“Isn’t there someone else on call this weekend?” He knew that Webberly would supply the rest of the details attendant to that remark: it was the fourth time in five months that he had called Lynley back to duty in the middle of his time off.

“I know, I know,” Webberly responded brusquely. “But this can’t be helped. We’ll sort it all out when it’s over.”

“When what’s over?”

“It’s one hell of a mess.” Webberly’s voice faded as someone else in his London offi ce began to speak, tersely and at considerable length.

Lynley recognised that rumbling baritone. It belonged to Sir David Hillier, chief superintendent. Something was in the wind, indeed. As he listened, straining to catch Hillier’s words, the two men apparently reached some sort of decision, for Webberly went on in a more confi dential tone, as if he were speaking on an unsafe line and were wary of listeners.

“As I said, it’s dicey. Stuart Rintoul, Lord Stinhurst, is involved. Do you know him?”

“Stinhurst. The producer?”

“The same. Midas of the Stage.”

Lynley smiled at the epithet. It was very apt. Lord Stinhurst had made his reputation in London theatre by financing one successful show after another. A man with a keen sense of what the public would love and a willingness to take enormous risks with his money, he had a singular ability to recognise new talent, to cull prize-winning scripts from the chaff of mundanity that passed across his desk every day. His latest challenge, as anyone who read The Times could report, had been the acquisition and renovation of London ’s derelict Agincourt Theatre, a project into which Lord Stinhurst had invested well over a million pounds. The new Agincourt was scheduled to open in purported triumph in just two months. With that hovering so near in the future, it seemed inconceivable to Lynley that Stinhurst would leave London for even a short holiday. He was a single-minded perfectionist, a man in his seventies who had not taken any time off in years. It was part of his legend. So what was he doing in Scotland?