one?â
Wingate looks down at the canvas, then at me from the corner of his eye. âNot long.â
âHow long will you have it?â
âIt ships tomorrow. I have a standing bid from Takagi on anything by this artist. One point five million pounds. But I have other plans for this one.â
He takes hold of the metal frame and motions for me to brace the crate while he pushes the painting back inside. To keep him talking, I help.
âFor a series of about eight paintings,â Wingate says, âhe could have been one of the Nabis. But he changed again. The women became more and more real, their bodies less alive, their surroundings more so. Now he paints like one of the old masters. His technique is unbelievable.â
âDo you really not know if theyâre alive or dead?â
âGive me a break,â he grunts, straining to apply adequate force without damaging the frame. âTheyâre models. If some horny Japanese wants to think theyâre dead and pay millions for them, thatâs great. Iâm not complaining.â
âDo you really believe that?â
He doesnât look at me. âWhat I believe doesnât matter. What matters is what I know for sure, which is nothing.â
If Wingate doesnât know the women are real, heâs about to find out. As he straightens up and wipes his brow, I turn squarely to him and take off my sunglasses.
âWhat do you think now?â
His facial muscles hardly move, but heâs freaked, all right. Thereâs a lot more white showing in his eyes now. âI think maybe youâre running some kind of scam on me.â
âWhy?â
âBecause I sold a picture of you. Youâre one of them. One of the Sleeping Women.â
He must not have heard about what happened in Hong Kong. Could the curator there have been afraid to risk losing his exhibit?
âNo,â I say softly. âThat was my sister.â
âBut the face . . . it was the same.â
âWeâre twins. Identical twins.â
He shakes his head in amazement.
âYou understand now?â
âI think you know more than I do about all this. Is your sister okay?â
I canât tell if heâs sincere or not. âI donât know. But if I had to guess, Iâd say no. She disappeared thirteen months ago. When did you sell the painting of her?â
âMaybe a year ago.â
âTo a Japanese industrialist?â
âSure. Takagi. He outbid everybody.â
âThere were other bidders for that particular painting?â
âSure. Always. But Iâm not about to give you their names.â
âLook, I want you to understand something. I donât give a damn about the police or the law. All I care about is my sister. Anything you know that can help me find her, Iâll pay for.â
âI donât know anything. Your sisterâs been gone a year, and you think sheâs still alive?â
âNo. I think sheâs dead. I think all the women in these paintings are dead. And so do you. But I canât move on with my life until I know. Iâve got to find out what happened to my sister. I owe her that.â
Wingate looks at the crate. âHey, I can sympathize. But I canât help you, okay? I really donât know anything.â
âHow is that possible? Youâre the exclusive dealer for this artist.â
âSure. But Iâve never met the guy.â
âBut you know heâs a man?â
âIâm not positive, to tell you the truth. Iâve never seen him. Everything goes through the mail. Notes left in the gallery, money in train station lockers, like that.â
âI donât see a woman painting these pictures. Do you?â
Wingate cocks one eyebrow. âIâve met some pretty strange women in this town. I could tell you some stories, man. You wouldnât believe what Iâve seen.â
âYou get the paintings