by Donna Leon
From behind him and off to his right, he could hear the faint hum of traffic as cars continued to stream past on the tangenziale of the autostrada. Though he knew it was unlikely, Brunetti felt as though their fumes were all being blown down here, so dense and tight was the breezeless air. He crossed a street, another, and then another, and then he began to notice the traffic. There were the cars, gliding along slowly, windows raised, heads turned to the kerb as the drivers inspected the other traffic.
Brunetti saw that he was not the only pedestrian here, but he was one of very few wearing a shirt and tie, and he seemed to be the only one not standing still.
‘Ciao, bello.’
‘Cosa vuoi, amore?’
‘Ti factio tutto che vuoi, caro.’
The offers came at him from almost every form he passed, offers of delight, joy, bliss. The voices suggested undreamed of pleasures, promised him the realization of every fantasy. He paused under a street light and was immediately approached by a tall blonde in a white miniskirt and very little else.
‘Fifty thousand,’ she said. She smiled, as if that would serve as greater inducement. The smile showed her teeth.
‘I want a man,’ Brunetti said.
She turned away without a word and walked towards the kerb. She leaned towards a passing Audi and called out the same price. The car kept moving. Brunetti stayed where he was, and she turned back towards him. ‘Forty,’ she said.
‘I want a man.’
‘They cost a lot more, and there’s nothing they can do for you that I can’t, bello.’ She showed him her teeth again.
‘I want them to look at a picture,’ Brunetti said.
‘Gesù Bambino,’ she muttered under her breath, ‘not one of those.’ Then, louder, ‘It’ll cost you extra. With them. I do everything for one price.’
‘I want them to look at the picture of a man and tell me if they recognize him.’
‘Police?’ she asked.
He nodded.
‘I thought so,’ she said. ‘They’re up the street, the boys, on the other side of Piazzale Leonardo da Vinci.’
‘Thank you,’ Brunetti said and continued walking up the street. At the next kerb, he looked back and saw the blonde climbing into the passenger seat of a dark blue Volvo.
Another few minutes brought him to the open Piazzale. He crossed it, having no trouble making his way between the crawling cars, and saw a cluster of forms leaning up against a low wall on the other side.
As he drew near, he heard more voices, tenor voices, call out the same offers and promise the same pleasures. So much bliss to be had here.
He approached the group and saw much that he had seen while walking from the station: mouths made larger by red lipstick and all turned up in smiles meant to be inviting; clouds of bleached hair; legs, thighs, and bosoms which looked every bit as real as those he had seen before.
Two of them came and fluttered around him, moths to the flame of his power to pay.
‘Anything you want, sweetie. No rubbers. Just the real thing.’
‘My car’s around the corner, caro. You name it, I’ll do it.’
From the pack leaning against the low wall that ran along one side of the Piazzale, a voice called out to the second one, ‘Ask him if he’d like you both, Paolina.’ Then, to Brunetti directly, ‘They’re fabulous if you take them together, amore; make you a sandwich you’ll never forget.’ That was enough to set the others off into peals of laughter, laughter that was deep and had nothing of the feminine in it.
Brunetti spoke to the one called Paolina. ‘I’d like you to look at a picture of a man and tell me if you recognize him.’
Paolina turned back to the group and shouted, ‘It’s a cop, little girls. And he wants me to look at some pictures.’
A chorus of shouts came back: ‘Tell him the real thing’s better than dirty pictures, Paolina.’ ‘Cops don’t even know the difference.’ ‘A cop? Make him pay double.’
Brunetti waited until they had run out of things to say and asked, ‘Will you look at the picture?’
‘What’s in it for me if I do?’ Paolina asked, and his companion laughed to see his friend being so tough with a policeman.
‘It’s a picture of the man we found out in the field on Monday.’ Before Paolina could pretend ignorance, Brunetti added, ‘I’m sure you all know about him and what happened to him. We’d like to identify him so we can find the person who killed him. I think you men can understand why that’s important.’
He noticed that Paolina and his friend were dressed almost identically, each in tight tube tops and short skirts that showed sleek, muscular legs. Both wore high-heeled shoes with needle toes; neither could ever hope to outrun an assailant.
