Peter Lovesey: Diamond Solitaire

In truth, the driver of the car would share some blame, for bis speed was excessive.

What happened next was swift and devastating, yet Father Faustini saw it in the curious freeze-frame way that the brain has for coping with danger at high speed. The car bore down on the moped without any letup in speed until the last split second, when the driver must have seen what was in front of him. The rasp of tire rubber on the surface of the road as the brakes were applied made a sound like a siren's blare. The car veered left to avoid the moped, and succeeded. But it hit the curb, went out of control and ricocheted to the opposite side. Father Faustini registered that it was a large, powerful sedan. The white light from the headlamps swept out of his vision and was replaced by intense red as the car skidded past with its brake lights fully on. It mounted the curb and started up a bank of turf that bordered a field. The band of rear lights lifted and spun in an arc. The whole thing was turning over. It was thrown on its back not once, but three times, tons of metal bouncing like a toy, smashing through a fence and finally sliding on the roof across the ploughed earth.

One of the rear lights was still on. It went out in a spray of sparks. Smoke was rising from the wreck.

Father Faustini's legs felt about as capable of holding him up as freshly cooked pasta, but he stumbled across to see if he could get anyone out before the entire thing caught fire.

The weight of the chassis had crushed the superstructure. The priest got on his knees beside the compressed slot that had once been the driver's window. There was a figure inside, the head skewed into an impossible angle. Too late for the last rites.

Round the other side was the passenger, another man, half on the turf. Literally. The other half, from the waist down, was still trapped inside. The halves were separated at the waist.

The priest crossed himself. A wave of nausea threatened, but it was vital to stay in control because the air reeked of raw petrol and the whole wreck was likely to turn into a fireball any second. Still troubled that someone might be alive and trapped inside, he lay on his stomach to try and get a sight of what had been the backseat. He needn't have troubled. There wasn't a centimeter of space between the torn upholstery and the impacted roof.

As he braced to get up, a sound like the rushing mighty wind of the Pentecost started somewhere to his right. The petrol had caught fire.

He sprang up and sprinted away. Behind him, there was a series of cracking sounds followed by an almighty bang that must have been the petrol tank exploding. By then, he was twenty meters away and fiat to the earth.

He didn't move for a while. His nerves couldn't take any more. He actually sobbed a little. It was some time before he thought of saying a prayer. In his embattled mind, the car crash had overtrumped the Day of Judgment.

Finally, he sat up. The wreckage was still on fire, but the worst of it was over. Filthy black smoke was taking over and the stench Of burning rubber stung his throat and nostrils. He stared into the flames. The charred, mangled metal that remained barely resembled a vehicle.

Every muscle he possessed was trembling. With difficulty, he got to his feet and walked past the burning wreckage towards the moped, which still stood untouched in the center of the road, a testimony to his stupidity and his responsibility for this tragedy.

Beyond, the night sky was still rent by the vast pillar of fire that had so distracted him. The colors were still unearthly in their brilliance and variety. Even so, Father Faustini was forced to reconsider whether it could really be Judgment Day. The shock of the car crash had altered his perception. He couldn't explain the phenomenon. There had to be a reason for it, but he hadn't the energy left to supply one.

He got astride the moped, started up and rode off to report what had happened…

A Saturday evening performance in the Metropolitan Opera House, New York. Domingo and Freni in full voice, before a packed, enthralled house. The entombment scene was drawing to its climax. United in Verdi's tear-jerking "O terra addio," the tragic lovers, Radames and Aida, embraced in the crypt, while the massive stone slabs that would bury them alive were lowered inch by agonizing inch. Offstage, the priests and priestesses chanted their relentless chorus, and the unhappy Amneris prayed for Radames' eternal soul. There are moments in an opera when no one minds too much if people wriggle and sway in their seats, straining for a better view, or trying to bring relief to aching buttocks. But when Aida reaches its poignant finale, when the slave girl is expiring in the arms of Radames, and the lights are slowly dimmed to signify the sealing of the tomb, the stillness in the auditorium is palpable, from the orchestra stalls right up to the sixth tier.

Or should be.

This evening in the Center Parterre, the most expensive seats in the Met, there was a disturbance. Of all things at this heart-rending moment, a series of electronic beeps shrilled above the singing, a call-signal considerably louder than the wristwatch alarms that are always going off in cinemas and theaters. Some philistine had brought his pager to the opera.

The most absorbed of the audience ignored the source of the sound, refusing to have their evening blighted. Not everyone was so forbearing.

"Jesus Christ-I don't believe this!" a man spoke up in the row immediately behind, regardless that he was adding to the disturbance. Others took up the protest with, "Knock it off, will you?" and stronger advice.

In the third row, the source of the bleeps, a silver-haired man in black-framed bifocals, tugged aside bis tuxedo, unhitched the pager from his belt and pressed a button that silenced it. The entire incident had lasted no more than six seconds, but it could not have been more unfortunately timed.

And now the curtain was down and the performers were taking applause, and in the Center Parterre as many eyes were on the man in the third row as on Domingo. Dagger thrusts of obloquy struck at the offender. Try as he did to ignore them by energetically applauding and focusing his eyes fixedly on the stage, he could expect no mercy from the offended patrons around him. New Yorkers are not noted for reticence.

"I know who I'd bury alive."

"How do jerks like that get admitted?"

"I bought a ticket for a fucking opera, not a business conference."

The jerk in question continued vigorously clapping through six or seven curtain calls, until the house lights were turned on. Then he turned to his companion, a stunning-looking, dark-haired woman at least twenty years younger than he, and attempted to engage her in such earnest conversation that the rest of New York was shut out

She wasn't all that impressed. It was some consolation to those around as they got up and started to file out that the lady was unwilling to gloss over the lapse. In a short time, her voice was raised above his and snatches of the tongue-lashing she was giving him threatened to shake the chandeliers. "… never been so humiliated and if you think after this I'm going to tag along for dinner and a screw, forget it"

Someone called out, "Attagirl! Dump him!"

And that is what she did, flouncing off between the rows of seats, leaving her escort staring after her and shaking his head. He didn't attempt to follow. He remained seated, judiciously letting the people he'd upset get clear. And when everyone had filed out of his section of the auditorium, he took out the pager again and keyed in a set of numbers.

Having got something on the display, he delved into his breast pocket and, impervious to the surroundings, took out a cell-phone and pulled out a length of aerial.