假如明天来临( If Tomorrow Comes )

Chapter 30

　　Tracy handed each man a fat envelope and said, "I want to thank you both."

　　"Anytime you need an art expert," Henri Rendell winked.

　　Porretta asked, "How do you plan to carry the painting out of the country?"

　　"I'm having a messenger collect it here. Wait for him." She shook the hands of both men and walked out.

　　On her way back to the Ritz, Tracy was filled with a sense of exhilaration. Everything is a matter of psychology, she thought. From the beginning she had seen that it would be impossible to steal the painting from the Prado, so she had had to trick them, to put them in a frame of mind where they wanted to get rid of it. Tracy visualized Jeff Stevens's face when he learned how he had been outwitted, and she laughed aloud.

　　She waited in her hotel suite for the messenger, and when he arrived, Tracy telephoned Cesar Porretta.

　　"The messenger is here now," Tracy said. "I'm sending him over to pick up the painting. See that he---"

　　"What? What are you talking about?" Porretta screamed. "Your messenger picked up the painting half an hour ago."

　　The chances of success are extremely limited, Gunther Hartog had told Tracy. It will take a great deal of ingenuity.

　　That is the understatement of the century, Tracy thought.

　　She was staring out the window of her suite, down at the skylight roof of the Prado, mentally reviewing everything she had learned about the museum. It was open from 10:00 in the morning until 6:00 in the evening, and during that time the alarms were off, but guards were stationed at each entrance and in every room.

　　Even if one could manage to take a painting off the wall, Tracy thought, there's no way to smuggle it out. All packages had to be checked at the door.

　　She studied the roof of the Prado and considered a night foray. There were several drawbacks: The first one was the high visibility. Tracy had watched as the spotlights came on at night, flooding the roof, making it visible for miles around. Even if it were possible to get into the building unseen, there were still the infrared beams inside the building and the night watchmen.

　　The Prado seemed to be impregnable.

　　What was Jeff planning? Tracy was certain he was going to make a try for the Goya. I'd give anything to know what he has in his crafty little mind. Of one thing Tracy was sure: She was not going to let him get there ahead of her. She had to find a way.

　　She returned to the Prado the next morning.

　　Nothing had changed except the faces of the visitors. Tracy kept a careful lookout for Jeff, but he did not appear.

　　Tracy thought, He's already figured out how he's going to steal it. The bastard. All this charm he's been using was just to try to distract me, and keep me from getting the painting first.

　　She suppressed her anger and replaced it with clear, cold logic.

　　Tracy walked over to the Puerto again, and her eyes wandered over the nearby canvases, the alert guards, the amateur painters sitting on stools in front of their easels, the crowds, flowing in and out of the room, and as she looked around, Tracy's heart suddenly began to beat faster.

　　I know how I'm going to do it!

　　She made a telephone call from a public booth on the Gran Vía, and Daniel Cooper, who stood in a coffee shop doorway watching, would have given a year's pay to know whom Tracy was calling. He was sure it was an overseas call and that she was phoning collect, so that there would be no record of it. He was aware of the lime-green linen dress that he had not seen before and that her legs were bare. So that men can stare at them, he thought. Whore.

　　He was filled with rage.

　　In the telephone booth, Tracy was ending her conversation. "Just make sure he's fast, Gunther. He'll have only about two minutes. Everything will depend on speed."

　　To: J. J. Reynolds

　　File No. Y-72-830-412

　　FROM: Daniel Cooper

　　CONFIDENTIAL

　　SUBJECT: Tracy Whitney

　　It is my opinion that the subject is in Madrid to carry out a major criminal endeavor. The likely target is the Prado Museum. The Spanish police are being uncooperative, but I will personally keep the subject under surveillance and apprehend her at the appropriate time.

　　Two days later, at 9:00 A.M., Tracy was seated on a bench in the gardens of the Retiro, the beautiful park running through the center of Madrid, feeding the pigeons. The Retiro, with its lake and graceful trees and well-kept grass, and miniature stages with shows for children, was a magnet for the Madrile?os.

　　Cesar Porretta, an elderly, gay-haired man with a slight hunchback, walked along the park path, and when he reached the bench, he sat down beside Tracy, opened a paper sack, and began throwing out bread crumbs to the birds. "Buenos días, se?orita."

