The Night Café

He was deep in thought now. Setting the razor on the lip of the white porcelain hotel room sink, he took up the soap bowl and swirled his shaving brush round and round, each circuit of the bristles whispering the same refrain: Where, where, where was the bloody van Gogh?

The straight razor and boar bristle brush were old-fashioned things, but they were appropriate accessories for a man with such tall military bearing and a handle-bar mustache straight out of the days of Empire. Teagarden had spent thirty years as an officer of London’s Metropolitan Police, the last six and a half as head of the Yard’s Arts and Antiquities Unit. He’d been raised in Manchester, the only child of a decent but rough-about-the-edges mill worker father and a beautiful, cultured mother whose family had withdrawn after she married down. She had been stoic about her reduced circumstances, living on a drab council estate, never an extra shilling for travel or pretty things, but she had engendered in her son a love of music and art, taking him to every free gallery, concert and museum she could, exposing him to library books that described the wonders of the world. Little surprise, then, that given the opportunity to help recover some of the multimillions of pounds’ worth of art stolen annually, Teagarden had jumped at the chance.

As he soaped his cheeks, chin and neck, his memory skimmed the lists of stolen art documented in the British Art Loss Register and the New York–based IFAR, the International Foundation for Art Research. The number of masters alone sickened him—nearly three hundred Picassos, a couple of hundred Miros and Chagalls. Several Rembrandts. Manet, Munch, Vermeer, da Vinci, Goya—the list went on and on. And of course, there was the van Gogh.

Heading up the Arts Unit had not only capped his career at the Met, it had been his crowning achievement and the job of his dreams. He could happily have labored at it until his dying day, had he not been forced into retirement by bureaucrats. “Medically unfit for duty” after his second heart attack, they said, but that was bunk. The commander to whom he reported had been looking for a pretext to get rid of him. A diminutive micromanager with delusions of brilliance, the commander had transferred in from borough operations with a chip on his shoulder and lofty ambitions, and God help anyone he perceived as a threat to his aspirations. It had been annoying enough that Teagarden was impervious to his bullying management style, but the last straw had been a splashy Daily Mirror spread on the work of the Arts Unit, complete with of full color photos of Teagarden and some of the works he’d recovered—da Vinci’s priceless Virgin of the Rocks, a Brancusi sculpture, one of Degas’s ballerinas. “Unseemly,” the commander had sniffed. Of course, he never objected to any press piece that included a quote from him or a picture of his ugly mug, even in a rag like the Mirror.

Teagarden took up the razor and set to work on his face. He hadn’t given a damn about the press, but every time one of those puff pieces appeared, hits on the unit’s Web site had skyrocketed, as did tips from the public. No matter. Not long after the Mirror piece, the commander had ordered Teagarden to submit to a medical, then seized on the results to quote departmental policy at him and hustle him out the door. Within three months, the unit was downsized and swallowed whole by another section—a “redeployment of resources to higher priority tasks.”

It was a travesty, sidelining a specialist at the peak of his operational effectiveness, but Teagarden’s dismay had been short-lived. There were plenty of deep-pocketed private patrons who would pay extremely well, thank you very much, for the same investigative work that had netted him nothing more than a civil servant’s meager pension and a flipping here’s your hat, what’s your hurry shove out the door from the Met. He’d solved hard-to-crack cases during his tenure there and that reputation had served him in good stead, oiling hinges and opening doors at Interpol, the FBI and other international police agencies. They even referred clients to him when their own investigative resources were constrained. That was how Yale University, owners of The Night Café, had made contact. Teagarden had been on the trail of the painting since forty-eight hours after its New Year’s Day theft from the Arlen Hunter Museum.

These thefts were almost never carried out for the love of art. Faced with the possibility of discovery or arrest, thieves were more likely to destroy a painting than let it survive as evidence. With every day that passed, the risk grew exponentially that the fragile old canvas would be gravely damaged or lost forever.

The police in Los Angeles had been rather less welcoming, focused as they were on the murders that had accompanied the burglary. Teagarden, too, was appalled at the human tragedy, but as he tried to point out to the homicide detectives, the only way to find the killers was to learn who might have sought one masterpiece alone among the dozens that had been on view during the Madness & the Masterpiece exhibit.

