The Lizard's Bite Part 14

"You wanted me to get close to him," she replied, a note of reproach in her voice. "I've been working in the palazzo most of the day. I won't be finished in time to go back to the apartment. It's amazing here. Where are you?"

Automatically, his eyes went up to the vast gla.s.s palace next door. The sun was so bright all he saw was its fiery reflection. He was just a minute's walk away from her. Watching the Arcangeli try to pick up the pieces of a bitter row, wondering what would happen to the Braccis now that Bella's secret was about to go public.

"Outside the fornace fornace but I don't think we'll be here long. Is there anything else you need?" but I don't think we'll be here long. Is there anything else you need?"

"Just you," she replied sweetly. "And some time. I've got news."

Costa listened to her confident tones with unease. She was supposed to talk to Ma.s.siter, nothing more. But it wasn't in her nature to hold back, not when some prize lay in her grasp.

"Good or bad?"

"Maybe neither. But it's instructive either way. Got to go now . . ."

The line went dead. Nic Costa glanced again at the gleaming palazzo along the quay. Emily was in there somewhere, out of reach.

SHE PUT DOWN THE PHONE AND LOOKED AROUND THE small storage room at the back of Hugo Ma.s.siter's apartment, built directly against the windowless brick wall that formed the entire rear of the palace, a supporting b.u.t.tress of ugly clay that visitors were never meant to notice. Nor was anyone meant to be witness to what lay before her now: bundles of letters tied together with string, piles of photo alb.u.ms, doc.u.ment boxes all bearing the label of the same private detective agency based in New York, a name she knew, a solid, expensive firm that worked only for the most discerning of clients. Hugo had excused himself as soon as she'd issued orders for the new work. Lunch, he said. Then a meeting, returning around four. Emily had borrowed overalls to work alongside the teams of carpenters, plasterers and painters turning the bare exhibition s.p.a.ce into the location for a Venetian ball, made sure they understood what they were doing, and come to the conclusion that they were, under direction, good enough for the job. Then, when she was satisfied Hugo wasn't about to return suddenly, she went upstairs to the apartment and tried to remember the lessons she'd received at the Academy in Quantico, in what now seemed another lifetime. Searching homes without leaving a trace was an art, one she'd almost mastered because she possessed what it took: care, a good memory and a feeling for the personality of the person into whose life she was intruding. Hugo Ma.s.siter was a careful, lonely, insular man, one capable of hard decisions without much regret, but scarred, too, by some event in his past. small storage room at the back of Hugo Ma.s.siter's apartment, built directly against the windowless brick wall that formed the entire rear of the palace, a supporting b.u.t.tress of ugly clay that visitors were never meant to notice. Nor was anyone meant to be witness to what lay before her now: bundles of letters tied together with string, piles of photo alb.u.ms, doc.u.ment boxes all bearing the label of the same private detective agency based in New York, a name she knew, a solid, expensive firm that worked only for the most discerning of clients. Hugo had excused himself as soon as she'd issued orders for the new work. Lunch, he said. Then a meeting, returning around four. Emily had borrowed overalls to work alongside the teams of carpenters, plasterers and painters turning the bare exhibition s.p.a.ce into the location for a Venetian ball, made sure they understood what they were doing, and come to the conclusion that they were, under direction, good enough for the job. Then, when she was satisfied Hugo wasn't about to return suddenly, she went upstairs to the apartment and tried to remember the lessons she'd received at the Academy in Quantico, in what now seemed another lifetime. Searching homes without leaving a trace was an art, one she'd almost mastered because she possessed what it took: care, a good memory and a feeling for the personality of the person into whose life she was intruding. Hugo Ma.s.siter was a careful, lonely, insular man, one capable of hard decisions without much regret, but scarred, too, by some event in his past.

The room was beyond the large, elegant kitchen, locked. She'd finally found the key in a small terra-cotta bowl next to the s.h.i.+ny new cooking range. In private homes there was always a key, her instructors had told her. Usually in an obvious place.

Behind the door lay a treasure trove of material on a single occurrence in Hugo Ma.s.siter's life: the disproved allegations of murder she'd read about at Nic's that morning. And two people: Daniel Forster and Laura Conti, in whom he had placed his trust.

