All-or any-of which was totally alien to Olga Melnik’s until now carefully structured and even more carefully disaster-avoided career. She wasn’t, of course, frightened of being sucked down. Olga Melnik wasn’t the sort of person to sink beneath the first ripples of uncertainties. She just needed a momentary backwater; time briefly to tread water and examine—apportion and equate-everything swamping over her. Olga accepted, objectively, that she should have anticipated Charlie Muffin’s challenges; been readier, even, for the suggestion that Vera Bendall’s death might not have been an accident. She shouldn’t have needed the difference in the size of the Russian-recovered bullets to be pointed out to her, either. Nor been unprepared for the demand about the bullet casings, none of which had been found. The reason was obvious from the chaos and panic at the scene of the crime, there for everyone to see and understand from at least five different television films, but she should have offered the explanation instead of having the admission drawn from her.
What do You think about Kings Of Many Castles (2011)?
