Wilful Behaviour Part 11

14.

He stopped in Signorina Elettra's office when he got back to the Questura and found her on the phone, speaking French. She held up her hand to signal to him to wait, said something else, laughed, and hung up.

He refused to ask about the call and said, 'Has Bocchese brought up those papers?'

'Yes, sir. And I've got people working on it.'

'What does that mean?'

'My friend is going to have a look' she said, nodding in the direction of the phone, *but I doubt he'll have anything for me until after the banks close.'

'Geneva?' he asked.

'Oui'

Manfully, he resisted the temptation either to comment or to inquire further. 'I'll be in my office' he said and went back upstairs.

He stood at the window, gazing at the two yellow cranes that rose above the church of San Lorenzo. They'd been there for so long that Brunetti had come to think of them almost as a pair of angel wings soaring up from either side of the church. He thought they'd been there when he first came to the Questura, but surely no restoration could possibly take that long. Had he, he wondered, ever seen them move, or were they ever in a position different from the one in which they were today? He devoted a great deal of time to these considerations, all the while letting the problem of Claudia Leonardo percolate in some other part of his mind.

The angel wings, he realized, reminded him of an angel that appeared in a painting that hung on the wall behind Signora Jacobs's chair, a painting of the Flemish school, the angel jaundiced and unhappy as if it had been appointed guardian of a person of limitless rect.i.tude and found the a.s.signment dull.

He dialled Lele's number again. When the painter answered, Brunetti said only, 'Has there ever been talk that the Austrian woman might have those paintings and drawings in her home?'

He thought Lele would ask him why he wanted to know, but the painter answered simply, 'Of course, there's always been talk. No one, so far as I know, has ever been inside, so it's only talk, and you know how those things are. People always talk, even if they don't know anything, and they always exaggerate.' There was a long pause, and Brunetti could almost hear Lele turning this over in his mind. 'And I expect,' he went on, 'that if anyone did get inside and see anything he wouldn't say so.'

'Why not?'

Lele laughed, the same old cynical snort Brunetti had heard for decades. 'Because they'd hope that if they kept quiet no one else would be curious about what she might have.'

'I still don't understand.'

'She's not going to live for ever, you know, Guido.' 'And?'

'And if she's got things, she might want to sell some of them before she dies.'

'Do people talk about where they might have come from?' Brunetti asked.

'Ahhh.' Lele's long sigh could be read as satisfaction that Brunetti had finally thought to ask the right question or as a sign of his delight in human weakness.

'That can't be far to look, can it?' the painter finally asked by way of response.

'Guzzardi?'

'Of course.'

'From what you've said about her, she doesn't seem the kind of person who would have anything to do with that sort of thing.'

'Guido,' Lele said with unaccustomed severity, 'your years with the police should have taught you that people are far more willing to profit from a crime than to commit it.' Before Brunetti could object, Lele went on, 'Dare I mention the good Cardinal and Prince of the Church currently under investigation for collusion with the Mafia?'

Brunetti had spent decades listening to Lele in this vein, but he suddenly had no patience for it, and so he cut him off. 'See what you can find out, all right?'

Apparently feeling no ill will at having been so summarily interrupted, the painter asked only, Why are you so curious?'

Brunetti himself didn't know or couldn't see the reason clearly. 'Because there's nothing else I can think of,' he admitted.

That's not the sort of remark that would make me have much confidence in public officials,' Lele said.

'Is there anything that could ever make you have confidence in public officials?'

The very idea' the painter said and was gone.

Brunetti sat and tried to think of a way to get back into Signora Jacobs's apartment. He pictured her slumped in her chair, drawing the smoke into her lungs with desperate breaths. He summoned the scene up from memory, examining it as though it were part of the puzzle, 'What's Wrong with this Picture?' Ash-covered carpet, windows a long distance in time from their last cleaning, the Iznik tiles, what could only have been a celadon bowl on the table, the blue packet of n.a.z.ionali, the cheap lighter, one shoe with a hole worn through in front by her big toe, the drawing of a Degas dancer. What was wrong with this picture?