　　"Buenos días. Do you see any problems?"

　　"None, se?orita. All I need is the time and the date."

　　"I don't have it yet," Tracy told him. "Soon."

　　He smiled, a toothless smile. "The police will go crazy. No one has ever tried anything like this before."

　　"That's why it's going to work," Tracy said. "You'll hear from ma." She tossed out a last crumb to the pigeons and rose. She walked away, her silk dress swaying provocatively around her knees.

　　While Tracy was in the park meeting with Cesar Porretta, Daniel Cooper was searching her hotel room. He had watched from the lobby as Tracy left the hotel and headed for the park. She had not ordered anything from room service, and Cooper had decided that she was going out to breakfast. He had given himself thirty minutes. Entering her suite had been a simple matter of avoiding the floor maids and using a lock pick. He knew what he was looking for: a copy of a painting. He had no idea how Tracy planned to substitute it, but he was sure it had to be her scheme.

　　He searched the suite with swift, silent efficiency, missing nothing and saving the bedroom for last. He looked through her closet, examining her dresses, and then the bureau. He opened the drawers, one by one. They were filled with panties and bras and pantyhose. He picked up a pair of pink underpants and rubbed them against his cheek and imagined her sweet-smelling flesh in them. The scent of her was suddenly everywhere. He replaced the garment and quickly looked through the other drawers. No painting.

　　Cooper walked into the bathroom. There were drops of water in the tub. Her body had lain there, covered with water as warm as the womb, and Cooper could visualize Tracy lying in it, naked, the water caressing her breasts as her hips undulated up and down. He felt an erection begin. He picked up the damp washcloth from the tub and brought it to his lips. The odor of her body swirled around him as he unzipped his trousers. He rubbed a cake of damp soap onto the washcloth and began stroking himself with it, facing the mirror, looking into his blazing eyes.

　　A few minutes later he left, as quietly as he had arrived, and headed directly for a nearby church.

　　The following morning when Tracy left the Ritz Hotel, Daniel Cooper followed her. There was an intimacy between them that had not existed before. He knew her smell; he had seen her in her bath, had watched her naked body writhing in the warm water. She belonged completely to him; she was his to destroy. He watched her as she wandered along the Gran Vía, examining the merchandise in the shops, and he followed her into a large department store, careful to remain out of sight. He saw her speak to a clerk, then head for the ladies' room. Cooper stood near the door, frustrated. It was the one place he could not follow her.

　　If Cooper had been able to go inside, he would have seen Tracy talking to a grossly overweight, middle-aged woman.

　　"Ma?ana," Tracy said, as she applied fresh lipstick before the mirror. "Tomorrow morning, eleven o'clock."

　　The woman shook her head. "No, se?orita. He will not like that. You could not choose a worse day. Tomorrow the Prince, of Luxembourg arrives on a state visit, and the newspapers say he will be taken on a tour of the Prado. There will be extra security guards and police all over the museum."

　　"The more the better. Tomorrow."

　　Tracy walked out the door, and the woman looked after her muttering, "La cucha es loca...."

　　The royal party was scheduled to appear at the Prado at exactly 11:00 A.M., and the streets around the Prado had been roped off by the Guardia Civil. Because of a delay in the ceremony at the presidential palace, the entourage did not arrive until close to noon. There were the screams of sirens as police motorcycles came into view, escorting a procession of half a dozen black limousines to the front steps of the Prado.

　　At the entrance, the director of the museum, Christian Machada, nervously awaited the arrival of His Highness.

　　Machada had made a careful morning inspection to be sure everything was in order, and the guards had been forewarned to be especially alert. The director was proud of his museum, and he wanted to make a good impression on the prince.

　　It never hurts to have friends in high places, Machada thought. ?Quién sabe? I might even be invited to dine with His Highness this evening at the presidential palace.

　　Christian Machada's only regret was that there was no way to stop the hordes of tourists that wandered about. But the prince's bodyguards and the museum's security guards would ensure that the prince was protected. Everything was in readiness for him.

　　The royal tour began upstairs, on the main floor. The director greeted His Highness with an effusive welcome and escorted him, followed by the armed guards, through the rotunda and into the rooms where the sixteenth-century Spanish painters were on exhibit: Juan de Juanes, Pedro Machuca, Fernando Yá?ez.

