“Because in my report to the board, I recommended that Victoria Wentworth should sell the Van Gogh, which would allow her not only to clear her overdraft with the bank but hold on to the rest of the estate.”
“But the Van Gogh was the only reason Fenston ever agreed to that deal,” said Tina. “I thought you realized that. He’s been after one for years. The last thing he would have wanted was to sell the painting and get Victoria off the hook. But that’s hardly a reason to fire you. What excuse—”
“I also sent a copy of my recommendations to the client, which I considered to be no more than ethical banking practice.”
“I don’t think it’s ethical banking practice that keeps Fenston awake at night. But that still doesn’t explain why he got rid of you so quickly.”
“Because I was just about to fly to England and let Victoria Wentworth know that I’d even lined up a prospective buyer, a well-known Japanese collector, Takashi Nakamura, who I felt sure would be happy to close the deal quickly if we were sensible about the asking price.”
“You picked the wrong man in Nakamura,” said Tina. “Whatever the asking price, he’s the last person on earth Fenston would be willing to do business with. They’ve both been after a Van Gogh for years and are regularly the last two bidders for any major Impressionists.”
“Why didn’t he tell me that?” said Anna.
“Because it doesn’t always suit him to let you know what he’s up to,” said Tina.
“But we were both on the same team.”
“You’re so naïve, Anna. Haven’t you worked out that there’s only one person on Fenston’s team?”
“But he can’t make Victoria hand over the Van Gogh unless—”
“I wouldn’t be so sure about that,” said Tina.
“Why not?”
“Fenston put a call through to Ruth Parish yesterday and ordered her to pick up the painting immediately. I heard him repeat the word immediately.”
“Before Victoria was given the chance to act on my recommendations.”
“Which would also explain why he had to fire you before you could get on that plane and upset his plans. Mind you,” added Tina, “you’re not the first person to have ventured down that well-trodden path.”
“What do you mean?” said Anna.
“Once anyone works out what Fenston is really up to, they’re quickly shown the door.”
“Then why hasn’t he fired you?”
“Because I don’t make any recommendations he isn’t willing to go along with,” said Tina. “That way, I’m not considered a threat.” She paused. “Well, not for the moment.”
Anna thumped the table in anger, sending up a small cloud of dust. “I’m so dumb,” she said. “I should have seen it coming, and now there’s nothing I can do about it.”
“I’m not so sure about that,” said Tina. “We don’t know for certain that Ruth Parish has picked up the painting from Wentworth Hall. If she hasn’t, you’ll still have enough time to call Victoria and advise her to hold onto the picture until you’ve had a chance to get in touch with Mr. Nakamura—that way she could still clear her debt with Fenston and he couldn’t do anything about it,” added Tina, as her cell phone began ringing, “California Here I Come.” She checked its caller ID: BOSS flashed up. She put a finger to her lips. “It’s Fenston,” she warned. “He probably wants to find out if you’ve been in touch with me,” she added, flipping open the phone.
“Do you realize who got left behind in the rubble?” Fenston asked before Tina could speak.
“Anna?”
“No,” said Fenston. “Petrescu is dead.”
“Dead?” repeated Tina, as she stared across the table at her friend. “But—”
“Yes. When Barry reported in, he confirmed that the last time he saw her she was lying on the floor, so she can’t possibly have survived.”
“I think you’ll find—”
“Don’t worry about Petrescu,” said Fenston. “I already had plans to replace her, but what I can’t replace is my Monet.”
Tina was shocked into a moment’s silence and was about to tell him just how wrong he was when she suddenly realized that she just might be able to turn Fenston’s crassness to Anna’s advantage.