and eyes in each portico and slouch upon every windowsill. On the
next corner is a small tavern with one or two late diners lingering
at its tables. The priest goes inside and asks at the first table if
anyone knows where Monsieur Pietro Tessieri lives.
‘Tessieri?’ comes the shrill response. Vivaldi finds himself
looking at a flabby man with an empty plate in front of him. ‘You’ll
be meaning Girò, the wig-maker.’
‘Giraud?’ repeats the priest, his resolve wavering.
‘Yes, don’t ask me why, but that’s what he’s been calling
himself for years. Pretty weird bloke. But what would you expect
from a Frog?’ The man roars with laughter at his own joke and the
rest of the table soon join in. ‘Walk straight on, priest, over the
square, turn left at the corner then it’s the… er, fifth house on the
right.’
‘Fourth,’ says the man sitting next to him.
‘No. That’s Bottieri’s place.’
‘What are you talking about?’ And a hefty discussion
breaks out as to who actually lives where. Frowning, Vivaldi bids
them a good afternoon. ‘Oh, and priest, don’t forget to bang good
and hard on the door. He’s probably still sleeping off last night.’
The whole table again erupts with raucous laughter.
Antonio begins to wonder what in heaven’s name he is
doing here. Should he take this any further? What sort of scene will
he encounter if he does so? But then he remembers Anna’s innocent
laughter, the little girl for whom Paolina feels such overwhelming
responsibility. And his feet carry him on down the street according
to the instructions until he arrives at Giraud’s premises.
The shutters are down, but what else would he expect at
this time of day? Antonio knocks softly. No movement or sound
comes from within. Crossing the street, Antonio scans the upper
floor. There too the shutters are closed. It makes no sense to go
banging on the door or calling anyone. Every sensible person is
asleep by now.
‘It’s a dreadful state of affairs, that it is.’ The quiet voice
comes from behind him, but when he turns round he finds only
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