Previous cases had taught him that the culprits often turned out to be petty thieves. Occasio facit furem—opportunity makes the thief, like a vagabond stealing laundry off a garden line. That was why so much stolen art was never recovered. As soon as the clothesliners felt the law breathing down their necks, they got rid of it. One thief’s mother, hoping to keep her precious boy out of prison, had actually taken her kitchen shears to dozens of the priceless masterworks her little bastard had nicked, and chucked several others into a nearby canal. It turned his stomach to remember the torn, water-damaged, charred and vermin-gnawed masterworks he’d seen.

The business of art theft had changed, however. In the past, a thief might hope to turn a quick profit through a ransom demand, but that was fraught with risk of capture. Finding a buyer these days was no easy matter, either. Recognizable works were impossible to sell to reputable collectors or dealers, even for pennies on the pound. In the old days, even if a buyer suspected a shaky provenance, he need only claim ignorance and wait out the clock. Once the legal statute of limitations had run out—five, seven, ten years, depending on the jurisdiction—thief and buyer alike were home free, and a lucrative payday might be worth the wait.

But these days, there was no pleading ignorance—not in an Internet age when the alarm was sounded far and wide for art gone walkabout. Many nations had also imposed stark penalties on trafficking in stolen work, and the publicity surrounding colonial plundering of antiquities and theft from Holocaust victims put intense pressure on buyers to err on the side of caution. When a California Getty Museum director went on trial in Italy for purchasing stolen antiquities, her ordeal did more than anything else to put the fear of the gods into buyers around the world.

So, Teagarden mused, if not for resale to some reclusive billionaire aficionado or corrupt broker, who else would be in the market for a sixty-million-dollar van Gogh? There was only one other likely scenario—someone wanted to use it as collateral for another business transaction. The drug trade, gunrunning, human smuggling and fraud were all interrelated, and a painting like The Night Café, more compact than a comparable amount of cash, could serve as useful security until funds could actually change hands on a shipment. The masterpiece as currency.

He scrutinized his face in the mirror, looking for spots he might have missed, but his mind was on the security tapes he’d studied at the Arlen Hunter. There was nothing opportunistic about that burglary. It had taken just under twelve minutes from start to finish. A review of the museum’s security setup had left no doubt in his mind that the theft had been carefully planned, possibly with inside help.

How could a world-class gallery have made so many blunders with hundreds of millions in borrowed art at risk? The curator of the exhibit had assured the paintings’ owners that the security system was top-notch. Closed-circuit cameras. Multiple vibration sensors behind each painting. Saturation motion detection. Environmental sensors to pick up minute temperature changes, such as those that might accompany fire, smoke or the touch of a human hand.

The ugly truth was that some of the systems weren’t yet fully functional on the night of the theft. Everything was supposed to have been in place before Madness & the Masterpiece opened, but what Teagarden learned was that the Arlen Hunter’s budget for security was so bled dry by other demands that equipment orders constantly lagged. Delivery delays had meant that some crucial pieces of the system hadn’t yet arrived. Overhead bubble covers should have concealed brand-new, 360-degree observation lenses, but the digital cameras and recording equipment were still on a dock in the port of Long Beach the night of the theft. There was an older existing closed-circuit camera system in use, connected via the Internet to the Los Angeles Sheriff’s Department robbery unit, but that link proved to be a major vulnerability. The thieves had hacked the feed weeks earlier, downloading and recording the video. While the theft was going on, both the internal recording equipment and the external feed were being fed recycled footage. When it was analyzed later, it would be obvious that three of the four security guards seen patrolling on the tape were nowhere near the place on January first. Equally frustrating was that the thieves had managed to erase at least two other sections of the surveillance video, periods that would no doubt have shown them inside the museum, casing the security arrangements.

What a cock-up, Teagarden thought disgustedly, rinsing the razor under hot water and patting his face dry. He took up a small comb and smoothed down his dark mustache, then passed the comb over his thinning steel-gray hair. His eyes, coal-black under heavy eyebrows, flashed annoyance and energy; the former for the botched security that had allowed the painting to be taken, the latter for the thrill of the hunt.

