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The House at Sea's End (Ruth Galloway Mysteries)


The House at Sea's End (Ruth Galloway Mysteries) Cover






Two people, a man and a woman, are walking along a hospital corridor. It is obvious that they have been here before. The womans face is soft, remembering; the man looks wary, holding back slightly at the entrance to the ward. Indeed, the list of restrictions printed on the door looks enough to frighten anyone. No flowers, no phones, no children under eight, no coughers or sneezers. The woman points at the phone sign (a firmly crossed out silhouette of a rather dated-looking phone) but the man just shrugs. The woman smiles, as if she is used to getting this sort of response from him.

 They press a buzzer and are admitted.

 Three beds in, they stop. A brown-haired woman is sitting up in bed holding a baby. She is not feeding it, she is just looking at it, staring, as if she is trying to memorise every feature. The visiting woman, who is blonde and attractive, swoops down and kisses the new mother. Then she bends over the baby, brushing it with her hair. The baby opens opaque dark eyes but doesnt cry. The man hovers in the background and the blonde woman gestures for him to come closer. He doesnt kiss mother or baby but he says something which makes both women laugh indulgently.

 The babys sex is easy to guess: the bed is surrounded by pink cards and rosettes, even a slightly deflated balloon announcing ‘Its a girl. The baby herself, though, is dressed in navy blue as if the mother is taking an early stand against such stereotyping. The blonde woman holds the baby, who stares at her with those dark, solemn eyes. The brown-haired woman looks at the man, and looks away again quickly.

 When visiting time is over, the blonde woman leaves presents and kisses and one last caress of the babys head. The man stands at the foot of the bed, pawing the ground slightly as if impatient to be off. The mother smiles, cradling her baby in an ageless gesture of serene maternity.

 At the door, the blonde woman turns and waves. The man has already left.

 But five minutes later he is back, alone, walking fast, almost running. He comes to a halt by the bed. Wordlessly, the woman puts the baby into his arms. She is crying, though the baby is still silent.

 ‘She looks like you, she whispers.



The tide is out. In the early evening light, the sands stretch into the distance, bands of yellow and grey and gold. The water in the rock pools reflects a pale blue sky. Three men and a woman walk slowly over the beach, occasionally stooping and looking intently at the ground, taking samples and photographs. One of the men holds something that looks rather like a staff, which he plants into the sand at regular intervals. They pass a lighthouse marooned on a rock, its jaunty red and white paint peeling, and a beach where a recent rock fall means that they have to wade in the sea, splashing through the shallow water. Now the coastline has transformed into a series of little coves which appear to have been eaten out of the soft, sandstone cliff. Their progress slows when they have to clamber over rocks slippery with seaweed and the remains of old sea walls. One of the men falls into the water and the other men laugh, the sound echoing in the still evening air. The woman trudges on ahead, not looking back.

 Eventually they reach a spot where the cliff juts out into the sea, forming a bleak headland. The land curves away sharply, leaving a v-shaped inlet where the tide seems to be moving particularly fast. White-topped waves race towards jagged rocks and the seagulls are calling wildly. High up, on the furthest point of the cliff, is a grey stone house, faintly gothic in style, with battlements and a curved tower facing out to sea. A Union Jack is flying from the tower.

 ‘Seas End House, says one of the men, stopping to rest his back.

 ‘Doesnt that MP live there? asks another.

 The woman has stopped at the far side of the bay and is looking across at the house. The battlements are dark grey, almost black, in the fading light.

 ‘Jack Hastings, she says. ‘Hes an MEP.

 Although the woman is the youngest of the four and has a distinctly alternative look - purple spiky hair, piercings and an army surplus jacket - the others seem to treat her with respect. Now one of the men says, almost pleadingly, ‘Dont you think we should knock off, Trace?

 The man holding the staff, a bald giant known as Irish Ted, adds, ‘Theres a good pub here. The Seas End.

 The other men stifle smiles. Ted is famous for knowing every pub in Norfolk, no mean feat in a county reputed to have a pub for every day of the year.

 ‘Lets just walk this beach, says Trace, getting out a camera. ‘We can take some GPS readings.

