THE REMBRANDT AFFAIR
ALSO BY DANIEL SILVA
The Defector
Moscow Rules
The Secret Servant
The Messenger
Prince of Fire
A Death in Vienna
The Confessor
The English Assassin
The Kill Artist
The Marching Season
The Mark of the Assassin
The Unlikely Spy
THE REMBRANDT AFFAIR
DANIEL SILVA
G. P. PUTNAM'S SONS
New York
G. P. PUTNAM'S SONS
Publishers Since 1838
Published by the Penguin Group
Penguin Group (USA) Inc., 375 Hudson Street, New York, New York 10014, USA * Penguin Group (Canada), 90 Eglinton Avenue East, Suite 700, Toronto, Ontario M4P 2Y3, Canada (a division of Pearson Penguin Canada Inc.) * Penguin Books Ltd, 80 Strand, London WC2R 0RL, England * Penguin Ireland, 25 St Stephen's Green, Dublin 2, Ireland (a division of Penguin Books Ltd) * Penguin Group (Australia), 250 Camberwell Road, Camberwell, Victoria 3124, Australia (a division of Pearson Australia Group Pty Ltd) * Penguin Books India Pvt Ltd, 11 Community Centre, Panchsheel Park, New Delhi-110 017, India * Penguin Group (NZ), 67 Apollo Drive, Rosedale, North Shore 0632, New Zealand (a division of Pearson New Zealand Ltd) * Penguin Books (South Africa) (Pty) Ltd, 24 Sturdee Avenue, Rosebank, Johannesburg 2196, South Africa
Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England
Copyright (c) 2010 by Daniel Silva
All rights reserved. No part of this book may be reproduced, scanned, or distributed in any printed or electronic form without permission.
Please do not participate in or encourage piracy of copyrighted materials in violation of the author's rights. Purchase only authorized editions.
Published simultaneously in Canada
Library of Congress Cataloging-in-Publication Data
Silva, Daniel, date.
The Rembrandt affair / Daniel Silva.
p. cm.
ISBN: 1-101-18878-2
1. Allon, Gabriel (Fictitious character)--Fiction. 2. Intelligence officers--Fiction. I. Title.
PS3619.I5443R46 2010 2010017388
813'6--dc22
This is a work of fiction. Names, characters, places, and incidents either are the product of the author's imagination or are used fictitiously, and any resemblance to actual persons, living or dead, businesses, companies, events, or locales is entirely coincidental.
While the author has made every effort to provide accurate telephone numbers and Internet addresses at the time of publication, neither the publisher nor the author assumes any responsibility for errors, or for changes that occur after publication. Further, the publisher does not have any control over and does not assume any responsibility for author or third-party websites or their content.
For Jeff Zucker,
for friendship, support, and personal courage.
And, as always, for my wife, Jamie, and
my children, Lily and Nicholas.
Behind every great fortune lies a great crime.
