Crocodile on the Sandbank is a historical mystery novel by Elizabeth Peters (penname of Barbara Mertz), first published in 1975. It's the first book in the Amelia Peabody series and is set in 1884-85.
Amelia Peabody is on her way to Egypt when she meets Evelyn Barton-Forbes, who's been abandoned by her lover. Amelia brings Evelyn with her to an archaeological site run by the Emerson brothers. There they find a mummy, a series of suspicious accidents, a botched kidnapping, and increasing evidence that someone is trying to harm Evelyn.
Contains examples of:
- Anguished Declaration of Love:Emerson, realizing that he might very well die that night, gives Amelia a long, passionate kiss — even at the risk of living to face the consequences, which turn out to be a long and happy marriage.
- Cannot Spit It Out:
- Amelia's companion Evelyn and Emerson's brother Walter. Amelia eventually gets so fed-up with both of them that she spits it out for Evelyn:Amelia: She loves someone else...The one she loves is a poor wretch who won't even declare himself.
Walter: You cannot mean...
Amelia: Yes, you fool. She loves you. I don't know why, but she does. Now go and claim her.
- Amelia's companion Evelyn and Emerson's brother Walter. Amelia eventually gets so fed-up with both of them that she spits it out for Evelyn:
- Dating What Daddy Hates: Evelyn Barton-Forbes elopes with her painting tutor and is disinherited, though later re-instated. Her cousin, Luigi is the son of an Italian father, and his mother was disowned for marrying him.
- Disinherited Child: The Earl of Ellesmere disinherited his daughter for marrying an Italian, and later his granddaughter Evelyn when she fell for an Italian as well and ran off with him (not realizing he was a con artist). Later subverted in the latter case, as he changed his mind and hand-wrote a new will officially leaving everything to her.
- Dude, She's Like in a Coma: Amelia comes out of a swoon to feel herself being tenderly held and kissed by her not-yet-husband Emerson with whom she has a Slap-Slap-Kiss relationship going. Not only is she totally fine with it, she shams unconsciousness for a few more minutes to prolong the moment!
- Fee Fi Faux Pas: Amelia manages a rather large one very near the beginning of Crocodile on the Sandbank. She claims that what she says upon hearing Evelyn's tearful, angsty, "I was seduced and now you are going to kick me back out on the street" confession is not what she meant to saynote :Amelia: Evelyn — what is it like? Is it pleasant?[Despite her own surprise, she decides to roll with it:]Amelia: I have never had the opportunity of inquiring. My sisters in law... speak of the cross a wife must bear... [but] the village girls...[Cue starving, borderline-suicidal Evelyn doubled over laughing.]
- Flirting Under Fire: Emerson kisses Amelia right before the final battle, "even at the risk of surviving to face the consequences."
- Lost Will and Testament: The importance of the MacGuffin turns out to be that it has a lost will hidden inside.
- Now or Never Kiss: Radcliffe Emerson, the dashing Egyptologist whom Amelia thinks merely respects and grudgingly admires her, realizes that either or both of them could be killed within minutes by the villain, and refuses to die without having at least kissed her — passionately and at length, right on the floor of the tomb where they're hiding — even at the risk of living to face the consequences. Said consequences turn out to be a long and happy marriage.
- Passed-Over Inheritance:
- 'Amelia inherited her father's full estate, since she was the only one who shared his interest in ancient history. Her six older brothers, who were all successful merchants and professional men, were not amused to find out they'd missed out on half a million pounds (having not realized that their father was actually wealthy), and multiple attempts were made to claim the sum for themselves, though Amelia and her father's lawyer stopped all of them.
- In the same book, this isn't done intentionally by the Earl of Ellesmere (at least, not at first), but effectively when his son died; his title had to go to the closest male heir (his grandson by his eldest and disinherited daughter) by law, preventing his granddaughter Evelyn from getting everything. He later disinherited her entirely when she fell for an Italian, who turned out to be a con artist. At least, for a while. He later changed his mind and wrote a new will, giving her everything, before dying.
- Raised by Grandparents: Evelyn was raised by her grandfather, as she explains in book 1, as her parents died when she was a baby.
- Shipping Torpedo: Plays with this with Emerson's attitude toward the developing relationship between his brother Walter and the penniless Evelyn. He's constantly snarking at something or other that they are saying or doing, and Amelia spends most of the book thinking that the reason that he keeps dropping rude or disparaging comments into her conversations with Evelyn and Walter because he disapproves of a match. Ultimately subverted, as his disparaging comments, often crossing the line into rude, are calculated to goad his shy little brother into making a decisive stand for Evelyn.
- Slap-Slap-Kiss: Amelia and Emerson's relationship started with a shouted argument in a museum. This seems to be their primary way of discussing important issues, though they never escalate to the point of actual blows. After a quarter century of this, Emerson even advises Ramses that regular brisk "discussions" are good for the health of a marital relationship; clearing the air and enhancing the mood for post-argument romance.
- Tomboy and Girly Girl: Amelia and Evelyn fall under this trope. Less so by the time Evelyn reappears as a major character in later books, when it's obvious they did learn from each other — for instance, Amelia, who was utterly uninterested in all but the most utilitarian clothes at the beginning now can talk fashion with the best of them, and Evelyn is thrilled about wearing bloomers and bicycle dresses.
- What Happened to the Mouse?: We never hear about Cousin Luigi again
- You Must Be Cold: Played with when Amelia finds a young woman who has fainted in the streets of Rome and is appalled that none of the men nearby have invoked this trope. Amelia proceeds to confiscate the coat of the nearest man (insulting him in the process) and uses it to cover the woman.
