The theft of ‘The Dying Dandy’ was, of course, pure insanity. But in David’s eyes, it was a way to redress the wrongs done to his father.
Knutas interpreted the fact that he’d wanted to show a connection with the sculpture as proof that deep in his heart David Mattson wanted to be caught, that he wanted the world to see and understand the suffering he had been forced to endure. That was undoubtedly also why he’d arranged his victims the way he had done. Everything had to do with revenge and redress and going back to the past.
As for the stolen paintings, Wittberg’s persistent efforts had finally paid off. It turned out that Egon Wallin had been collaborating with Mattis Kalvalis’s manager, Vigor Haukas. The paintings were stolen by professional criminals from the Baltics and later sold from there on the international market. Haukas had run the whole operation, with Wallin acting as a middleman while the paintings made their way out of Sweden. It had been a lucrative business for several years.
Knutas sighed as he continued reading. It was a deeply tragic story. And there was one theme that had run through the whole investigation: secrets. First there was the murder of Egon Wallin and everything that he’d kept hidden from his family; then Erik Mattson’s double life; and all the secrets that were part of Hugo Malmberg’s past.
Knutas took out his pipe from the top drawer of his desk, got up and went over to the window. There wasn’t a cloud in the sky, the sun was shining, and in the distance the sea was gleaming bright blue, the way it did only in the springtime. He glanced over at Dalman Gate. That was where it had all begun, two months earlier.
It seemed like a very, very long time ago.
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Document creation date: 21.02.2012
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The killer's art ak-4 Page 27