Thorn

Chapter One

In my opinion I owe the breathing legions of humanity no explanations of any of my affairs, no apologies for any chapter of my life. And I consider this judgement to apply with particular force to my role in the events surrounding the recent and much-publicized disappearance of one of the world's noblest works of art. Let those breathing folk who in financial anguish claim rights to the painting recover it if they are able, or get along without it if they are not. Nor do I consider that it is up to me to interpret for them those strange and violent events, mystifying to so many, which like red parentheses enclose the painting's vanishment. By the standard of objective justice it is rather I who deserve an accounting from the breathing world, I who am entitled to some reparations . . .

Bah. At my age I should know better. And in fact I do. I press no formal claim.

Only this much do I insist upon: you will understand that almost my sole purpose in setting down this history is to please myself. Almost, be it noted. Mina, my true great love, my delight now for almost a century, accept these pages from me as my humble effort to explain some things you must have wondered at; and be assured, my dear, that none of the breathing women mentioned here could ever begin to mean as much to me as one look from your eyes, one touch from your sweet hand. In addition, I would like to think there are a few other readers who will be able to appreciate the story, as a story, as I tell it on my own terms, in my own way. And part of my pleasure shall be to use my informed imagination to create for those discerning readers some scenes at which I was not present and could play no role. I warn you—if it is not already too late—that in these scenes it amuses me sometimes to be accurate and deceptive at the same time. You may accept those portions of the story or not, just as you choose. Indeed—do I need to say it?—you may think what you like about the whole business.

It is my decision to begin upon a certain warm spring night, not long ago. It was a night through which the smell of orange blossoms spread, to bless the Arizona air. More than five hundred years had passed between that night, and the last time I had seen my treasure. Time had marked my long-sought masterpiece, and I too was changed . . . very much changed. And yet, merely seeing it again awoke in me such things . . . one look and I was back in the City of Flowers, where winters are too cold to tolerate orange trees and palms but where nevertheless the pungent summer atmosphere bore and still bears the blended fragrance of a thousand blooms . . .

This is she, Signore Ladislao. An excellent likeness, if that is what you wish. From this you may know her. Pray Jesus and San Lorenzo that you may bring her safely out . . .

An excellent likeness; oh yes indeed. When at last I stood before that panel of polychromed wood again in Arizona, I could feel its craquelure of centuries like a net of painful scars on my own skin. I thought for a moment that my eyes were going to fill with tears. And who will believe that of me, now, no matter how solemnly I write it down?

But this history is so far getting off to a very rambling start.

Consider Phoenix, Arizona. Consider wealthy suburban Scottsdale, to be precise, as it was upon that recent warm spring night. Palm trees of all sizes and several varieties mingled everywhere with the ubiquitous orange. At dusk the streets were busy, in part because of the natives' habit, bred into them by their summer temperatures, of putting off, as much as possible, business and pleasure both till after sundown. One tourist who was present on the evening we are talking about found himself in particularly hearty agreement with this practice. He was registered at his downtown Phoenix hotel as Mr. Jonathan Thorn, permanent address listed as Oak Tree, Illinois.

At sunset a taxi took Mr. Thorn from Phoenix to Scottsdale. The street where he debarked from his taxi was wide, not too busy, and lined on both sides with expensive shops. The shops' signs were all small, discreet. Rows of expensive vehicles were parked diagonally in front of the low buildings. The plank sidewalks, partially blocked from the street by imitation hitching posts made of real, weathered wood, were roofed with more planks against the summer sun. Beyond these wooden cloisters, the low-built expensive shops were modern, though constructed in part of real adobe brick.

The building that Mr. Thorn approached was typical, being grilled on all its doors and windows with thick bars of black wrought iron. The front door was intermittently open to the plank sidewalk, admitting a trickle of people in elegant but open-throated warm weather attire. As he passed the hitching post in front, Mr. Thorn took note of an incongruous old Ford sedan, inscrutably battered and unrepaired, waiting there between a Mercedes and a new luxury model Jeep. He took note, I say, but only barely; at that moment he had other things to think about.

Just inside the door, a security guard in business suit and tie took note of Mr. Thorn, classified him as acceptable, and offered him a light smile and a nod. Thorn found himself in a moderately large, efficiently cooled room where a dozen or so folk, mostly middle-aged and prosperous, to judge by appearances, milled slowly about or sat in folding chairs. Under bright lights at the front of the room, high wooden tables already held some of the lesser items from the Delaunay Seabright collection on display. The overall decor was determinedly Southwestern, with the massive, rough-hewn ceiling beams exposed and Navajo rugs hung on the white, rough-plastered walls. Set up to face the front of the room were many more folding chairs than seemed likely to be necessary. In theory this pre-auction viewing was open to the public, but it appeared that few of the public were going to intrude upon what was in fact a pastime of the rich. A month earlier, and the notoriety attendant upon the killings of Delaunay Seabright and his stepdaughter would probably still have drawn something of a crowd. But the auction had been well timed. By that spring night, the spectacular murder-kidnapping was already fading from the popular memory.

