Star Trap (10 page)

And the audience loved it. Familiarity gave them the confidence they needed to express their enthusiasm. It may have been a bit difficult to follow the twists and exposition of an old-fashioned story, but to be presented with an instantly recognisable character from their television screens, that made it all simple. Charles watched from the fly gallery in amazement. ‘What the hell is he doing?' he murmured to Spike, who was leaning on the rail beside him.

‘His own thing,' Spike grunted. ‘Never does anything else.'

‘What will David Humdrum say?'

Charles knew the answer to his question, but Spike supplied it ‘He'll say, “Fine”.'

And he did. Charles saw the encounter between star and director in the green room at the interval. ‘Christ, this needs a lot more work,' said the star.

‘It's going fine, Christopher, just fine,' soothed the director.

‘That
Liberty Hall
number will have to come out for a start. I always thought it was a load of crap.'

‘I'm sure, with a bit more rehearsal –'

‘Shut up! It's coming out.' Christopher Milton went up to his dressing-room.

Charles decided that it was in his interests as the show's secret watchdog to keep his eyes on the movements of Kevin McMahon. If the writer lived up to half of his drunken threats, there was going to be trouble.

The trouble started as soon as the curtain had come down on the final call. Kevin McMahon was in the green room to greet the cast as they came offstage. He went straight up to Christopher Milton and shouted, ‘What the hell do you mean by performing my stuff like that? This isn't one of your tatty TV comedies!'

The star seemed to look through him and greeted a man with greasy swept-back hair and a cheap suede zip-up jacket. ‘Hello, Wally. What did you think?'

‘Good bits, bad bits,' said Wally Wilson in broad Cockney.

‘Never mind. Nothing that can't be changed.'

‘Too right. Soon be up to the
Straight Up, Guv
standard!'

‘Now you bloody listen to me, Mr Christopher Bloody Milton . . . .' Kevin began belligerently.

The response came back like a whip-lash. ‘Shut up, I'm talking to a writer.'

The implication was too much for Kevin McMahon. With a cry of fury, he drew his fist back for a blow.

Christopher Milton moved fast. He side-stepped with a dancer's ease. Kevin swung himself off balance and at that moment Dickie Peck, who had moved from the doorway at amazing speed when the fracas started, flicked up Kevin's head with his left forearm and smashed a hard right knuckle into the writer's mouth. The knees gave, the body crumpled and blood welled from a cut lip. ‘Don't you ever dare lay a finger on him,' Dickie Peck hissed.

The action had all been so quick that it left behind a shocked silence. The unexpectedness of the fight paled into insignificance compared to the transformation of Dickie Peck, suddenly converted from a middle-aged joke figure to a bruiser. Charles recollected a distant rumour that the agent had started his career as a boxer.

Christopher Milton broke the silence. He continued in an even tone, as if nothing had happened. ‘Wally, come up to my dressing-room and have a chat.'

‘Love to.' Wall's casualness was more studied.

‘Um, er, Mr Milton.' A young man who had been hovering uneasily round the edges of the green room, stepped forward, blushing furiously.

‘What?'

‘I'm, er, um . . . my name is Bates and, er, I'm representing Mr Katzmann, who, as you know, is, er, the general manager of the theatre and –'

‘What the hell are you burbling about?'

‘Well, er, as you know, the; er.. .the, er . . .' He ran out of syntax. ‘The Friends.'

‘Are you coming, Wally?'

‘Mr Milton.' Panic made the young man articulate again, and he blurted out his message. ‘The Friends of the Palace Theatre are about to hold their discussion of the show on stage and, as Mr Katzmann arranged, you and the other members of the cast will be joining in the discussion.'

‘I bloody won't. It's the first I've heard of it. If you think I'm going to piss around talking crap to old ladies, you can forget it.'

‘But –'

Dickie Peck cut the young man short with a gesture and again took control. ‘Has this been advertised?'

‘Yes. Mr Katzmann arranged it months ago.'

‘Not through me, he didn't. You'd better do it, Chris.'

‘Look, I've just done a bloody performance, I've just been assaulted by a lunatic hack-writer, I'm not going to –'

Dickie Peck raised his hand and the voice petered out. ‘You've got to do it, Chris. It's a bloody lumber and –' with a glance at Mr Bates, who trembled visibly – ‘there'll be hell to pay for someone in the morning when I find out who made the cock-up. But if it's been advertised, you can't afford to get the reputation of someone who jacks out of that sort of thing.'