Her hand fell automatically on the detective agency reports. These were filings of sightings of the fugitives after Forster and Conti fled Venice. Or so the authors claimed. Emily was sufficiently familiar with intelligence reports to read between the lines. There was a grey area between rumour and fact in most of them. Hugo's money seemed to be buying much of the former and little of the latter. The reports talked of the couple's presence in various parts of the world-Africa, Asia and South America-but gave not a shred of hard supporting evidence. Photos, handwriting, phone conversations . . . all the artefacts that helped sh.o.r.e up vague suspicions were noticeably absent. The final letter from the agency was curt to the point of rudeness. Hugo's correspondence with them was absent but it was clear he had been questioning both the cost and the effectiveness of the operation. He'd tasked the agency with finding Daniel Forster and Laura Conti. They hadn't even managed to prove the pair still existed. The contract had come to an end some six months before, with the promise of litigation over unpaid fees.

Emily closed the file, wondering what it told her. Hugo desperately needed to track down two people who had almost put him in jail. Why? He didn't need them for his own security. The authorities now accepted he'd been wrongly accused. What motive could there be apart from revenge? Except . . . Hugo Ma.s.siter was vain, ambitious, unquestionably ruthless in business matters. But he had a firm sense of self-knowledge. He was acutely aware of what kind of man he was. Revenge would surely have seemed petty to him, an unnecessary reminder of a pain still waiting to heal.

This impression was only confirmed by what she saw in the photo alb.u.ms. They consisted of formal pictures from the series of music schools Hugo had sponsored in La Pieta over the years. Rows and rows of teenagers, all in smart black evening dress, some clutching fiddles and violas, smiling behind Hugo, who stood proudly to the front. And, in the final year, another figure. Someone who could only be the young, seemingly ingenuous Daniel Forster, next to his patron, a priceless music score in hand, one he had claimed for his own.

Hugo had his arm around Forster. It was a paternal, affectionate gesture, though one which hinted, also, at owners.h.i.+p. I made you, I made you, he seemed to be saying. Surely that would render the final humiliation-being linked to the young man's own misdeeds-doubly difficult to bear? he seemed to be saying. Surely that would render the final humiliation-being linked to the young man's own misdeeds-doubly difficult to bear?

She skimmed through the posed photos, scores of young people on the cusp of adulthood, smiling, happy, brought together by Hugo's generosity. The school seemed a joyous place. The city had lost something when its doors closed.

Then she felt an extra sheet inside one of the plastic leaves, held up the alb.u.m and shook the pages to release it.

The face of a woman in her late twenties-dark-haired, astonis.h.i.+ngly beautiful-slipped out. The shot was from the waist up, s.n.a.t.c.hed from a distance, then greatly enlarged, judging by the grain. She was wearing what looked like a nylon housecoat, the kind of jacket a servant would choose. The picture was taken out of doors, in a garden somewhere, not in the city. What appeared to be the sea s.h.i.+mmered in the distance. There was a genuine inflection of fear in the woman's eyes. She didn't want to be seen. She didn't want to be recognised.

"Laura Conti," Emily murmured to herself, then cursed her own stupidity. Be silent, Be silent, her instructors said. her instructors said. Always be silent. Always be silent.

Laura Conti was lovely. She had the kind of face men couldn't stop staring at, with haunted, perfectly symmetrical features that would be difficult to disguise. And she knew it too. In this illicit image, she had the look of a wild creature fleeing something. The truth? Justice?

Emily recalled what Hugo had said to her earlier that day. In Venice it was the innocents who killed you. In this one photograph Laura Conti's features seemed to s.h.i.+ne with innocence. Emily tried to recall the details of the case. Forster was the killer, not Laura. Was it possible she was entrapped against her will? Nic's report suggested that she'd hidden herself away on the Lido while Forster was in jail, never visiting him, never making herself known in public. Yet somehow he had, when released, found her again, re-establis.h.i.+ng the relations.h.i.+p. Perhaps Laura wasn't trying to hide from the police or Hugo Ma.s.siter's wrath at all, but the man who regarded her as his own, Daniel Forster.