There were only two people present, a couple, who looked as if they might be thrill-seekers. Quite proletarian in appearance, they were being watched with vague, discreet apprehension by the auctioneers, smooth men in business suits who looked as if they might just have flown in from New York. Mr. Thorn, catching a little of that watchfulness, observed the couple too.

At one end of the rear rank of folding chairs sat Mary Rogers. (Thorn was not to learn her name until a little later.) Mary's long hair was sand-colored, somewhat curly, and usually disheveled. Her age was twenty-one, her face freckled and attractive, her disposition choleric. Her body was all shapely strength, superbly suitable for work and childbearing, and would have made an ideal model for some artist's healthy peasant—though Mary would not have made a very good peasant, or peasant's wife, or, for that matter, a very good artist's model either. She planned to use her strength in different ways, in a dedicated lifelong selfless service of humanity. She always visualized humanity as young, I am quite sure, and as eternally oppressed. Well, there are billions of youth in the world, after all, more or less oppressed. Probably cases exist even in Scottsdale. But in that auction room, alas, were none at all; Mary had to have some other reason to be there.

The auctioneers, as I have said, were a bit uneasy about this young, comparatively poorly dressed couple. What bothered them was not the fact that Mary wore blue jeans—so did a couple of other women in that small crowd. But Mary's jeans were probably of the wrong brand, and their fadedness suggested not some manufacturer's process, but utilitarian wear. Successful experts in the world of fine art can be amazingly sensitive to subtle differences in color and texture, not only in the merchandise but in the customers.

But mainly I think it was that the faces of Mary and her escort stood out in that little gathering. Their countenances were not filled with thinly veiled greed for the treasures (so far only quite minor ones) displayed, nor with calculation as to how to bid on them. Oh, it was evident enough from Mary's face that she had some keen purpose in that room—but what could it be? That she might try to buy anything seemed highly unlikely, considering the prices that were certain to be asked and bid. If she and her companion were really wealthy eccentrics who simply enjoyed dressing in the style of the non-wealthy, then who belonged to that old Ford out front? Anyone who drove that car out of eccentricity would probably be staying at home anyway, in rooms filled with piled garbage and a thousand cats.

Whatever apprehensions the auctioneers may have developed regarding Mary—that she might be contemplating some mad attempt at robbery, or an even more hopeless effort at social protest—these doubts must have been at least somewhat allayed by the face and attitude of the young man seated at her side. He was a bearded young man, with his arms folded in his not very expensive checked sports shirt. His look was not one of fanaticism, but of uncomfortable loyalty. He was bracing himself, perhaps—but not for bullets, only for boredom or embarrassment.

Also present, to define the opposite end of the auctioneers' spectrum of respect, was Ellison Seabright. When Seabright entered the front door, a few minutes after Mr. Thorn, the salesmen gave him the warmest welcome they could manage without seeming to be effusive about it, without drawing possibly unwelcome attention to his presence: the greeting for a celebrity, but one who temporarily has more attention than he wants.

Seabright was about fifty years old. In general appearance, he reminded Mr. Thorn strongly of Rodrigo Borgia. Mr. Seabright weighed about three hundred pounds, Thorn judged, and if the tales of the family wealth were anywhere near accurate he might have balanced himself in gold and had enough left over to purchase any painting or sculpture that he might desire. According to the publicity that had begun to appear since his brother's kidnapping and strange death, it was a family trait to desire a good many.

Ellison Seabright, from where he stood in quiet conversation with the auctioneers, once or twice shot a hurried, grim glance in the direction of Mary Rogers—as if he knew her, which was interesting. Mr. Thorn, from his chair in the front row, could not tell how the young woman in the rear reacted to these glances, if at all.

The other potential bidders in the room all glowed in their not very distinctive auras of material wealth. The auctioneers, when they conferred privately (as they thought) among themselves in the next room, had voiced hopes that a local record was going to be set. They were daring to compare themselves tonight with Christie's, with Sotheby Parke Bernet. This time, even leaving aside such relatively minor treasures as Mimbres bowls and Chinese jade, this time they had a probably genuine Verrocchio to put on the block.

Mr. Thorn was doubtless among those they were counting on to run the bidding up when it officially began tomorrow night. Although they had never seen or heard of him before, it was surely apparent to such artistically expert eyes that Thorn's dark suit had been tailored at one of the best London shops, and that his shoes were a good match for the suit. He wore, on the third finger of his right hand, a worn-thin ring of ancient gold. His general appearance was at least as elegant as that of Mr. Seabright.

The height of the two men was about the same, somewhat above the average. Thorn's weight was considerably less—though not so very much less as it appeared to be. He looked to be Seabright's junior by ten or fifteen years, but that comparison was deceptive too. Their faces were both striking, in different ways: Seabright's for massive arrogance, Thorn's—in a way not nearly so massive. As for their relative wealth—but Mr. Thorn had not really come to Scottsdale to bid and buy.

