by Tom Pollack
Gaining the top floor, the two men approached a lone door halfway down the hall. At Luc’s tap on the brass knocker, there was no initial response except for the slight whirring sound of a security camera, which focused on the dark-suited visitors from a niche in the ceiling. Then, with a slight click, the door opened of its own accord.
Luc checked his watch. “Wait for me here, Enzo. No other visitors—and make sure the jet is ready to depart for Mumbai at 9 p.m. sharp.”
“Will do, sir.”
“By the way, tell them to be certain we have enough rupees on board so we’re not delayed by Indian customs.”
As Enzo nodded and stood guard beside the doorway, Luc stepped forward into the foyer of Giovanni Genoa’s studio.
Peeling off his gold-skinned sunglasses, he paused briefly to admire the Renaissance period paintings in the foyer. They could have been originals, he knew, but Genoa’s uncanny skills did not rule out the possibility that the works were ingenious forgeries. Shrugging his shoulders, Luc entered the main studio.
As he recalled, this was an enormous space—in fact, the artist’s workplace occupied most of the building’s top floor. True to Renaissance practice, a number of Genoa’s acolytes were hard at work on a dozen or so easels, putting the finishing touches on the master’s latest works. The young men and women were all in their twenties and early thirties.
“What an unexpected pleasure, Luc!” exclaimed the white-haired artist. With a clap of his hands, he dismissed his apprentices, who bowed respectfully in farewell. In short order, Renard and Genoa were alone.
“And what occupies you today, Giovanni?” inquired Luc as he approached the muralist’s own easel. The devil was midway through a romantic scene of a young man and woman kissing on a terrace overlooking the sea. Luc noticed that the painter had adopted an unusual perspective: the point of view of a barn owl, perched high on a tree branch and eyeing the young lovers. Had more details been painted in, Luc might have recognized the couple as Amanda and Juan Carlos and the seashore as the Amalfi Coast.
“You are in need of refreshment, Luc?” the host grinned as he gestured toward a decanter on a nearby marble-topped table.
“No, I don’t care for wine this evening,” Luc replied, wiping a silk handkerchief over his sweating brows. He was still catching his breath from the climb up the stairs. “Tell me, Giovanni, with all the modern buildings in Rome at your disposal, why did you choose one without an elevator?”
The painter, swirling away with his brush on the canvas, absentmindedly replied, “Well, I never use the stairs, you know.”
Rolling his eyes, Renard glanced out the window down at the street. In the gathering dusk, he could make out a steady procession of people walking purposefully down the Via della Conciliazione toward St. Peter’s Square.
“That’s quite a crowd gathering at the Vatican,” he remarked. “Is there some special occasion tonight?”
“Nothing special in my opinion,” Genoa’s tone turned sour. “But for the followers of ‘His Holiness,’ a real treat. They are gathering for a candlelight vigil, at which the ‘Supreme Pontiff’ will address the hordes of faithful on the theme of wars and famine in Africa. His speech will follow up on his papal encyclical letter, another of those boring manifestos that the ‘Vicar of Christ’ feels compelled to issue from time to time.”
He spat out the pope’s traditional titles with venomous sarcasm.
“He will blame the work of the devil for these evils,” the rant continued. “He will appeal to his followers for…”
Having heard several such tirades before from the painter, Luc interrupted him midsentence.
“I have to leave shortly for India,” he declared, oblivious of the devil’s look of astonishment at the interruption. “Listen, we both know I have you to thank for helping me build my business empire.”
Genoa slowly twirled his mustache, knowing full well that Renard had not climbed five flights of stairs to talk about gratitude.
Luc continued, “In return, I’ve done all you asked, complied with everything since we first met in Chicago. Now, I want something that money can’t buy. I want you to keep your promise.”
“My promise?” the artist repeated the word with an air of surprise.
“Exactly. You gave me your word you would heal my scars. That orphanage fire was nearly thirty years ago, but the scars remain. The best medical care in the world cannot heal them. Skin grafts, stem cell regeneration, cosmetic surgery—all have failed. Even the experts I visited in Tokyo can’t help me.”
“What are a few scars? At least you’re alive,” the devil replied flippantly.
