was a certain young lady in the company with whom he was having a . . . thing. Or had been. I gather they broke it off. Somewhat acrimoniously.â She smiled apologetically. âThe dressing room walls of the Winter Gardens are disgustingly thin, arenât they, Norman?â
âOh yes, my love.â
âOf course, a lot of that goes on in the theatre. Itâs always a great relief to me that Norman and I work together. It means one doesnât notice other temptations. So much more satisfactory, isnât it, Norman?â She turned on her husband the sort of smile snakes reserve for rabbits.
âStrange, Bill Peaky dying like that, though, isnât it?â Charles mused. âI mean, if he was usually so careful to check his equipment every day, youâd think of all days heâd do it when a cable had been replaced.â
âBut he did do it,â said Norman del Rosa ingenuously. Charles looked at him sharply. âWhat, you mean he did do it on the day he was killed?â
The pianist blushed. âNo, no, I didnât mean that. I just meant that he always did. Every other day, except that day. Maybe he didnât know the cable had been replaced.â
âI remember there was a terrible accident when we were doing a summer season at Torquay . . .â Vita Maureen swept the conversation on.
But Charles was not deceived by Norman del Rosaâs cover-up. The man had seemed to know something and the way he avoided Charlesâ eye confirmed the impression. An instinct for the untoward stirred within Charles. When he got Norman del Rosa alone, he was going to ask what he really knew about Bill Peakyâs death.
The opportunity came surprisingly easily. Vita Maureen, who treated the Devereux Hotel as if it were their home, insisted on showing Frances round. Charles refused the guided tour, which made it difficult for Norman to avoid being left alone with him in the Lounge.
There was a silence. The pianist moved uneasily around the room, as if he knew the question which was coming.
âWhat did you mean, Norman?â
âWhen?â
âAbout Bill Peaky testing the equipment.â
âHe always tested it. His manager said so at the inquest.â
âIâm talking about the day he died. Did he test it that day?â
âPresumably not. How should I know?â The man looked desperately unhappy, as if he knew that his weak personality could not withstand even the mildest of interrogations.
âI think you do know.â
No, it didnât take long. He broke immediately. âAll right. He did test it.â
âWith his ringmain tester?â
âYes, he came down onstage at the beginning of the interval like he always did and tested out his gear.â
âAnd presumably it was all right?â
âI donât know.â
âIf it wasnât, he would have said something about it. Unless he was trying to commit suicide.â
âI donât know.â
âWhy didnât you say anything at the inquest?â
âNobody asked me.â
Charles thought that pretty unlikely. The police were sure to have asked all of the company whether they had any information relevant to the accident. So what was Norman del Rosa hiding?
âWhy were you onstage in the interval?â The question was asked very gently.
âI . . . um . . . I left some music on the piano.â
âThereâs nothing wrong with that. You could have told the police that. But itâs rather strange, because I saw the show and you played throughout your spot without music.â
Norman del Rosa looked even unhappier. And yet Charles sensed that he did want to tell, that it would be a relief to get it off his chest.
âWell, the fact is . . . I didnât want Vita to know I was on-stage. The fact is, thereâs a place in the wings where thereâs a sort of crack in the wall. Itâs just by the dressing room where the
Marina Dyachenko, Sergey Dyachenko