The Spy (Isaac Bell 3)

In fact, thought the man behind the desk, the chemistry for the nitrogen iodide detonator was a simple formula found in The Young Folks Cyclopaedia of Games and Sports. Which was not to take away from Yamamoto’s other skills, nor his broad and deep knowledge of naval warfare.

Having softened him up, he prepared to put the Jap to the test. “Last week aboard the Lusitania,” he said, “I bumped into a British attaché. You know the

sort. Thinks of himself as a ‘gentleman spy.’”

He had an astonishing gift for accents, and he mimicked, faultlessly, an English aristocratic drawl. “‘The Japanese,’ this Englishman proclaimed to all in the smoking room, ‘display a natural aptitude for espionage, and a cunning and self-control not found in the West.’”

Yamamoto laughed. “That sounds like Commander Abbington-Westlake of the Admiralty’s Naval Intelligence Department, Foreign Division, who was spotted last summer painting a watercolor of the Long Island Sound that just happened to contain America’s latest Viper Class submarine. Do you suppose the windbag meant it as a compliment?”

“The French Navy he penetrated so successfully last month would hardly call Abbington-Westlake a windbag. Did you keep the money?”

“I beg your pardon?”

“The money you were supposed to put in Arthur Langner’s desk. Did you keep it for yourself?”

The Jap stiffened. “Of course not. I put it in his desk.”

“The Navy’s enemies in Congress must believe that their star designer, their so-called Gunner, was guilty of taking a bribe. That money was vital to our message to the Congress to make them wonder what else is rotten in the Navy. Did you keep the money?”

“I should not be surprised that you would ask such a degrading question of a loyal associate. With the heart of a thief you assume that everyone is a thief.”

“Did you keep the money?” the spy repeated. A physical habit of maintaining utter stillness masked the steely power of his compact frame.

“For the last time, I did not keep the money. Would you feel more secure if I swore on the memory of my old friend-your father?”

“Do it!”

Yamamoto looked him full in the face with undisguised hatred. “I swear on the memory of my old friend, your father.”

“I think I believe you.”

“Your father was a patriot,” Yamamoto replied coldly. “You are a mercenary.”

“You’re on my payroll,” came the even colder retort. “And when you report to your government the valuable information you picked up in the Washington Navy Yard’s Gun Factory-while working for me-your government will pay you again.”

“I do not spy for the money. I spy for the Empire of Japan.”

“And for me.”

“GOOD SUNDAY MORNING TO all who prefer their music minus the sermon,” Arthur Langner greeted his friends at the Gun Factory.

Rumpled in a baggy sack suit, his thick hair tousled and bright eyes inquisitive, the Naval Ordnance Bureau’s star designer grinned like a man who found interest in all he saw and liked the strange bits most of all. The Gunner was a vegetarian, an outspoken agnostic, and devoted to the theories of the unconscious mind put forth by the Viennese neurologist Sigmund Freud.

He held patents for an invention he named the Electrical Vacuum Cleaning Machine, having hitched his fertile imagination to a heartfelt notion that science-based domestic engineering could free women from the isolation of housework. He also believed that women should have the right to vote, work outside the home, and even practice birth control. Gossips smirked that his beautiful daughter, who ran with the fast set in Washington and New York, would be a prime beneficiary.

“A one-man lunatic fringe,” complained the commandant of the navy yard.

But the chief of Naval Ordnance, having observed Langner’s latest 12-inch/.50 caliber gun shoot up his Sandy Hook Atlantic Test Range, retorted, “Thank God he works for us instead of the enemy.”

His Sunday-morning chamber musicians, a ragtag mix of Gun Factory employees, laughed appreciatively when Langner joked, “Just to assure any eavesdropping blue noses that we’re not complete heathens, let’s start with ‘Amazing Grace.’ In G.”

He sat at his grand piano.

“May we please have an A first, sir?” asked the cellist, an expert in armor-piercing warheads.

Langner lightly tapped middle A, to which note the strings could tune their instruments. He rolled his eyes in mock impatience as they fiddled with their tuning pegs. “Are you gentlemen cooking up one of those new atonal scales?”

“One more A, if you can spare it, Arthur. A little louder?”