　　The prince moved slowly, enjoying the visual feast spread before him. He was a patron of the arts and genuinely loved the painters who could make the past come alive and remain eternal. Having no talent for painting himself, the prince, as he looked around the rooms, nonetheless envied the painters who stood before their easels trying to snatch sparks of genius from the masters.

　　When the official party had visited the upstairs salons, Christian Machado said proudly, "And now, if Your Highness will permit me, I will take you downstairs to our Goya exhibit."

　　Tracy had spent a nerve-racking morning. When the prince had not arrived at the Prado at 11:00 as scheduled, she had begun to panic. All her arrangements had been made and timed to the second, but she needed the prince in order to make them work.

　　She moved from room to room, mixing with the crowds, trying to avoid attracting attention. He's not coming, Tracy thought finally. I'm going to have to call it off. And at that moment, she had heard the sound of approaching sirens from the street.

　　Watching Tracy from a vantage point in the next room, Daniel Cooper, too, was aware of the sirens. His reason told him it was impossible for anyone to steal a painting from the museum, but his instinct told him that Tracy was going to try it, and Cooper trusted his instinct. He moved closer to her, letting the crowds conceal him from view. He intended to keep her in sight every moment.

　　Tracy was in the room next to the salon where the Puerto was being exhibited. Through the open doorway she could see the hunchback, Cesar Porreta, seated before an easel, copying Goya's Clothed Maja, which hung next to the Puerto. A guard stood three feet away. In the room with Tracy, a woman painter stood at her easel, studiously copying The Milkmaid of Bordeaux, trying to capture the brilliant browns and greens of Goya's canvas.

　　A group of Japanese tourists fluttered into the salon, chattering like a flock of exotic birds. Now! Tracy told herself. This was the moment she had been waiting for, and her heart was pounding so loudly she was afraid the guard could hear it. She moved out of the path of the approaching Japanese tour group, backing toward the woman painter. As a Japanese man brushed in front of Tracy, Tracy fell backward, as if pushed, bumping the artist and sending her, the easel, canvas, and paints flying to the ground.

　　"Oh, I'm terribly sorry!" Tracy exclaimed. "Let me help you."

　　As she moved to assist the startled artist, Tracy's heels stamped into the scattered paints, smearing them into the floor. Daniel Cooper, who had seen everything, hurried closer, every sense alert. He was sure Tracy Whitney had made her first move.

　　The guard rushed over, calling out, "?Qué pasa? ?Qué pasa?"

　　The accident had attracted the attention of the tourists, and they milled around the fallen woman, smearing the paints from the crushed tubes into grotesque images on the hardwood floor. It was an unholy mess, and the prince was due to appear at any moment. The guard was in a panic. He yelled out, "?Sergio! iVen acá! iPronto!"

　　Tracy watched as the guard from the next room came running in to help. Cesar Porretta was alone in the salon with the Puerto.

　　Tracy was in the middle of the uproar. The two guards were dying vainly to push the tourists away from the area of the paint-smeared floor.

　　"Get the director," Sergio yelled. "?En seguida!"

　　The other guard hurried off toward the stairs. ?Qué4 birria! What a mess!

　　Two minutes later Christian Machada was at the scene of the disaster. The director took one horrified look ad screamed, "Get some cleaning women down here--- Quickly! Mops and cloths and turpentine. ?Pronto!"

　　A young aide rushed to do his bidding.

　　Machada turned to Sergio, "Get back to your post," he snapped.

　　"Yes, sir."

　　Tracy watched the guard push his way through the crowd to the room where Cesar Porretta was working.

　　Cooper had not taken his eyes off Tracy for an instant. He had waited for her next move. But it had not come. She had not gone near any of the paintings, nor had she made contact with an accomplice. All she had done was knock over an easel and spill some paints on the floor, but he was certain it had been done deliberately. But to what purpose? Somehow, Cooper felt that whatever had been planned had already happened. He looked around the walls of the salon. None of the paintings was missing.

　　Cooper hurried into the adjoining room. There was no one there but the guard and an elderly hunchback seated at his easel, copying the Clothed Maja. All the paintings were in place. But something was wrong. Cooper knew it.

