Gissing mentions his brilliant idea to his drinking buddies, Mike Mackensie and Alan Cruickshank. He alleges that there are innumerable works of art (belonging rightfully to the public) housed in warehouses because the museums that own them do not have room to display all their holdings. Gissing declares this a shame, but he has a way to ameliorate this travesty, at least for him and his friends.

Gissing proposes that they steal the paintings and replace them with forgeries. The Open Doors situation will allow them access to the artwork. And since Gissing has access to the warehouse on a normal basis (for authentication of new materials etc.), he will know where in the warehouse the paintings they select to steal are located.

Neither Mike, a self made software magnate, nor Alan, a banker, has ever done anything even remotely illegal, but the seed is planted. Mike is bored, looking for excitement and Alan is trying to think of anything apart from his recent divorce that his sent his life into a downward spiral. Both are a bit skeptical about coming afoul of the law, but agree wholeheartedly with the concept that the hidden art should be liberated.

Gissing carefully explains that because the art is stolen they can only admire the art in the privacy of their own homes, but since their appreciation is what it is all about, this condition should not pose a problem. In order to insure that they have enough "getaway" time Gissing proposes that they hire one of his graduate students, Hugh Westwater (a.k.a. Westie) to make copies of the works they propose to steal which they will leave in the getaway van once they have transferred the real art into the appropriate frames. Westie is drawn into the scheme with the promise of his "own" original painting.

Some muscle is added to the scheme in the form of "Chib" Calloway, a gangster that the group knows slightly from a pub encounter. They can't be too careful should the police interrupt them or some other unforeseen problem occur. Naturally the group hasn't even begun to realize the number of things that could, and do, go wrong.

With the publication of Exit Music the final installment of Ian Rankin's Inspector Rebus series, many mystery fans were worried about the possibility of no more novels from the talented Mr. Rankin. Rest assured their worries are ill founded. Open Doors is equally as well written and entertaining as the best of the Rebus books. The basic premise sounds almost as if it came from the pen of Donald Westlake. However, this is a much different caper.

The perpetrators, albeit amateurs, are not inept, though they aren't as thorough as they might have been. The skill with which the author gets them into their predicament, and extricates them is brilliant. All the pieces fit as neatly as a well constructed jigsaw puzzle.

Although there is a spot of violence (there are gangsters and organized crime at work here), there are no bloody confrontations. What starts out as a lark for Mike and, to a lesser extent, Alan soon has them cognizant of the fact that they have been drawn into a situation that is way out of their comfort zone. Human nature is depicted with complete accuracy.

Initially the novel appears light and simple. We should know better. In the capable hands of Ian Rankin another well constructed novel is presented to what I expect is an eagerly waiting audience.

--Andy Plonka