It was so obvious that he called himself an idiot for not having registered it sooner: the dissonance between wealth and poverty. Any one of those tiles, just one of those drawings, could have paid to have the entire place restructured, not just cleaned; and anyone in possession of one of those prints would certainly not have to content themselves with the cheapest cigarettes on the market. He searched his memory for other signs of poverty, tried to remember what she had been wearing, but no one pays much attention to old women. He had only the vaguest impression of something dark: grey, brown, black, a skirt or dress, at any rate something that had come down almost to her feet. He couldn't even, remember if her clothing had been clean or not, nor if she had worn jewellery. He hoped he would remember his own inability to remember details the next time he grew impatient with a witness to a crime who had difficulty in describing the perpetrator.

The phone startled him from this reverie.

'Yes,' he said.

'You might like to come down here, sir' Signorina Elettra said.

'Yes' he repeated, without bothering to ask if she'd had an answer from her friend in Geneva. Geneve, Geneve, that is. that is.

When he reached her office, her smile was proof that she had. 'It came from a gallery in Lausanne called Patmos' she said as he came in. 'It was paid into an account in Geneva each month to be transferred here, to her account.' 'Any instructions?'

'No, only that it was to be sent to her account.' 'Have you spoken to them?' he asked. 'Who, the bank or the gallery?' she asked. The gallery.'

'No, sir. I thought you'd want to do that.'

'I'd rather it be done in French,' he said. 'People always feel safer in their own language.'

'Who shall I say I am, sir?' she asked as she reached for the phone and punched 9 to get the outside line.

'Tell them you're calling for the Questore,' Brunetti said.

This is exactly what she did, though it served no purpose. The Director of the gallery, to whom the call was eventually pa.s.sed, refused to divulge any information about the payments until in possession of an order from a Swiss court to do so. From Signorina Elettra's expression, Brunetti inferred that the Director had not been at all polite in conveying this information.

'And now?' Brunetti asked when she explained what she had been told and the manner in which it had been said.

Signorina Elettra closed her eyes and raised her eyebrows for an instant, as if to remark upon the triviality of the problem that now confronted her. 'If s rather like what the police are always telling people in movies: either they can do it the easy way or the hard way. Monsieur Lablanche has chosen the hard way.'

'For himself or for us?' Brunetti asked.

'For us, at the beginning' she explained. 'But, depending on what we find, perhaps for himself, as well.'

'Should I ask what you're going to do?'

'Since some of it is illegal, sir, it might be better if you refrained from doing so.'

'Indeed. Will it take long?'

'No longer than it would take you to go down the fondamenta fondamenta and have a coffee. In fact' she said, glancing at her watch, 'I'll just do this and join you in a few minutes.' and have a coffee. In fact' she said, glancing at her watch, 'I'll just do this and join you in a few minutes.'

Like Adam, he fell. 'Is it really that easy?'

Signorina Elettra appeared to be in a philosophical mood, for by way of answer she said, 'I once asked a plumber who came to fix my water heater, and who did it in three minutes, how he dared to charge me eighty thousand lire for turning a little k.n.o.b. He told me it had taken him twenty years to learn which k.n.o.b to turn. And so I suppose it's like that: it can take minutes, but I've spent years learning which k.n.o.b to turn.'

'I see,' Brunetti said and went down to the bar at the Ponte dei Greci for a coffee. He was subsequently joined there by Signorina Elettra, though she was longer than twenty minutes.

When she had a coffee in front of her, she said, The gallery is run by two brothers, the grandsons of the founder. The Swiss police are very interested in some of their recent acquisitions, especially those from the Middle East, as three pieces in their catalogue were once in the possession of private owners in Kuwait. Or so the Kuwaitis claim; unfortunately, they don't have photos or bills of sale, which means they probably got them illegally in the first place themselves.' She sipped at the coffee, added a bit more sugar, sipped again and set the cup down.

The grandfather was in charge of the gallery during the war and seems to have received quite a number of paintings from Germany, France and Italy. All, of course, with impeccable pedigrees: bills of sale and Customs declarations. There was an investigation after the war, of course, but nothing came of it. The gallery is well known, successful and rumoured to be very discreet'

When it seemed likely that she had nothing more to say about the gallery, Brunetti asked, 'And the bank transfers?'