He had little doubt that the theft was a professional operation carried out for strategic purposes that had little to do with art and everything to do with an illegal transaction that required collateral of the magnitude of a stolen van Gogh. There were only so many people involved in deals of this sort, and an even smaller number of subcontractors to whom they could turn to nail down the collateral. Teagarden, in fact, deemed only two or three people capable of the Arlen Hunter job.

Of those, one could be eliminated at once, since he was currently residing in Buckinghamshire, a guest of Her Majesty’s Woodhill Prison, thanks to Teagarden’s own efforts. Another was reported to be in Thailand, but when Teagarden tracked him down there, he learned he’d been knifed in a brothel two weeks before the heist in Los Angeles. Teagarden had visited the man in Phuket, where he was still recuperating. One look at his haggard appearance and the colostomy bag hanging from his belt convinced Teagarden that this fellow’s thieving days were probably over.

It was on his way back to Bangkok airport that Teagarden had decided on a side trip to Prague to look in on another old nemesis.

Teagarden and Shawn Britten eyed each other over a round, zinc-topped café table as they waited for the espressos they’d ordered to be delivered. Britten’s black hair was buzzed short as it had been in his time in the Royal Marines, but the look blended well among the close-cropped heads in the sidewalk cafés of Prague’s Old Town. His three-day stubble was likewise par for the course in a coffee bar frequented by young Western tourists and the edgy shop and gallery crowd.

Britten was in his mid-thirties. He’d seen action in the first Gulf War, and that was where he’d developed his taste for art. Beautiful artifacts often fell into one’s lap in the confusion of war and a smart man learned quickly what was valuable and what was dreck. There was little profit in fencing the latter, but for Britten, the arts became more than a means to earn some ready cash over and above his military stipend. It was, by now, something of a passion.

In addition to his on-the-job training in Middle Eastern artifacts, he soon became a self-taught expert on the Impressionist and Art Nouveau periods. After being demobbed from the Royal Marines, he’d gone independent, working his way up the food chain from estate silver robberies to consignment thefts of high-end art and jewelry. One day, Teagarden suspected, when Britten had built his personal fortune, he might become a collector in his own right—if he lived that long. The kinds of clients who employed contractors with his skills tended to be a difficult lot.

In the meantime, he was one of a very small group of operatives to whom they could turn when rare and valuable objects needed liberating. Jobs like this took finesse. Hire a Philistine and your objet d’art could end up irreparably damaged or destroyed. Then where would you be? Neither history nor the gods smiled on those who despoiled priceless works of art. For that, at least, Teagarden appreciated the man’s professionalism.

The two had crossed paths numerous times, but Britten was both clever and conservative in his style of operation, outwardly maintaining the fiction of working as a freelance appraiser and restorer of minor works. Although suspected of several heists, he had been able to dodge prosecution so far. That said, it was a couple of years since he’d dared set foot back in the United Kingdom. With Teagarden, at least, he no longer bothered with much pretense about the real craft that financed his relatively comfortable lifestyle.

A waiter deposited two demitasses on the table. “Can I get you something else, gentlemen?”

His English was accented but impeccable, Teagarden noted. Like most young Czechs, he would have no memory of his country’s dreary days of membership in the old Soviet bloc. English was the language of commerce in the republic now, and the place was already flooded with young backpackers from western Europe, Australia and America. Group excursions were beginning to show up, too, more timid travelers who preferred to follow backward-walking guides holding neon flags aloft.

“I’d take one of those croissants I spotted in the case, mate, thanks much,” Britten said, adding to Teagarden, “long as you’re picking up the tab.”

“Nothing for me,” Teagarden told the waiter.

“So,” Britten said, leaning back in his chair, “still working freelance, are you, Detective Superintendent?”

Teagarden nodded. He took a tentative sip of the steaming coffee, winced and set the demitasse down to cool.

“What can I do for you?” Britten asked.

“I’m looking for a missing van Gogh,” Teagarden told him. “Naturally, I thought of you.”

“I’m flattered, mate, but I prefer not to mess with the Yanks.”