“The scar tissue restricts my mobility, and sometimes the wounds crack open and bleed when I exert myself. See for yourself.”
Luc removed his blazer and unbuttoned his slightly bloodstained shirt to reveal a grotesquely lacerated stomach. Despite his general appearance of fitness, he was hardly the picture of health for a man just turning forty.
“I suppose clothes really do make the man,” chuckled Genoa, who then feigned concern. “I had no idea of such lasting effects. You must be in considerable pain.”
“Yes, but I don’t have to be. You have often held out the prospect of a complete cure. I have done everything in my power to safeguard your interests in Ercolano. Now, I ask that you keep your side of the bargain. Please, heal these scars!” Luc’s voice thinned perceptibly. His tone was no longer that of a chief executive, but of a supplicant.
“Pace, pace, caro Luciano,” murmured the devil. “I will help you when the time is right. But things did not go so well in Ercolano, did they, my friend? All the items in the buried chamber were not, in fact, secured. I was compelled to pay a personal visit to that young woman from the Getty, Amanda James, and reveal my true identity—a revelation that I care to make only in the most extreme circumstances.”
“Keeping your identity a secret is not my concern,” replied Luc dismissively. “Perhaps you’re simply stalling because you don’t really have the power to heal me.”
Giovanni Genoa reddened with rage. His mouth twitched and his arms whipped the air.
“You insolent urchin! E tu, ragazzo damnato, Luc Renard. Perhaps you need a little reminder of the basis for our relationship!”
In an instant, the artist transformed himself. He was no longer the elderly painter, but a tall, athletic man in his early thirties. Luc was looking once more at the fireman who had carried him from the burning orphanage.
“You must never forget,” his antagonist continued, as the fireman’s physical form slowly morphed back into the stooped figure of the artist, “that you not only owe me your life, but your livelihood and freedom as well. What would become of Renard Enterprises and its founder if I revealed your little secret?”
Luc turned aside momentarily, recalling how the events of that day had changed the course of his life so drastically. He’d never intended to start the fire that burned down the orphanage. He’d been spray-painting graffiti in the basement when the water heater ignited the fumes from the can. It wasn’t his fault the janitor had left his oily cleaning rags nearby. Then, weeks later, the hospital visit from his rescuer, who turned out to be no fireman at all. Indeed, the devil was very forthcoming that day, revealing his role in causing the horrifying consequences of Luc’s prank. Thus, a twelve-year-old was blackmailed into a bargain that would ultimately enrich and yet enslave him.
“No, I have not forgotten,” he replied softly.
“Fine. Now that your memory is refreshed, may I share with you my generosity?” Genoa’s voice sweetened as quickly as a chameleon changes color. “You will be cured in short order, but first you must retrieve for me what Amanda James stole from the observatory.”
“Did she take the diamonds?”
“Oh, no,” said Giovanni with a smile. “Those are for you to keep! In fact, you will have no problem retaining any of the chamber’s contents. I will ensure that the Italian judges and attorneys will cooperate, as a result of some compro
mising circumstances that will befall them. And don’t worry about Cardinal Ravatti or Dr. Sforza. I will deal with them personally.”
“So what did Amanda take from the chamber?”
“She pilfered a small, ancient pendant, which I will describe to you very specifically. She may not admit to having it in her possession, but she does. You will either have to steal it from her or charm her out of it, but find a way. When you bring the pendant to me, I will cure your scars permanently.”
Luc looked puzzled. “Do you really need me for this? If you appeared to her in the chamber, why didn’t you take it from her then?”
The devil broke eye contact with his protégé and gazed out of the westernmost window of his studio, where the apex of the Egyptian obelisk in St. Peter’s Square was just visible in the dusk. Clearing his throat, he discharged some opaque mucus into a spittoon. At length, he replied to Luc’s question.
“I think it is only fitting that the patient himself should procure the instrument of his healing.”
Luc’s eyebrows rose as the devil continued.
“I fashioned the pendant long ago. It is a small ceramic tile bearing the image of a serpent. A trace of my own dried blood is smeared onto it, imbuing it with wondrous powers. The tile can fully heal any human malady.”
“So I’ll be cured the moment I touch this tile?” Luc asked eagerly.
