The man frowned; then his face cleared as he penetrated Julian's bad Italian. ''Come in,'' he smiled. Inside, the house was dean and prettily furnished: the floors were scrubbed and the paintwork gleamed. The man sat Julian down.
''You want to see some pictures?'' The man spoke slowly and a little too loudly, as if talking to someone who was deaf and senile. Julian assumed his accent was the cause of this. He nodded dumbly.
The man raised a finger in a gesture meaning ''Wait'' and left the room. He came back a moment later with a pile of framed photographs, brown with age and obscured by dust.
Julian shook his head. ''I mean paintings,'' he said, miming the act of brushing paint onto canvas.
Puzzlement and a trace of exasperation crossed the man's face, and he fingered his mustache. He lifted a small, cheap print of Christ from a nail on the wail and offered it.
Julian took it, pretended to examine it, shook his head, and handed it back. "Any more?''
"No."
Julian stood up. He tried to put gratitude into his smile. ''I am sorry,'' he said. ''You have been kind.''
The man shrugged, and opened the door.
Julian's reluctance to go on was even greater now. Disconsolate and indecisive, he stood in the street and felt the hot sun on his neck. He would have to take care not to get burned, he thought inconsequentially.
He considered going for a drink. The bar was a few dozen yards down the road, by the blue Mercedes. But a drink would not progress matters.
A girl came out of the bar and opened the car door. Julian looked at her. Was she a bitch like Sarah? Any girl rich enough to own one of those had a right to be a bitch. She tossed her hair over one shoulder as she climbed in. The spoiled daughter of a wealthy man, Julian thought.
A man came out of the bar and got into the other side of the car, and the girl said something to him. Her voice carried up the street.
Suddenly Julian's mind clicked into gear.
He had assumed that the girl was going to drive, but now that he looked more carefully he could see that the steering wheel was on the right-hand side of the car.
The girl's words to the man had sounded like English.
The car had British registration plates.
The Mercedes came to life with a throaty chuckle. Julian turned on his heel and walked briskly to where his Fiat was parked. The other car passed him as he keyed the ignition, and he did a three-point turn.
A wealthy English girl in a British car in Poglio: it had to be the girl who sent the postcard.
Julian could not take the chance that it was not.
He raced after the Mercedes, letting the tiny engine of the Fiat scream in low gear. The blue car took a right turn, following the west road out of the village. Julian took the same turning.
The driver of the Mercedes went fast, handling the powerful car with skill. Julian soon lost the flashing brakelights in the bends of the lane. He squeezed the last ounce of speed from his car.
When he shot past the Mercedes he almost missed it. He braked to a halt at a crossroads and reversed.
The other car had pulled in off the road. The building it was outside looked at first like a farmhouse, until Julian saw the beer advertisement in the window.
The young couple had got out and were entering the door to the bar. Julian drove the Fiat in next to their car.
On the other side of the Mercedes was a third car: another Fiat, only this was a big, prestige model, painted a hideous metallic green. Julian wondered who it could belong to.
He got out of his car and followed the others into the bar.
IV
PETER USHER PUT DOWN his safety razor, dipped his washcloth in hot water and washed the remains of the shaving cream off his face. He studied himself in the mirror.
He picked up a comb and drew his long hair back off his face, so that it lay flat above his ears and on top of his head. He combed it carefully down the back of his neck and tucked the long ends under his shirt collar.
Without the beard and mustache his face took on a different appearance. His hooked nose and pointed, receding chin gave him the look of a spiv, especially with his hair slicked back.
He put the comb down and picked up his jacket. It would do. It was only a precaution, anyway.
He walked from the bathroom into the kitchen of the little house. The ten canvases were there, bound in newspapers and tied with string, stacked up against the wall. He stepped around them and went out through the kitchen door.
Mitch's van was parked in the lane at the bottom of the garden. Peter opened the rear doors and wedged them with a pair of planks. Then he began loading the paintings.
