Chapter 32 delves deeper into the aftermath of Breitwieser’s art thefts, exploring the emotional and legal turmoil that follows his arrest. In May 2002, the story of his crimes spreads like wildfire, captivating the media and the public. As he sits in a Swiss jail, Breitwieser becomes acutely aware of the damage caused by his actions, particularly after his mother, Stengel, admits to destroying much of the stolen art. This admission in her police interrogation only adds to the media frenzy, with the bizarre and tragic dynamic of a mother’s involvement in her son’s crimes making the headlines. Breitwieser’s confusion intensifies as he watches the reports unfold, especially with his mother’s cryptic and painful statement that “there are no paintings, and there never were.” This statement, while intended to protect her, serves to further complicate his already fragmented understanding of the situation.

The media widely publicizes the estimated value of the stolen artwork, placing it at anywhere between $1 billion and $2 billion, a staggering figure that Breitwieser struggles to grasp. In his mind, the collection was never worth such an astronomical sum, and the stark contrast between his personal understanding and the media’s portrayal makes him feel even more overwhelmed. Sitting in jail, with his criminal record and the weight of the public’s eye upon him, Breitwieser rejects interview requests, choosing to remain silent and avoid further attention. The prospect of facing massive restitution and the wrath of the art world adds to his sense of despair, knowing that both his mother’s actions and Anne-Catherine’s pending trial would only exacerbate his isolation. What once seemed like a thrilling and successful life of art theft now feels like an inescapable nightmare.

Amidst the mounting pressure, Breitwieser contemplates the ultimate escape, attempting suicide with dental floss. The overwhelming loneliness and the unrelenting regret that he feels in his prison cell seem to push him toward the only apparent way out. Thankfully, his attempt is thwarted when a prison guard intervenes, placing him on suicide watch and prescribing antidepressants to help stabilize his mood. Although the medication and supervision help, Breitwieser’s thoughts remain consumed by Anne-Catherine, with whom he desperately wants to reconnect. He writes to her, pouring out his heart in letters filled with apologies and longings for reconciliation, but, despite his emotional plea, he receives no response. This silence only deepens his sense of abandonment and despair, as the woman he thought he could build a future with remains distant and unresponsive.

In an unexpected twist, Breitwieser’s father reaches out to him after eight years of silence, offering words of support and a much-needed lifeline. This communication with his father helps to heal old wounds, as their estranged relationship begins to mend. Visits from his father become an important source of comfort, offering Breitwieser a small but essential semblance of normalcy in the otherwise bleak environment of the Swiss prison. His father’s support helps Breitwieser adjust to his new reality, providing him with the strength to persevere through the tough conditions in prison. He slowly begins to adapt, learning new skills from his fellow inmates, and starts to build a more grounded sense of survival. Despite this, the looming trials in multiple countries still hang over him, and he finds little solace in the notion of facing additional legal battles. On February 4, 2003, Breitwieser is escorted to a courtroom in Gruyères, where he faces the harsh judgment of the justice system. The trials that follow will determine his fate, and the weight of his crimes against both the art world and his own life will be brought to light, leaving him to confront the consequences of his actions in the full glare of the public and legal scrutiny.