Sicken and So Die

by Simon Brett

  Table of Contents

  The Charles Paris Mystery Series

  Title Page

  Copyright

  Dedication

  Chapter One

  Chapter Two

  Chapter Three

  Chapter Four

  Chapter Five

  Chapter Six

  Chapter Seven

  Chapter Eight

  Chapter Nine

  Chapter Ten

  Chapter Eleven

  Chapter Twelve

  Chapter Thirteen

  Chapter Fourteen

  Chapter Fifteen

  Chapter Sixteen

  Chapter Seventeen

  Chapter Eighteen

  Chapter Nineteen

  Chapter Twenty

  Chapter Twenty-One

  Chapter Twenty-Two

  Chapter Twenty-Three

  Chapter Twenty-Four

  Chapter Twenty-Five

  Chapter Twenty-Six

  Chapter Twenty-Seven

  The Charles Paris Mystery Series

  CAST, IN ORDER OF DISAPPEARANCE

  SO MUCH BLOOD

  STAR TRAP

  AN AMATEUR CORPSE

  A COMEDIAN DIES

  THE DEAD SIDE OF THE MIKE

  SITUATION TRAGEDY

  MURDER UNPROMPTED

  MURDER IN THE TITLE

  NOT DEAD, ONLY RESTING

  DEAD GIVEAWAY

  WHAT BLOODY MAN IS THAT?

  A SERIES OF MURDERS

  CORPORATE BODIES

  A RECONSTRUCTED CORPSE

  SICKEN AND SO DIE

  DEAD ROOM FARCE

  SICKEN AND SO DIE

  A Charles Paris Mystery

  Simon Brett

  This ebook is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights and those responsible may be liable in law accordingly.

  This title first published in Great Britain in 1995 by Victor Gollancz

  eBook edition first published in 2012 by Severn House Digital

  an imprint of Severn House Publishers Limited

  Copyright © 1995 Simon Brett.

  The right of Simon Brett to be identified as the author of this work has been asserted in accordance with the Copyright, Designs & Patents Act 1988.

  A CIP catalogue record for this title is available from the British Library.

  ISBN-13: 978-1-4483-0019-8 (epub)

  Except where actual historical events and characters are being described for the storyline of this novel, all situations in this publication are fictitious and any resemblance to living persons is purely coincidental.

  This eBook produced by

  Palimpsest Book Production Limited,

  Falkirk, Stirlingshire, Scotland.

  To Michael

  Chapter One

  THINGS WERE actually going rather well for Charles Paris. Basically, it was a matter of work. He had work, he was in work, he was working. For an actor, a job is the switch that turns the personality on to full power. Without it Charles Paris existed. He had all the components of himself: his cynicism, his gloom, his apologetic lusts, his drinking, his deflated air of defeat. But with a job all those elements fused and he was energised, sustained by a galvanic charge that even incorporated optimism.

  What was more, he was doing good work. He was playing a good part in what promised to be a good production of a good play. Twelfth Night by William Shakespeare; plays don’t come a lot better than that. Nor, for a slightly frayed, unravelling actor in his late fifties, do parts come a lot better than Sir Toby Belch.

  Playing a major Shakespearean role made Charles feel that perhaps his career had come back on course – or perhaps finally come on course. The theatre offers no obvious career structure – indeed its ups and downs make investing in the National Lottery look a secure bet – but there are certain milestones to which all actors aspire. To play Sir Toby Belch in one’s late fifties is a necessary notch carved on the bedpost of a career, a qualification which opens up the possibility of a Henry IV, a Prospero, or even the ultimate prize of a Lear, in one’s sixties.

  Charles had played big parts in Shakespeare before, but the time or the production had never been right. He had been too young when cast as Macbeth, badly directed as Henry V and, as for his leading role in Julius Caesar, well, even Charles himself agreed with the estimation of the Lancashire Evening Post that ‘here was a Mark Antony to whom even Vincent Van Gogh wouldn’t have lent an ear.’

  But this Twelfth Night felt right. Only a week into a five-week rehearsal period, but the whole production had a glow of confidence about it, a growing conviction among the company that they were involved in a show that was going to be successful.

  This was something of a surprise because the director was not the most dynamic in the history of the theatre. In fact, Charles Paris had always considered Gavin Scholes rather ineffectual. They’d worked together a good few times, most recently on Macbeth at the Pinero Theatre, Warminster, where Gavin had been Artistic Director.

  Charles had assumed that at the end of his contract there Gavin would have retired to nurse his hypochondria and irritable bowel syndrome; but the Director had confounded expectations by developing a very successful subsequent career as a freelance. This was proof once again that charisma and innovation in the world of theatre count for less than good old-fashioned competence. Gavin Scholes’ productions might not set the world on fire, but they told their stories clearly, they came in on time and stayed within their budgets. These were virtues that appealed to production companies.

