Free The Inheritance by Tilly Bagshawe

lights, forgetting the expense for once in her dire need for some cheer. What else did she want? Noise. Something mindless. She turned on the television and flipped channels, settling for Kelly Osbourne on Fashion Police poking fun at celebrities’ outfits. It didn’t get any shallower or more distracting than that. Finally, she opened the larder cupboard and pulled out a packet of Pringles and a bottle of cheap red wine, liberally filling glass after glass as she ate and watched, watched and ate, pushing all deeper considerations out of her head.
    By the time she thought she heard the doorbell ring, Tati was in a warm, alcohol-induced glow. The process of deciding definitively that the bell had – indeed – rung, standing up, brushing the Pringles crumbs off her jeans and weaving her way unsteadily to the door took another few minutes, by which time the caller had gone. Leaning on the porch step in the darkness, however, was a tightly bubble-wrapped package.
    Pulling it inside, Tati closed the door and ran to the kitchen for scissors. With drunken abandon she sliced away at the plastic wrapping, finally wrenching the contents free with her hands. It was a set of miniatures, tiny, intricately painted portraits of Tati’s grandmother Peg and her three siblings. Of course! She’d completely forgotten that her father had left her these too. Perhaps because, unlike the large Sutherland portrait of Peg, they weren’t particularly valuable. Not that Tati had any intention of selling any of them.
    Tati turned each of the miniatures over in her hands. Granny, Uncle John and the two older sisters, Maud and Helen, whom she never knew. For a moment she thought it might be Mrs Worsley who had sent them in a moment of forgiveness. But the note was from Angela Cranley, who realized she’d forgotten them and had them sent over. Even Tati had to admit that that was kind and thoughtful. She tried not to resent it as she propped each of the tiny pictures up along the kitchen countertop. Picking up the large painting, she set it beside them, studying it closely for the first time.
    There was her grandmother Peg, a young girl of twenty-one in the portrait but with the same sharp, knowing eyes she’d had as an old woman, and that Tati remembered so vividly from her own early childhood, in the years when her mother had still been alive. Peggy was Tati’s mother’s mother, but the two women hadn’t been remotely physically alike. Tatiana’s own mother, Vicky, was all softness and curves, a round, gentle loving woman, as welcoming as a feather bed or a favourite cushion. Peggy, by contrast, was intelligent and cynical, a tall, slender person of angular proportions and gimlet stares, rarely seen without a strong French cigarette in one hand and a tumbler of whisky in the other. Much more like me, thought Tati.
    Sinking down into one of the ugly plastic dining chairs, Tati gazed at the painting for a long, long time. Her grandmother would have been horrified to see a family of Australians installed at Furlings, of that Tati felt sure. She was less sure as to whom Granny Peggy would have blamed for the situation: Rory, for changing his will? Or her, Tati, for driving him to it?
    It doesn’t matter anyway. She’s dead. They’re all dead except for me. Peggy and her siblings. Mum and Dad. I’m the last. I’m the living. It’s what I think that matters.
    She didn’t realize until hours later, when she got up to go to bed, that her face was wet with tears.

CHAPTER FOUR
    Angela Cranley tied the silk belt of her kimono robe loosely around her waist and smiled down at her husband.
    ‘Come back to bed,’ growled Brett, reaching for her hand and pulling her towards him.
    ‘I can’t. You know I can’t,’ giggled Angela. ‘It’s Logan’s first day at school this morning.’
    As always after they’d made love there was a glow about her. Brett loved his wife the most like this, with her tousled hair and flushed cheeks and that smile