　　He hurried back to the harassed director, whom he had met earlier. "I have reason to believe," Cooper blurted out, "that a painting has been stolen from here in the past few minutes."

　　Christian Machada stared at the wild-eyed American. "What are you talking about? If that were so, the guards would have sounded the alarm."

　　"I think that somehow a fake painting was substituted for real one."

　　The director gave him a tolerant smile. "There is one small thing wrong with your theory, se?or. It is not known to the general public, but there are sensors hidden behind each painting. If anyone tried to lift a painting from the wall--- which they would certainly have to do to substitute another painting--- the alarm would instantly sound."

　　Daniel Cooper was still not satisfied. "Could your alarm be disconnected?"

　　"No. If someone cut the wire to the power, that also would cause the alarm to go off. Se?or, it is impossible for anyone to steal a painting from this museum. Our security is what you call proof from fools."

　　Cooper stood there shaking with frustration. Everything the director said was convincing. It did seem impossible. But then why had Tracy Whitney deliberately spilled those paints?

　　Cooper would not give up. "Humor me. Would you ask your staff to go through the museum and check to make sure nothing is missing? I'll be at my hotel."

　　There was nothing more Daniel Cooper could do.

　　At 7:00 that evening Christian Machada telephoned Cooper. "I have personally made an inspection, se?or. Every painting is in its proper place. Nothing is missing from the museum."

　　So that was that. Seemingly, it had been an accident. But Daniel Cooper, with the instincts of a hunter, sensed that his quarry had escaped.

　　Jeff had invited Tracy to dinner in the main dining room of the Ritz Hotel.

　　"You're looking especially radiant this evening," Jeff complimented her.

　　"Thank you. I feel absolutely wonderful."

　　"It's the company. Come with me to Barcelona next week, Tracy. It's a fascinating city. You'd love---"

　　"I'm sorry, Jeff. I can't. I'm leaving Spain."

　　"Really?" His voice was filled with regret. "When?"

　　"In a few days."

　　"Ah. I'm disappointed."

　　You're going to be more disappointed, Tracy thought, when you learn I've stolen the Puerto. She wondered how he had planned to steal the painting. Not that it mattered any longer. I've outwitted clever Jeff Stevens. Yet, for some inexplicable reason Tracy felt a faint trace of regret.

　　Christian Machada was seated in his office enjoying his morning cup of strong black coffee and congratulating himself on what a success the prince's visit had been. Except for the regrettable incident of the spilled paints, everything had gone off precisely as planned. He was grateful that the prince and his retinue had been diverted until the mess could be cleaned up. The director smiled when he thought about the idiot American investigator who had tried to convince him that someone had stolen a painting from the Prado. Not yesterday, not today, not tomorrow, he thought smugly.

　　His secretary walked into the office. "Excuse me, sir. There is a gentleman to see you. He asked me to give you this."

　　She handed the director a letter. It was on the letterhead of the Kunsthaus Museum in Zurich:

　　My Esteemed Colleague:

　　This letter will serve to introduce Monsieur Henri Rendell, our senior art expert. Monsieur Rendell is making a tour of world museums and is particularly eager to see your incomparable collection. I would greatly appreciate any courtesies you extend him.

　　The letter was signed by the curator of the museum.

　　Sooner or later, the director thought happily, everyone comes to me.

　　"Send him in."

　　Henri Rendell was a tall, distinguished-looking, balding man with a heavy Swiss accent. When they shook hands, Machada noticed that the index finger on the right hand of his visitor was missing.

　　Henri Rendell said, "I appreciate this. It is the first opportunity I have had to visit Madrid, and I am looking forward to seeing your renowned works of art."

　　Christian Machada said modestly, "I do not think you will be disappointed, Monsieur Rendell. Please come with me. I shall personally escort you."

　　They moved slowly, walking through the rotunda with its Flemish masters, and Rubens and his followers, and they visited the central gallery, filled with Spanish masters, and Henri Rendell studied each painting carefully. The two men spoke as one expert to another, evaluating the various artists' style and perspective and color sense.

　　"Now," the director declared, "for the pride of Spain." He led his visitor downstairs, into the gallery filled with Goyas.

　　"It is a feast for the eyes!" Rendell exclaimed, overwhelmed. "Please! Let me just stand and look."

　　Christian Machada waited, enjoying the man's awe.

