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Contents (38)
  1. OVER MY DEAD BODY
  2. Jeffrey Archer
  3. Copyright
  4. Dedication
  5. CHAPTER 1
  6. CHAPTER 2
  7. CHAPTER 3
  8. CHAPTER 4
  9. CHAPTER 5
  10. CHAPTER 6
  11. CHAPTER 7
  12. CHAPTER 8
  13. CHAPTER 9
  14. CHAPTER 10
  15. CHAPTER 11
  16. CHAPTER 12
  17. CHAPTER 13
  18. CHAPTER 14
  19. CHAPTER 15
  20. CHAPTER 16
  21. CHAPTER 17
  22. CHAPTER 18
  23. CHAPTER 19
  24. CHAPTER 20
  25. CHAPTER 21
  26. CHAPTER 22
  27. CHAPTER 23
  28. CHAPTER 24
  29. CHAPTER 25
  30. CHAPTER 26
  31. CHAPTER 27
  32. CHAPTER 28
  33. CHAPTER 29
  34. CHAPTER 30
  35. ACKNOWLEDGEMENTS
  36. About the Author
  37. Also by Jeffrey Archer
  38. About the Publisher

‘I think a choirboy is more likely …’

‘It’s better to save one sinner,’ countered Ross.

• • •

Faulkner picked up the phone on his desk and listened.

‘All clear, sir,’ said the butler. ‘Our man at the airport has just rung to say that he saw both of them board a plane for London.’

‘Both of them?’ repeated Faulkner.

‘Chief Inspector William Warwick and his second-in-command, an Inspector Ross Hogan.’

‘The Chief Inspector’s wife is shortly to get an unpleasant surprise, and it’s not just that she won’t be getting her hands on my Frans Hals for her autumn exhibition,’ Faulkner said, before he slammed the phone down. He left the room, climbed the stairs and, after tapping his watch, entered an eight-digit code. When the inner door opened, he stepped inside the safe, checked his watch again and entered a second code making it possible for him to return to his study on the ground floor.

When the door opened, he was greeted by the sight of Collins waiting for him with a freshly poured flute of champagne resting on a silver tray. He grabbed the glass on the move and said, ‘Is Mr Booth Watson still with us?’

‘Yes, sir. He’s waiting for you in the drawing room.’

Faulkner glanced around the room, which had been ransacked. ‘I see the Chief Inspector left his calling card,’ he said, before heading for the drawing room, pausing only to straighten a picture in the corridor.

Booth Watson rose as his client entered the room. Faulkner collapsed into the nearest chair and stared up at a redundant double picture hook on the wall.

‘So, the Caravaggio was nothing more than bait to find out where I was holed up.’

‘It would seem so,’ said Booth Watson. ‘And you won’t be pleased to hear that they took the painting back with them.’

‘Just make sure the cheque bounces.’

‘I’ve already spoken to the bank. His Lordship presented the cheque this morning, and they were about to cash it when I called.’

‘I’ll still get hold of that picture,’ said Miles, while looking up at the empty space on the wall.

Booth Watson didn’t comment.

‘How did you manage to avoid being seen by the police?’

‘Collins took me up to one of the maid’s rooms on the top floor and I hid under her bed.’

‘Didn’t the police check her room?’

‘One of them came in, but found a gardener having sex with the maid. He apologized and quickly left. But you’ll now have to face the fact this place will be under constant surveillance.’

‘We always knew that was bound to happen sometime. At least I was well prepared,’ said Faulkner. ‘But now I need to plan my escape because it won’t be too long before they’re back.’

‘When and how?’ said Booth Watson. ‘We have to assume they’ll have patrols on the road out of here, twenty-four/seven.’

‘But I won’t be going by road.’

‘But as you once told me, there’s nothing on the other side of the house except a sheer cliff.’