The Koozeman Gallery was quiet today. And the walls were bare. The gallery boy left them alone in the main room, where Starr had died. Charles scrutinized the floor, disappointed that there was not at least the drama of a chalk outline to mark the place where the dead man had fallen. “Where was Dean Starr standing when he was stabbed?”
Mallory walked to the center of the right-hand wall and paced four feet straight out. “Here. Slope said he lived for at least a full minute. So he might have been able to walk a few feet in any direction, but this is where he fell.”
“So he might have been standing closer to the wall.” Charles ran one finger along the painted surface behind her and smiled broadly. “I bet I can sneak up behind you and stab you.”
“Yeah, right.”
The sarcasm was well placed. Sneaking up behind people had always been her own special talent. How many times had she frightened him out of his skin, coming up behind him when he was convinced she was rooms away or even miles. Well, this would be fun. “Lunch, right? That’s the bet.”
“It’s a bet, Charles. Go for it.”
Charles left by a side door leading to a back room, saying, “I’ll be right back. Don’t move from that spot.”
Three minutes later he opened a section of the wall behind her and said, “Mallory, you’re dead. Oh, and you owe me one lunch.”
Mallory turned slowly, and he was somewhat disappointed that she hadn’t jumped. Had anyone ever taken her by surprise?
She examined the section of wall. There was a beveled overlap at the edge of the wall, and a similar overlap lined the edges of the door. “It’s a perfect job. Nearly seamless.”
When she opened the door wider, she saw the white curtain hanging over the opening. She looked up to the overhead track lights which illuminated the curtain, killing the dark hole of the small hallway beyond and maintaining the illusion of an unbroken wall, even when the door was slightly ajar. “Perfect.” Now she closed the door, and the wall became a single plane. She pushed lightly on the wall. The door opened. “Pressure lock. Just perfect.”
“Like his shows. You never see anything but the art. Let’s say you had an interest in a particular artist, but his work wasn’t on display. Koozeman would position you with your back to this wall. A gallery boy would open the door, hand him a painting, and you’d think it had just materialized behind your back. He’s always been quite a showman. It’s the main reason I attend his openings- for the magic act.”
Three gallery boys entered the room with buckets of whitewash, a ladder and brushes. One boy stood off to the side, unraveling the cord on a large industrial waxing machine.
“Koozeman had the place freshly painted and waxed for the funeral,” said Mallory. “Why is he doing it again?”
“Well, that’s pretty standard. You said there was artwork on the wall during the filming of the television movie. Now they’ll fill in the holes in the wall with plaster and paint again. Then the floors will be waxed.”
“He always does that?”
“Yes, always.”
“Did you ever go to one of his shows at the old East Village location?”
“Yes, a few times. Where shall we have lunch?”
“Did he do this in the old days, too?”
“The painting and waxing? Yes. Everyone does it. It’s standard.”
“Thanks, Charles. Now I’ll tell you why Oren Watt couldn’t have used this door to kill Dean Starr. When Koozeman did his little trick on the patrons, he was the one who positioned them. No one behind the door would know who was on the other side unless Koozeman was doing a planned setup. So an accomplice would have to position the victim, and then signal Watt to come through the door and stab the man. According to Watt’s confession, he works alone and never plans that far ahead.”
“All right. I’ll pay for lunch. Where shall we go?”
She was distracted. He followed her gaze to the entrance of the gallery, where J. L. Quinn was standing. How long had he been there?
“Mallory, isn’t this the second time he’s found you at Koozeman’s? It can’t be coincidence. He’s stalking you, isn’t he?”
“Or maybe he has some connection to Koozeman. We’ll do lunch tomorrow, Charles.”
“I was expecting the Gulag,” said Mallory, looking around at the appointments of the Tavern on the Green. She approved the cleaning job on the clear panes of glass looking out on Central Park, and she ignored the gang of tulips just beyond the window in a riot of color, each bloom openmouthed and screaming at the sun.
Quinn was reading the wine list. “Unless you have a preference, I’ll-”
“Frog’s Leap Cabernet Sauvignon, 1990,” said Mallory. “That year isn’t on the wine list. They only have a few bottles left. You may have to pay more to get the waiter to look for it.”
Quinn set down the menu. He seemed only vaguely disquieted by the fact that she might be accustomed to this place where one did not escape the table without a substantial outlay of cash. She sat back and watched him through half-closed eyes, wondering what other small cracks she might make in his composure.
When he had ordered the wine and the lunch, he folded his arms and leaned toward her. “Well, what shall we discuss? Art?”
“Marketing.”
“Same thing.”
“A lot of money flowed through Koozeman’s hands after Peter Ariel was killed. But most of it didn’t stay in his bank account or his investment portfolio.” And it never appeared on Koozeman’s tax returns, but Quinn didn’t need to know she’d found a back door to the IRS computers.
“Part of the money would have gone to investors. Koozeman was small-time in those days, so we can assume there was substantial backing to promote Peter Ariel. I imagine you’ve seen Koozeman’s old gallery in the East Village.”
She nodded, though she had never seen it except in cyberspace visions of paperwork, rent estimates, map locations and a floor plan. Now she thought she might make the trip to the East Village to check it out in the dimensions of real time and space.
A plate of appetizers appeared on the table with the unobtrusive flash of a waiter’s sleeve.
“There were no profits on Peter Ariel’s show,” she said. “Not on paper. But Ariel was dead less than three months, and suddenly Koozeman was paying ten times the rent for his new SoHo location. His investors paid for that, even when he had no buyers for the art?”
“The investors were the buyers.” The wine arrived and he paused for the rituals of reading the label and testing the contents. “It’s difficult to launch an artist in the primary market, particularly a sculptor like Ariel- no talent. Sometimes a dealer creates an artificial market to get the ball rolling.”
“The primary market-you mentioned that before.”
“That’s the initial sale. The secondary market is the resale of work. If you can generate a lot of hype, the demand for the art will exceed the supply. Then you go back to the buyers of the early work, and you broker resales for a share of the profit.”
Salad plates appeared with the finesse of fine service, and disappeared to be replaced with main courses. Between the leafy vegetables and the red meat, she learned the fine points of faking success in the art world-the kickbacks to grant committees for impressive lines on a resumé, the trade of advertising money for guaranteed reviews, and even the publicist’s fees.
“I can’t question Koozeman on the old case,” she said. “How do I find out who participated in the sales of Ariel’s work?”
“You don’t.” Quinn caught the waiter’s attention and mimed the word “coffee.” “Even if you could approach Koozeman, he wouldn’t give you any names. That list would be the most closely guarded thing he possessed.”
“Because he doesn’t want the police to bother his clientele?”