--HONORE DE BALZAC
CONTENTS
PROLOGUE
PART ONE: PROVENANCE
CHAPTER 1
CHAPTER 2
CHAPTER 3
CHAPTER 4
CHAPTER 5
CHAPTER 6
CHAPTER 7
CHAPTER 8
CHAPTER 9
CHAPTER 10
CHAPTER 11
CHAPTER 12
CHAPTER 13
CHAPTER 14
CHAPTER 15
CHAPTER 16
CHAPTER 17
CHAPTER 18
CHAPTER 19
CHAPTER 20
CHAPTER 21
CHAPTER 22
PART TWO: ATTRIBUTION
CHAPTER 23
CHAPTER 24
CHAPTER 25
CHAPTER 26
CHAPTER 27
CHAPTER 28
CHAPTER 29
CHAPTER 30
CHAPTER 31
CHAPTER 32
CHAPTER 33
CHAPTER 34
CHAPTER 35
CHAPTER 36
CHAPTER 37
CHAPTER 38
CHAPTER 39
CHAPTER 40
CHAPTER 41
PART THREE: AUTHENTICATION
CHAPTER 42
CHAPTER 43
CHAPTER 44
CHAPTER 45
CHAPTER 46
CHAPTER 47
CHAPTER 48
CHAPTER 49
CHAPTER 50
CHAPTER 51
CHAPTER 52
CHAPTER 53
CHAPTER 54
CHAPTER 55
PART FOUR: UNVEILING
CHAPTER 56
CHAPTER 57
CHAPTER 58
CHAPTER 59
CHAPTER 60
CHAPTER 61
CHAPTER 62
CHAPTER 63
CHAPTER 64
CHAPTER 65
CHAPTER 66
CHAPTER 67
CHAPTER 68
CHAPTER 69
CHAPTER 70
CHAPTER 71
CHAPTER 72
CHAPTER 73
CHAPTER 74
CHAPTER 75
CHAPTER 76
PART FIVE: RECOVERY
CHAPTER 77
CHAPTER 78
CHAPTER 79
CHAPTER 80
CHAPTER 81
AUTHOR'S NOTE
ACKNOWLEDGMENTS
ABOUT THE AUTHOR
PROLOGUE
PORT NAVAS, CORNWALL
By coincidence it was Timothy Peel who first learned that the stranger had returned to Cornwall. He made the discovery shortly before midnight on a rain-swept Wednesday in mid-September. And only because he had politely declined the persistent entreaties from the boys at work to attend the midweek bash at the Godolphin Arms up in Marazion.
It was a mystery to Peel why they still bothered to invite him. Truth be told, he had never cared much for the company of drinkers. And these days, whenever he set foot in a pub, there was at least one intoxicated soul who would try to badger him into talking about "little Adam Hathaway." Six months earlier, in one of the most dramatic rescues in the history of the Royal National Lifeboat Institution, Peel had plucked the six-year-old boy from the treacherous surf off Sennen Cove. The newspapers had crowned Peel a national hero but were then dumbfounded when the broad-shouldered twenty-two-year-old with movie-idol looks refused to grant a single interview. Peel's silence privately annoyed his colleagues, any one of whom would have leapt at the chance for a few moments of celebrity, even if it meant reciting the old cliches about "the importance of teamwork" and "the proud traditions of a proud service." Nor did it sit well with the beleaguered residents of West Cornwall, who were always looking for a good reason to boast about a local boy and stick it to the English snobs from "up-country." From Falmouth Bay to Land's End, the mere mention of Peel's name invariably provoked a puzzled shake of the head. A bit odd, they would say. Always was. Must have been the divorce. Never knew his real father. And that mother! Always took up with the wrong sort. Remember Derek, the whiskey-soaked playwright? Heard he used to beat the lad. At least that was the rumor in Port Navas.
It was true about the divorce. And even the beatings. In fact, most of the idle gossip about Peel had a ring of accuracy. But none of it had anything to do with his refusal to accept his role as hero. Peel's silence was a tribute to a man he had known only briefly, a long time ago. A man who had lived just up Port N
avas Quay in the old foreman's cottage near the oyster farm. A man who had taught him how to sail and how to repair old motorcars; who had taught him about the power of loyalty and the beauty of opera. A man who had taught him there was no reason to boast simply for doing one's job.
The man had a poetic foreign-sounding name, but Peel had always thought of him only as the stranger. He had been Peel's accomplice, Peel's guardian angel. And even though he had been gone from Cornwall for many years now, Peel occasionally still watched for him, just as he had when he was a boy of eleven. Peel still had the dog-eared logbook he had kept of the stranger's erratic comings and goings, and the photos of the eerie white lights that used to glow in the stranger's cottage at night. And even now, Peel could picture the stranger at the wheel of his beloved wooden ketch, coming up the Helford Passage after a long night alone on the sea. Peel would always be waiting in his bedroom window, his arm raised in a silent salute. And the stranger, when he spotted him, would always flash his running lights twice in response.
