by Donna Leon
Brunetti considered himself the least superstitious of men and took pride in his intense respect for reason and good sense and all the virtues he associated with the proper functioning of the mind. This, however, in no way prevented him from accepting the possibility of less tangible phenomena – he had never been able to find a clearer way to express it. Something that, though unseen, left traces. He felt those traces here: this was a troubled death. Not necessarily violent or criminal: only troubled. He sensed it, though vaguely and fleetingly, and as soon as the sensation rose to the level of conscious thought, it vanished, to be dismissed as nothing more than a stronger than usual response to the sight of sudden death.
He quickly scanned the room and registered furniture, two floor lamps, a row of windows, but his intense awareness of the woman at his feet made it difficult for him to concentrate on anything else.
He returned to the corridor. There was no sign of Vianello, but the pathologist waited a few steps away. ‘She’s in here, Ettore,’ Brunetti said. As the doctor approached, Brunetti was distracted by the sound of footsteps from below. He heard men’s voices, a deep one followed by a lighter tone, and then a door closed.
The footsteps continued towards the apartment, and then Marillo, the assistant lab technician, appeared at the open door, two men close behind him carrying the cases of their trade. Marillo, a tall, thin Lombard who seemed incapable of understanding anything save the simple, literal truth of any statement or situation, greeted Brunetti then came into the apartment, moving forward to allow his own men to enter behind him. The last man closed the door and Marillo said, ‘Man downstairs wanted to know what all the noise was about.’
Brunetti greeted the men, but when he turned back to where Rizzardi had been, he realized the pathologist had gone into the other room. He told the men Vianello would tell them where to begin photographing and dusting for prints. He found Rizzardi bent over the woman’s body, his hands carefully stuffed into the pockets of his trousers. He stood upright as Brunetti approached and said, ‘It could have been a heart attack. Perhaps a stroke.’
Brunetti pointed silently to the small circle of blood, and Rizzardi, who had been in the room long enough to take a careful look around, pointed in his turn to a radiator that stood below a window not far from where the woman lay.
‘She could have fallen against it,’ Rizzardi said. ‘I’ll have a better idea when I can turn her over.’ He took a step back from the woman’s body. ‘So let’s get them to take the photos, all right?’ he asked.
With any other doctor, Brunetti might have lost patience at his refusal to read the bloodstain as a sign of violence, but he was familiar with Rizzardi’s insistence that he concern himself only with the immediately evident physical cause of death and only when he saw it or could prove it for himself. On occasion, Brunetti had managed to get the doctor to speculate, but it was no easy task.
Brunetti allowed his attention to drift away from the doctor and the woman at his feet. The room seemed to be in order save for two sofa cushions on the floor and a leather-bound book lying face down beside them. There was a wardrobe, but both doors were closed.
The photographer entered, saying, ‘Marillo and Bobbio are dusting for prints, so I came down here to do her first.’ He walked past Brunetti, towards the body, right hand fiddling with a knob on his camera.
Brunetti left him to it. He heard the low murmur of Rizzardi’s voice behind him but ignored it as he walked back along the corridor.
In the larger bedroom, Vianello, wearing thin plastic gloves, stood in front of the open drawers of the chest. He was leaning forward to examine some papers that lay on the top of the chest. As Brunetti watched, Vianello slid the top sheet to the side with the tip of his finger, then read the one below before shifting it aside to read the last one.
Reacting to Brunetti’s silent presence, Vianello said, ‘It’s a letter from a girl in India. “To Mamma Costanza.” Must be one of those organizations that let you sponsor a child.’
‘What does she say?’ Brunetti asked.
‘It’s in English,’ Vianello answered, waving at the papers. ‘And it’s handwritten. From what I can make out, she’s thanking her for the birthday gift and telling her that she’ll give it to her father so that he can buy rice for the spring planting.’ Nodding to the papers, Vianello added, ‘She’s included her school report and a photo.’
Carefully, Vianello patted the sheets of paper back into place. ‘You think they’re legitimate, all these charities?’ he asked.
