I was now a member of a narrow class. Few FBI agents indicted on felony charges take the case to trial. Fewer still win acquittal, and only a handful of those choose to remain with the bureau. I brought a perspective few of my brethren could match. Most agents saw things in black and white; I started seeing shades of gray. I understood that just because someone made a mistake in judgment, it didn’t make him evil. Perhaps as important, I also now knew what most suspects, guilty or innocent, truly feared, and what they wanted to hear. My newfound ability to see both sides of a situation—to think and feel like the accused—was invaluable. I knew it would make me a better agent, especially undercover.
But what kind of agent did I want to be?
One evening, I sat alone at my piano and played a Chopin “Fantasie.” It was a favorite from my days as a piano performance major in college, but one I had not played in years. As I got lost in the piece, I thought about the rush I’d gotten when we recovered the Chinese orb and Rodin statue, what it felt like to hold history in your hands. My thoughts bounced with the music, and settled on the inspirational pianist Van Cliburn. He always impressed me, the way he came from such lowly roots, and used his insatiable drive and talent to win the Tchaikovsky competition in Moscow at the height of the Cold War, showing unprecedented courage at a time when Americans had little hope of winning anything in Russia. I decided that, like him, I was going to take a chance and channel my energies toward making a difference in the world.
And finally it hit me: I was uniquely positioned to do something about art crime. Here I was, already an FBI agent with a track record of working art crime cases and, in the case of the jewelry-store robberies, leading a team effort that had solved a complex crime. What’s more, I’d worked on my own to become a bit of an expert in several fields. In the five-year period between the accident and my acquittal, I’d studied in classrooms as diverse as flea markets and the Barnes, mastering the nuances of everything from collectibles to fine art. While I specialized in baseball cards, Civil War relics, Japanese collectibles, antique guns, and Impressionist art, I knew the knowledge and skills I was honing could be used in almost any medium.
I could now walk into any collectibles, antiques, or fine art forum and mingle and barter with confidence. I knew that a mint condition Mickey Mantle rookie card was worth twice as much as a rookie Joe DiMaggio, that a Custer autograph was far more valuable than one from Robert E. Lee. I could spot a Soutine in a second and explain how his constructive use of color was influenced by Cézanne, and just as easily discuss Boucher’s eighteenth-century influences on Modigliani’s nineteenth-century nudes. I could explain the difference between provenance (the ownership history of a work of art) and provenience (information about the spot where an antiquity came out of the ground). I could credibly hold forth on the differences between the Colt revolver Texas Ranger Sam Walker carried into his final battle and the one Roosevelt carried up San Juan Hill. Along the East Coast, I knew most of the big players, which shows to attend and whom to trust.
My ad-hoc education was complete.
I was ready to go undercover, in pursuit of the priceless.
In the summer of 1997, I got my first chance.
BODY OF WORK
Chapter 8
THE GOLD MAN
New Jersey Turnpike, 1997.
THE SMUGGLERS ARRIVED TWENTY MINUTES EARLY. Our surveillance teams were already in place and watched them pull into the bustling Turnpike rest stop near exit 7A, halfway between Philadelphia and New York. Undercover agents filled the parking lot—two workmen eating Blimpie hoagies in a utility pickup, a woman gripping a Styrofoam coffee cup and speaking into a pay phone, a couple with lunch from Burger King lounging at a picnic table. Inside a dark van with tinted windows, a team of two agents aimed a video camera at the arranged meeting point—a set of picnic tables in the shade, just two hundred feet from the Turnpike. When the smugglers parked their gray Pontiac and found a table, I got the word by cell phone. I was parked a few miles away in a rented tan Plymouth Voyager van with a Spanish-speaking agent, Anibal Molina. We adjusted our body wires, stashed our weapons under the seat, and pulled out onto the Turnpike.
On this bright and gusty September afternoon, the FBI was hunting for treasure—a seventeen-hundred-year-old South American antiquity called a “backflap,” the backside of an ancient Moche king’s body armor, an exquisite piece hammered from gold. For seventeen centuries, the backflap had remained buried in a honeycombed royal tomb along the coastal desert of northern Peru—until 1987, when grave robbers stumbled upon the site. Since then, the pilfered backflap remained elusive, the most valuable missing artifact in all of Peru, frustrating law enforcement officials and archaeologists throughout the Americas. Now two swarthy Miami men, the smugglers we’d arranged to meet on the Turnpike, were offering to sell it to me for $1.6 million. I didn’t really believe these two could pull it off. I figured this was some sort of fraud or rip-off. After all, they were claiming they held the largest golden artifact ever excavated from a tomb in the Americas.
At the picnic table, the smugglers greeted us with mirrored sunglasses and crocodile smiles. We shook hands, sat down. The older one took the lead, and this was good because we had a thick FBI file on him: Denis Garcia, Hispanic male, fifty-eight years old, 225 pounds, five foot nine, brown eyes, white hair, full-time South Florida agricultural salesman, part-time antiquities smuggler. Garcia did not have a criminal record, but the FBI suspected that he had been smuggling illicit artifacts from South America since the late 1960s, when he lived in Peru and learned the pre-Columbian antiquities trade.
Garcia introduced his partner. He was twenty-five years younger and half a head shorter, a muscular man of Puerto Rican heritage. “My son-in-law,” Garcia said. “Orlando Mendez.”
We shook hands again, and I introduced myself using my undercover name, Bob Clay. Mendez fidgeted nervously. Garcia was a pro, all business. He got right to it.
“You have the money?”
“No problem—so long as you’ve got the backflap.”
“We’ll be bringing it up, making final arrangements.” Garcia shifted back to the money. “The price is one-point-six.”
I didn’t flinch. “As agreed. But I have to have it authenticated. My expert has to see it, look it over. When can we do that?”
“A couple weeks. We have a friend at the Panamanian consulate. He’ll go down and get it.”
“Customs?”
Garcia waved his hand. “Not a problem.”
“Tell me more,” I said. “How did your friend get the piece?”
Garcia launched into a cock-and-bull story about the provenance, a story designed to somehow lend an air of legitimacy to the illegal sale of a Peruvian national treasure in the parking lot of a Turnpike rest stop. I nodded and acted impressed. I let him finish his story—then switched gears, eager to get him on tape admitting that he knew he was breaking the law, an important distinction we would need if the case ever went to trial.
I began gently. “These things are touchy.”
Garcia nodded knowingly. “They are.”
“We have to be very careful when we resell it,” I said. “Obviously, it can’t go to a museum.”