There were few reminders of those days left in Port Navas. Peel's mother had moved to the Algarve coast of Portugal with her new lover. Derek the drunken playwright was rumored to be living in a beachfront hut in Wales. And the old foreman's cottage had been completely renovated and was now owned by posh weekenders from London who threw loud parties and were forever yelling at their spoiled children. All that remained of the stranger was his ketch, which he had bequeathed to Peel the night he fled Cornwall for parts unknown.
On that rainy evening in mid-September, the boat was bobbing at its mooring in the tidal creek, waves nudging gently against its hull, when an unfamiliar engine note lifted Peel from his bed and carried him back to his familiar outpost in the window. There, peering into the wet gloom, he spotted a metallic gray Range Rover making its way slowly along the road. It came to a stop outside the old foreman's cottage and idled a moment, headlamps doused, wipers beating a steady rhythm. Then the driver's-side door suddenly swung open, and a figure emerged wearing a dark green Barbour raincoat and a waterproof flat cap pulled low over his brow. Even from a distance, Peel knew instantly it was the stranger. It was the walk that betrayed him--the confident, purposeful stride that seemed to propel him effortlessly toward the edge of the quay. He paused there briefly, carefully avoiding the pool of light from the single lamp, and stared at the ketch. Then he quickly descended the flight of stone steps to the river and disappeared from view.
At first, Peel wondered whether the stranger had come back to lay claim to the boat. But that fear receded when he suddenly reappeared, clutching a small parcel in his left hand. It was about the size of a hardcover book and appeared to be wrapped in plastic. Judging from the coat of slime on the surface, the package had been concealed for a long time. Peel had once imagined the stranger to be a smuggler. Perhaps he had been right after all.
It was then Peel noticed that the stranger was not alone. Someone was waiting for him in the front seat of the Rover. Peel couldn't quite make out the face, only a silhouette and a halo of riotous hair. He smiled for the first time. It seemed the stranger finally had a woman in his life.
Peel heard the muffled thump of a door closing and saw the Rover lurch instantly forward. If he hurried, there was just enough time to intercept it. Instead, in the grips of a feeling he had not known since childhood, he stood motionless in the window, arm raised in a silent salute. The Rover gathered speed and for an instant Peel feared the stranger had not seen the signal. Then it slowed suddenly and the headlamps flashed twice before passing beneath Peel's window and vanishing into the night.
Peel remained at his post a moment longer, listening as the sound of the engine faded into silence. Then he climbed back into bed and pulled his blankets beneath his chin. His mother was gone, Derek was in Wales, and the old foreman's cottage was under foreign occupation. But for now, Peel was not alone. The stranger had returned to Cornwall.
PART ONE
PROVENANCE
1
GLASTONBURY, ENGLAND
Though the stranger did not know it, two disparate series of events were by that night already conspiring to lure him back onto the field of battle. One was being played out behind the locked doors of the world's secret intelligence services while the other was the subject of a global media frenzy. The newspapers had dubbed it "the summer of theft," the worst epidemic of art heists to sweep Europe in a generation. Across the Continent, priceless paintings were disappearing like postcards plucked from the rack of a sidewalk kiosk. The anguished masters of the art universe had professed shock over the rash of robberies, though the true professionals inside law enforcement admitted it was small wonder there were any paintings left to steal. "If you nail a hundred million dollars to a poorly guarded wall," said one beleaguered official from Interpol, "it's only a matter of time before a determined thief will try to walk away with it."
The brazenness of the criminals was matched only by their competence. That they were skilled was beyond question. But what the police admired most about their opponents was their iron discipline. There were no leaks, no signs of internal intrigue, and not a single demand for ransom--at least not a real one. The thieves stole often but selectively, never taking more than a single painting at a time. These were not amateurs looking for quick scores or organized crime figures looking for a source of underworld cash. These were art thieves in the purest sense. One weary detective predicted that in all likelihood the paintings taken that long, hot summer would be missing for years, if not decades. In fact, he added morosely, chances were extremely good they would find their way into the Museum of the Missing and never be seen by the public again.
