Murder at the Opera - Margaret Truman [103]
“I don’t want to go to the police
“But you should
“I came to you for help,” Josephson said, aware that his voice was getting higher and more strident as his frustration bubbled to the surface.
“I’m aware of that,” said Smith, “but I’m afraid the only help I can offer is to give you my best counsel. What you’re alleging is a police matter. You’re talking about the theft of valuable items, and possibly that the person who took them is a murderer. This isn’t a situation calling for a private negotiation. You have an obligation to see that justice is done. I realize that the money is important to you, but that’s something to be dealt with later
Josephson’s voice now became a screech. “What sort of an attorney are you!” he demanded. “What sort of a man are you?”
Smith did not reply.
“I engaged you to handle this for me and—”
“Hold on a second, Marc,” Smith said. “You haven’t engaged me for anything. You called and asked to meet with me. We met. I listened. If what you claim is valid, you have an obligation to—”
The sound of the handset being slammed down reverberated in Smith’s ear.
“I’ll be damned,” he said into the dead phone.
Annabel came from the bathroom. “Who called?” she asked.
“Josephson. I think the man is unbalanced.” He recounted the conversation.
“I’d say you’re right,” she said. “What are you going to do?”
“Nothing
“Nothing?”
“That’s right. Let’s see if Josephson takes my advice and goes to the police
“How will we know if he does?”
“I’ll give him a day or two and ask him
“What about Ray?”
“We’ll let that play out for a couple of days, too. I’d better shower and get moving
She grabbed the sleeve of his robe. “Mac,” she said.
“What?”
“I’m terribly uncomfortable having him working for us at WNO. And you have the tech rehearsal tonight. Frankly, I’m not anxious to be around him
“There’s nothing to be concerned about, Annie. He doesn’t know we know. Better to keep it that way, at least for now
A kiss and he was gone, the bathroom door closing behind him.
• • •
The last time Ray Pawkins had spoken with Marc Josephson was six months after the murder of Dr. Aaron Musinski, almost six years ago. He’d taken the call at MPD, where he was still a detective.
Josephson had introduced himself as a professional colleague of Musinski. He owned, he said, a shop in the Mayfair section of London dedicated to rare manuscripts, art, and musical scores. He was, he said, terribly dismayed at the death of his colleague and friend, and wondered whether Pawkins could shed some light on the circumstances surrounding Musinski’s murder.
Pawkins had said he wasn’t at liberty to discuss an ongoing case, but would be glad to take Josephson’s phone number and call once he was free to release information. That prompted Josephson to thank the detective for his courtesies, and to ask about the disposition of Musinski’s personal effects.
“His niece, a Ms. Felicia James, has taken control of Dr. Musinski’s assets. She’s his next of kin
“Yes, I know of her,” Josephson said. “Let me be candid, Detective Pawkins. Dr. Musinski and I were involved for many years in searching out rare musical manuscripts written by Mozart in collaboration with Joseph Haydn. They were string quartets
“Well,” Pawkins said, “I wouldn’t know about such things. As I said, once we concluded our investigation at Dr. Musinski’s house, Ms. James took control of anything that was in it. Sorry, but I’m afraid I can’t be of any help to you
“I’ve spoken with Ms. James,” Josephson said. “She tells me that those musical scores had been in her uncle’s home but disappeared shortly after his murder
“Look,” Pawkins said, “I’m a Homicide detective, not a music critic. I don’t know anything about string quartets by Mozart and…who?”
“Joseph Haydn. I understand this is not your area of expertise, but I just thought