tone remained friendly, but it had become a little more superior. The equality that he’d shown Dillon before had disappeared and he was now talking to him more as an employee. By the slightest change of emphasis he was now talking down to him.
Before Dillon replied, Mrs. Pringle appeared with a tray of coffee and put it down near Hart. “Black or white?” Hart asked.
“Black, please.”
Dillon noticed that the coffee pot was of the inexpensive variety. Not the best silver for him.
Hart handed over a cup and Dillon’s first sip of the black liquid confirmed what he’d suspected.It was instant and not filtered.
“You haven’t answered my question,” said Hart.
“I didn’t think you really expected me to. And anyway, you already know my name.”
He produced the fake identity card and held it forward.
“Bollocks,” said Hart without raising his voice. “You knew that I would check with Worldwide Art Underwriters of London. They tell me that investigator Bateman is working on a case in South America and won’t be back in the UK for another two weeks. So what’s your game?”
Dillon had the impression that he was much closer to the real Hart, a no-nonsense Hart, streetwise and tough.
“No game. I’ve been asked to look into the missing Vermeer by a private client. Obviously the name of that client is confidential and I could give you any name you want, so why don’t you give me one?”
“How about a prevaricator?”
Dillon wasn’t put out by this; he was fencing and so was Hart.
“I’m not really sure that we’re going anywhere with this,” Dillon said. “How about telling me all about the Vermeer painting?”
“I’ve already told you. But when you’ve finished your coffee I’ll take you to see it. Would that be fairer?”
Dillon was finding Hart an interesting man; not because he was enormously wealthy – he’d met too many of those to be impressed – but because there was something very different about him. He didn’t give the impression of being agitated by the harassment Dillon was dishing out to him, yet he would not have invited Dillon in if he hadn’t been worried. Otherwise, he would have simply called the police, something he could still do if he wanted.
As he finished his coffee, Dillon said, “My name is Dillon.”
Hart stood up. “Well, I suppose that’s as good as any. Just Dillon, or do you have a first name?”
“Jake.”
“A good English name. Modern but solid. And how about the Gaelic surname? Irish?”
“Father was Irish. Mother English.”
Hart smiled and led the way to the door.
“Almost had me believing you there for a moment, Jake Dillon. Very good. Well, it’s progress, but if you ever feel inclined to give your real name, please feel free.”
The gallery room made an immediate impact on Dillon. He’d been researching hard but wasn’t prepared for this.
“You can look at the other paintings later, but this is what you called me about. Beautiful, isn’t it?”
“Like you said, it could easily be mistaken for the original that was stolen.”
“The technical difference being that this is a genuine fake.”
Hart stood admiring the painting.
“But that is what you’ve come here for. To see whether or not I was telling you the truth when you telephoned me.”
“And I’m still not sure, because this painting could be either. And I’m not qualified to determine that.”
“So you are already presuming that what you are looking at is the original painting by Vermeer? And if that is the case, then I must demand you tell me the name of my accuser.”
“I really don’t have that information, and that is the truth. Whoever it is, he, she or they are not my boss. I’m beginning to wonder if any of it means anything. So far as I’m concerned, I think I’m wasting my time.”
“Well, I’m certain that I’m wasting mine. But I do have a small confession to make. My only excuse for bringing you in here is because I never tire of