Murder at the Museum - Lena Jones Agatha Oddly

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in a grey lint, which has settled and collected over many years. But I’m not the first person to walk here recently. There are footprints, though how many sets it’s difficult to tell because they keep to a track, like when someone walks through snow along the same path that someone else has already trodden down. I think about walking in that track myself, to disguise the fact I’ve been here, but it’s too late – I’ve already left my prints behind me. A little further down the corridor, I get my first confirmation that this underground building is indeed a Tube station, albeit an unused one – a faded, much-torn poster advertising Ovaltine is pasted to a curved billboard set into the wall.

      The poster looks old – very old by the style of font and the watercolour illustration of a woman holding a steaming mug in front of her. If I had to guess, I’d say it’s from the 1930s or ’40s, and was put up sometime during the Second World War. But why is it still here? Why was this Tube station abandoned? I walk on, turning this way then that through the empty tiled corridors, and find my answer.

      I’ve stepped out on to a platform. And there, on the wall across from me, is a faded sign, which reads: BRITISH MUSEUM.

      It’s the disused British Museum station! It’s been closed for decades. The people who ran the Tube back then decided that there weren’t enough people using it. It wasn’t even close to the museum. I know that it used to be a stop on the Central line (that’s the line marked red on Tube maps), which for the most part draws a neat line through the middle of London. I wonder whether the Central line trains pass through this station now or just bypass it, going down another nearby tunnel.

      As if on cue, I hear a distant, rattling rumble – the familiar sound of a Tube train passing by.

      I’ve always wanted a chance to visit some of the abandoned stations – but I don’t have much time to think about that now, because it’s getting late and there’s a murder to solve – and if Dad has realised I’m away from home, I need to be getting back sooner rather than later.

      I search quickly around the platform and find more clues – tiles wiped clean of dust through contact, and, there, a little further along, a dust-free space on the ground, where something was obviously being stored, though it’s gone now.

      The space is large and roughly rectangular. It doesn’t give much of an idea as to what might have been there. When I reach the edge of the platform, I bend down and shine my light into the dark passage. I half expect to see that the old tracks have been ripped up, either to stop trains from passing this way, or so that the metal could be recycled, as happened with many of the city’s metal gates and fences during the Second World War. But, as I shine my torch down into the dark canyon, two gleaming bands of silver throw the beam of light back at me. The old rails are not only still in place; they are polished so highly that there can be no mistaking it – trains have passed through here recently, and often.

      Hmm … how can that be? I’ve now heard three trains pass by and not one of them has come through. Perhaps they use this tunnel to store trains when they’re not in service. Or maybe it’s used to store repair vehicles on the tracks. Or could it be a bypass tunnel, which allows trains to pass while another sits idle?

      I finish looking around the station, taking mental photos of everything as I go. I wish I had a real camera, so I could get some actual pictures of the boot prints marking the dust around me, but my own memory will have to suffice. I stare at some of them for longer than usual, to make sure that the images are well developed.

      Finally, it seems there’s no more for me to investigate down here. I could go back up to the British Museum the same way I got down, but the police investigation is well established up there. If I make another appearance, I’m bound to be spotted again, and this time the police might be suspicious. I’m glad I brought my Guild key.

      Walking to the far end of the platform, I hop down on to the tracks – and just in time too: I hear the voice of a man, arriving on the platform behind me. Hurriedly, I turn off my torch.

      ‘Did you remember my five sugars?’

      I crouch and hold very still.

      Another man responds: ‘Dunno. I just shovel them in.’ So that’s two men, at least.

      ‘Jeez, Frankie – you know I can’t drink it when it’s not sweet enough.’

      ‘I’m just amazed you’ve got any teeth left.’

      They laugh. I can’t hear any other voices joining in, but, although it’s a relief they’re alone, two’s more than enough to worry about. I begin to shuffle quickly towards the tunnel, but I lose my balance for a moment and my foot thuds against the metal of the train tracks.

      One of the men speaks: ‘What’s that?’

      ‘What?’

      ‘I heard a noise.’

      ‘Probably one of those mice that live along the rails.’

      ‘Sounded like a pretty big mouse.’

      I hear footsteps approaching and flatten myself against the side of the platform as much as possible. Crouching in the shadows, I hope I’m nearly invisible.

      A torch is shone along the tracks. It gets worryingly close to me, reflecting in the toe of my boots. I really shouldn’t polish my footwear if I’m going to wear it for undercover work. Has he seen me? I hold my breath and close my eyes. I’m clutching my front-door keys, the only potential weapon I have to hand, but I don’t fancy my chances if I have to rely on them to defend myself.

      ‘Nothing there,’ he pronounces, turning and heading back to his mate.

      ‘What time did you say it’s due?’ asks the other one.

      ‘In the next five or ten, I reckon – if they don’t have to stop in a side tunnel on the way.’

      While they’re talking, I run silently to the tunnel mouth. I know there are several doors on the Central line which will give me access to the Guild passages, and, once I’m in one of those, it will be simple enough to find my way back to Hyde Park. Most importantly, I need to get off the rails before the train comes through.

      Inside the total darkness of the tunnel, I dare to turn on my torch again. It doesn’t make a lot of difference – the light was dim when I used it earlier in the museum, and it’s lost power since then and is frustratingly weak, but it’s all I’ve got. I push on. Five minutes of jogging and I find what I’m looking for – a small wooden door set into the side of the service passage leading off from the Central line.

      The sounds of trains on the other tracks are closer now, rumbling and rattling, and screeching as they brake. To some people it could be unsettling – frightening even – knowing that these fast engines are racing through the tunnels surrounding them. But I’m used to this – used to walking underground, used to being a little bit too close to forces that might harm me. Taking the Guild key from round my neck, I don’t even pause before putting it into the lock. I’m also growing accustomed to breaking the rules.

      Still, after waiting all summer to take the Trial, I can’t help but shudder at the thought of the consequences if I get caught down here. I open the door and step into a narrow tunnel which is far cleaner and better kept than the one I’ve just come from. As I enter, lights come on – automatic sensors picking up my movement. This brightly lit corridor is more disconcerting than the previous one: there’s nowhere to hide.

      I turn off the little torch and put it in my pocket. One of my brain’s tricks is an internal compass that I use to navigate. I have a lot of tools like this – internal filing cabinets and visual memory aids – but I can’t explain how most of them work, even to myself. They just do. I walk a little way, passing various doors on my left, until I reach one on my right, which my compass tells me is the right direction for home. I open it and pass through, and walk for fifteen to twenty minutes, checking over my shoulder the whole time. At last, I come to a sign on the wall with arrows pointing in two directions. One of the arrows points towards Piccadilly Circus, the other towards Marble Arch.

      Marble

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