The morning was still cool, although the sun was bright and the day promised to be warm. Some of the precautions they were taking were a bit extreme, Peter thought as he lugged a heavy frame down the cracked garden path. Still, it was a good plan: dozens of possible snags had been foreseen and taken care of. Each of them was changing his or her appearance slightly. Of course, if it ever came to an identification lineup the disguises would not be enough--but there was no way it could come to that.
With the last canvas loaded, he closed the van doors, locked up the house and drove off. He threaded his way patiently through the traffic, resigned to the tedious journey up to the West End.
He found his way to a large college campus in Bloomsbury. He and Mitch had chosen the exact spot a couple of days earlier. The college occupied a block 200 yards wide and almost half a mile long, much of it converted Victorian houses. It had many entrances.
Peter parked on a double yellow line in a little drive which led to one of the college gates. A curious warden would assume he was delivering to the college building beside the gate--but he was on a public road, so college officials would not be able to ask him his business. Anyone else would see a young man, presumably a student, unloading junk from an old van
He opened the rear doors and took the paintings out one by one, leaning them against the railings. When the job was done he closed the van.
There was a telephone box right beside the gates--one of the reasons they had chosen this spot. Peter went in and dialed the number of a taxi firm. He gave his exact location, and was promised a cab within five minutes.
It came sooner. The cabbie helped Peter load the canvases into the taxi. They took up most of the backseat. Peter told the driver: ''Hilton Hotel, for a Mr. Eric Clapton.'' The false name was a joke which had appealed to Mitch. Peter gave the cabbie 50 pence for helping load the paintings, then waved him goodbye.
He got into the van when the taxi was out of sight, turned it around, and headed for home. Now there was no way the fakes could be connected with the little house in Clapham.
Anne felt on top of the world as she looked around the suite at the Hilton. Her hair had been styled by Sassoon, and her dress, coat, and shoes came from a madly expensive boutique in Sloane Street. A trace of French perfume was detectable in the air around her.
She lifted her arms and spun around in a circle, like a child showing off a party dress. ''If I go to jail for life, this will have been worth it,'' she said.
"Make the most of it--those clothes have to be burned tomorrow,'' said Mitch. He sat in a plush chair opposite her. His clenched, busy hands betrayed the strain he felt and gave the lie to his easy smile. He was dressed in flared jeans, a sweater, and a knitted bobble cap, like a faggot playing at being a workman, he had said. His hair was piled under the cap to conceal its length, and he wore plastic-rimmed National Health glasses with plain lenses.
There was a tentative tap at the door. A room service waiter came in with coffee and cream cakes on a tray.
''Your coffee, madam,'' he said, and put the tray down on a low table. "There is a taxi outside with a number of parcels for you, Mr. Clapton," he added, looking at Mitch.
''Oh, Eric, that will be the paintings. Go and see to it, would you?'' Anne spoke in a perfect imitation of French-accented upper-class English, and Mitch had to conceal
his surprise at the sound.
He went down to the ground floor in the elevator, and out through the foyer to the waiting taxi. ''Keep the meter running, chief--madam can afford it," he said.
He turned back to the doorman and pressed two pound notes into his hand. ''See if you can get me a luggage trolley, or something, and a helping hand,'' he said.
The flunky stepped inside the hotel, and emerged a couple of minutes later with a uniformed bellhop pushing a trolley. Mitch wondered whether any of the tip found its way into the bellhop's pocket.
The two of them put five of the paintings on the trolley, and the bellhop disappeared with it. Mitch unloaded the remainder and paid off the cabbie. The empty trolley returned, and Mitch took the rest of the paintings up to the suite. He gave the bellhop a pound--might as well spread the largesse, he thought.
He closed the door and sat down to coffee. He realized that the first stage of the plan had been completed successfully; and with the realization came tension, seeping into his muscles and stringing his nerves tautly. Now there was no turning back. He lit a short cigarette from the packet in his shirt pocket, thinking it would help him relax. It did not--it never did, but he never ceased thinking it would. He tasted his coffee. It was too hot, and he could not summon the patience to wait for it to cool.
He asked Anne: "What's that?''