‘I hope so,’ Brunetti said. ‘Or else a lot of money has been going to the wrong places for a long time.’
‘Do you do it?’ Vianello asked.
‘Yes.’
‘India?’
‘Yes,’ Brunetti said, feeling something close to embarrassment. ‘Paola takes care of it.’
‘Nadia does, too,’ Vianello said hastily. ‘But why we’re giving money to places like India and China is something I don’t understand. Can’t pick up a newspaper without reading how powerful they are economically, how the world is going to belong to them in a decade. Or two. So what are we doing, supporting their children?’ Then Vianello added, ‘At least that’s what I ask myself.’
‘If Fazio is to be believed,’ Brunetti said, naming his friend who worked for the Frontier Police, ‘what we shouldn’t be doing is buying their clothing and toys and electronic equipment. Doesn’t hurt to give a couple of hundred euros to send a kid to school, though.’
Vianello nodded. ‘Kids there still have to eat, I suppose. And buy books.’ He stripped off the gloves and put them into the pocket of his jacket.
Just then the photographer came to the door and told Brunetti that Rizzardi wanted to see him. The dead woman had been turned on to her back, both arms at her sides: looking at her, Brunetti could not recapture the feeling conveyed to him by the first sight of the body. Her eyes were closed, her mouth open, her spirit fled. There could be no hope that a spirit still lingered near this body. One might choose to debate where it had gone, or even if it had ever existed, but there could be no question about the absence of life here.
Above the corner of her right eye, just above the eyebrow, Brunetti saw a cut, the flesh around it swollen and discoloured. The cut had leaked a dark paste, similar in consistency to sealing wax, into her hair and was obviously the source of the blood on the floor. Her cardigan was unbuttoned, and her yellow shirt had been pulled to one side when she was turned on to her back, exposing an oblong smudge on the outer left-hand side of her collarbone.
Unconsciously, Brunetti moved his hands close together in front of his thighs, fingers bent, to measure the distance between his thumbs. When he glanced at Rizzardi, he saw that the doctor was staring at his hands.
‘Her eyes would be bloodshot,’ Rizzardi said, reading the message of violence in his hands.
From behind him, Brunetti heard someone let out a long stream of breath. He turned to see Vianello, whom he had not heard arrive. The Inspector’s face wore a look of practised neutrality.
Brunetti looked back at the dead woman. One of her hands was clenched tight, as if frozen in the act of trying to keep her spirit from leaving: the other lay open, the fingers loose, encouraging the spirit to depart.
‘Can you do it tomorrow morning?’ Brunetti asked.
‘Yes.’
‘Will you take a look at everything?’
Rizzardi’s response was a sigh, followed by ‘Guido,’ said in a low voice, in which could be heard an effort at patience.
Rizzardi looked at his watch: Brunetti knew the doctor had to put the time she was declared dead on the death certificate, but the pathologist seemed to be taking an inordinate amount of time deciding. He finally looked at Brunetti. ‘There’s nothing more for me here, Guido. I’ll send you the report as soon as I can.’
Brunetti nodded his thanks, saw that it was already almost 1 a.m., and thanked the doctor for coming, even though he knew Rizzardi had no choice in the matter. The
doctor turned to leave, but Brunetti moved closer to him, placed his hand briefly on his upper arm, saying nothing.
‘I’ll call you when I’m finished,’ Rizzardi said. He moved away from Brunetti’s hand, and left the apartment.
4
Brunetti closed the door, dissatisfied with his exchange with Rizzardi and disappointed by his own need to make the doctor see things as he wanted him to see them. Before he could speak to Vianello, they heard noise from below: again, a door opening, then an exchange of male voices. Marillo came to the door of the bedroom where he was working with his men and said, ‘The doctor called a while ago for them to come and get her: I guess that’s them.’