 ‘Erosions bad here, says Ted. ‘Ive been reading about it. Seas End House has been declared unsafe. Jack Hastings is in a right old two and eight. Keeps ranting on about an Englishmans home being his castle.

 They all look up at the grey house on the cliff. The curved wall of the tower is only two or three feet from the precipice. The remains of a fence hang crazily in midair.

 ‘There was a whole garden at the back of the house once. Summer house, the lot, says Craig, one of the men. ‘My granddad used to do the gardening.

 ‘Beach has silted up too, says Trace. ‘That big storm in February has shifted a lot of stone.

 They all look towards the narrow beach. Below the cliffs, banks of pebbles form a shelf which then falls steeply into the sea. Its an inhospitable place, hard to imagine families picnicking here, children with buckets and spades, sun-bathing adults.

 ‘Looks like a cliff fall, says Ted.

 ‘Maybe, says Trace. ‘Lets get some readings anyway.

 She leads the way along the beach, keeping to the edge of the cliff. A sloping path leads from Seas End House down to the sea and fishing boats are moored higher up, above the tide line, but the sea is coming in fast.

 ‘Theres no way off the beach this side, says the man whose grandfather was a gardener. ‘We dont want to get cut off.

 ‘Its shallow enough, says Trace. ‘We can wade.

 ‘The currents treacherous here, warns Ted. ‘Wed better head straight for the pub.

 Trace ignores him; she is photographing the cliff face, the lines of grey and black with the occasional shocking stripe of red. Ted plunges his staff into the ground and takes a GPS reading. The third man, whose name is Steve, wanders over to a point where a fissure in the cliff has created a deep ravine. The mouth of the ravine is filled up with stones, probably from a rock fall. Steve starts to climb over the rubble, his boots slipping on the loose stones.

 ‘Careful, says Trace, not looking round.

 The sea is louder now, thundering in towards land, and the sea birds are returning to their nests, high up in the cliffs.

 ‘Wed better head back, says Ted again, but Steve calls from the cliff face.

 ‘Hey, look at this!

 They walk over to him. Steve has made a gap in the pile of rubble and is crouching in the cave-like space behind. Its a deep recess, almost an alleyway, the cliffs looming above, dark and oppressive. Steve has shifted some of the larger stones and is leaning over something that lies half-exposed in the sandy soil.

 ‘What is it?

 ‘Looks like a human arm, says Ted matter-of-factly.

Detective Sergeant David Clough is eating. Nothing new in that. Clough eats almost constantly throughout the working day, starting with a McDonalds breakfast, moving on through several Mars Bars and a Pot Noodle for lunch, through a sustaining sandwich and cake at tea time before treating himself to a pint and a curry for supper. Despite this, Cloughs waistline is admirably trim, a fact he attributes to ‘football and shagging. Recently, though, he has acquired a girlfriend, which has cut down on at least one of these activities.

 Clough has had a trying day. His boss is on holiday and Clough was secretly hoping that this would be the week when a serial killer stalked Norfolk and was caught personally by super-policeman David, soon to be Sir, Clough. But, instead, he has had two break-ins, one taking and driving away and one old dear found dead on a stairlift. Its not exactly Miami Vice.

 His phone rings, blasting out an irritating jingle from The Simpsons.

 ‘Trace! Hi, babe.

 Detective Sergeant Judy Johnson, who is (under protest) sharing a desk with Clough, makes gagging motions. Clough ignores her, ingesting the last of his blueberry muffin.

 ‘Dave, youd better come, says Trace. ‘Weve found some bones.

 Clough leaps into action, grabs his phone and dives for the door, yelling for Judy to follow him. The effect is slightly ruined by the fact that he has forgotten his car keys and has to come back for them. Judy is still sitting at the desk, stony faced.

 ‘What do you mean “follow me”? You dont outrank me.

 Clough sighs. Its typical of Judy to raise objections and ruin their only chance of action this week. Ever since she was promoted last year shes been getting above herself, in Cloughs opinion. Okay, shes a good enough cop but shes always picking him up on detail - a piece of paperwork left undone, a date missed, a phone call unrecorded - paperwork never solved a crime, Clough tells her in his head, though not in person; Judy is fairly formidable.

 Now he tries to fix his face into an imitation of the boss at his most impatient.

