approach and the oddly antiquated gesture, but also by the intense blue eyes that locked onto hers with a mixture of curiosity, playfulness, and frank sexual appraisal. The memory of that first encounter made her blush, even now.
“Unhand her, you rotten bastard,” Marc said, approaching from behind and clapping his friend on the back. “God, you haven’t changed a bit. I turn my head for half a second, and there you are, worming your way into my place—” In that fraction of a second, Nora wondered what the little exchange revealed about their relationship as roommates. Despite the mock jealousy, it was clear that Marc was enjoying himself.
But as soon as the curtain rose and Peter Hallett set eyes on her sister, all idle flirtation with Nora and anyone else abruptly ceased. How perfectly still Tríona had stood in that shaft of light at the play’s closing scene. How strange and magical she had seemed—the wronged wife turned by her grief into stone. Nora had often found herself wonderingwhether Peter Hallett had been attracted to the flesh-and-blood Tríona that night or to her character, Hermione. Whatever the answer to that question, his pursuit of Tríona had been relentless, full press from the beginning, and he had not stopped until he possessed her. His campaign had begun at the opening-night party after the show, when he stole a bottle of champagne from the servers and followed Tríona around all night, ready whenever her glass was low.
Later, as they stood at the mirror in the ladies’ room, Nora had ventured an aside: “I think Marc’s friend likes you.”
Tríona stared absently at her own reflection. “Who are you talking about?”
“The guy who’s been following you around all night—Marc’s friend, Peter Hallett.”
“Oh—right.” Tríona concentrated on something in the corner of her eye. “The stalker.”
“Something wrong with him?”
“I really can’t say, Nora. I only just met the man. He’s a little
too
good-looking, don’t you think?”
Was it tragic, or merely ironic, to be written off as too good-looking by someone whose own appearance had made passersby walk into doors and lampposts? Nora had actually witnessed such occurrences, sad to say, on more than one occasion. To her credit, Tríona never had any idea about how her exterior affected people. Perhaps it was growing into beauty after an ugly-duckling childhood that made her so infuriatingly oblivious. And maybe it was that very indifference that piqued Peter Hallett’s interest; maybe he couldn’t resist a challenge. He could have simply toyed with Tríona and cast her aside—but it didn’t happen that way. He was the one who pressed for marriage, for children. Tríona had always expressed ambivalence about both, but for some reason she went along with Peter Hallett. Eventually, every one of them had fallen under his spell. Some were caught in it still.
Nora told herself she shouldn’t have been so surprised when her parents stood by him after Tríona’s murder. They were quintessentially decent people, and Peter knew exactly how to play that against them. Her father, especially, had always been uncomfortable outside the realm of fact; he was mistrustful of secondhand information, of shadowy suspicions and feelings. Tom Gavin was a scientist, after all, someone who lived in a world shaped and defined by demonstrable proof, so how couldhe possibly condemn anyone without hard evidence? He had no choice but to believe that Tríona’s death was a random crime. Nora had seen flashes of doubt in her mother’s eyes, but Eleanor Gavin was possessed of an inborn pragmatism that would not let her risk alienating the one person who controlled access to her only grandchild. It was impossible to fault them, and impossible not to. Nora and her parents had lived the past five years in a state of artificial suspension, never speaking about Peter, never speaking about Tríona—barely speaking at all.
It wasn’t that
John R. Little and Mark Allan Gunnells
Sean Thomas Fisher, Esmeralda Morin