“It’s more complicated than that. Actually, you must take great caution not to touch the tile with your bare hands. The pendant is so powerful that it will induce delirium—or even death. You must bring it to me so I can safely invoke its effects for you.”
Giovanni took a step toward Luc and lowered his voice slightly. “And you should know, since Amanda has touched it, she is almost certain to be suffering from severe delusions. Do not trust what she says about the tile, or anything else.”
Silence filled the air for a few moments. Then Luc nodded. “Fine—the pendant in exchange for my cure. But I expect you to uphold your side of the bargain immediately, once I bring you the tile.”
“Va bene, Luca,” smiled the devil. “Now let’s get a breath of air.” He gestured toward the rooftop balcony. The ornate doors swung open and the two strolled into the night.
From several blocks away, they could hear the singing in St. Peter’s Square, which was now fully illuminated for the Pope’s scheduled speech.
“Do their songs bother you?” Luc asked the older man.
“Not in the least, my friend! Their praise of folly simply shows that my work on Earth is never done.”
Luc surveyed the scene in silence. His mind was already far from this balcony in Rome. Giovanni had not directly answered his question. Why, he pondered, would the devil not simply repossess the tile from Amanda? Surely the tile’s creator would be immune to its negative effects. Perhaps the object had other powers that Genoa was concealing from him. If the devil didn’t want Luc to know about them, they must be worth having.
As he gazed out at The Eternal City, Luc Renard promised himself those powers would soon be his.
ABOUT THE AUTHORS
Tom Pollack (C), Jim Alves (L) and John Loftus (R) are longtime friends, all with professional backgrounds in the investment business. When Tom shared his original idea for Wayward Son, Jim and John eagerly jumped on board to assist in crafting the novel. The three reside with their families in Orange County, California.
For more resources, including a book club/small group discussion guide, trivia quiz, and much more, please visit www.waywardsonnovel.com.
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READERPEDIA®
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Roman Emperor Julius Caesar (100 – 44 BC) overthrew the Roman Republic and instituted the Julian calendar. Caesar’s perpetual dictatorship of Rome displeased many. On March 15 (the Ides of March), 44 BC, Caesar was murdered by a group of senators, including his best friend Marcus Brutus. Upon realizing that Brutus was part of the crowd, it’s believed that he uttered the famous last words, “Et tu, Brute?” [back]
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Nicknamed “The Governator,” Austrian-born Arnold Schwarzenegger was the 38th Governor of California from 2003 to 2011. In earlier years, he made a name for himself as a bodybuilder and then went on to an acting career, starring in such films as Pumping Iron, Total Recall, and The Terminator series. [back]
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What we know of Socrates (469 - 399 BC), a classical Greek Athenian philosopher and one of the founders of Western philosophy, is gleaned from the writings of his students, Plato and Xenophon. Through Plato’s dialogues, Socrates contributed to the field of ethics, epistemology and logic, including the commonly used tools of Socratic irony and Socratic method. [back]
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King Xerxes (519 – 465 BC), was also known as Xerxes the Great. He took the throne at the age of 36, succeeding his father in 486 BC. Two years later, Xerxes’ decision to melt down the golden statue of Bel lead to a revolt by the Babylonians and Xerxes’ refusal to take his father’s title, King of Babylon. Instead, he became known as the King of Persia. [back]
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Homer is the author of ancient Greek epic poems, the Iliad and the Odyssey. These works were influential in shaping Western culture, and they’re still greatly read today in literature classes around the world. When he lived is a bit of a controversy, but it’s generally believed to have been during the 8th century BC. [back]
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The Greek writer and philosopher, Plutarch (46 - 120 AD) was best known for his literary works. In Parallel Lives, the moral character of famous Greeks and Romans were paired together in a series of biographies. An English translation served as the source for Shakespeare’s Roman plays. A second book, Moralia, consists of essays and dialogues of literary, historical and ethical topics. [back]
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Moses, the most important prophet in Judaism and Christianity and author of the first five books of the Hebrew Bible (The Torah), led the Israelites out of Egypt and across the Red Sea on dry ground. Later, God gave him two stone tablets with The 10 Commandments at Mount Sinai. He spent 40 years wandering through the desert with the Israelites, but did not cross over into the Promised Land. [back]