Paolina’s friend, whose daffodil-yellow wig cascaded to his shoulders, said, ‘All right, let’s see it,’ and held out his hand. Though the man’s feet were disguised in those shoes, nothing could disguise the breadth and thickness of his hand.
Brunetti pulled the drawing from his pocket and handed it to him. ‘Thank you, Signore,’ Brunetti said. The man gave him an uncomprehending look, as though Brunetti had begun to speak in tongues. The two men bent over the drawing, talking together in what Brunetti thought might be Sardinian dialect.
The blonde held the drawing out towards Brunetti. ‘No, I don’t recognize him. This the only picture you’ve got of him?’
‘Yes,’ Brunetti answered, then asked, ‘Would you mind asking your friends if they recognize him?’ He nodded towards the group that still hung back against the wall, tossing occasional remarks at passing cars but keeping their eyes on Brunetti and the two men.
‘Sure. Why not?’ Paolina’s friend turned back towards the group. Paolina followed him, perhaps nervous at the risk of spending time alone in the company of a policeman.
The group peeled itself away from the wall to walk towards them. The one with the drawing stumbled and caught himself from falling only by clutching on to Paolina’s shoulder. He swore viciously. The group of bright-coloured men crowded round them, and Brunetti watched as they handed the drawing round. One of them, a tall, gangly boy in a red wig, let the picture go, then suddenly grabbed it back and looked at it again. He pulled at another man, pointed down towards the picture, and said something to him. The second one shook his head, and the redhead jabbed at the picture again. The other one still did not agree, and the redhead dismissed him with an angry flip of his hand. The picture was passed around to a few more of them, and then Paolina’s friend came back to Brunetti with the redhead walking at his side.
‘Buona sera,’ Brunetti said as the redhead came up. He held out his hand and said, ‘Guido Brunetti.’
The two men stood as if rooted to the spot by their high heels. Paolina’s friend glanced down at his skirt and wiped his hand nervously across its front. The redhead put his hand to his mouth for a moment and then extended it to Brunetti. ‘Roberto Canale,’ he said. ‘Pleased to meet you.’ His grip was firm, his hand warm.
Brunetti held out his hand to the other, who glanced nervously back to the group and, hearing nothing, took Brunetti’s hand and shook it. ‘Paolo Mazza.’
Brunetti turned back to the redhead. ‘Do you recognize the man in the photo, Signor Canale?’ Brunetti asked.
The redhead looked off to the side until Mazza said, ‘He’s talking to you, Roberta, don’t you even remember your name?’
‘Of course I remember my name,’ the redhead said, turning angrily to Mazza. Then, to Brunetti, ‘Yes, I recognize the man, but I can’t tell you who he is. I can’t even tell you why I recognize him. He just looks like someone I know.’
Realizing how inadequate this must sound, Canale explained, ‘You know how it is when you see the man from the cheese store on the street, and he’s not wearing his apron: you know him but you don’t know how you know him, and you can’t remember who he is. You know that you know him, but he’s out of place, so you can’t remember who he is. That’s how it is with the man in the drawing. I k
now I know him, or I’ve seen him, the same way you see the man in the cheese store, but I can’t remember where he’s supposed to be.’
‘Is he supposed to be here?’ Brunetti asked. When Canale gave him an empty look, he explained, ‘Here on Via Cappuccina? Is this where you’d expect to see him?’
‘No, no. Not at all. That’s what’s so strange about it. Wherever it was I saw him, it didn’t have anything to do with all of this.’ He waved his hands in the air, as if seeking the answer there. ‘It’s like I saw one of my teachers here. Or the doctor. He’s not supposed to be here. It’s just a feeling, but it’s very strong,’ Then, seeking confirmation, he asked Brunetti, ‘Do you understand what I mean?’
‘Yes, I do. Perfectly. I once had a man stop me on the street in Rome and say hello to me. I knew I knew him, but I didn’t know why.’ Brunetti smiled, risking it. ‘I’d arrested him two years before. But in Naples.’
Luckily, both men laughed. Canale said, ‘May I keep the picture? Maybe it will come back to me if I can, you know, look at it every once in a while. Maybe that will surprise me into remembering.’
‘Certainly. I appreciate your help,’ Brunetti said.