Neither Brunetti nor Vianello answered, and the noises of the technicians working in the other room ended. The men in the apartment awaited the arrival of their colleagues who dealt with the dead, their voices and bodies stilled by the magic spell that approached. Brunetti opened the door. The two men who appeared on the landing, however, looked quite ordinary and wore the long blue coats of hospital orderlies. One of them carried a rolled-up stretcher under his arm: all of the men in the apartment knew that a third member of the squad waited downstairs with the black plastic casket into which the body would be placed before they took it outside to the waiting boat.
There were nods and muttered salutations; most of them had met in similar circumstances in the past. Brunetti, who knew their faces but not their names, pointed them down the corridor. After the two men went into the room, Brunetti, Vianello, and Marillo, and behind him the two members of his crew, waited, pretending not to hear, trying not to interpret, the noises from the other room. A short time later, the men emerged with the stretcher, the form on it covered by a dark blue blanket. Brunetti was glad to see that the blanket was clean and freshly ironed, though he knew it made no difference.
With a nod to Brunetti, the two men left the apartment; Vianello closed the door behind them. No one in the room said anything as they listened to the men’s descent. When all sound ended, they took it to mean the dead woman had been taken from the house, but still no one moved. Marillo finally broke the spell by turning away, herding his technicians into the bedroom and back to work.
Vianello went into the smaller guest room, and Brunetti joined him. The bed was neatly made, the white sheet pulled back over a simple grey woollen blanket. They saw no sign of disturbance in the room. It was military – or monastic – in its simplicity. Even the signs that the technicians had checked the room for prints seemed sparse.
Brunetti walked across the room and pushed open the door to the bathroom. Whoever had made the bed must also have ordered things on the shelves here: there were miniature sample bottles of shampoo and a small paper-wrapped bar of soap, the sort one found in hotel rooms; a comb in a plastic wrapper; a similarly wrapped toothbrush. Fresh towels and a washcloth hung on a rack beside the enclosed shower.
A man’s voice called Brunetti’s name. He and Vianello followed the sound into the larger bedroom, where Marillo was standing beside one of the windows. ‘We’re finished here, Commissario,’ he said. As he spoke, one of his men collapsed his tripod, hefted it on to his shoulder, and slipped past Vianello and Brunetti into the corridor.
‘You find anything?’ Brunetti asked, looking around at powder-covered surfaces in the room, almost as if he wanted Marillo to follow his glance and find, just there, whatever it was that would make his search worthwhile and important.
The residue on so many surfaces reminded Brunetti of how hard he found it to believe that any reliable physical evidence could be drawn from the overlying mess of finger and palm prints that covered every surface in every room he had ever searched. Some of the powder had dropped into the bottom drawer, which was open. Faint traces of it could be seen on the silk scarves and sweaters that lay intermingled there.
‘You know I don’t like to talk about that sort of thing, sir,’ Marillo finally answered, speaking with noticeable reluctance. ‘Before I write the report, that is.’
‘I know that, Marillo,’ Brunetti said. ‘And I think it’s the best policy. But I wondered if you could give us some sort of idea about how thorough Vianello and I should be when we …’ he began, then waved his hand around the room, as if asking the handles of the drawers to speak to Marillo about what was to be revealed inside.
The remaining technician, still on his knees beside the bed, looked up from the light he was shining into the space underneath, first at Brunetti and then at his superior. Aware of his glance, Marillo shook his head and turned to walk away.
‘Come on, Stefano,’ the technician said, making no attempt to disguise his exasperation. ‘They’re on our side. And it’ll save them time.’ Brunetti wondered if the technician was simply using a cliché, or if it were now necessary for one policeman to vouch for the integrity of others.
Marillo stiffened, either at being spoken to like this by one of his men in front of his superior or at the thought of having to venture an opinion rather than simply report on what was observed and recorded. ‘All we do is dust the place and take the photos, Dottore. People like you and Vianello have to figure out what the results mean.’ This might have been construed as opposition or obstructionism; in Marillo, it was meant to be simply a declaration of what he took his duties, and theirs, to be.
