The Red Room

4

The air in the Red Room is piped in through slit vents in the ceiling. The temperature is perfect. The humidity, perfect. The company, less than perfect.

Dulwich is not himself; he’s lost sleep, some color, and his throat is raspy, suggesting he’s stressed.

“Are we going to rewind,” Knox asks, “or am I supposed to keep up?”

“What do you think?” Dulwich scratches at the burn scar below his collarbone. The line of pink runs down into his shirt. The phantom itch is one of the man’s tells. He’s editing himself on the fly.

“Akram Okle owns a pair of Indian restaurants, both called Saffron. One in Bethany. The other in Amman. He’s done well. Not well enough to afford his last purchase, but the man knows his art and would have no problem forming a partnership to make a buy. He’s a family man, no connection to organized crime. Well educated. A pleasure to do business with. You’ve got the wrong guy.”

“His mother is gravely ill,” Dulwich says. “As we speak, he’s traveling to Istanbul to join some, or all, of his six siblings. Three brothers, three sisters. He’s not in partnership. He’s a middleman for his brother, Mashe.” He pronounces it “Masha.” “That’s who bought your piece.”

“Okay.” Knox does not appreciate Dulwich knowing what he knows. He circles back to the photos taken of Akram from a year and a half ago. Police. Interpol. A cultural ministry trying to stem the flow of precious art.

Dulwich’s focus can be laserlike. “After I saw these photos, when I realized you deal in more than nose flutes, it seemed so unlike you. So I go back through your college records to find out you were an art history major.”

“Minor. My major was sorority girls.”

“Save it for someone who laughs,” Dulwich says. “Why’d I never hear about this? Too soft for the tough John Knox?”

“I don’t tell everything on the first date.”

“So you’re an art dealer now?”

“Finger cymbals are folk art.”

“How long?”

“A while. Here and there, now and then. Better margins when I can find the right piece. It’s a pretty tight-knit club, gray market art. I have a long climb ahead of me, but yes, I enjoy it. Sue me.”

“You’re about to skip a few rungs,” Dulwich says. “Move to the front of the line. No more papier-mâché face masks for John Knox. What’s the gray market equivalent of Christie’s or Sotheby’s?”

Knox doesn’t answer. His heart is pumping. Dulwich has a disturbing way of knowing how to play him. Knox would love to get away from hill tribe trinkets and into the art world, gray market or not. But Dulwich can’t make such promises.

“You are to offer Akram the bust of Harmodius.”

“Harmodius and Aristogeiton.” Knox doesn’t need Google.

“Apparently so.”

Knox can tell Sarge is out of his element. “Athenians who paved the way for democracy. Bronzes were made of the heroes, the first art in human history to be commissioned out of public funds, adding to the gravitas of the pieces.”

“Listen to you,” Dulwich says.

“The statues disappeared, likely seized in wartime. Copies were commissioned. This is still four hundred years before Christ. A piece — just a piece! — of one of those copies surfaced in the 1980s and sold for millions.”

“You will be offering the head and left shoulder from the original Harmodius,” Dulwich says.

“That’s impossible. No one will believe that. Not even me. The originals were lost two thousand years ago. Come on.”

“It’s been tested. Assayed. Whatever. It can be tested again. It’s the real deal, Knox. And yes, you will have it. I’m told the estimated value is well north of ten million.”

“Well north,” Knox says.

“You’ll be asking five hundred thousand.”

“And why would I do that? Why would anyone do that?” But he knows the answer. It’s been stolen. It’s a piece for one’s bedroom, not one that can be seen by others. There are too many questions that need answering. Given the current climate of cross-cultural theft, trying to deal it to a museum would result in jail time.

“If you’re trying to court me, you’re going about it all wrong. What the hell are you and Primer up to?” Knox has a nose for Dulwich bullshit. The closest they’ve been to the truth was the bit about good and bad players on the same team. That line’s been running through Knox’s head since Sarge said it.

“You deliver the Harmodius. Grace will make sure the money flows in the right directions. You’ll make a name for yourself in certain circles.”

A name? Knox thinks. He’ll be legend, and Dulwich is fully aware of this. He’s offering Knox a career change, a gold pass into the inner circles of the art world, gray market or not. The fucking Harmodius?

“Grace,” Knox says. He works occasionally with Grace Chu on Dulwich jobs. She’s a rising star within the ranks of outsourced Rutherford operatives like him. They have a platonic chemistry that Knox welcomes. She’s insanely smart, wildly ambitious and enough of a risk taker to keep up with him.