She looked up from the clipboard she was scribbling on. ''Our list. Name of the picture, artist, gallery or dealer it's for, their phone number, name of the man in charge and his deputy.'' She scribbled something, then flicked pages in the telephone directory on her lap.
''Efficient.'' Mitch swallowed his coffee hot, burning his throat. With his cigarette between his lips he began to unpack the paintings.
He piled the discarded newspapers and string in a corner. They had two leather portfolios, one large and one small, for taking the works to the galleries. He had not wanted to buy ten, for fear of the purchase being conspicuous.
When he had finished, he and Anne sat at the large table in the center of the room. There were two telephones on it, by request. Anne placed her list by his side, and they began phoning.
Anne dialed a number and waited. A girl's voice said: ''Claypole and Company, good morning," all in one breath.
''Good morning,'' said Anne. ''Mr. Claypole, please.'' Her French accent had gone.
''One moment.'' There was a hum, and a click, then a second girl.
''Mr. Claypole's office."
''Good morning. Mr. Claypole, please,'' Anne repeated.
''I'm afraid he's in conference. Who's calling?''
''I have Monsieur Renalle of Agence Arts Nancy. Perhaps Mr. de Lincourt is available?''
''If you will hold, I'll see.''
There was a pause, and then a male voice came on the line. ''De Lincourt speaking.''
''Good morning, Mr. de Lincourt. I have Monsieur Renalle of Agence Arts Nancy for you.'' Anne nodded to Mitch. As she replaced the receiver of her telephone, he lifted his.
"Mr. de Lincourt?'' he said.
''Good morning, Monsieur Renalle.''
''Good morning to you. I am sorry I could not write to you in advance, Mr. de Lincourt, but my company is representing the estate of a collector and there is a little urgency.'' Mitch pronounced ''t'' with his tongue on the roof of his mouth, made ''c'' at the back of his throat, and softened the ''g'' in "urgency."
''What can I do to help you?'' the dealer asked politely.
''I have a picture which ought to interest you. It's a rather early van Gogh, entitled The Gravedigger, seventy-five centimeters by ninety-six. It's rather fine."
''Splendid. When can we have a look at it?''
''I am in London now, at the Hilton. Perhaps my assistant could pay you a visit this afternoon or tomorrow morning?''
"This afternoon. Shall we say two-thirty?"
"Bien--very good. I have your address.''
''Have you a figure in mind, Monsieur Renalle?''
''We price the work at about ninety thousand pounds.''
''Well, we can discuss that later.''
''Certainly. My assistant is empowered to come to an agreement.''
''I look forward to two-thirty, then.''
''Goodbye, Mr. de Lincourt."
Mitch replaced the receiver and sighed heavily.
Anne said: ''God, you're sweating.''
He wiped his forehead with his sleeve. ''I didn't think I'd get to the end of it. That bloody accent--I wish I'd practiced more.''
''You were marvelous. I wonder what the slimy Mr. de Lincourt is thinking right now?''
Mitch lit a cigarette. ''I know. He's delighted to be dealing with a provincial French agent who doesn't know the price of a van Gogh.''
"The line about representing the estate of a dead collector is great. That makes it plausible that a minor dealer in Nancy should be arranging the sale.''
''And hell be in a hurry to close the deal in case one of his rivals hears about the sucker and gets in first." Mitch smiled grimly. ''Okay, let's do the next on the list."
Anne picked up the phone and began to dial.
The taxi stopped outside the plate-glass windows of Crowforth's in Piccadilly. Anne paid the driver while Mitch lugged the canvas, in its heavy leather case, into the art dealer's splendid premises.
A broad, open staircase of Scandinavian pine ran up from the ground-floor showroom to the offices above. Anne led the way up, and knocked on a door.
Ramsey Crowforth turned out to be a wiry, white-haired Glaswegian of about sixty. He peered at Anne and Mitch over his spectacles as he shook hands and offered Anne a seat. Mitch stayed standing, the portfolio clutched in his arms.
