reflects of her companion, who’s booked passage under the name Bushiri Banerjee, that “for somebody who shoots people, he was pretty nice.” Meanwhile, back in London, Jury is dispatching his old friend Melrose Plant to Nairobi, where Banerjee has flown from Dubai, and planted antiques dealer Marshall Trueblood as a dealer in the Artemis Club while Jury himself tries to figure out why Banerjee felt the need to shoot both Moffits and how their murders might be connected to the remarkably coincidental shooting of one Danny Morrissey in the Metropole, the Reno hotel Zane also owned, eight years ago. Many more coincidences will follow—some actually coincidental, others not so much—seriously denting but never wrecking the mystery at the core of a whimsically digressive adventure in which Jury has to fight for attention, let alone resolution.
Grimes’ endlessly fertile imagination conjures up new people, places, and episodes that you’ll want to hear all about however tangential they end up being to the dubious case that’s supposed to tie them all together.