　　"Never have I seen anything so magnificent," Rendell declared. He walked slowly through the salon, studying each painting in turn. "The Witches' Sabbath," Rendell said. "Brilliant!"

　　They moved on.

　　"Goya's Self-Portrait--- fantastic!"

　　Christian Machada beamed.

　　Rendell paused in front of the Puerto. "A nice fake." He started to move on.

　　The director grabbed his arm. "What? What was it you said, se?or?"

　　"I said it is a nice fake."

　　"You are very much mistaken." He was filled with indignation.

　　"I do not think so."

　　"You most certainly are," Machada said stiffly. "I assure you, it is genuine. I have its provenance."

　　Henri Rendell stepped up to the picture and examined it more closely. "Then its provenance has also been faked. This was done by Goya's disciple, Eugenio Lucas y Padilla. You must be aware, of course, that Lucas painted hundreds of fake Goyas."

　　"Certainly I am aware of that," Machada snapped. "But this is not one of them."

　　Rendell shrugged. "I bow to your judgment." He started to move on.

　　"I personally purchased this painting. It has passed the spectrograph test, the pigment test---"

　　"I do not doubt it. Lucas painted in the same period as Goya, and used the same materials." Henri Rendell bent down to examine the signature at the bottom of the painting. "You can reassure yourself very simply, if you wish. Take the painting back to your restoration room and test the signature." He chuckled with amusement. "Lucas's ego made him sign his own paintings, but his pocketbook forced him to forge Goya's name over his own, increasing the price enormously." Rendell glanced at his watch. "You must forgive me. I'm afraid I am late for an engagement. Thank you so much for sharing your treasures with me."

　　"Not at all," the director said coldly. The man is obviously a fool, he thought.

　　"I am at the Villa Magna, if I can be of service. And thank you again, se?or." Henri Rendell departed.

　　Christian Machada watched him leave. How dare that Swiss idiot imply that the precious Goya was a fake!

　　He turned to look at the painting again. It was beautiful, a masterpiece. He leaned down to examine Goya's signature. Perfectly normal. But still, was it possible? The tiny seed of doubt would not go away. Everyone knew that Goya's contemporary, Eugenio Lucas y Padilla, had painted hundreds of fake Goyas, making a career out of forging the master. Machada had paid $3.5 million for the Goya Puerto. If he had been deceived, it would be a terrible black mark against him, something he could not bear to think about.

　　Henri Rendell had said one thing that made sense: There was, indeed, a simple way to ascertain its authenticity. He would test the signature and then telephone Rendell and suggest most politely that perhaps he should seek a more suitable vocation.

　　The director summoned his assistant and ordered the Puerto moved to the restoration room.

　　The testing of a masterpiece is a very delicate operation, for if it is done carelessly, it can destroy something both priceless and irreplaceable. The restorers at the Prado were experts. Most of them were unsuccessful painters who had taken up restoration work so they could remain close to their beloved art. They started as apprentices, studying under master restorers, and worked for years before they became assistants and were allowed to handle masterpieces, always under the supervision of senior craftsmen.

　　Juan Delgado, the man in charge of art restoration at the Prado, placed the Puerto on a special wooden rack, as Christian Machada watched.

　　"I want you to test the signature," the director informed him.

　　Delgado kept his surprise to himself. "Sí, Senor Director."

　　He poured isopropyl alcohol onto a small cotton ball and set it on the table next to the painting. On a second cotton ball he poured petroleum distillate, the neutralizing agent.

　　"I am ready, se?or."

　　"Go ahead then. But be careful!"

　　Machada found that it was suddenly difficult for him to breathe. He watched Delgado. lift the first cotton ball and gently touch it to the G in Goya's signature. Instantly, Delgado picked up the second cotton ball and neutralized the area, so that the alcohol could not penetrate too deeply. The two men examined the canvas.

　　Delgado was frowning. "I'm sorry, but I cannot tell yet," he said. "I must use a stronger solvent."

　　"Do it," the director commanded.

　　Delgado opened another bottle. He carefully poured dimenthyl petone onto a fresh cotton ball and with it touched the first letter of the signature again, instantly applying the second cotton ball. The room was filled with a sharp, pungent odor from the chemicals. Christian Machada stood there staring at the painting, unable to believe what he was seeing. The G in Goya's name was fading, and in its place was a clearly visible L.