“So you know which van Gogh I’m talking about?”

“Oh, it sounds like your kind of case, Superintendent. Don’t know what those sods were thinking, mind. They’ve got The Terminator for guv’nor over there in California. Old Arnold’ll stick a needle in your arm soon as look at you.”

“So you know about the murders at the Arlen Hunter, too.”

“I heard something about it, yeah.” Britten glanced up at the waiter, who’d returned with his croissant. “Cheers.”

“What did you hear?” Teagarden pressed.

Britten watched the waiter walk away, then shrugged as he bit into the pastry. “Heard about a security equipment fiasco—some of the equipment not installed, video feeds compromised. Bloody cock-up.”

“That information about the video, that wasn’t reported in the press. So how do you know about it?”

Britten shrugged. “Just because it’s not my work doesn’t mean I don’t take a professional interest. Really makes you think, you know?”

“How so?”

“Well, it’s harder to nick a shirt worth ten quid from Marks & Spencer than a painting worth millions. I mean, even Marks & Sparks have got their merchandise sensors, their plainclothes floorwalkers, their CCTV cameras. When it comes to shoplifting, they mean business—pardon the pun. But your average museum? Pitiful. Minimum wage rent-a-dicks, elderly docents. Scarcely a bit of high-tech equipment to be found.”

Teagarden nodded. “That’s true. But it’s the high-profile exhibits that generate ticket sales, so that’s where most of the money goes.” Even world-class establishments like the Metropolitan Museum of Art or the Louvre were more vulnerable than they liked to admit.

“That’s what I’m saying. Security’s always the poor cousin to your revenue-generating bling.” Britten shook his head ruefully, like he wasn’t one of those very thieves who took advantage of those security weaknesses. “Mind you, doing the job on New Year’s Day, that wasn’t too daft. Always a good chance half the staff will have come down with cheap champagne flu. And them that are left—well, they’re tired, aren’t they? It’s closing time and the last day of the exhibit, too, so everybody’s guard is down. Prime time to act. You put a team together, get in and out fast, and Bob’s yer uncle.”

Teagarden raised a brow. “But you say it wasn’t you.”

“Give me some credit, mate. Just because Her Majesty trained me in the deadly arts doesn’t mean I’m going to use them against civilians.”

“So who do you reckon it was? One professional to another,” Teagarden added.

“Oh, well, I don’t like to rat out a colleague, even if he is the competition.”

“Hardly a colleague, I would think. As you say, it was a very messily executed job—literally, given the body count. Not very flattering professional company to be keeping.”

“That’s very true. Gives everyone a bad name.”

“On the other hand, who knows? Maybe that’s what passes for professionalism these days.”

“’Scuse me?”

“More efficient, I suppose. Eliminate all the witnesses.”

“Nothing efficient about pulling down that much heat,” Britten sniffed. “Only a rank amateur or a psycho uses that much brute force when he doesn’t have to. And he didn’t have to, did he, given that the museum practically sent out engraved invitations asking to be taken down, the way they mucked up security.”

“Yeah, but this ringleader, whoever he was, showed some restraint, didn’t he? After all, he only took the one painting.”

“Self-restraint!” Britten snorted. “That wasn’t his idea. That was a direct order from the client—take The Night Café and nothing more. You don’t argue with orders like that, not when they come from that client.”

“So you do know who did the job—and who gave the orders. Did the client come to you?”

Britten shrugged. “Might have.”

“And? You couldn’t handle it?”

“Couldn’t handle it? Not bloody likely. A trained monkey could have done that job.”

“Yet you turned it down.”

Britten drummed his fingers on the table.

“Why?” Teagarden pressed.

“Look, mate, you and I have had our differences in the past, yeah? But we’ve got two things in common.” Britten held up the first two fingers of his left hand, then pulled them down one after the other. “A, we both love beautiful paintings, and B, we’ve both done honorable service for Her Majesty’s Government. Here’s the deal—nicking that painting had precisely nothing to do with the client’s love of art. And I spent the Gulf War dodging bullets from guns this bloke sold to Saddam Hussein. So, thanks all the same, no, I did not care to take the man up on his offer.”