“You’re after Mashe Okle’s money stream?”

“It’s NTK.” Need To Know. “You make the offer. You make sure he bites. You and Grace deliver the Harmodius. An in-and-out. Like I said.”

“What’s the catch?”

“You need to sell directly to Mashe. I need you two in the room with Mashe for five minutes.”

“Play the lure? For what, a hit? No thanks.” Knox stands. The acrylic chairs are painfully uncomfortable.

“No hit.”

“Bullshit. I lead you to him and some sniper takes him out that day or three days later. What’s the difference? You think if I never find out, it lessens my role? That’s bullshit. Who is he?”

“No sniper.”

“Who is he?”

“NTK.”

“Fuck that. Good guys and bad guys on the same team, you said. So is he a bad guy on a good team or a good guy on a bad team?”

“I wasn’t talking about him.”

“The client? You were talking about the client?”

“NTK. I don’t need to know. You don’t need to know. Leave it at that. I… we’ve been promised no killing. For you: it’s fifty thousand on acceptance. How much are Tommy’s new meds? Once you two get the five minutes, a hun more. For a week, tops, including travel.”

“I won’t bait a guy for a bullet. He’d have to be a real monster. I would need proof. Who’s the client?” Knox resents Sarge for bringing up his brother’s medical situation. They know each other too well, he thinks, not for the first time.

But Sarge is right. There’s a compound currently in testing for Fragile X and the treatment of social withdrawal. The results are promising, but Tommy’s well above the test’s age limit of twenty-one. Getting him prescribed the drug will be tricky and expensive — and even if Knox succeeds, costs are estimated at ten thousand dollars a month.

“I’m telling you, I wouldn’t ask you to do this if—” He searches. “Listen, there’s no bullet. Not from us, not from our client. Could he take one? Of course. But not from us.”

“Who’s us?”

Dulwich purses his lips. Knox changes tactics.

“What’s the right way for the money to flow? What are you after?”

Dulwich retains his expression.

Knox processes the use of the Red Room, the limited information he’s being offered, the eighteen months of photo surveillance. It feels like the work of Interpol’s Stolen Works of Art group or a domestic organization like Scotland Yard. He doesn’t like it.

“Art theft? That kind of politics? I need guaranteed amnesty,” Knox says.

“The client has no say over that. It’s beyond borders. Grace is your best bet. Trust Grace. She says run, you run.”

Dulwich has revealed more than he intended, a costly and unusual mistake. The client is either nongovernmental or a covert governmental group unable to interfere. Knox can’t put it together. He doesn’t like hearing that he’s to take direction from Grace; she’s become Dulwich’s star pupil. Knox has always been more the gum chewer in the back row. Grace’s importance to Dulwich is on the rise; his own status, he’s not so sure about. And it’s so out of character for Dulwich to slip up that Knox has to wonder if it’s an intentional ruse. Why would Dulwich game his own assets?

Because this is bigger than stink.

“The Brits’ stolen-art database is fifty thousand pieces,” Knox says. “Yet their total annual budget to investigate stolen art is less than four hundred grand. Italy loses thirty thousand pieces a year. Russia, seven. Stolen art is the most lucrative market out there. And the most underfunded on the investigative side. I like nice things, I deal in nice things, but I’ve never knowingly participated in the sale of stolen art. I need protection. I don’t think I’d like Turkish jail.”

“It’s not in my interests to see you in jail.”

“Well, that’s a huge relief.”

“Scheduling is critical. Clock is ticking. Lean on Grace. If she does her homework, and we both know that’s not an ‘if,’ we’ll know whether or not it’s safe for you two to take that meet.”

“The clock is always ticking.”

Dulwich shrugs.

How much does Grace know? How much will she be willing to share? She can be a real Girl Scout. How much can Knox deduce by understanding what Grace is up to? The stop Knox had planned in Shanghai is worth a fifth of just the down payment Sarge and Primer are offering.

Knox flashes back to the pile of money Tommy lost to the embezzling bookkeeper, money intended for Tommy’s care. Recovering that money is a work in progress, one that currently involves the voluntary help of Dulwich and Grace. In the interim, Knox is trying to cover in-home health care that costs the same as buying a new car every month. Adding drug therapy will kill the goose.