It was Mazza’s turn to risk. ‘Was he very bad? When you found him?’ He brought his hands together in front of him, one clutching at the other.
Brunetti nodded.
‘Isn’t it enough they want to fuck us?’ Canale broke in. ‘Why do they want to kill us, too?’
Though the question was addressed to powers well beyond those for whom Brunetti worked, he still answered it. ‘I have no idea.’
Chapter Eleven
The next day, Friday, Brunetti thought he had better make an appearance at the Venice Questura to see what paperwork and mail had accumulated for him. Furthermore, he admitted to Paola over coffee that morning, he wanted to see if there was anything new on ‘Il Caso Patta’.
‘Nothing in Gente or Oggi,’ she contributed, naming the two most famous gossip magazines, then added, ‘though I’m not sure that Signora Patta rates the attention of either.’
‘Don’t let her hear you say that,’ Brunetti warned, laughing.
‘If I’m a lucky woman, Signora Patta will never hear me say anything.’ More amiably, she asked, ‘What do you think Patta will do?’
Brunetti finished his coffee and set his cup down before he answered. ‘I don’t think there’s very much he can do except wait for Burrasca to get tired of her or for her to get tired of Burrasca and come back.’
‘What’s he like, Burrasca?’ Paola didn’t waste time asking if the police had a file on Burrasca. As soon as anyone in Italy made enough money, someone would have a file.
‘From what I’ve heard, he’s a pig. He’s part of that Milano world of cocaine, cars with fast engines, and girls with slow brains.’
‘Well, he’s got half of one of them this time,’ Paola said.
‘What do you mean?’
‘Signora Patta. She’s not a girl, but she’s certainly got a slow brain.’
‘Do you know her that well?’ Brunetti was never sure whom Paola knew. Or what.
‘No, I’m simply inferring it from the fact that she married Patta and stayed married to him. I imagine it would be difficult to put up with a pompous ass like that.’
‘But you put up with me,’ Brunetti said, smiling, in search of a compliment.
Her look was level. ‘You’re not pompous, Guido. At times you’re difficult, and sometimes you’re impossible, but you are not pompous.’ No compliments here.
He pushed himself back from the table, feeling that it was perhaps time to go to the Questura.
When he got to his office, he looked through the papers waiting for him on his desk, disappointed to find nothing about the dead man in Mestre. He was interrupted by a knock on the door. ‘Avanti,’ he called, thinking it might be Vianello with something from Mestre. Instead of the sergeant, a dark-haired young woman walked in, a sheaf of files in her right hand. She smiled across the room at him and approached his desk, looking down at the papers in her hand and paging through them.
‘Commissario Brunetti?’ she asked.
‘Yes.’
She pulled a few papers from one of the files and placed them on the desk in front of him. ‘The men downstairs said you might want to see these, Dottore.’
‘Thank you, Signorina,’ he said, pulling the papers across the desk towards him.
She remained standing in front of his desk, clearly waiting to be asked who she was, perhaps too shy to introduce herself He looked up, saw large brown eyes in an appealing full face and an explosion of bright lipstick. ‘And you are?’ he asked with a smile.
‘Elettra Zorzi, sir. I started work last week as secretary to Vice-Questore Patta.’ That would explain the new desk outside Patta’s office. Patta had been going on for months, insisting that he had too much paperwork to handle by himself. And so he had managed, like a particularly industrious truffle pig, to root around in the budget long enough to find the money for a secretary.
‘I’m very pleased to meet you, Signorina Zorzi,’ Brunetti said. The name rang familiarly in his ear.
‘I believe I’m to work for you, as well, Commissario,’ she said, smiling.
Not if he knew Patta, she wouldn’t. But still he said, ‘That would certainly be very nice,’ and glanced down at the papers she had placed on the desk.
He heard her move away and glanced up to follow her out of the door. A skirt, neither short nor long, and very, very nice legs. She turned at the door, saw him looking at her, and smiled again. He looked down at the papers. Who would name a child Elettra? How long ago? Twenty-five years? And Zorzi; he knew lots of Zorzis, but none of them was capable of naming a daughter Elettra. The door closed behind her, and he returned his attention to the papers, but there was little of interest in them; crime seemed to be on holiday in Venice.