'As you said, every month, ten million lire. Ifs been going on since she was sixteen'

That, Brunetti thought, would make more than half a billion lire, with still only three million in the bank. 'How is it possible,' Brunetti began, 'for that much money to come into the country from a foreign source and for no investigation of it to be made?'

'But you don't know that, do you, sir?' she asked. 'Maybe she declared it and paid tax on it, incredible as that would be. Or perhaps the bank had a discreet arrangement and the money went unreported, or the report went unread.'

'But isn't it automatic that the Finanza learns when this much money is coming into the country?'

'Only if the bank wants them to know, sir'

That's hard to believe,' Brunetti protested.

'Most of the things banks do are hard to believe.'

He recalled that, before coming to work at the Questura, Signorina Elettra had worked for Banca d'ltalia, and so must know whereof she spoke.

'How could someone find out where the money went after it was deposited into her account here?'

'If the bank explained it or if access to the account were possible.'

'Which is easier?'

'Did they volunteer the information when you spoke to them? Presumably, you told them that she was dead'

Brunetti thought back to the careful formality of the Director. 'No, he pa.s.sed me to a teller, and she sent me a copy of the deposits and withdrawals to the account, though the large transfers weren't explained'

'Then I think it might be wise for us to check their records ourselves,' Signorina Elettra suggested.

There was no doubt in Brunetti's mind about the illegality of this. The fact didn't make him hesitate for an instant. 'Could we go back now and have a look?'

'Nothing easier, sir' she said and finished her coffee.

Back at Signorina Elettra's office, they studied the new information she called up on her computer screen and discovered that Claudia Leonardo had, during the course of the last few years, transferred the bulk of her money to various places around the globe: Thailand, Brazil, Ecuador and Indonesia were but a few of the places the money had gone. There was no pattern to the transfers, and the sums varied from two million to twenty. The total, however, was well in excess of three hundred million lire. Other sums had gone in the form of a.s.segni circolari a.s.segni circolari to various recipients. There was no pattern here, either, but there was a similarity of purpose, for all were charitable organizations of one sort or another: an orphanage in Kerala, Medecins sans Frontieres, Greenpeace, an AIDS hospice in Nairobi. to various recipients. There was no pattern here, either, but there was a similarity of purpose, for all were charitable organizations of one sort or another: an orphanage in Kerala, Medecins sans Frontieres, Greenpeace, an AIDS hospice in Nairobi.

'Paola was right' Brunetti said aloud. 'She gave it all away'

"That's a strange thing for someone her age to do, isn't it?' Signorina Elettra asked. 'If this is the right figure' she said, pointing to a total she had calculated at the bottom of the page, 'it's close to half a billion lire'

He nodded.

'None of it went on taxes, did it?' she asked. 'Not if these amounts went to charities.'

They considered the figures for a moment, neither of them truly understanding anything beyond the total sum and the places it had been sent.

Was there any mention of a notary or a lawyer?' Brunetti suddenly asked.

'In those, you mean?' she asked, gesturing at the girl's papers, still fanned out on the top of her desk.

'Yes.'

'No. But I haven't checked all the numbers in her address book. Shall I?'

'How? By calling them all?' he said, picking up the book and opening it to the As.

Did he see her eyes close for the merest fraction of a second? He couldn't be sure. While he was still trying to decide, she took the book from him and said, 'No, sir. There's a way Telecom can find the name and address of any number that' s listed. All they've got to do is punch in the phone number and the program gives them the name instantly.'

'Is this something I could do by calling them?' he asked.

'If s a public service in other countries, but here, the only ones who have access are Telecom, and I doubt they'd let you have access to the information without a court order.' After a moment, she added, 'But my friend Giorgio has given me a copy of the program.'

'Good. Then would you check all the numbers and see if any are lawyers or notaries?'

'And then?'

'And then I want to talk to them.'

'Would you like me to make appointments if I find them?' 'No, I prefer to appear unannounced.' like a mugger?' she asked.

' "Like a lion" might be a more flattering way to put it, Signorina, but perhaps your image is closer to the truth.'

15.