Design for Murder (1981)
“He had established himself in the carver’s chair at the head of the oval mahogany table, a large notepad set out in front of him. He rose as I was shown in, and motioned me to the chair opposite him where I faced the light from the window.
“How is Sir Robert taking it?” he enquired.
“As you would expect for someone with a bad heart. It’s been a terrible shock.”
“I’ll try not to keep him too long,” Neil said, as he sat down again and took out a pen, “but I wanted to talk to you first. I imagine ...you were as close to Oliver Medway as anybody.”
There was a suggestion in his tone that I didn’t like, and I reacted sharply. “Just what do you mean by that?”
Neil regarded me blandly, his sandy eyebrows raised. “You were his assistant, weren’t you? Working alongside him day after day, you must have come to know the man pretty well.”
“I suppose that’s true,” I acknowledged, only partly mollified.
“Right. Well now, there is no obvious sign that a search was made—either of the body itself or of the premises.MoreLess
“How is Sir Robert taking it?” he enquired.
“As you would expect for someone with a bad heart. It’s been a terrible shock.”
“I’ll try not to keep him too long,” Neil said, as he sat down again and took out a pen, “but I wanted to talk to you first. I imagine ...you were as close to Oliver Medway as anybody.”
There was a suggestion in his tone that I didn’t like, and I reacted sharply. “Just what do you mean by that?”
Neil regarded me blandly, his sandy eyebrows raised. “You were his assistant, weren’t you? Working alongside him day after day, you must have come to know the man pretty well.”
“I suppose that’s true,” I acknowledged, only partly mollified.
“Right. Well now, there is no obvious sign that a search was made—either of the body itself or of the premises.MoreLess
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