  The current Twelfth Night was being mounted by Asphodel Productions, a touring management who had risen to prominence during the previous five years. Their recipe of simply narrated classics – frequently Shakespeare and almost always A-level set texts – had proved extremely successful. Clever, uncluttered set design had made their productions mobile and suitable for all kinds of different performance spaces. One week they’d appear in a conventional theatre, the next a school gymnasium, then a library, a leisure centre, a church hall or a warehouse. As the company’s fame spread, so did the range of their touring venues, which now included foreign destinations.

  They were poised for greater recognition. They needed one breakthrough production to capture the attention of the national press, and Asphodel’s name would be firmly fixed on the British cultural map.

  The designated tour for Twelfth Night was characteristic of the company’s current outreach. It began in early August. The first six performances would be open air, in the gardens of Chailey Ferrars, an Elizabethan mansion in Hertfordshire; they would be presented as part of the nine-day Great Wensham Festival.

  Thereafter the show would move on to a studio theatre in Norwich for two weeks. Seven performances in a Billericay leisure centre would be followed by three in a public school’s own theatre near Crawley and three on the boarded-over swimming pool of a Reading comprehensive. After a week in a converted Methodist chapel near Cheltenham, the company had a few days’ break before the high-spot of the tour – three performances at the University of Olomouc in the Czech Republic. Back in England, two weeks in a former corn exchange in Warwick, a temperance hall in Swindon and a prefabricated sports dome in Aldershot would then climax in the relatively sedate booking of three weeks back at Gavin Scholes’ former base, the Pinero Theatre in Warminster.

  For Charles Paris all of this represented, with rehearsal
s, the rare phenomenon of nearly five months’ guaranteed work. It also offered the prospect of recapturing the excitement of constant change which had largely vanished from the theatre since the demise of weekly rep.

  As well as being cautious in his interpretation of plays, Gavin Scholes was also conservative in his casting. He liked working with people he knew, their familiarity cushioning him against the potential ‘difficulty’ of actors he didn’t know. When he had to introduce new members into this charmed circle, he favoured performers suggested by actors he did know. He particularly liked to use recommended young actors at the beginning of their careers; they were eager and biddable, and unlikely to question the authority of their director.

  Charles Paris recognised that this approach was uninventive and prevented Gavin’s productions from reaching the creative heights, but the system was not one he was going to complain about, since he was one of its beneficiaries. However suitable Charles Paris might be for Sir Toby Belch, he couldn’t see the National or the RSC suddenly going out on a limb and casting him in the role. They’d go for someone much more starry and voguish. Come to that, Charles couldn’t see himself getting the part in any lesser company where an old pal’s act was not in operation.

  So he was all in favour of Gavin Scholes’ ‘safety-first’ casting policy. It brought another benefit too; there were other members of the Twelfth Night company with whom Charles had worked before, which is always – or, depending on the individuals involved, perhaps ‘usually’ would be a better adverb – a comfort to any actor. Two of the cast of Gavin’s Macbeth were also in the new production.

  Russ Lavery had come a long way since playing Fleance and Young Siward in Warminster. That had been his first job in the theatre, and then his undoubted talent had been obscured by a callow, puppyish approach to the business. But four or five years of solid stage work and small television parts had preceded the breakthrough when he’d been cast as Dr Mick Hobson in ITV’s Air-Sea Rescue.

  The show, now into its third series and showing no sign of flagging in the ratings, had turned a young actor of identical talent to at least a hundred of his contemporaries into a household name and a household face. Air-Sea Rescue had brought Russ Lavery all of the bonuses of money from escalating fees and foreign repeats, fan mail from half the nation’s teenage girls, lucrative offers for personal appearances and voice-overs, and the possibility of saying in interviews that ‘I get sent lots of scripts, but I don’t like to commit myself to a project unless I feel it is a really exceptional piece of work.’

  It also enabled him to say in interviews that ‘I really feel the need to get back to my theatrical roots’, which explained his appearance in Gavin Scholes’ Twelfth Night. The fact that he was playing the relatively small and ungrateful part of Sebastian did his image no harm at all. Rather, it demonstrated what an unstarry star Russ Lavery was, and how serious was his dedication to his art. The presence of a well-known television name in the cast of Twelfth Night wouldn’t do any harm at the box office, either.

  The other familiar face in the company provided Charles Paris with even greater cause for celebration. John B. Murgatroyd was an actor against whom Charles had frequently bumped in his theatrical career, and the experience had always been a delightful one. John B. was a clown, a great giggler, in whose company Charles had often been reduced to incapable hysterics and behaviour which would have been judged immature in a primary school. John B. was a terrific person to have around any production.

  In the Warminster Macbeth he had given his distinctive and stunningly versatile interpretations of both Lennox and the First Murderer. In Twelfth Night he was playing Sir Andrew Aguecheek. Since most of Sir Toby Belch’s scenes included the wan and winsome knight, Charles was relishing the prospect of building up his double act with John B. on-stage as well as off.

  And it wasn’t just the work that was going well. For once, Charles Paris’s emotional life was also looking promising. He wasn’t experiencing the tense, manic uncertainty of a new love affair, but the solid comfort of an old one.