"No, I'm sure it's going to go to Ellison," Mary Rogers was whispering to her dour young companion with the sandy beard. "The old bastard probably has more money than all these others put together. And he wants it, I know how he wants it. After what he's done already he's not going to let mere money stop him."

There were several rows of chairs between Mary and Mr. Thorn. The room was abuzz with the noise of other conversations. And her whisper was really more discreet—that was the key word of the evening, up to now—than her misfit appearance promised. So Mary's words could be heard only by her friend seated beside her, and by Mr. Thorn, whose ears were wonderfully keen. Also it is a fact that Thorn was constitutionally unable to ignore either of the two women in the room he found genuinely attractive.

The second genuinely attractive woman was dark and slender, somewhere in her mid-thirties, and sheathed in a gown that you might think had been designed expressly to wear while inspecting expensive art. She was physically young for her years, but not as young as she wanted to be or tried to be. Probably to no one's surprise, she was clinging to Ellison Seabright's right arm. Certain subtleties of body language in her pose suggested to Thorn that she was clinging there in order to avoid having to swim elsewhere. At the moment her massive escort was standing at the right end of the front row of chairs, in conversation with the head auctioneer, and with one who must be a fellow collector, a bearded elderly gentleman wearing another New York suit. Seabright was turning his massive head, looking round him in irritation. "Where's Gliddon?" he was inquiring of the world in general, though his voice was hardly more than whisper-loud. A voice not in the least Borgia, but thoroughly American. "Got as far as the front door with me, and then . . ."

A bodyguard even taller than Seabright, and almost as wide, stood nearby teetering on his toes. He was not very obtrusive, handling at least the passive aspects of his job quite well. The dark woman clung to Seabright's arm, smiled brightly, and seemed to attend closely to his every word, meanwhile wistfully wishing that she were somewhere else. Mr. Thorn could tell. He had hopes of soon discovering her name.

"Then you might as well give up, hadn't you?" the young man at Mary Rogers's side was whispering into her ear. His tone was quietly despairing, that of one who knows full well that argument is folly, but feels compelled to argue anyway. "You think he's going to listen to any kind of an appeal now?"

"No." Mary's monosyllable was quietly ominous.

"Then why the hell did we come here? I thought . . ."

At that point every conversation in the room trailed into silence.

Through a curtained doorway at the front of the room, between the two large tables, two armed and uniformed men came into view, rolling a mobile stand between them. The stand was draped with a white cloth, completely covering the upright rectangle that was its cargo. The rectangle was about the size of the top of a card table, somewhat larger than Mr. Thorn had been expecting. Then he remembered the frame. According to the news stories and the sale catalogue, a frame had been added to the painting, probably sometime during the eighteenth century.

With the stand positioned on the dais between the tables, the two armed men stood still, alert, on either side of it. An auctioneer came to join them, placing his pale hand on the white cloth. He let his showman's hand stay there, motionlessly holding the cloth, while in a low voice he made a brief and scrupulously correct announcement.

"Ladies and gentlemen, as most of you know, Verrocchio has signed this piece. But in the time and place in which he worked, such a signature often signified no more than a master's approval of work done by an apprentice. What we can say with absolute certainty is that this painting is from Verrocchio's workshop, and that it is in his mature style. The minimum bid tomorrow night will be two hundred thousand dollars."

With one firm twitch, the showman's hand removed the cloth.

Mr. Thorn forgot even the live and lovely flesh of the two genuinely attractive breathing women in the room. He rose from his folding chair and like a man in a trance stepped forward, closer to the painting. It of course shows Magdalen, not as she came to Christ, but as she must have looked when rising from His feet with sins forgiven. Yes, of course, painted in the mature style of Verrocchio. But by an imitator—though transfiguration would be a better word than imitation for what the creator of this painting had accomplished. How could they all fail to see the truth?

And of course at the same time the face is that of the model who posed for it, that young runaway girl of more than half a thousand years ago. An excellent likeness, if that is what you wish . . .

Incipient tears in the eyes of Mr. Thorn were stopped by harsh cries of alarm. Another sort of liquid, flung from behind, struck him on the shoulder, and scarlet droplets spattered past his ear to mar the cheek and hair of Magdalen.

He turned with a snarl. The girl in unfashionable blue jeans was on her feet, holding in one hand a small plastic bag almost emptied but still drooling red on the expensive carpet. Vindictive triumph ruled her face. Closer at hand, Ellison Seabright had been incarnadined from head to foot, Rodrigo Borgia skinned alive, standing in stunned disbelief. His bodyguard, galvanized too late, came pushing forward in a fury. Men and women in uniform, springing from the walls and woodwork, were all around the triumphant girl, about to seize her. You are under arrest, they cried, and in a moment they would manacle her wrists . . .