 ‘Human bones found at Broughton Seas End. Wed better get going pronto.

 Still Judy doesnt move.

 ‘Where were they found? Exactly?

 Clough doesnt know. He was too busy swinging into action to ask questions. He glowers.

 ‘Was that Trace on the phone? Did she find them?

 ‘Yeah. Shes doing some sort of survey of the cliffs and what have you.

 ‘An archaeological survey?

 ‘I dont know. All I know is theyve found some bones, human remains. Are you coming or are you going to ask questions all day?

Sure enough, by the time that they arrive at Broughton Seas End, the tide is coming in and its too dangerous to go down onto the beach. Clough shoots Judy a reproachful look which she ignores completely.

 Trace and Steve are waiting for them at the top of the cliff, near the entrance to Seas End House. The sea has reached the bottom of the sloping path, the waves breaking with a smack against the stone. On the far side of the cove, the cliffs rise up, dark and straight, cut off now by the tide.

 ‘You were a long time, Trace greets Clough. ‘Ted and Craig have gone to the pub.

 ‘Irish Ted? says Clough. ‘Hes always in the pub.

 Judy gets out her notebook and double checks the time before writing it down. Clough is finding her incredibly irritating.

 ‘Where exactly did you find the bones? she asks.

 ‘Theres a gap in the cliff, says Steve. ‘A sort of ravine. Hes a wiry weather-beaten man with grey hair in a ponytail. Typical archaeologist, thinks Clough.

 ‘How did you find them? asks Judy.

 ‘I was investigating a rock fall. I moved some of the bigger stones and there they were, underneath. The soil was probably dislodged by the landslide.

 ‘Are they above the tide line? asks Judy. Across the bay, the first waves are breaking against the foot of the cliffs.

 ‘At present we think theyre protected by the debris from the rock fall, says Trace.

 ‘Spring tide though, says Steve. ‘Itll be a high one.

 ‘If we clear away the rocks and dig a trench, says Trace, ‘the seall get them for sure.

 They watch as the water advances, incredibly quickly now, joining rock pools together, submerging the sea walls, turning the little bay into a churning pool of white.

  Trace looks at her watch. She hasnt made eye-contact with Clough since he arrived; he doesnt know if she is pissed off with him for being late or just in professional, archaeologist mode. Its a new departure for him, going out with a career girl, much less a girl with punk hair and a pierced tongue who wears Doc Martens. They met when Trace was involved with another case involving archaeologists and buried bones. Clough remembers how strongly he felt drawn to Trace from the very first when he saw her digging, her thin arms quilted with muscles. Even now he still finds the muscles (and the piercing) incredibly sexy. For his part, he just hopes that the six-pack compensates for the fact that he hasnt read a book since he got stuck halfway through Of Mice and Men for O-Level English.

 ‘Are you sure they were human bones? Judy is asking.

 ‘Pretty sure, says Trace. She shivers slightly. The sun has gone in and the wind is rising.

 ‘How old?

 ‘I dont know. Wed need Ruth Galloway to have a look.

 Trace, Clough and Judy exchange looks. They all have their own memories of Ruth Galloway. Only Steve does not react to the name. ‘Isnt she the forensics girl? I thought shed left.

 ‘She was on maternity leave, says Judy. ‘I think shes back at work now.

 ‘Should be at home looking after her kiddie, says Clough, rather ill-advisedly.

 ‘Shes a single mother, snaps Trace. ‘Presumably she needs the money.

 ‘How did you come to be on the beach? asks Judy hastily.

 ‘Were doing a survey for the university on coastal erosion. Were surveying all the north-east Norfolk beaches. Weve made some interesting finds as well. Palaeolithic hand axe at Titchwell, a Roman bracelet at Burgh Castle, lots of shipwrecks. Steve was examining the cliffs here when he saw the rockfall. The bones were in the gap behind. It looks like they were buried fairly deeply but the earth got dislodged when the stones came down.

 ‘How come youre discovering these things? asks Judy, as they walk back along the cliff path. ‘If the seas advancing, wouldnt it cover everything up?

 Clough is glad she has asked this. Hed wanted to but was scared of looking stupid in front of Trace.

