The Fear Index (19 page)

For a moment he thought she was going to argue. Her chin was raised and pointing at him, always a storm signal. Her eyes were glassy, bloodshot – she had not got much sleep either, he realised. But then came a sound of metal rapping on glass.

‘Ladies and gentlemen,’ called Bertrand. He was holding up a champagne flute and hitting it with a fork. ‘Ladies and gentlemen!’ It was surprisingly effective. A silence quickly fell on the crowded room. He put down the glass. ‘Don’t be alarmed, friends. I’m not going to make a speech. Besides, for artists, symbols are more eloquent than words.’

He had something in his hand. Hoffmann could not quite see what it was. He walked over to the self-portrait – the one in which Gabrielle was silently screaming – peeled a red spot from the roll of tape concealed in his palm and stuck it firmly against the label. A delighted, knowing murmur spread around the gallery.

‘Gabrielle,’ he said, turning to her with a smile, ‘allow me to congratulate you. You are now, officially, a professional artist.’

There was a round of applause and a general hoisting of champagne glasses in salute. All the tension left Gabrielle’s face. She looked transfigured, and Hoffmann seized the moment to take her wrist and raise her hand above her head, as if she were a boxing champion. There were renewed cheers. The camera flashed again, but this time he managed to make sure his own smile stayed fixed. ‘Well done, Gabby,’ he whispered out of the side of his mouth. ‘You so deserve this.’

She smiled at him happily. ‘Thank you.’ She toasted the room. ‘Thank you all. And thank you especially whoever bought it.’

Bertrand said, ‘Wait. I haven’t finished.’

Next to the self-portrait was the head of a Siberian tiger that had died at the Servion Zoo the previous year. Gabrielle had had its corpse refrigerated until she could get its decapitated skull into an MRI scanner. The etching on glass was lit from below by a blood-red light. Bertrand placed a spot next to that one as well. It had sold for 4,500 francs.

Hoffmann whispered, ‘Any more of this, and you’ll be making more money than I am.’

‘Oh, Alex, shut up about money.’ But he could see she was pleased, and when Bertrand moved on and attached another red spot, this time to
The Invisible Man
, the 18,000-franc centrepiece of the exhibition, she clapped her hands in delight.

And if only, Hoffmann thought bitterly afterwards, it had stopped there, the whole occasion would have been a triumph. Why couldn’t Bertrand have seen it? Why couldn’t he have looked beyond his short-term greed and left it at that? Instead he worked his way methodically around the entire gallery, leaving a rash of red spots in his wake – a pox, a plague, an
epidemic
of pustules erupting across the whitewashed walls – against the horses’ heads, the mummified child from the Berlin Museum für Völkerkunde, the bison’s skull, the baby antelope, the half-dozen other self-portraits, and finally even the foetus: he did not stop until all were marked as sold.

The effect on the spectators was odd. At first they cheered whenever a red spot was applied. But after a while their volubility began to diminish, and gradually a palpable air of awkwardness settled over the gallery so that in the end Bertrand finished his marking in almost complete silence. It was as if they were witnessing a practical joke that had started out as funny but had gone on too long and become cruel. There was something crushing about such excessive largesse. Hoffmann could hardly bear to watch Gabrielle’s expression as it declined from happiness to puzzlement, to incomprehension, and finally to suspicion.

He said desperately, ‘It certainly looks as though you have an admirer.’

She didn’t seem to hear him. ‘Is this
all
one buyer?’

‘It is indeed,’ said Bertrand. He was beaming and rubbing his hands.

A muted whisper of conversation started up again. People were talking in low voices, apart from an American who said loudly, ‘Well, Jesus, that’s just completely ridiculous.’

Gabrielle said in disbelief, ‘Who on earth is it?’

‘I cannot tell you that, unfortunately.’ Bertrand glanced at Hoffmann. ‘All I can say is “an anonymous collector”.’

Gabrielle followed his gaze to Hoffmann. She swallowed before she spoke. Her voice was very quiet. ‘Is this you?’

‘Of course not.’

‘Because if it is—’

‘It isn’t!’

