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Room 13
- Language
- EN
- Format
- EPUB
- Size
- 363 KB
Description
Set in England during the early 20th century, "Room 13" by Edgar Wallace is a crime novel that features a fast-paced narrative centred on themes of deception and retribution. The story begins with Johnny Gray, recently released from Dartmoor prison, and involves a complex web of characters including a reformed criminal, a devoted father, and a vengeful antagonist with clandestine connections to forged banknotes. The plot incorporates elements of blackmail, shifting loyalties, and deadly pursuits across various locations such as prisons, suburbs, and hotels. The narrative combines elements typical of crime thrillers of the period, with an emphasis on intrigue and suspense.
The story introduces a cast of figures embroiled in schemes involving forgery and revenge. Emanuel Legge, a vindictive man, and his elusive son Jeff, known as the "Big Printer," play key roles in the unfolding conflict. Johnny Gray's interactions with other characters reveal the darker undercurrents of criminal activity and personal vendettas. The novel's pacing and plot development are characteristic of Edgar Wallace's early 20th-century crime writing style.
The story introduces a cast of figures embroiled in schemes involving forgery and revenge. Emanuel Legge, a vindictive man, and his elusive son Jeff, known as the "Big Printer," play key roles in the unfolding conflict. Johnny Gray's interactions with other characters reveal the darker undercurrents of criminal activity and personal vendettas. The novel's pacing and plot development are characteristic of Edgar Wallace's early 20th-century crime writing style.
From the opening pages
In cold weather, and employing the argot of his companions, Johnny Gray translated this as “Parky Subjects”—it certainly had no significance as “Spare the Vanquished,” for he had been neither vanquished nor spared. Day by day, harnessed to the shafts, he and Lal Morgon had pulled a heavy hand-cart up the steep slope, and day by day had watched absently the red-bearded gate-warder put his key in the big polished lock and snap open the gates. And then the little party had passed through, an armed warder leading, an armed warder behind, and the gate had closed. And at four o’clock he had walked back under the archway and halted whilst the gate was unlocked and the hand-cart admitted. Every building was hideously familiar. The gaunt “halls,” pitch painted against the Dartmoor storms, the low-roofed office, the gas house, the big, barn-like laundry, the ancient bakery, the exercise yard with its broken asphalt, the ugly church, garishly decorated, the long, scrubbed benches with the raised seats for the warders… and the graveyard where the happily released lifers rested from their labours. One morning in spring, he went out of the gate with a working party. They were building a shed, and he had taken the style and responsibility of bricklayer’s labourer. He liked the work because you can talk more freely on a job like that, and he wanted to hear all that Lal Morgon had to say about the Big Printer. “Not so much talking to-day,” said the warder in charge, seating himself on a sack-covered brick heap. “No, sir,” said Lal. He was a wizened man of fifty and a lifer, and he had one ambition, which was to live long enough to get another “lagging.” “But not burglary, Gray,” he said as he leisurely set a brick in its place; “and not shootin’, like old Legge got his packet. And not faking Spider King, like you got yours.” “I didn’t get mine for faking Spider King,” said Johnny calmly. “I didn’t know that Spider King had been rung in when I took him on the course, and was another horse altogether. They framed up Spider King to catch me. I am not complaining.” “I know you’re innocent—everybody is,” said Lal soothingly. “I’m the only guilty man in boob. That’s what the governor says. ‘Morgon,’ he says, ‘it does my heart good to meet a guilty man that…
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