The Good Thief. Judith Leon
explained where he would park and where Gottschalk was supposed to meet her—on an access road about a hundred and fifty yards away.
“If I need help, I’ll jab my fist into the air. Or,” she slid a small black box to Savin across the table and as he reached for it, his finger brushed the back of her hand. She felt a quick spurt of warmth to her face, her body’s response to a profound sense of pleasure at his touch.
Stunned, she drew in a slow breath, then, “If I press this,” she touched the center of a silver moon pendant, “the green light on your box will go red.” The slim moon disk contained a built-in transponder, activated by a three-second touch.
“Don’t come in unless I signal, okay? Any questions?”
He shook his head, then said, “I like your earrings. They’re exactly the color of your eyes.”
For a moment she couldn’t find words, surprised at the sudden shift of topic and tone. Her earrings, a gift from K-bar and her mom when she graduated from the Academy, were half-inch, oval studs set in silver. “They’re gray star sapphires. From India.”
“Very beautiful.”
She felt herself warming, knew that her face was reddening. How embarrassing.
She checked her watch. “It’s time to go.” She lay ample euros on the table, grabbed the satchel and, keeping her eyes off of Marko Savin, headed for the street.
Chapter 2
Lindsey drove the rented red Fiat uphill from the center of Naples through heavy traffic. The city spread across hills that allowed those spectacular vistas of Vesuvius rising in all its imposing splendor, an ancient sentinel watching over the bay, its peak shrouded in clouds. Everything was going well, even on schedule.
She kept Marko Savin in sight all the way to Capodimonte Park. With Tito, she stayed focused on the deal, but thoughts of the surprising rush of pleasure she’d felt at Marko Savin’s touch kept intruding.
K-bar had said Savin wasn’t married. She couldn’t resist wondering what his “type” might be. She had always wanted to share her passions and joys and hardships with a special companion. So far, however, the only man she’d ever had a serious relationship with wanted her to quit taking the risks involved in her art buybacks. And he hadn’t even known about the sometimes extremely dangerous courier jobs she did, in secret, for the U.S. government as an Oracle agent.
She knew other Athena women who had sacrificed their lives of high risk for family, but that would never be Lindsey. Retrieving art, sometimes masterpieces, stolen and precious to their owners, gave her life meaning. Most of her assignments as a courier were important, some critical to U.S. security, and that also gave her life substance. This was who she was.
Saying no to the possibility of love and a family of her own had been the hardest thing she’d ever done. Sometimes, alone at night, she would get the blues and think she’d made a mistake, but, she’d inherited her mother’s cheerfulness, and in the morning she’d look forward to the day’s action.
No one in this life gets everything.
She pulled over and waited, carefully watching for one minute. Maybe she could risk some fun and adventure with this man. No ties. She would very much like that—if he showed any interest. He had seemed to. Why else comment on her earrings and her eyes with a look that said he couldn’t stop mentally undressing her?
When the sixty seconds had passed, she drove through the entry and through extensive grounds with spacious lawns, now brown with winter, passing groves of leafless trees and a number of old buildings, including the palace that was now a museum, all of them tied together by looping access roads.
Heinie Gottschalk was waiting at the prearranged spot, seated in the back of a black Alfa Romeo sedan, parked as directed and accompanied only by his driver. She’d agreed that Heinie could bring one man with him and had said, “Sure, he can be armed.” Her main line of defense against treachery by Heinie, or any seller, didn’t rest on strong-arm measures. She could be counted on by both sides to be an honest broker, no violence, no treachery and total discretion.
She parked the Fiat in front of the Alfa Romeo and turned off the motor. A hundred and fifty yards away, Marko sat on his bike, apparently studying a map or newspaper.
Carrying the white satchel with its slightly protruding tube, she strode to the Alfa. The driver stepped out and opened the rear door behind the driver’s seat. Lindsey slid inside, sharing the seat with Heinie. He was perhaps twenty-five with neat shoulder-length blond hair and a flashy pinstripe suit. The diamond stud in his ear had to be at least a carat and a half.
Heinie spoke English, in which he was fluent. “So, we’re ready to trade?”
“Let me see the painting,” she countered. As he reached for it, she slipped her hand into her jacket pocket and palmed the tiny GPS transponder, the size of a dime. She had to slip it into the tube with the genuine painting and quickly because in the end, he might refuse to leave her alone with Cleopatra.
He handed her the tube she had supplied to him. “I need to have a few moments in private to inspect it,” she said.
“Why the fuck would you need to inspect it? You think I try to cheat you? I know your reputation and I deal in good faith.”
“Others have tried to cheat. Before we part, you will be able to verify that the wire transfer has been made. Right now I verify the painting’s authenticity. It’s all part of keeping everyone honest.”
“What’s in your tube there?”
“The tube has an accurate copy of the painting, in case I need to check any details. You may search it if you’d like.”
Heinie didn’t move, as rigid as if he were made of stone.
“If I can’t inspect the painting in private, Heinie, I won’t wire the money. You need to let me do my job. You and your man should stand at the front of the car.”
Finally he opened his door and hauled himself out. He signaled and the two of them moved to the front of the car, looking across the grounds. Looking toward Marko, actually.
Lindsey had studied art and art forgery. She knew all the techniques used to establish whether a statue, painting, lithograph, or other work, was the genuine article: pigment analysis, infrared analysis, or X-ray fluorescence to determine the age of the canvas or if metals in a sculpture were too pure. Sometimes these methods could pick up the artist’s fingerprints left in the paint. “Craquelure” was the study of the distinctive network of fine cracks on very old pieces that were virtually impossible to replicate. She could even identify unique brushwork and perspectives to see if these were consistent with known genuine pieces. The problem with this was that forgers made the same analysis, and great forgers were able to re-create them. Even experts could be fooled. But none of these fancy techniques were needed for the Artemisia.
She opened the tube he’d given her, tilted it, and the painting slid into her hands. As she set the base of the tube on the floor, she dropped the GPS into it and heard it hit with a quiet thunk on the bottom.
She unrolled the painting just enough to expose the back side, lower right corner. From her pocket she took a small lighter, and held it close to the painting. Her client had informed her that only the family knew the painting had been signed on the back using urine with the three words, Owned by Genovesa.
Invisible writing had a long history. Milk, vinegar, fruit juices and urine, all had been used and all darkened when heated. The words soon appeared.
“Hello, honey,” she said, longing to pull it out and gaze. She put away the lighter, returned the painting to its tube and knocked on her window.
Heinie returned to her. “Satisfied?” he asked in a sulky tone.
Gee, might he have been raised as a spoiled brat? She ignored him and pulled out her BlackBerry. He watched her intently as she keyed in the information that would transfer one and a half million American