‘Oh for the love of God,’ the other technician snapped, still on his knees beside the bed. ‘We’ve been in a hundred places, Stefano, and we both know there’s nothing suspicious here.’ He looked as if he was about to continue, but Marillo silenced him with a glare. Some time had passed since Brunetti had been troubled by the sight of the body, and the man’s remark added to his desire to see and interpret facts, not feelings. No thief – at least not the sort that broke into houses in Venice – had been at work here. Anyone in search of gold or jewellery or cash would have pulled out the drawers and dumped their contents on the floor, then kicked them around, the better to separate and see everything. But the bottom drawer, Brunetti realized, looked no worse than his daughter’s after she had hunted for a particular sweater. Or his son’s.
The technician near the bed broke the silence by scuttling across the floorboards to unplug his lamp. Slowly, he got to his feet and wrapped the electric cord noisily around the handle, then slipped the plug under the last loop of cord to anchor it in place. ‘I’m done here, Stefano,’ he said abruptly.
‘That’s it, then,’ Marillo said with audible relief. ‘I’ll give Bocchese the photos and he can check the prints. There’s a lot of them, some of them perfectly clear. He’ll give you a report, sir.’
‘Thanks, Marillo,’ Brunetti said.
Marillo glanced at Brunetti and bobbed his head in an expression that acknowledged his superior’s thanks and his own embarrassment at not having been willing to provide more. The other technician followed him to the door, where the third man stood ready, slipping camera and flash into their case. Together, the three men made quick work of assembling their equipment. When they were finished, Marillo said nothing more than goodnight, and his team, silent, followed him from the apartment.
‘I’ll finish in there,’ Brunetti said, deciding to return to the smaller bedroom. He had noticed when he glanced in before just how simple the room was, but now that he had time to look around, he saw that it was even more modest than he had first observed. There was no covering of any sort on the wooden floor. It was not parquet but the narrow wooden boards of a restoration – and not an expensive one – that must have been done about fifty years before. A low, thick-legged chest stood next to the bed, on it a short lamp with a yellow cloth lampshade from the bottom of which hung a circle of aged yellow tassels. This could have been a room in his grandmother’s house, had he been taken back in a time machine.
In the half-open top drawer of the chest lay a number of plastic-wrapped packets of women’s underclothing: three in each, simple white cotton pants, and in three different sizes. He had never seen Paola wear the like. These were functional pants
he assumed a woman would buy at a supermarket, not a lingerie shop, fashioned for utility, not style, and certainly not meant to attract attention. Mixed in with them were unopened packets of white cotton T-shirts, also in three sizes. The packets lay neatly in the drawer in their separate piles, separated by a stack of ironed white cotton handkerchiefs.
He slid the drawer shut, no longer having to be careful about what he touched. The next drawer contained a few unopened packets of women’s tights and six or seven pairs of socks, also unopened, all grey or black, again in different sizes and arranged with military precision. The bottom drawer held sweaters, cotton on one side, wool on the other, though here the two piles had mingled. At least with these the colours were a bit brighter: one red, one orange, another light green, and though all had at one time been worn, they had the look of garments that had been washed and ironed before being placed in the drawer. A pair of freshly laundered and ironed blue flannel pyjamas lay to the right of the sweaters, a packet of lavender-scented sachets behind it.
Brunetti closed the last drawer. He moved closer to the bed and got down on one knee to look beneath it, but the space was empty.
He heard Vianello come into the room behind him. ‘Did you find anything else in her bedroom?’ Brunetti asked.
‘No. Nothing much. Except that she liked nice underwear and expensive sweaters.’
Getting to his feet, Brunetti went back to the chest. He pulled out the top drawer and pointed to the cellophane packets on top. ‘They’re all in different sizes, and nothing’s opened.’ Vianello stepped up beside him and looked into the drawer. ‘Same with the tights,’ Brunetti went on. ‘And there are sweaters – no cashmere there – and a pair of pyjamas in the bottom drawer, and they all look like they’ve just been washed.’
‘What do you make of it?’ Vianello said. He shrugged and confessed, ‘I’ve no idea.’
