As she neared the bottom of the stairs a buzzer groaned, and the automatic locks on the outer door snapped open. Thank you, Elena, she thought as she stepped outside into the chill evening air. Can’t get off your shapely little backside to give a proper good-bye, and now you’re practically shoving me out the door. She was tempted to violate Mr. Isherwood’s long-standing edict about waiting for the door to lock again, but, professional to the end, she stayed ten more seconds, until the dull thump of the deadbolts sent her shuffling slowly toward the passageway.

She did not know that her departure was being monitored by a three-man neviot team waiting in a van parked on the opposite side of Duke Street. The team remained in their van for another hour, just to make certain she hadn’t forgotten anything. Then, shortly before eight, they slipped through the passageway and made their way slowly across the bricks of the old yard toward the gallery. To Julian Isherwood, who watched their unhurried approach from the window of his office, they seemed like gravediggers with a long night ahead.

19. London

London

THE OPERATION BEGAN IN earnest late the following morning, when Julian Isherwood, London art dealer of some repute, placed a discreet telephone call to the Knightsbridge residence of Andrew Malone, exclusive art adviser to Zizi al-Bakari. It was answered by a drowsy woman who informed Isherwood that Malone was out of the country.

“A fugitive from justice?” he asked, trying to make light of an awkward situation.

“Try his mobile,” the woman said before slamming down the phone.

Fortunately, Isherwood had the number. He immediately dialed it and, as instructed, left a brief message. The better part of the day elapsed before Malone bothered to call him back.

“I’m in Rome,” he said sotto voce. “Something big. Very big.”

“Hardly surprising, Andrew. You only do big.”

Malone batted away Isherwood’s attempt at flattery. “I’m afraid I only have a moment,” he said. “What can I do for you, Julie?”

“I think I might have something for you. Something for your client, actually.”

“My client doesn’t do the Old Masters.”

“The something I have for your client isn’t Old Master. It’s Impressionist. And not just any Impressionist, if you’re getting my drift. It’s special, Andrew. It’s the sort of thing that only a handful of collectors in the world can even dream about owning, and your man happens to be one of them. I’m offering you a first look, Andrew—an exclusive first look. Any interest, or shall I take my business elsewhere?”

“Do tell more, Julie.”

“Sorry, darling, but it’s not the sort of thing one discusses over the telephone. How about lunch tomorrow? I’m buying.”

“I’m going to Tokyo tomorrow. There’s a collector there who has a Monet my man wants.”

“How about the day after tomorrow then?”