“Everywhere we look, there’s something horrible ready to fall on our heads. We’re terrified about Lily and Simon. We’re praying that Olaf Jorgenson hasn’t killed them.”
“I can’t see why he’d bother to kidnap them if he wanted them dead, Sherlock. There’s got to be more going on here than we know.”
Gothenburg, Sweden
An hour later, bathed, warm, and in fresh clothes, Lily and Simon preceded Alpo and Nikki down a massive oak staircase that could accommodate six well-fed people at a time. They were led to the other side of an entrance hall that was a huge chessboard, black-and-white square slabs of marble, with three-foot-tall classic carved black- and-white marble chess pieces lined up along the walls.
They walked down a long hall, through big mahogany double doors into a room that was two stories high, every wall covered from floor to ceiling with books. There were a good half dozen library ladders. A fire burned in an exquisite white marble fireplace with an ornately carved mantel that was at least two feet wide and covered with exquisite Chinese figures. There was a large desk set at an angle in the corner. Behind the desk was a man not much older than fifty, tall, blond and blue-eyed, fit as his Viking ancestors. He was tanned, probably from days spent on the ski slopes. The man rose as Simon and Lily were brought in. He looked at them, his expression gentle and sympathetic. She drew herself up. That was nonsense, and she wouldn’t underestimate him. The man nodded, and both Alpo and Nikki remained by the door.
“Welcome to Slottsskogen, Mr. Russo, Mrs. Frasier. Ah, that means Castle Wood. Our city’s largest park was named after this estate many years ago. Won’t you sit down?”
“What is the city?”
“Sit down. Good. I’m Ian Jorgenson. My father asked me to greet you. You both look better than you did when you arrived.”
“I’m sure that’s true,” Lily said.
“Your English is fluent,” Simon said.
“I attended Princeton University. My degree, as you might imagine, is in art history. And, of course, business.”
Lily said, “Why are we here?”
“Ah, here is my father. Nikki, bring him very close so he can see Mrs. Frasier.”
Lily tensed in her chair as Nikki pushed a wheelchair toward them. In the chair sat an impossibly old man, with just a few tufts of white hair sticking straight up. He looked frail, but when he raised his head, she saw brilliant blue eyes, and they were cold and sharp with intelligence. The brain in that head was not frail or fading.
“Closer,” the old man said.
Nikki brought him to within inches of Lily. The old man reached out his hand and touched his fingertips to her face. Lily started to draw back, then stilled.
“I am Olaf Jorgenson, and you are Lily. I speak beautiful English because, like my son, I also attended Princeton University. Ah, you are wearing the white gown, just as I instructed. It is lovely, just as I hoped it would be. Perfect.” He ran his fingers down her arm, over the soft white silk, to her wrist. “I want you to be painted in this white dress. I am pleased that those American buffoons failed to execute you and Mr. Russo.”
“So are we,” Lily said. “Why did they want to kill us so badly, Mr. Jorgenson?”
“Well, you see, it was my intention to let the Frasiers deal with you. I understand they bungled the job several times, for which I am now grateful. I hadn’t realized what you looked like, Lily. When Ian showed me your picture, I ordered the Frasiers to stay away from you. I sent Alpo and Nikki to California to fetch you back to me. They were clumsy also, but it turned out not to matter because you, my dear, are here at last.”
Lily said slowly, “I don’t look like anyone special. I’m just myself.” But she knew she must look like someone who mattered to him, and so she waited, holding her breath, keeping still as his fingers stroked her arm, up to her shoulder. She saw that his nails were dark and unhealthy-looking.
The old man said finally, “You look exactly like Sarah Jameson when I first met her in Paris a very long time ago, before the Great War, when the artistic community in Paris broke free and flourished. Ah yes, we enraged the staid French bourgeoisie with our endless and outrageous play, our limitless daring and debauchery. I remember the hours we spent with Gertrude Stein. Ah, what an intelligence that one had, her wit sharper than Nikki’s favorite knife, and such noble and impossible ideas. And there was the clever and cruel Picasso-he painted her, worshiped her. And Matisse, so quiet until he drank absinthe, and then he would sing the most obscene songs imaginable as he painted. I remember all the French neighbors cursing through the walls when he sang.
“I saw Hemingway wagering against Braque and Sherwood-it was a spitting contest at a cuspidor some eight feet away. Your grandmother kept moving the cuspidor. Ah, such laughter and brilliance. It was the most flamboyant, the most vivid time in all of history, all the major talent of the world in that one place. It was like a zoo with only the most beautiful, the wildest and most dangerous specimens congregated together. They gave the world the greatest art ever known.”
“I didn’t know you were a writer or an artist,” Simon said.
“I’m neither, unfortunately, but I did try to paint, studied countless hours with great masters and wasted many canvases. So many of my young friends wanted to paint or to write. We were in Paris to worship the great ones, to see if perhaps their vision, their immense talent, would rub off, just a bit. Some of those old friends did become great; others returned to their homes to make furniture or sell stamps in a post office. Ah, but Sarah Jameson, she was the greatest of them all. Stein corresponded with her until her death right after World War Two.”
“How well did you know my grandmother, Mr. Jorgenson?”
Olaf Jorgenson’s soft voice was filled with shadows and faded memories that still fisted around his heart, memories he could still see clearly. “Sarah was a bit older than I, but so beautiful, so exquisitely talented, so utterly without restraint, as hot and wild as a sirocco blowing up from the Libyan desert. She loved vodka and opium, both as pure as she could get. The first time I saw her, another young artist, her lover, was painting her nude body, covering it with phalluses, all of them ejaculating.
“She was everything I wanted, and I grew to love her very much. But she met a man, a damned American who was simply visiting Paris, a businessman, ridiculous in his pale gray flannels, but she wanted him more than me. She left me, went back to America with him.”
“That was my grandfather, Emerson Elliott. She married him in the mid-1930s, in New York.”
“Yes, she left me. And I never saw her again. I began collecting her paintings during the fifties. It wasn’t well known for some time that she’d willed paintings to her grandchildren, such a private family matter. Yes, she willed eight beautiful paintings to each child. I knew I wanted them all for my collection. You are the first; it is unfortunate, but we managed to gain only four of the originals before the Frasiers became convinced that you were going to leave their son, despite the drugs they were feeding you. They knew you’d take the paintings with you, so they decided to kill you, particularly since your husband was your beneficiary after your daughter’s death.”
“But I didn’t die.”
“No, you did not, but not for their lack of trying.”
“You’re telling me that my husband was not part of this plot?”
“No, Tennyson Frasier was their pawn. His parents’ great hopes for him were dashed, but he did manage to make you his wife. It’s possible he even fell in love with you, at least enough to marry you, as his parents wished.”
She’d been so certain that Tennyson had been part of the plot. She asked, “Why didn’t you just offer me money?”
“I knew you would turn me down, as would your siblings. You were the most vulnerable, particularly after your divorce from Jack Crane, and so I selected you.”
“That’s crazy. You invent this convoluted plan just to bilk me out of my grandmother’s paintings?”
“Sarah’s paintings belong with me, for I am the only one who can really appreciate them, know them beyond their visual message and impact, because I knew her, you see, knew her to her soul. She would talk to me about her work, what each one meant to her, what she was thinking when she was painting each one. I fed her opium, and we talked for hours. I never tired of watching her paint, of listening to her voice. She was the only woman I ever wanted in my life, the only one.” He paused for a moment, frowning, and she saw pain etched into the deep wrinkles in his face. From the loss of her grandmother or from illness?
He said, his voice once again brisk, “Yes, Lily, I selected you because you were the most vulnerable, the most
