she declared. “Then …” That carmine smile again, one Allan Prime couldn’t stop staring at, although there was something about it that nagged him. Something familiar he couldn’t place. “Then we are free.”
Miss Valdes—Carlotta Valdes, he recalled the first name the doorman had used when he’d called up to announce her arrival—took out a pair of rubber gloves and slipped them onto her strong, powerful hands, like those of a nurse or a surgeon.
2
AT FIVE MINUTES PAST FOUR, NIC COSTA FOUND himself standing outside a pale green wooden hut shaded by parched trees, just a short walk from the frenzied madness that was beginning to build in and around the nearby Casa del Cinema. The sight of this tiny place brought back far too many memories, some of them jogged by a newspaper clipping attached to the door, bearing the headline “ ‘Dei Piccoli,’ cinema da Guinness.” This was the world’s smallest movie theatre, built for children in 1934 during the grim Mussolini years, evidence that Italy was in love with film, with the idea of fantasy, of a life that was brighter and more colourful than reality, even in those difficult times. Or perhaps, it occurred to Costa now, with the perspective of adulthood shaping his childhood memories, because of them. This small oak cabin had just sixty-three seats, every one of them, he now felt sure, deeply uncomfortable for anyone over the age of ten. Not that his parents had ever complained. Once a week, until his eleventh birthday, his mother or father had brought him here. Together they had sat through a succession of films, some good, some bad, some Italian, some from other countries, America in particular.
It was a different time, a different world, both on the screen and in his head. Costa had never returned much to any cinema since those days. There had always seemed something more important to occupy his time: family and the slow loss of his parents; work and ambition; and, for comfort, the dark and enticing galleries and churches of his native city, which seemed to speak more directly to him as he grew older. Now he wondered what he’d missed. The movie playing was one he’d seen as a child, a popular Disney title prompting the familiar emotions those films always brought out in him: laughter and tears, fear and hope. Sometimes he’d left this place scarcely able to speak for the rawness of the feelings that the movie had, with cunning and ruthlessness, elicited from his young and fearful mind. Was this one reason why he had stayed away from the cinema for so long? That he feared the way it sought out the awkward, hidden corners of one’s life, good and bad, then magnified them in a way that could never be shirked, never be avoided? Some fear that he might be haunted by what he saw?
He had been a widower for six months, before the age of thirty, and the feelings of desolation and emptiness continued to reverberate in the distant corners of his consciousness. The world moved on. So many had said that, and in a way they’d been right. He had allowed work to consume him, because there was nothing else. There, Leo Falcone had been subtly kind in his own way, guiding Costa away from the difficult cases, and any involving violence and murder, towards more agreeable duties, those that embraced culture and the arts, milieux in which Costa felt comfortable and, occasionally, alive. This was why, on a hot July day, he was in the pleasant park of the Villa Borghese, not far from three hundred or more men and women assembled from all over the world for a historic premiere that would mark the revival of the career of one of Italy’s most distinguished and reclusive directors.
Costa had never seen a movie by Roberto Tonti until that afternoon, when, as a reward for their patient duties arranging property security for the exhibition associated with the production, the police and Carabinieri had been granted a private screening. He was still unclear exactly what he felt about the work of a man who was something of an enigmatic legend in his native country, though he had lived in America for many, many years. The movie was … undoubtedly impressive, though very long and extremely noisy. Costa found it difficult to recognise much in the way of humanity in all its evident and very impressive spectacle. His memories of studying Dante’s Divina Commedia in