Christopher Milton swore obscenely and loud, but accepted the logic of the argument. He went upstairs to take off his make-up and, as often happened when he left the room, the atmosphere relaxed. People started to drift away. Charles went across to Kevin McMahon, who had dragged himself quietly to a sofa and was dabbing at his lip with a handkerchief. ‘I think it's time to take the money and run, Kevin. Put this down to bad experience. Reckon that it's just a grant of money to buy you time to go off and write what you really want to.'

‘I really wanted to write
Liberty Hall
.'

‘Yes, but there must be other things, more original, more your own that you want to get on with.'

‘Oh yes, things where I express the real me, things that the world has been waiting to have written by some genius who only needs time to get on with it.'

Charles ignored the heaviness of the irony. ‘Yes, that sort of thing.'

‘Don't you patronise me!' Kevin stood up. ‘I'm going to kill the bastard,' he said and walked out of the theatre.

‘But,' said Mrs Crichton-Smith, whose husband owned a sock factory and played off an eight handicap, ‘I remember doing
She Stoops to Conquer
at school and I must say a lot of the original plot seems to have been obscured in this production.'

Christopher Milton flashed her a frank, confiding smile. ‘I agree, Mrs Crichton-Smith, but Goldsmith was writing for his time. This is 1975, we can't just do a production as if nothing has changed since the play was written. And, anyway, this is not
She Stoops to Conquer
, this is a new musical. What we're trying to do, and I think our writer, Kevin McMahon, would agree with me here,' he added, as if to impress the image of a big-happy-family, all-working-towards-the-same-end company, ‘is to create an original show. I mean, entertainment is variety. Your husband wouldn't think much of you if you produced the same meal for him every night – however good it was.'

His middle-class half-joke produced the right middle-class half-laugh and Charles was once again impressed with Christopher Milton's ability to adapt to any audience and say the right things. It was not an intellectual gift; he probably did not have the intelligence or knowledge to argue the merits of the piece on a literary level; it was just an instinct that never failed.

Miss Thompson, the secretary, next introduced a question from: ‘Mr Henry Oxenford, one of our keenest members, who's interested in all things theatrical.' Mr Oxenford, one of the bow-tied types who hang about amateur dramatic societies, content to be precious rather than queer, stood up and put his well-rehearsed enquiry, ‘I would like to know whether you, as a performer, be it as Tony Lumpkin or Lionel Wilkins, find the danger that a part tends to take over your private life and you become like that person?'

Christopher Milton laughed boyishly. ‘You mean when I'm working on the television series, do I go around trying to con money off everyone I meet?'

‘Well, not exactly.'

‘Oh, I beg yours.' The Lionel Wilkins line was, as ever, perfectly delivered and got its laugh. Charles watched Christopher Milton's eyes and saw him decide to continue in the Wilkins voice and prolong the misunderstanding. ‘Oh, I see what you mean – do I go up to people in the street and say, Look 'ere, I've got this great project. Wouldn't you like to buy shares in the first motel on the moon? Not only do you get the normal dividends, but you also get a free weekend every year once the motel is completed. Now the shares aren't yet officially on the market, but I can let you have some at a price which . . .' And he was away, re-creating the plot of a recent episode of
Straight Up, Guv
. The Friends of the Palace Theatre loved it.

As he drew to the end of his routine, before Miss Thompson could introduce Mrs Horton who had been waving her arm like a schoolgirl know-all between each question, he glanced at his watch. ‘Oh, look at the time. I'm afraid we've gone on much longer than we intended. We've still got a lot of work to do on this show – oh, you may have liked it, but there are a good few things to he altered yet – so we must draw it to a close there.'

The Friends of the Palace Theatre started to leave through the stalls. An autograph cluster gathered round the star. The other members of the cast, who hadn't got much of a look-in on the discussion, trickled back through the curtains. Mark Spelthorne dawdled, seeing if there were any fans of
The Fighter Pilots
on the autograph trail. When it became apparent there weren't, he vanished smartly.

