you?â
âEr, hello, itâs Duncan Philips. Whoâs that peculiar girl who answered just now?â
âMy mother,â Maria replied. âSheâs ninety-six and just recovering from a massive stroke, so I thought Iâd better have her in here with me where I can look after her properly. Do you have a problem with that, Mr Philips?â
âUm, no. Sorry. Look, if itâs not convenientââ
âNo, itâs fine, really - Mother, please stop doing that, itâs not funny. Hello? Sorry about that. She will keep slumping forward in her chair and holding perfectly still, bless her. I think itâs wonderful the way sheâs managed to hold on to her sense of humour. Hello?â
âHello? Look, I really think Iâd better leave it for now, youâve obviously got a lot on your plate at the moment andââ
âI wouldnât dream of it,â Maria cooed. âIâm here to work, and the way I see it is, if she dies, she dies. I mean, ninety-six, sheâs had a good innings - Mother, if you do that once again Iâll take away the bottle. You just tell me what needs doing, Mr Philips, and itâs as good as on your desk. Just because Iâm having a personal crisis doesnât mean - oh damn.â
âHello?â
âNothing to worry about, just spilt this wretched sun-tan lotion all down my top. Thatâs one thing you can say for black leather, it doesnât show the stains. Please tell me what it is you want me to do, Mr Philips. If Mother sees me getting agitated, it might bring on one of her turns.â
âAll it was,â said Mr Philips, sounding like a man whoâs just walked into the cathedral tea-rooms and found it full of Hellâs Angels having an orgy, âI was supposed to be meeting Mr Nogamura and his party for lunch at Ciroâs and I canât make it, so I was going to ask if you could stand in for me, but . . .â
âCiroâs, right, fine. Half past one?â
âYes. But . . .â
âThatâs great. Iâve been dying for a chance to wear this little Hawaiian number I picked up the other day.â
âUm . . .â
âAnd youâll just poke your head round the door every ten minutes or so, make sure Motherâs okay?Thanks ever so. And if anything does happen, Iâll leave the solicitorâs number at reception. Got to move fast, you see, because of my brother.â
âYour brothââ
âSad, isnât it? Nothing like a death to bring out the worst in people - Mother, I wonât tell you again. If you do that to poor Mr Philips, I shall be very cross indeed. Well, then. All right, see you later. Bye.â
She dropped the phone back on to its cradle, stretched out her arms and legs and yawned. The painting, she fancied, was giving her a disapproving look. She stuck her tongue out at it.
Ciroâs. Mr Nogamura and party. Right. Well, it was better than lying around in here all day. She knew that Rachel Esterling lived in mortal dread of Mr Nogamura, who was something grand in the parent company and never stirred from his lair without a retinue of seven identical young men who spoke no English. Somehow, she fancied, unlike Ms Esterling, she could speak fluent Japanese. This could be mildly amusing.
She stood up and faced the picture, using its glass as a mirror.
âThe trouble with you is,â she muttered, âyouâre no respecter of persons.â
Which was only to be expected, really. When youâve hung on the walls of some of the most remarkable people in history, starting with Duke Bernabo Visconti and generally speaking going up in the world thereafter, you find it hard to be overawed by a lot of silly little men in suits with bits of coloured string knotted round their necks.
(An odd habit, the wearing of ties. Back when she was first painted, men put a noose round their necks when their city had just been
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