His room was paneled in the same pine as the staircase, and his carpet was an orange-brown mixture. He stood in front of his desk, his weight on one foot, with one arm dangling at his side and the other on his hip, pushing his jacket back to reveal Lurex suspenders. He was an authority on the German Expressionists, but he had awful taste, Anne thought.
''So you're Mademoiselle Renalle," he said in his high-pitched Scots accent. ''And the Monsieur Renalle I spoke to this morning was ...''
''My father,'' Anne supplied, avoiding Mitch's eyes.
''Right. Let's see what you've got.''
Anne gestured to Mitch. He took the painting out of the case and stood it on a chair. Crowforth folded his arms and gazed at it.
''An early work,'' he said softly, speaking as much to himself as the others. ''Before Munch's psychoses really took hold. Fairly typical ..." He turned away from the picture. ''Would you like a glass of sherry?'' Anne nodded. ''And your er ... assistant?'' Mitch declined, with a shake of his head.
As he poured, he asked: ''I gather you're acting for the estate of a collector, is that right?''
''Yes.'' Anne realized that he was making small talk, to let the impact of the painting sink in before he made a decision. ''His name was Roger Dubois--a businessman. His company made agricultural machinery. His collection was small, but very well-chosen.''
''Obviously.'' Crowforth handed her a glass and leaned back against his desk, studying the picture again. "This isn't quite my period, you know. I specialize in Expressionists in general, rather than Munch in particular: and his early work isn't Expressionist, obviously.'' He gestured toward the canvas with his glass. ''I like this, but I would want another opinion on it.''
Anne felt a spasm of tension between her shoulders, and tried to control the blush which began at her throat. "I would be happy to leave it with you overnight, if you wish,'' she said. ''However, there is a provenance.'' She opened her briefcase and took out a folder containing the document she had forged back in the studio. It had Meunier's letterhead and stamp. She handed it to Crowforth.
''Oh!'' he exclaimed. He studied the certificate. "This puts a different complexion on matters, of course. I can make you an immediate offer.'' He studied the picture again for a long moment. ''What was the figure you mentioned this morning?''
An
ne controlled her elation. ''Thirty thousand.''
Crowforth smiled, and she wondered whether he, too, was controlling his elation. "I think we can meet that sum.''
To Anne's astonishment, he took a checkbook from his desk drawer and began to write. Just like that! she thought. Aloud she said: ''Would you make it out to Hollows and Cox, our London representatives.'' Crowforth looked mildly surprised, so she added: "They are simply an accounting firm, who arrange the transfer of funds to France.'' That satisfied him. He tore out the check and handed it to her.
''Are you in London long?'' he inquired politely.
"Just a few days.'' Anne was itching to get away now, but she did not want to arouse suspicion. She had to persist with the small talk for the sake of appearances.
"Then I hope to see you next time you come.'' Crowforth held out his hand.
They left the office and walked down the stairs, Mitch carrying the empty case. Anne whispered excitedly: ''He didn't recognize me!''
''Not surprising. He's only ever seen you from a distance. Besides, then you were the dowdy, mouselike wife of a flamboyant painter. Now you're a vivacious French blonde.''
They caught a taxi just outside, and directed the driver to the Hilton. Anne sat back in the seat and looked at the check from Crowforth.
''Oh my God, we did it,'' she said quietly. Then she began to sob.
''Let's clear out of here as quickly as we can,'' said Mitch briskly.
It was one o'clock on the day after they had moved into the Hilton. The last forged masterpiece had just been delivered to a gallery in Chelsea, and there were ten checks in Anne's genuine lizard-skin handbag.
They packed their small suitcases and cleared the room of the pens, papers, and personal possessions they had left around. Mitch took a towel from the bathroom and wiped the telephones and the shiny surfaces of the furniture.
''The rest doesn't matter," he said. ''The odd single print on a wall or a window will be no use at all to the police.'' He threw the towel into the sink. ''Besides, there will be so many other prints everywhere by the time they cotton on, it will be a life's work sorting them all out.''
Five minutes later they checked out. Mitch paid the bill with a check on the bank where he had opened the account in the names of Hollows and Cox.