The door emitted a chime as it was opened. Hoffmann looked over his shoulder. People were starting to leave; Walton was in the first wave, buttoning his jacket against the chilly wind. Bertrand saw what was happening and gestured discreetly to the waitresses to stop serving drinks. The party had lost its point and nobody seemed to want to be the last to leave. A couple of women came over to Gabrielle and thanked her, and she had to pretend that their congratulations were sincere. ‘I would have bought something myself,’ said one, ‘but I never had the chance.’

‘It’s quite extraordinary.’

‘I’ve never seen anything like it.’

‘You will do this again soon, won’t you, darling?’

‘I promise.’

After they had moved off, Hoffmann said to Bertrand, ‘For God’s sake, at least tell her it isn’t me.’

‘I can’t say who it is, because to be honest I don’t know. It’s as simple as that.’ Bertrand spread his hands. He was plainly enjoying the situation: the mystery, the money, the need for professional discretion; his body was swelling within its expensive black silk skin. ‘My bank just sent me an email to say they’d received an electronic transfer with reference to this exhibition. I confess I was surprised by the amount. But when I got my calculator and added up the cost of all the items on display, I found it came to one hundred and ninety-two thousand francs. Which is precisely the sum transferred.’

‘An electronic transfer?’ repeated Hoffmann.

‘That is right.’

‘I want you to pay it back,’ said Gabrielle. ‘I don’t want my work to be treated like this.’

A big Nigerian man in national dress – a kind of heavily woven black and fawn toga with a matching hat – waved an immense pink palm in her direction. He was another of Bertrand’s protégés, Nneka Osoba, who specialised in fashioning tribal masks out of Western industrial detritus as a protest against imperialism. ‘Goodbye, Gabrielle!’ he shouted. ‘Well done!’

‘Goodbye,’ she called back, forcing a smile. ‘Thank you for coming.’ The door chimed again.

Bertrand smiled. ‘My dear Gabrielle, you seem not to understand. We are in a legal situation. In an auction, when the hammer comes down, the lot is sold. It’s the same for us in a gallery. When a piece of art is purchased, it’s gone. If you wish not to sell, don’t exhibit.’

‘I’ll pay you double,’ said Hoffmann desperately. ‘You’re on fifty per cent commission, so you just made nearly a hundred thousand francs, right? I’ll pay you two hundred thousand if you’ll give Gabrielle her work back.’

Gabrielle said, ‘Don’t, Alex.’

‘That is impossible, Dr Hoffmann.’

‘All right, I’ll double it again. Four hundred thousand.’

Bertrand swayed in his Zen silk slippers, ethics and avarice visibly slugging it out on the smooth contours of his face. ‘Well, I simply don’t know what to say—’

‘Stop it!’ shouted Gabrielle. ‘Stop it now, Alex! Both of you! I can’t bear to listen to this.’

‘Gabby …’

But she eluded Hoffmann’s outstretched hands and darted towards the door, pushing between the backs of the departing guests. Hoffmann went after her, shouldering his way through the small crowd. He felt as if it were a nightmare, the way she constantly eluded his grasp. At one point his fingertips brushed her back. He emerged on to the street just behind her, and after a dozen or so paces he finally managed to grab her elbow. He pulled her to him, into a doorway.

‘Listen, Gabby …’

‘No.’ She flapped at him with her free hand.

‘Listen!’ He shook her until she stopped trying to twist away; he was a strong man – it was no effort to him. ‘Calm down. Thank you. Now just hear me out, please. Something very weird is going on. Whoever just bought your exhibition I’m sure is the same person who sent me that Darwin book. Someone is trying to mess with my mind.’

‘Oh, come off it, Alex! Don’t start on this again. It’s you who bought everything – I know it is.’ She tried to wriggle free.

‘No, listen.’ He shook her again. Dimly he recognised that his fear was making him aggressive, and he tried to calm down. ‘I promise you. It’s not me. The Darwin was bought in exactly the same way – a cash transfer over the internet. I bet you that if we go back in there right now and get Monsieur Bertrand to give us the purchaser’s account number, they’ll match. Now you’ve got to understand that although the account may be in my name, it’s not mine. I know nothing about it. But I’m going to get to the bottom of it, I promise you. Okay. That’s it.’ He released her. ‘That’s what I wanted to say.’