She slipped the photo back into the pocket where it belonged, not wanting to see any more. It was foolish to try to read so much into a single image.

Then she picked up the sheaf of letters and went through them, slowly, carefully. They were, in the beginning at least, brief, intelligent and articulate. Every one was from Daniel Forster, written in a sweeping, legible hand, the kind a student would use to get good marks in an essay. None of them was longer than two pages. Most were confined to a single sheet. They spanned almost two years, the dates matching, as far as she recalled, the period in which Hugo had launched his legal campaign to clear his name, one that resulted in Forster and his mistress fleeing Venice like thieves.

Dear Hugo, Forster wrote in the first. Forster wrote in the first. Laura said you would re-emerge and, as usual, she was right. It may surprise you to know that I'm glad you're still alive. That said, it's important you understand the position we find ourselves in. It's impossible for you to return to Italy. If you do that, you surely know the consequences. I've made depositions to the authorities. I will testify in court if need be. This is, as far as the locals are concerned, a closed case. Don't try to reopen it, please. Enjoy New York. Venice is behind you. Daniel. Laura said you would re-emerge and, as usual, she was right. It may surprise you to know that I'm glad you're still alive. That said, it's important you understand the position we find ourselves in. It's impossible for you to return to Italy. If you do that, you surely know the consequences. I've made depositions to the authorities. I will testify in court if need be. This is, as far as the locals are concerned, a closed case. Don't try to reopen it, please. Enjoy New York. Venice is behind you. Daniel.

A benign though firm warning, then. Forster portrayed himself as a reasonable man, but one who would not demur at involving the Italian judicial system if necessary. And-this seemed important-no mention of where Laura stood on matters.

"'I've made depositions,'" Emily murmured. But surely, to be convincing, Forster would need Laura to back up his case. made depositions,'" Emily murmured. But surely, to be convincing, Forster would need Laura to back up his case.

Some eight months later, however, his tone was changing.

American lawyers? Do you place your faith in them, Hugo? Surely not. I'd have thought that beneath you. Besides, we have lawyers too these days. Money to employ the best too, thanks to the book. You have have seen the book, haven't you? If not, I'll send you a copy. Inscribed. My version's down there now. Black and white and, as the old saw goes, read all over. Take a look and ask yourself: do I really want this to go on? seen the book, haven't you? If not, I'll send you a copy. Inscribed. My version's down there now. Black and white and, as the old saw goes, read all over. Take a look and ask yourself: do I really want this to go on?

Emily sifted through five more messages, noting the tone growing more bitter. Or more frightened, perhaps? Then she flicked through to the last, began to read, and felt ashamed to be engrossed by what she found.

Forster was now desperate. His handwriting was erratic. Words were scrawled in block capitals, the way a child did when he was anxious to make a point.

Is this a VICTORY? Burning my book? Freezing our bank accounts? What did we do to deserve this, Hugo? p.r.i.c.k your vanity? Any more than that? Let me say it again. Let me SCREAM it till you understand. SHE'S NOT YOURS. She never was. She never will be. I'd die before I allowed that to happen. If you think about that-if you can remember who I am, what I'm like-you'll know that's true.

You can't win. Not even if you bribe every last judge in Italy. If you insist on returning, I will, I swear, do what I should have done all those years ago. Make an end to your miserable existence, once and for all. STAY OUT OF OUR LIVES. D.

Emily Deacon drew a deep breath, placed the paper on her lap, and hated herself, loathed this prying into matters that were none of her business.

She's not yours. She never was. She never will be.

Was this really the true source of Hugo Ma.s.siter's grief? That Laura Conti, hiding away from the light of day like a frightened deer, was the woman he loved? That Daniel Forster didn't just steal Hugo's reputation? That the young Englishman removed something much more precious, an item Hugo could never recover, not with all the money in the world?

Emily put away the alb.u.m and the doc.u.ments, ensuring they went back in the right places. Then she sat on the small stool she'd brought in from the apartment, feeling miserable, wondering what she'd tell Falcone. Wondering, too, what gave her the right to meddle with Ma.s.siter's affairs.