Dulwich’s expertise is manipulation, but in affairs of business only. His personal life is a minefield littered with craters behind him and tall weeds ahead. This job offer feels different, as if he’s dragging Knox into that field with him.

Knox tries for the jugular. “What makes this personal for you?”

Dulwich doesn’t so much as blink. “He’s important to the client.”

“The brother.”

“Correct.” He repeats, “I’ll backfill as much as possible, whenever possible, assuming the client okay’s it. It’ll go through Grace. You and I can’t connect. Period.”

“I’ll be watched.” Knox looks down at the photographs. Feels a chill. Maybe he’s been under surveillance for some time.

“We play the odds.”

“What makes a buyer of art special?” Knox asks, thinking aloud. “The dollar value of the art is what’s significant. Right?”

Dulwich doesn’t want him going there. He says so with his eyes.

“Let’s say I’m a black ops agency trying to buy some RPGs or a few million rounds of ammo. I’m trying to back the Syrian rebels or some other Arab Spring do-gooders. My seller is unwilling to take currency of any kind. Currency can be traced. He can’t allow himself to be found out.”

Dulwich doesn’t stop him, but Knox can tell he’d like to.

“So the cash buys a piece of art. It’s a value market — a relatively small amount of cash buys a very valuable trade. The art is exchanged for the weapons. Untraceable. The guy who sells the weapons hangs the art in his dacha; the other guy reloads. Everyone’s happy.” Knox looks for the fallacies. It holds up. “Mashe’s facilitating war, insurrections, bloodshed.”

He’s a monster.

Dulwich can’t help himself: a small shrug says close enough.

“So the client — your client — is someone on the other side of the potential bloodshed. He doesn’t want the weapons sold. He’s looking to limit or shut down his enemy’s arsenal.”

“I need a go, no-go from you, John. You know how this shit works.”

“But the Red Room.”

“Don’t read too much into that.”

“Seriously?” Knox looks around the bunker. “The client can’t be seen using private contractors like Rutherford. He doesn’t trust his own people — good guys, bad guys. You said so yourself. I find that interesting.”

“Don’t find it anything. Just give me the go, no-go.”

“Stop pressuring me, Sarge. You need me. I’m the one in the photos. How long did it take your client to figure out who I was? To connect you and me? That can’t have been easy. Shit. Months? A year? Are these our guys? Homeland Security? The FBI? You can imagine why that would make me just a little nervous.”

Dulwich fails to react.

“Don’t make like if I pass on this you’re going to move down the list. There is no list. It’s one name. One guy. Me.”

“Lucky you.”

“Flip the payments. The hundred now. Fifty if I get the five minutes with him.”

“Deal.”

Knox shakes his head, disgusted with himself. That came far too easily. He could have gotten more. “I need an agent,” he says.

Dulwich smirks.

“I’m no expert on Istanbul. There’s a brass worker I do some business with in Merkez. The Grand Bazaar is overpriced. Can I parachute in? Sure. But don’t ask for anything ninja.”

“Understood.”

“If Akram is playing middleman for his brother, I don’t see how I ask to meet the guy without raising flags.”

“You leave that to Chu,” he says, referring to Grace. “She can make that happen. I’m serious about it being an in-and-out for you. Show up. Watch movies in your hotel room. Chu does what she does. You do what you do. She will bring Mashe to you. You set up the deal with Akram. Take the meet. You and Grace hop a plane home.”

“How do I get a piece like that in-country? If I’m busted at Customs and spend twenty years in a Turkish prison, I’m going to come out very mad.”

“I’m counting on you.”

“I won’t take a hand-off. Not in a place like Istanbul. Couriers are bought and sold more than the artwork they transport. We need to get it in there ourselves. No middlemen.”

“I’m working on it.” Dulwich pauses. “In all likelihood, it’ll be a hand-off in Amman. After that, it’s up to you. You’ll think of something.”

“If you don’t mind my saying so: this doesn’t feel like you,” Knox says.

“And if I do mind?”

“You’re up against a tight schedule. I get that. This guy’s only on the ground a short time.” Knox feels the ice cracking beneath his feet and he hasn’t even accepted the job yet. “Since when do we take on a client with bad guys on his team? You’re usually telling me not to ad-lib. You hate that about me. Now you’re telling me I’ll think of something.”

“This is actionable.”

“Getting that piece of art from Amman to Istanbul is actionable. You’re not the one making the trip. I’m the one making that mistake.”

“Glad to hear it.”

“Fuck you.”

“I’ll take that as a yes.”