  Charles had been married to Frances for twelve years before he finally walked out. He had used all kinds of justifications, about the incompatibility of an actor’s lifestyle with the institution of marriage, about the need for them both to develop outside the claustrophobia of cohabitation, but the real motive for his departure had been self-punishment. He’d been having affairs away from home, and he felt guilty about them. Walking out on Frances – and their daughter Juliet – had been a kind of public penance for his misdemeanours.

  It had also, he’d hoped at the time, been a bid for freedom. On his own, he would be able to follow up on the emotional hints and half-chances that other women offered. What he’d done was hurtful, but necessary to his fulfilling the imperatives of his own personality. Marriage had been part of his growth, but a part that he had outgrown.

  Of course, it hadn’t worked out like that. The freedom for which he had given up Frances proved illusory. Yes, he followed up on the other women. He had some good sex and some bad sex, he made some good friends, he even at times imagined himself in love, but all the relationships left him ultimately empty. There was still a void in his life that only Frances could fill.

  He’d worried the situation through in his head more times than he cared to count, and almost always came back to the same basic problem. He liked Frances.

  That was aside from loving her, which he sometimes did, or from time to time feeling towards her an infuriation which qualified as hatred. But the liking remained constant; that was the invisible chain that held him to her.

  For a total split from a lover, there needs to be a two-way pressure. Not just the overwhelming attraction for the new love-object, but also a distaste for the old. Constant comparisons then become inevitable. The new love is not only wonderful, she is also so much more wonderful than the one you are leaving. In fact, when you catalogue the faults, deficiencies and inadequacies of the old love, the only remarkable point is that you stayed with her so long. Why did you put up with someone so unsuitable for all that time?

  But such a natural process of fission is rendered inoperable when you still like the old love, when you worry about her, think about her, want to discuss things with her. The loving and the hating are relatively easy to cope with; it’s the liking that makes the whole thing impossible.

  And that, Charles had come to realise ruefully, was the state of play in his relationship with his wife. Whatever else there might be happening in his sex-life – and at times there had been quite a bit – he still felt linked to Frances.

  Whether she felt the same obligation, he was never quite sure. And even in those moments when he did feel quite sure, he was also aware of how much she resented the encumbrance. At times she seemed very distant from him. At times he knew for certain that she had had other men. But did the fact that none of them had gone the distance mean that Frances’s relationships were hobbled by the same restrictions that cramped his own?

  Charles Paris knew that he wanted a closer intimacy with his wife, but he could never be certain how much she shared that ambition.

  The circumspection of her attitude was not without justification. Charles could not claim to be the most assiduous of men in the protocol of marriage. Even ignoring the fact of his having walked out on his wife – and he could recognise that that was a significant blot on the marital copybook – his behaviour since then would not always have inspired confidence in a potential partner.

  He did have a tendency to get distracted. The intention to ring Frances, make contact, fix to meet up, was always there, but when he got involved in a production, when he was away for a while, it was remarkable how the weeks, and even the months, could slip past without his acting on that intention.

  There had also been one or two regrettable incidents when he had fixed a rendezvous and been prevented by circumstance – or occasionally drink – from fulfilling his part of the arrangement: the small matter of turning up at the agre
ed place at the agreed time.

  Charles could fully sympathise with Frances’s scepticism when he spoke of a closer future between them.

  And it wasn’t as if she didn’t have a full life. Now independent, with her own flat in Highgate, she had risen through the hierarchy of education to become headmistress of a girls’ school. She was a caring mother and a solicitous grandmother. What possible incentive could she have to make room in her well-ordered life for a man whose moody personality took over any environment like a wet Labrador?

  And yet at the moment she was making room in her life for Charles and, at the moment, the experiment seemed to be working.

  It was all down to the builders, really. When he left Frances, Charles had moved into a dingy and soulless bedsitter in Hereford Road, ‘Just in the short term, you know, till I find somewhere more suitable’, and he was still there. Or at least he would still have been there had not the new landlord of the house embarked on the long-overdue transformation of the bedsitters into ‘studio flats’.

  Once the work was completed, the existing tenants would be given first refusal to continue residency at increased rents, but obviously they all had to move out while the builders gutted the property. Charles, remarkably, had moved in with Frances.

  It was convenient – particularly since the Twelfth Night rehearsals were taking place in a church hall in. Willesden. It was also logical – or it would have been for a couple whose marital history was less chequered.

  But the most astonishing thing about the arrangement was that it seemed to be working. They were actually getting on rather well.

  Maybe it was age. Maybe they had both matured, and could be more tolerant of each other. Maybe both had learned and been enriched by the traumas of their long separation.

  The best part for Charles was that Frances had let him back into her bed. The ease and familiarity of their lovemaking glowed in him through the days like a personal heart-warmer. He didn’t feel lonely. It was a long time since he hadn’t felt lonely. A long time since he had had someone to go home to at the end of the day.