Two people had been murdered on Murano. Their relations.h.i.+p with Hugo Ma.s.siter was distant, financial only. Their deaths caused him significant inconvenience.

"Poor-" she started to say, when she felt a hand fall lightly on her shoulder.

Emily stifled a gasp, and knew at that moment what the miserable old b.a.s.t.a.r.d of an instructor in Langley would have said. Then she turned and looked up at Hugo Ma.s.siter.

He didn't even seem angry.

"The palazzo looks wonderful, but I don't recall asking you to do anything to this room," he said softly. "Kind as it is of you to offer."

"I'm sorry. I couldn't resist looking around. I wanted to . . . try to understand something."

"You could have just asked. It's easier."

"I wouldn't have known the right questions."

"True."

He took his hand away and cast his eyes around the room. "Was this Falcone's idea?"

"No," she lied, wis.h.i.+ng she had the courage to be truthful. "I was just being nosy. Really. There was something about you that didn't add up. I'm the curious type, unfortunately."

"And you found . . . ?"

"A photo of Laura Conti," she answered without hesitation. "She's very beautiful."

"She was was very beautiful," he corrected her. "I've no idea what she's like now. I haven't seen her in a very long time. I don't even know if she's alive. With . . ."-his face grew old just saying the name-" . . . Daniel around, who knows?" very beautiful," he corrected her. "I've no idea what she's like now. I haven't seen her in a very long time. I don't even know if she's alive. With . . ."-his face grew old just saying the name-" . . . Daniel around, who knows?"

"I don't want to be in here," she muttered, brus.h.i.+ng past him to go out into the light, airy living room, striding to the balcony, bright in the lagoon sun, craving fresh air. The smell of paint and fresh plaster rose up from below. The main doors were open. The temporary stands, with some real pieces from Ma.s.siter's collection, would now be in place. Soon the musicians would arrive, looking for their podium, which was still probably in pieces. At seven there would be guests. The palazzo would be ready for them by then. Even so, she didn't want to see it.

Emily took a deep breath, aware of his presence behind her. "I can only apologise. I don't know what came over me."

And all for Nic's boss, she thought. Which was as good as saying for Nic himself, given how close the three men were these days.

"Well, it's out now. A burden shared, they say. I don't . . ." He was trying to convince himself of the right words. "I don't miss her anymore. It wasn't a rational relations.h.i.+p. She was different. Not just beautiful, but perfectly untouched by the world somehow, in a way I never saw in anyone else. Which is why Daniel fooled her so easily, I imagine. I just wanted to know she was safe. That's all. I didn't-I don't- don't-harbour any illusions about rekindling old fires."

"Do you think she was guilty?" Emily asked him. "In the deaths of these people?"

"No," he replied, as if the question were irrelevant now. "Not for a minute. But she went with Daniel and that's what counts, in most people's eyes anyway. It's not what you do, it's appearances. That's all it was with me. If I'd stayed here and fought instead of running away . . ."

"You could have lost everything."

Ma.s.siter laughed. "But I did, in a way! Don't you see? Oh, enough of this. I hate sounding maudlin. How are the builders doing? You look as if you got stuck in paint yourself."

Emily crossed her arms over her paint-spattered overalls. "I think the place will look fine for tonight. But you should find yourself a good architect, Hugo. I'm not sure the structure here is as sound as you think. This is not a conventional building. There's more wood than I expected. Some of the ironwork . . ."

Some of the ironwork was virtually rust. In most cities she doubted the palazzo would be approved for public use at all. But Ma.s.siter had sway with the authorities. Without it he wouldn't have got as far as he had. He was a survivor, in spite of the odds.

"I can believe that," he said, with a grimace. "Hang on: I thought I'd found myself an architect."

"I don't think so."

"Emily . . ."

It was so sudden she couldn't move on the narrow balcony high above the island's cobblestones. Hugo was holding her forearms, his fingers lightly touching skin, warm, affectionate.

"Please don't go," he whispered. "I know I'm only an old fool but I'd rather you stayed around a little longer. Work here, as much as you like. None of that . . ."-he glanced at the storeroom door-" . . . means anything. It's history, and history really is bunk."