“So who was the client? And who told him ‘yes’ after you said ‘no’?”

Britten exhaled sharply. Then, signaling to the waiter for another espresso, he settled in resignedly for a long chat.

Teagarden, to be sociable, did the same. It would appear, he thought, that there was honor amongst thieves after all.

Two

Orange County, California

“Gabe, no more snacking. You’ll spoil your dinner.”

Hannah snatched the last of the nachos away from the poised hand of her son and carried them from the patio into the house. The western sun, low over the ocean, was making rainbows on the walls of Nora’s kitchen. For the past couple of hours, the boys—one compact, the other tall and rangy—had climbed out of the water every twenty minutes or so, water streaming off their bodies. Splattering over to the patio table, they’d practically inhaled the fruits and crackers, cheeses and nachos that Nora had set out for them to snack on while Sunday’s beef dinner roasted in the oven.

By now everyone was ravenous. The table was set, the salad made, the oven turned off and the veggies ready for steaming, but Rebecca Powell, Nora’s college roommate, was late.

Hannah scraped the nachos into the garbage disposal, then rinsed the platter and slotted it into the dishwasher. Nora was at the long trestle table in the kitchen, folding starched linen napkins into swan shapes. Their mother, just down from napping upstairs, was putzing around the room, looking for something to clean or polish. Hannah watched her mother’s slightly frenzied hunt. It was pathological. The woman would probably end up ironing the sheets on her own deathbed.

“Ma, come and sit down.”

Instead, Nana picked up a dish towel and polished the taps and faucet at the sink until they gleamed.

Hannah sighed and turned back to her sister. “Could Rebecca have forgotten the invitation?”

Nora shook her head. “I was just talking to her last night. She won’t have forgotten. She’s probably stuck in traffic.”

“She still living in Malibu?”

“No. The gallery’s still there, but she moved into an apartment in Westwood.”

“I thought she was getting the house in the divorce.”

“Bill reneged. He got himself some shark of a lawyer and the lines suddenly shifted. I’m not sure exactly how he managed it, but poor Becs is fighting for her life here.”

“You think the shark dug up something on her? Like, maybe she had an affair, too?”

Nora’s shoulders lifted in a sad shrug. “I really don’t know. Becs hasn’t volunteered and I don’t like to ask. She’s pretty wrung out these days.”

“It’s a blessing she and her husband didn’t have children,” Hannah’s mother said. She’d moved on to wiping the brown speckled counter, even though it was already sparkling. If Rebecca didn’t show up soon, she was going to wear a groove in the granite. Hannah could sympathize. She’d inherited her mother’s restlessness, although in her case, it rarely manifested itself in an urge to clean.

“I suppose,” Nora said.

Nana’s head gave a sad shake. “Divorce is so hard on children.”

Hannah’s gaze dropped to her hands and she tried to ignore the stab in her solar plexus. Her mother wasn’t trying to make her feel crummy about her own messy divorce and lost custody struggle, she knew, but the comment stung just the same.

“Anyway,” Nora added, “I know she hasn’t forgotten about today because she asked last night if you were going to be here.”

Hannah glanced at their mother, then back at Nora. “Who, me? Why?”

“Something about a job.”

“What would she need a security contractor for? Guarding overpriced seascapes?”

Hannah had gone with Nora one time to Rebecca Powell’s Malibu art gallery. The place specialized in the kind of idealized, light-dappled images of coastal California, conveniently sofa-sized, that tourists seemed to favor.

“I don’t know why she needs your services, but here she comes.” Sure enough, through the big, multipaned window next to her sister, Hannah saw a bright red BMW convertible roaring up the driveway. Nora set aside the last in her flock of linen swans and got to her feet. “You can ask her yourself.”

It was courier work, it seemed.

Rebecca didn’t broach the subject until well after dinner. Neal and the boys were in the den, watching a football game, and Nora and Nana were loading the dishwasher. When they brushed off all offers of help, Hannah and Rebecca escaped the warm kitchen and took their coffee out onto the softly lit, tented gazebo on the patio.

“It’s for a client,” Rebecca said, after explaining what she needed from Hannah.