 ‘Tides change, says Trace shortly. ‘Sand gets moved; parts get silted up, other parts uncovered. The pebbles get pushed further up the beach. Things that were buried become exposed.

 ‘Like our bones, says Steve. ‘They may have been buried well above the tidal line but the waters getting closer, its wearing the earth away. Then part of the cliff came down on top of them.

 ‘Did you get a good look at them? asks Clough.

 ‘Not really, says Steve. ‘Tide was coming in too fast. We didnt want to get stranded on the wrong side of the beach. But, just at a glance, Id say we were looking at more than one body.

 Clough and Judy exchange glances. ‘Definitely human?

 ‘In my humble opinion, yes.

 ‘We found something else too, says Trace, whose opinions are never humble.

 They have reached the pub. Its sign, which, rather tactlessly, shows a man falling off a cliff, creaks in the gathering wind. They can see Ted through the window, raising a pint to his lips. In the yellow light from the window, Trace holds out something that looks a bit like loft insulation, a small ball of fluffy, yellowish fibres.

 ‘What is it? asks Judy.

 ‘Cotton wool? suggests Clough.

 ‘Whiffs a bit, says Steve. There is, indeed, a strong sulphuric smell coming from the material.

 ‘Fantastic, Clough rubs his hands together. ‘The boss is going to love this.

 ‘Where is Nelson anyway? says Trace.

 ‘On holiday, says Clough. ‘Back on Monday. Hell be counting the days.

 Judy laughs. Nelsons dislike of holidays is a byword at the station.

Product Details

Griffiths, Elly
Mariner Books
Mystery & Detective - Traditional British
Mystery & Detective - Women Sleuths
Mystery-A to Z
Edition Description:
Trade Cloth
Publication Date:
Electronic book text in proprietary or open standard format
8 x 5.31 in 1 lb

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Fiction and Poetry » Mystery » A to Z

The House at Sea's End (Ruth Galloway Mysteries) Used Hardcover
0 stars - 0 reviews
$12.50 In Stock
Product details 384 pages Houghton Mifflin Harcourt (HMH) - English 9780547506142 Reviews:
"Synopsis" by ,
Forensic archeologist, Dr. Ruth Galloway is back--this time investigating a gruesome WWII war crime
"Synopsis" by , Forensic archeologist, Dr. Ruth Galloway is back--this time investigating a gruesome WWII crime in this latest installment by Elly Griffiths, the Edgar Award winning author of The Crossing Places
"Synopsis" by ,
"[A] page turning mystery . . . it provides a wholly satisfying whodunit as well as a good reason to look up the other two [books in the series] . . . Griffiths's Galloway is a likable and alluring character.”—Associated Press

Just back from maternity leave, forensic archeologist Ruth is finding it hard to juggle motherhood and work when she is called in to investigate human bones that have surfaced on a remote Norfolk beach. The presence of DCI Harry Nelson, the married father of her daughter, does not help. The bones, six men with their arms bound, turn out date back to World War II, a desperate time on this stretch of coastland.

Home Guard veteran Archie Whitcliffe reveals the existence of a secret the old soldiers have vowed to protect with their lives. But then Archie is killed and a German journalist arrives, asking questions about Operation Lucifer, a plan to stop a German invasion, and a possible British war crime. What was Operation Lucifer? And who is prepared to kill to keep its secret?

"Synopsis" by ,
Its been only a few months since archaeologist Ruth Galloway found herself entangled in a missing persons case, barely escaping with her life. But when construction workers demolishing a large old house in Norwich uncover the bones of a child beneath a doorwayminus its skullRuth is once again called upon to investigate. Is it a Roman-era ritual sacrifice, or is the killer closer at hand?

Ruth and Detective Harry Nelson would like to find outand fast. When they realize the house was once a childrens home, they track down the Catholic priest who served as its operator. Father Hennessey reports that two children did go missing from the home forty years beforea boy and a girl. They were never found. When carbon dating proves that the childs bones predate the home and relate to a time when the house was privately owned, Ruth is drawn ever more deeply into the case. But as spring turns into summer it becomes clear that someone is trying very hard to put her off the trail by frightening her, and her unborn child, half to death.
The Janus Stone is a riveting follow-up to Griffithss acclaimed The Crossing Places.

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