Christopher Milton finished the signings and waved cheerily from the stage until the last Friend had gone out of the doors at the back of the stalls. When he turned his face was instantly twisted with rage. ‘Cows! Stupid, bloody cows!' He pushed through the curtains, shouting imperiously, ‘Wally! Dickie! Come on, we've got to get this script altered, even if we have to work all bloody night.'

As Charles waited to hear the inevitable news that there would be a rehearsal call at ten the following morning, he began to understand the personality-splitting pressure of a public image.

Gerald Venables was sitting waiting in his car, a Mercedes 280 SL, with the lights doused, by the stage door. He had the collar of his raincoat turned up and was slumped against the window in an attitude cribbed from some B-movie. He was trying so hard to be inconspicuous that Charles saw him instantly. ‘Hello.'

‘Ssh. Get in.' The passenger door was slipped open. Charles climbed in clumsily. ‘So, what gives?' Gerald hissed, his eyes scanning the empty road ahead.

‘Just been a bit of a dust-up, boss,' Charles hissed back.

Gerald didn't realise he was being sent up, but ran out of slang. ‘What? You mean a fight?'

‘Too right, boss.'

‘Irons?'

‘I beg your pardon.'

‘Irons – you know, guns. God, don't you watch any television?'

‘Not much.'

‘Well, give us the dirt. Who swung a bunch of fives at whom?' The grammatical resolution of the question rather weakened its underworld flavour.

Charles gave a quick account of the scene in the green room and the solicitor nodded knowingly. ‘So you reckon this McMahon could be our cookie?'

‘Our saboteur, the man devoted to the destruction of the show . . .?'

‘Yes.'

‘I don't know. Certainly he hates Christopher Milton. If anything were to happen to the star tonight, I would have no doubt about who to look for. But I don't think Kevin can have been responsible for the other accidents, not the first two, anyway.'

‘Why not?'

‘Because why should he? When the pianist was shot at, Kevin didn't know what was going to happen to his script, rehearsals had hardly started. I reckon at that stage he must have been full of excitement, you know, his first West End show and all that.'

‘But it can't have taken long for him to realise the way things were going.'

‘Yes, I suppose he could have built up a sufficient head of resentment by the time Everard Austick met with his accident.'

‘Yes, surely, and –'

‘There's another snag, Gerald. Kevin's resentment is completely against Christopher Milton. Sniping at these minor figures may be bad for the show, but it doesn't hurt the star much. Christopher Milton doesn't care who his supporting cast are, so long as they don't argue with him or do anything better than he does. If Kevin McMahon did want to get at anyone he'd go straight for the one who was bugging him – and, with the star out of the way, there might be a chance that his musical could survive in another production.'

‘Yes. So we've got to look for someone else as the mastermind behind the whole sequence of crimes.'

‘If there is a sequence, Gerald, if there are any crimes. So far the only evidence I have of misdoing is what happened at the King's Theatre. I know someone tampered with the rope holding those flats up. All the others could be genuine accidents. In fact, the thing at the King's may have a perfectly legitimate explanation.'

‘I don't know, Charles. I still have the feeling that they're all linked and that something funny's going on.'

There was a silence. ‘Hmm. Yes, I can feel a sort of foreboding too, but I don't know why.'

As he spoke, light spilled across the road from the stage door. Christopher Milton, Dickie Peck, Wally Wilson and the show's musical director, Pete Masters, came out, escorted by Milton's driver, who smartly moved forward to the parked Corniche and opened the doors. They all got in. ‘Let's follow them,' whispered Charles, more to satisfy Gerald's love of the dramatic than anything else.

They let the Rolls disappear at the junction on to the main road, confident that Leeds' central one-way system would make it difficult to lose their quarry, and started up in pursuit.

Gerald's ‘Follow that car' routine was as exaggerated as his ‘I am waiting unobtrusively' one, involving many sudden swivels of the head and bursts of squealing acceleration alternating with dawdling so slowly that it drew, hoots of annoyance from other road-users. But the inhabitants of the Rolls did not appear to notice them. There were none of the sudden right-angled swerves up side-roads beloved of gangsters in movies. They drove sedately round the one-way system and into Neville Street, where they swung off the main road and came to rest at the entrance of the Dragonara Hotel. Gerald, who hadn't been expecting the stop, overshot, screeched to a halt and reversed to a spying position, flashed at by the righteous headlights of other drivers in the one-way street.