carriage?â
âThat thing backstage that looks like stacks of bullion in a bank vault. The weight on the carriage is supposed to equal the weight suspended from the batten. If it does, then no movement. The chandelier was a little underbalanced, thatâs all.â
Spraggue lay back on the wooden floor. âI think,â he said, âthat it might be a lot more fun to watch a performance from here. You could see all the lights glow and dim. The scenery would come closer, then fly away.â
Karen leaned back on one elbow. âIâve always preferred to watch the technical stuff. When I was a kid my mom kept taking me to the ballet, hoping Iâd beg for dancing lessons. I couldnât take my eyes off the lights. Came home with a crick in my neck.â
Spraggue wondered how anyone could put in such long hours and seem so alert. He half-expected to see dark circles under her eyes, but the skin was as pale and clear there as elsewhere. No makeup, either.
He let the companionable silence deepen before breaking it with a carefully casual question. âYou know a lot about this theater?â
âOld theaters are my love.â
âTell me about this one.â
She pointed. âThatâs where Sam Phelps died. Hanged himself from the fourth pipe. Properly weighted, too. There was some scaffolding on the stage. He climbed up, fastened the noose, and kicked the scaffolding down. It was a Saturday night. He hung there until Monday morning.â
âYou think he haunts the place?â
âHeâs supposed to put in an appearance every opening night,â she said. âSeriously, no. All theaters have legends attached to them. Show people are superstitious. âBreak a legâ instead of âgood luck.â No whistling in the dressing rooms.â¦â
âNever quote Macbeth .â
âRight.â
Spraggue hesitated. âWas Macbeth ever performed here? Do you know?â
âOnce. It wasnât successful.â
âNever is. Iâve heard more Macbeth horror storiesâcar crashes the night before opening; chicken-pox epidemics; box-office flops.â
â Macbeth was Samuel Phelpsâs last production in this theater. A disaster, critically and financially. He killed himself closing night.â
âHow did you know that?â
She smiled faintly. âI do my homework. I found an old book on Boston theaters down at Goodspeedâs. If youâre curious, Iâll lend it to you.â
âIâm curious.â
âItâs downstairs.â She got to her feet with a swift economy of movement.
Spraggue stood up. âIâll walk with you.â
âAfter we get the book, weâll run your scenes again,â Karen warned. âThen weâll call it a night. Okay?â
âFine. How about ice-cream cones at Brighamâs afterward?â
âNo, thanks,â she said stiffly.
âA drink, then? Itâs Saturday night in the real world.â
âJust another work night for me.â
âSorry.â
They stepped over a tangle of backstage cables and made their way out the double doors into the gloomy hall. Sconces, fashioned to look like Elizabethan torches, cast dim shadows on the gray stone floor.
âYou keep the book in one of the dressing rooms?â Spraggue asked. Eddieâs? he wondered.
âIn the green room. I thought some of the actors might be interested.â
Downstairs, the green room was the first door on the left. The name was traditional rather than descriptive. The green room, the actorsâ gathering place, was dingy battleship gray, highlighted with battered gold chintz-covered chairs and a sofa.
They found the book in one of the cupboards over the corner sink. Spraggue reached for it.
âEddie says you saved his life,â Karen said abruptly.
âActors. They exaggerate.â
âNot Eddie. Itâs funny; I thought I was immune to actors, but
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