He went down to Patta’s office but stopped in amazement when he entered the anteroom. For years, the room had held only a chipped porcelain umbrella stand and a desk covered with outdated copies of the sort of magazines generally found in dentists’ offices. Today, the magazines had vanished, replaced by a computer console attached to a printer that stood on a low metal table to the left of the desk. In front of the window, in place of the umbrella stand, stood a small table, this one of wood, and on it rested a glass vase holding an enormous bouquet of orange and yellow gladioli.
Either Patta had decided to give an interview to Architectural Digest, or the new secretary had decided that the opulence Patta believed fitting for his office should trickle out to where worked the lower orders. As if summoned by Brunetti’s thoughts, she came into the office.
‘It looks very nice,’ he said, smiling and gesturing around the small area with a wave of his hand.
She crossed the room and set an armful of folders on her desk, then turned to face him. ‘I’m glad you like it, Commissario. It would have been impossible to work in here the way it was. Those magazines,’ she added with a delicate shudder.
‘The flowers are beautiful. Are they to celebrate your arrival?’
‘Oh, no,’ she replied blandly. ‘I’ve given a permanent order to Fantin; they’ll deliver fresh flowers every Monday and Thursday from now on.’ Fantin: the most expensive florist in the city. Twice a week. A hundred times a year? She interrupted his calculations by explaining, ‘Since I’m also to prepare the Vice-Questore’s expense account, I thought I’d add them in as a necessary expense.’
‘And will Fantin bring flowers for the Vice-Questore’s office, as well?’
Her surprise seemed genuine. ‘Good heavens, no. I’m certain the Vice-Questore could afford them himself It wouldn’t be right to spend the taxpayers’ money like that.’ She walked around the desk and flipped on the computer. ‘Is there anything I can do for you, Commissario?’ she asked, the issue of the flowers, apparently, settled.
‘Not at the moment, Signorina,’ he said as she bent over the keys.
He knocked on Patta’s door and was told to enter. Though Patta sat where he always did, behind his desk, little else was the same. The surface of the desk, usually clear of anything that might suggest work, was covered with folders, reports; even a crumpled newspaper lay to one side. It was not Patta’s usual L’Osservatore Romano, Brunetti noticed, but the just-short-of-scurrilous La Nuova, a paper whose large readership numbers seemed to rest on the joint proposition that people not only would do base and ignoble things but that they would also want to read about them. Even the air-conditioning, this one of the few offices to have it, seemed not to be working.
‘Sit down, Brunetti,’ the Vice-Questore commanded.
As if Brunetti’s glance were contagious, Patta looked at the papers on his desk and began to gather them up. He piled them one on top of the other, edges every which way, pushed them aside, and sat, his hand forgotten on top of them.
‘What’s happening in Mestre?’ he finally asked Brunetti.
‘We haven’t identified the victim yet, sir. His picture has been shown to many of the transvestites who work there, but none of them has been able to recognize him.’ Patta said nothing. ‘One of the men I questioned said that the man looked familiar, but he couldn’t give a definite identification, so it could mean anything. Or nothing. I think another one of the men I questioned, a man named Crespo, recognized him, but he insisted that he didn’t. I’d like to talk to him again, but there might be problems in doing that.’
‘Santomauro?’ Patta asked and, for the first time in the years they had worked together, succeeded in surprising Brunetti.
‘How do you know about Santomauro?’ Brunetti blurted out and then added, as if to correct his sharp tone, ‘sir.’
‘He’s called me three times,’ Patta said, and then added in a voice he made lower but which was definitely intended for Brunetti to hear, ‘the bastard.’
Immediately on his guard at Patta’s unwonted, and carefully planned, indiscretion, Brunetti, like a spider on its web, began to run his memory over the various strands that might connect these two men. Santomauro was a famous lawyer, his clients the businessmen and politicians of the entire Veneto region. That, if nothing else, would ordinarily have Patta grovelling at his feet. But then he remembered it: Holy Mother Church and Santomauro’s Lega della Moralità, the women’s branch of which was under the patronage and direction of none other than the absent Maria Lucrezia Patta. What sort of sermon about marriage, its sanctity, and its obligations had accompanied Santomauro’s phone calls to the Vice-Questore?