Even the police marveled at the variety of the thieves' game. It was a bit like watching a great tennis player who could win on clay one week and grass the next. In June, the thieves recruited a disgruntled security guard at the Kunsthistorisches Museum in Vienna and carried out an overnight theft of Caravaggio's David with the Head of Goliath. In July, they opted for a daring commando-style raid in Barcelona and relieved the Museu Picasso of Portrait of Senora Canals. Just one week later, the lovely Maisons a Fenouillet vanished so quietly from the walls of the Matisse Museum in Nice that bewildered French police wondered whether it had grown a pair of legs and walked out on its own. And then, on the last day of August, there was the textbook smash-and-grab job at the Courtauld Gallery in London that netted Self-Portrait with Bandaged Ear by Vincent van Gogh. Total time of the operation was a stunning ninety-seven seconds--even more impressive given the fact that one of the thieves had paused on the way out a second-floor window to make an obscene gesture toward Modigliani's luscious Female Nude. By that evening, the surveillance video was required viewing on the Internet. It was, said the Courtauld's distraught director, a fitting end to a perfectly dreadful summer.
The thefts prompted a predictable round of finger-pointing over lax security at the world's museums. The Times reported that a recent internal review at the Courtauld had strongly recommended moving the Van Gogh to a more secure location. The findings had been rejected, however, because the gallery's director liked the painting exactly where it was. Not to be outdone, the Telegraph weighed in with an authoritative series on the financial woes affecting Britain's great museums. It pointed out that the National Gallery and the Tate didn't even bother to insure their collections, relying instead on security cameras and poorly paid guards to keep them safe. "We shouldn't be asking ourselves how it is great works of art disappear from museum walls," the renowned London art dealer Julian Isherwood told the newspaper. "Instead, we should be asking ourselves why it doesn't happen more often. Little by little, our cultural heritage is being plundered."
The handful of museums with the resources to increase security rapidly did so while those living hand to mouth could only bar their doors and pray they were not next on the thieves' list. But when September passed without another robbery, the art world breathed a collective sigh of relief and blithely reassured itself the worst h
ad passed. As for the world of mere mortals, it had already moved on to weightier matters. With wars still raging in Iraq and Afghanistan, and the global economy still teetering on the edge of the abyss, few could muster a great deal of moral outrage over the loss of four rectangles of canvas covered in paint. The head of one international-aid organization estimated that the combined value of the missing works could feed the hungry in Africa for years to come. Would it not be better, she asked, if the rich did something more useful with their excess millions than line their walls and fill their secret bank vaults with art?
Such words were heresy to Julian Isherwood and his brethren, who depended on the avarice of the rich for their living. But they did find a receptive audience in Glastonbury, the ancient city of pilgrimage located west of London in the Somerset Levels. In the Middle Ages, the Christian faithful had flocked to Glastonbury to see its famous abbey and to stand beneath the Holy Thorn tree, said to have sprouted when Joseph of Arimathea, disciple of Jesus, laid his walking stick upon the ground in the Year of Our Lord 63. Now, two millennia later, the abbey was but a glorious ruin, the remnants of its once-soaring nave standing forlornly in an emerald parkland like gravestones to a dead faith. The new pilgrims to Glastonbury rarely bothered to visit, preferring instead to traipse up the slopes of the mystical hill known as the Tor or to shuffle past the New Age paraphernalia shops lining the High Street. Some came in search of themselves; others, for a hand to guide them. And a few actually still came in search of God. Or at least a reasonable facsimile of God.
Christopher Liddell had come for none of these reasons. He had come for a woman and stayed for a child. He was not a pilgrim. He was a prisoner.
It was Hester who had dragged him here--Hester, his greatest love, his worst mistake. Five years earlier, she had demanded they leave Notting Hill so she could find herself in Glastonbury. But in finding herself, Hester discovered the key to her happiness lay in shedding Liddell. Another man might have been tempted to leave. But while Liddell could live without Hester, he could not contemplate life without Emily. Better to stay in Glastonbury and suffer the pagans and druids than return to London and become a faded memory in the mind of his only child. And so Liddell buried his sorrow and his anger and soldiered on. That was Liddell's approach to all things. He was reliable. In his opinion, there was no better thing a man could be.