Murder at the Opera - Margaret Truman [126]
That the murder took place onstage at the Kennedy Center Opera House would lead one to believe that I have a flair for the dramatic. But that was not the reason the area was chosen as the place to ensure her silence. I’d considered a number of settings—her apartment, on the street, or in a secluded room in the Opera company’s rehearsal space at Takoma Park. She provided the answer by insisting that we meet on the stage that night, actually in the early morning hours, long after everyone was gone for the evening except perhaps for a couple of Kennedy Center security guards, who wouldn’t come into the theater unless given reason to, which I certainly didn’t intend to provide.
It should also be pointed out that my choice of a weapon had nothing—absolutely nothing—to do with the fact that the encounter took place on the Opera House’s main stage, where the Washington National Opera would soon present the latest production of Puccini’s warhorse, Tosca. Moments before dealing the fatal blow, I thought of the justified murder of the cruel, lecherous Scarpia in Tosca’s Act II. The major difference was that this slaying was committed in shadows and without onlookers, while Tosca’s stabbing of the cruel chief of the secret police would take place before thousands bearing witness to her defensible action. Of course, Tosca’s dramatic killing of Scarpia is make-believe. This one was very real; I did not break into the aria “Vissi d’arte” before completing the act, as Madame Tosca has done thousands of nights on grand stages around the globe.
The victim was eventually found, of course, although it took almost a full day. I’d placed the body in such a location where few would have reason to go under ordinary circumstances. When her body was discovered, there was a flurry of media and law enforcement activity, and much was made of the fact that the homicide took place inside the revered Kennedy Center, and in that institution’s Opera House, where betrayal, passion, intrigue, and murder take place on a regular basis—but only during performances on the main stage. The press had a field day with opera analogies, the weapon used, the setting, and the connection of the deceased with the Washington National Opera.
In the meantime, Tosca, and the larger comic opera that is Washington, D.C., itself—but that too often turns deadly—must, and did, go on.
And so must I.
Sincerely,
Philip Melincamp
Morris handed the papers to Berry. “Thanks,” he said to Browning. “We know Melincamp killed the singer, but it’s nice to have this. Dramatic, wasn’t he?”
“And screwed up,” Browning said. “A shame that he screwed up the young woman, too
Morris and Berry left the room and the building. Once outside, Morris said, “Warren’s in for a long, tough road once Homeland Security and Justice get hold of him
“The kid was scared,” said Berry as they walked to their car.
“It’ll be out of our hands soon, Carl.” Morris laughed. “You watch. They’ll take credit for this whole thing, use the kid as a feather in their cap, another terrorist plot foiled. All we did at MPD was—everything
As they drove back to headquarters, Berry said, “I have a request, Cole. A little favor
“Shoot
“Ray Pawkins got a couple of tickets to the opera last night for Sylvia Johnson and Willie Portelain. I had to pull the two of them out of the Kennedy Center early when the fax came in from New York. I’d like to buy them a couple of tickets so they can enjoy the whole show
“Willie Portelain at the opera?” Morris said with a chuckle.
“He said he liked it. I owe them
“Sure, go ahead. I’ll hide it under—under continuing education.”
CHAPTER FORTY
“Too many Americans have a misconception that German cuisine is brown, heavy, and blah. But Germany is actually the birthplace of organic farming. Modern German cuisine is fresh and flavorful
So stated Marcel Biró, one of Germany’s most celebrated chefs, cookbook author, and star of the Emmy-winning PBS reality-cooking series