She stared at him and began slowly massaging her elbow. She was crying silently. He realised he must have hurt her. ‘I’m sorry.’

She looked up at the sky, gulping. Eventually she got her emotions back under control. She said, ‘You really have no idea, do you, how important that exhibition was to me?’

‘Of course I do …’

‘And now it’s ruined. And it’s your fault.’

‘Come on, Gabrielle, how can you say that?’

‘Well it is, Alex, you see, because either you bought everything, out of some kind of mad alpha-male belief that you’d be doing me a favour. Or it was bought by this other person who you say is trying to mess with your mind. Either way, it’s you – again.’

‘That’s not true.’

‘Okay, so who is this mystery man? Obviously he’s nothing to do with me. You must have some idea. A competitor of yours, is he? Or a client? Or the CIA?’

‘Don’t be silly.’

‘Or is it Hugo? Is this one of Hugo’s funny public-schoolboy japes?’

‘It isn’t Hugo. That’s one thing I am sure of.’

‘Oh no, of course not – it couldn’t possibly be your precious bloody Hugo, could it?’ She wasn’t crying any more. ‘What exactly have you turned into, Alex? I mean, Leclerc wanted to know if money was the reason why you left CERN, and I said no. But do you ever stop to listen to yourself these days? Two hundred thousand francs … Four hundred thousand francs … Sixty million dollars for a house we don’t need …’

‘You didn’t complain when we bought it, as I recall. You said you liked the studio.’

‘Yes, but only to keep you happy! You don’t think I like the rest of it, do you? It’s like living in a bloody embassy.’ A thought seemed to occur to her. ‘How much money have you got now, as a matter of interest?’

‘Drop it, Gabrielle.’

‘No. Tell me. I want to know. How much?’

‘I don’t know. It depends how you calculate things.’

‘Well try. Give me a figure.’

‘In dollars? Ballpark? I really don’t know. A billion. A billion-two.’

‘A billion dollars?
Ballpark?
’ For a moment she was too incredulous to speak. ‘You know what? Forget it. It’s over. As far as I’m concerned, all that matters now is getting out of this bloody awful town, where the only thing anyone cares about is
money
.’

She turned away.

‘What’s over?’ Again he grabbed her arm, but feebly, without conviction, and this time she wheeled on him and slapped him on the face. It was only light – a warning flick, a token – but he let her go at once. Such a thing had never happened between them before.

‘Don’t you ever,’ she spat, jabbing her finger at him, ‘
ever
grab hold of me like that again.’

And that was it. She was gone. She strode to the end of the street and rounded the corner, leaving Hoffmann with his hand pressed to his cheek, unable to comprehend the catastrophe that had so swiftly overtaken him.

LECLERC HAD WITNESSED it all from the comfort of his car. It had unfolded in front of him like a drive-in movie. Now, as he continued to watch, Hoffmann slowly turned around and made his way back towards the gallery. One of the two bodyguards standing with their arms folded outside had a word with him, and Hoffmann made a weary gesture, apparently a signal that he should go after his wife. The man set off. Then Hoffmann went inside, followed by his own minder. It was perfectly easy to see what was happening: the window was large and the gallery was now almost empty. Hoffmann went over to where the proprietor, M. Bertrand, was standing, and clearly began to berate him. He pulled out his mobile phone and waved it in the other man’s face. Bertrand threw up his hands, shooing him away, whereupon Hoffmann seized him by the lapels of his jacket and pushed him back against the wall.

‘Dear God in heaven, now what?’ muttered Leclerc. He could see Bertrand struggling to free himself as Hoffmann held him at arm’s length, before once again shoving him backwards, harder this time. Leclerc swore under his breath, threw open his car door and hauled himself stiffly out into the street. His knees had locked, and as he winced his way across the road to the gallery, he pondered yet again the harshness of his fate: that he should still have to do this sort of thing when he was closer to sixty than fifty.

By the time he got inside, Hoffmann’s bodyguard had planted himself very solidly between his client and the gallery’s owner. Bertrand was smoothing down his jacket and shouting insults at Hoffmann, who was responding in kind. Behind them the executed murderer stared ahead impassively from his glass cell.