　　Delgado turned to him, his face pale. "Shall--- shall I go on?"

　　"Yes," Machada said hoarsely. "Go on."

　　Slowly, letter by letter, Goya's signature faded under the application of the solvent, and the signature of Lucas materialized. Each letter was a blow to Machada's stomach. He, the head of one of the most important museums in the world, had been deceived. The board of directors would hear of it; the King of Spain would hear of it; the world would hear of it. He was ruined.

　　He stumbled back to his office and telephoned Henri Rendell.

　　The two men were seated in Machada's office.

　　"You were right," the director said heavily. "It is a Lucas. When word of this gets out, I shall be a laughing stock."

　　"Lucas has deceived many experts," Rendell said comfortingly. "His forgeries happen to be a hobby of mine."

　　"I paid three and a half million dollars for that painting."

　　Rendell shrugged. "Can you get your money back?"

　　The director shook his head in despair. "I purchased it directly from a widow who claimed it had been in her husband's family for three generations. If I sued her, the case would drag on through the courts and it would be bad publicity. Everything in this museum would become suspect."

　　Henri Rendell was thinking hard. "There is really no reason for the publicity at all. Why don't you explain to your superiors what has happened, and quietly get rid of the Lucas? You could send the painting to Sotheby's or Christie's and let them auction it off."

　　Machada shook his head. "No. Then the whole world would learn the story."

　　Rendell's face brightened. "You may be in luck. I might have a client who would be willing to purchase the Lucas. He collects them. He is a man of discretion."

　　"I would be glad to get rid of it. I never want to see it again. A fake among my beautiful treasures. I'd like to give it away," he added bitterly.

　　"That will not be necessary. My client would probably be willing to pay you, say, fifty thousand dollars for it. Shall I make a telephone call?"

　　"That would be most kind of you, Se?or Rendell."

　　At a hastily held meeting the stunned board of directors decided that the exposure of one of the Prado's prize paintings as a forgery had to be avoided at any cost. It was agreed that the prudent course of action would be to get rid of the painting as quietly and as quickly as possible. The dark-suited men filed out of the room silently. No one spoke a word to Machada, who stood there, sweltering in his misery.

　　That afternoon a deal was struck. Henri Rendell went to the Bank of Spain and returned with a certified check for $50,000, and the Eugenio Lucas y Padilla was handed over to him, wrapped in an inconspicuous piece of burlap.

　　"The board of directors would be very upset if this incident were to become public," Machada said delicately, "but I assured them that your client is a man of discretion."

　　"You can count on it," Rendell promised.

　　When Henri Rendell left the museum, he took a taxi to a residential area in the northern end of Madrid, carried the canvas up some stairs to a third-floor apartment, and knocked on the door. It was opened by Tracy. In back of her stood Cesar Porretta. Tracy looked at Rendell questioningly, and he grinned:

　　"They couldn't wait to get this off their handsl" Henri Rendell gloated.

　　Tracy hugged him. "Come in."

　　Porretta took the painting and placed it on a table.

　　"Now," the hunchback said, "you are going to see a miracle--- a Goya brought back to life."

　　He reached for a bottle of mentholated spirits and opened it. The pungent odor instantly filled the room. As Tracy and Rendell looked on, Porretta poured some of the spirits onto a piece of cotton and very gently touched the cotton to Lucas's signature, one letter at a time. Gradually the signature of Lucas began to fade. Under it was the signature of Goya.

　　Rendell stared at it in awe. "Brilliant!"

　　"It was Miss Whitney's idea," the hunchback admitted. "She asked whether it would be possible to cover up the original artist's signature with a fake signature and then cover that with the original name."

　　"He figured out how it could be done," Tracy smiled.

　　Porretta said modestly, "It was ridiculously simple. Took fewer than two minutes. The trick was in the paints I used. First, I covered Goya's signature with a layer of super-refined white French polish, to protect it. Then, over that I painted Lucas's name with a quick-drying acrylic-based paint. On top of that I painted in Goya's name with an oil-based paint with a light picture varnish. When the top signature was removed, Lucas's name appeared. If they had gone further, they would have discovered that Goya's original signature was hidden underneath. But of course, they didn't."