by Rose Edmunds
‘I see.’
‘And where are you dashing off to in such a hurry?’
Losing Zowie, this whole assignment and, in particular, its closing episode, had focussed my mind. After more than ten years, it was time to put aside my hurt feelings and be magnanimous.
‘I’m going to see my mother,’ I said.
‘But I thought you were estranged from her.’
‘I’ve changed my mind. You know why.’
‘Yes,’ said George. ‘She’s the only mother you’ve got.’
EPILOGUE
Stan died six months later from a burst oesophagus, allegedly caused by his alcoholism. Predictably, George was heartbroken since there is nothing like a blood relation, however imperfect.
His will, written under George’s supervision, left the vast majority of his collection to a Swiss museum, on condition that the trustees should research the provenance of the artworks and make restitution as appropriate. The museum accepted the legacy and entered into a joint agreement with an assortment of European authorities about the handling of this bequest.
There were two specific legacies. The copy Fernande Olivier painting was left to George, thus giving him what he’d wanted in the first place. This represented a good outcome for me too, compared to the dismal results of my other investigations. Stan also honoured his deal with Claude Lavigueur, who was to receive the self-portrait.
As it transpired, the last bequest proved redundant, since the executors learned that Claude Lavigueur hanged himself shortly after the incident in George’s apartment. See, I knew Claude’s distress wasn’t about the painting, just as my mother’s hoarding wasn’t about the things. And as for what happened when I visited her—well, that’s a story for another day.
The process of winding up Stan’s estate has proceeded slowly, but after two years only five pieces have been restored to the heirs of the legitimate owners, notably a portrait by Matisse restored to the descendants of a French dealer. The Picasso was successfully claimed by Lavigueur’s sister, who promptly sold it at auction for an eye-watering $150 million. Ivanov was the successful purchaser, but furious bidding drove up the price.
I suspected this was Lytkin’s doing, though based on the latest estimate of his wealth in the Sunday Times Rich List, he must have been relieved to have lost the auction. Anyway, he’d forced his rival to overpay, which was perhaps his sole intention. In any event, the copy self-portrait painting was “discovered” and sold for $13 million a few months later, leaving Lytkin up on the deal with Tom and Mel.
In a weird twist of fate, those two con artists ended up giving away most of their $5 million. The operator of Joey’s care home went bust and inexplicably, Mel took a violent objection to the company who proposed to buy it from the receiver. They therefore purchased the care home themselves and donated it to a charitable trust on the condition that Joey could live there free for life. Since Joey might survive for another sixty years, this wasn’t such a dumb financial move as it seemed. Ironically, this left them with around $1 million—the same as the original finder’s fee promised by Ivanov.
My Czech drink driving charge never materialised. I received a letter soon after my return to the UK, which Rudi translated. Apparently there was a technical defect with the breathalyser, which meant they lacked the evidence for a prosecution. I suspected Rudi may have had a hand in this—after all, what’s the point of being a Bohemian prince if you can’t grease a few palms in law enforcement?
Talking of Rudi, shortly after the auction, he emailed me to say he was getting married. He’d taken my advice, hired a business manager, and then fallen in love with her. I wished him well, with all sincerity, but had no regrets. Because by then, my life had taken off in a different direction, and there could be no going back.
THE END
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In CONCEALMENT, the Crazy Amy series starter, Amy’s “perfect” life implodes when she suspects her boss killed a co-worker...
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Rose Edmunds
Brighton, UK
Published in Great Britain by Mainsail Books in 2018
First Edition
Copyright © Rose Edmunds 2018
Rose Edmunds has asserted her right under the Copyright, Designs and Patents Act 1988 to be identified as the author of this work.
This novel is a work of fiction. Names and characters are the product of the author’s imagination, unless otherwise stated, and any resemblance to actual persons, living or dead, is entirely coincidental.
All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the prior written permission of the author, nor to be otherwise circulated in any form of binding or cover other than that in which it is published without a similar condition being imposed on the subsequent purchaser. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages.
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