"Perhaps you could find her. I could help. I have friends."

"I'm sure you do," he said, smiling. "But it doesn't matter. Not anymore. I don't want Laura found. Wherever she is . . . whatever's happened, it's water under the bridge. It's time I started living my own life again."

His head came forward. She flinched instinctively, wondering, all the same, what she would do if he attempted to kiss her.

Instead Hugo Ma.s.siter was reaching over her shoulder, peering down towards the lively grey water, past San Michele, on to the busy vaporetto stops at Fondamente Nuove, on Venice proper. A couple of racing skiffs were pulling across the lagoon, two lines of hooped backs in each straining for the lead. Approaching them were three large open boats making a steady progress towards the island, each carrying a cargo of figures clad in black and white.

"I see the musicians," he said. "They're early. Do you like music?"

"Some."

"Good. You must never trust a person with no fondness for music, you know. It demonstrates a serious detachment from life. That young man of yours. Does he . . . ?"

In one brief instant, chastely, with the swift, easy grace of a relative, he brushed his lips against her cheek, was done, turning back to the apartment, beginning to whistle, something cla.s.sical.

"Vivaldi," she said.

He stopped, looked back at her, smiling, an expression of bliss.

"Perfect," Hugo Ma.s.siter declared. "You are, I swear, perfect. Apart from that outfit."

The overalls were a mess. She wondered when Nic would arrive with fresh clothes.

"Never mind," the Englishman said. "I have an idea."

THE BRACCIS LIVED IN A RED-BRICK TERRACED HOVEL just a couple of hundred metres from their shabby little factory. The sunless street stank of cats, stale rubbish and gas from the nearby workshops. There was a small, restless crowd outside when the three cops arrived. The two carpenters were among them, sinister smirks on their faces. The bad-tempered, on-the-edge mood of the mob reminded Costa of his early days in the force when luck would occasionally push him into the uniformed squad working Roma-Lazio matches. just a couple of hundred metres from their shabby little factory. The sunless street stank of cats, stale rubbish and gas from the nearby workshops. There was a small, restless crowd outside when the three cops arrived. The two carpenters were among them, sinister smirks on their faces. The bad-tempered, on-the-edge mood of the mob reminded Costa of his early days in the force when luck would occasionally push him into the uniformed squad working Roma-Lazio matches.

"You going to arrest him?" someone yelled as Costa led the way towards the door.

Peroni stopped and gave them the look. It got quiet for a moment.

"Why would we want to do that?" the big cop demanded.

"For messing around with his sister," the heckler replied. "And the rest."

"You don't know what you're talking about," Peroni barked back at him. "Why don't you all just go home and let us do our jobs?"

The older carpenter b.u.t.ted in. "If you'd been doing your jobs, none of this would've happened. We don't like dirty b.a.s.t.a.r.ds like Bracci around here. You take the sonofab.i.t.c.h away with you. Otherwise we deal with this ourselves."

Falcone was on him in an instant. "If anyone so much as sets a foot inside this house, he will, I a.s.sure you, wake up in jail. Understand?"

"Call in uniform," the inspector snarled at Costa. "I want a guard on this place, and anyone who so much as squeaks thrown in a cell for the night."

Costa smiled at the carpenter, who was getting the full dressing-down treatment from Falcone, something no one in earshot was likely to forget. Then he walked away from the melee to get a little privacy. The duty man in Castello sounded sleepy, amazed by the request for a.s.sistance.

"You want what what?" the bored voice on the other end of the phone line demanded.

"Uniform. All night if need be."

"Would that be ten? Twenty? Any particular size or colour?"

"Just get some men here," Costa retorted. "We don't want a riot on our hands."

"This is Venice, friend. We don't have riots. What have you people been doing doing?"

Asking the right questions, Costa thought. Which was, perhaps, not a Venetian tradition.

"Three men minimum," he snapped. "Now. If this goes wrong, it's on your head."

Then he walked to the door and kept his finger on the bell until a surly Enzo Bracci appeared, in jeans and a tight grubby tee-s.h.i.+rt. The young man was smoking a joint, eyes glazed, a familiar smell hanging round him. He looked ready for a fight.