Elizabeth George - Just One Evil Act

Salvatore was heading back to his office, then, when he saw Detective Sergeant Barbara Havers just entering the lobby of the questura . She was not accompanied by translator Marcella Lapaglia on this day, however. She was alone.

Salvatore went to her. She was, he noted, garbed not dissimilarly from the previous day. The clothes themselves were different, but their dishevelled nature was unchanged. Her tank top was, at least, tucked in. But as this emphasised the wine-barrel shape of her body, she might have been better advised to wear it untucked.

When she saw him, she began speaking, at a volume and with exaggerated movements that attempted to clarify what she was trying to tell him. In spite of himself, he had to smile. She was as earnest as he’d ever seen anyone. It took some fortitude to attempt to make oneself understood in a country where one was a stranger and didn’t speak the language. In her place, he wondered if he’d be able to do the same.

She pointed to herself. “I,” she said, “want you”—pointing at him—“to watch”—pointing to her eyeballs—“this”—pointing to the screen of a laptop that she was holding.

“Ah. You want I must to watch something,” he said in his terrible English. Then, “ Che cos’è? E perché? Mi dispiace, ma sono molto occupato stamattina .”

“Bloody goddamn,” the woman muttered to herself. “What’d he just say?”

She went through the pointing and speaking routine a second time. Salvatore realised it would be quicker to watch whatever she wanted him to watch than it would be to find someone who could translate what he already understood. So he gestured that she was to follow him to his office. On the way he asked Ottavia to find the usual translator on the chance that what the English detective wanted him to see was going to prompt him to ask her questions. Barring that individual’s availability, he told her, find someone else. But not Birgit. Chiaro?

Ottavia raised an eyebrow at the Birgit part, but she nodded. She shot a look at the detective sergeant that managed to convey an Italian woman’s incredulity that a member of the same gender would wander about thus garbed, but then she went about her business. She would find someone and she would do it quickly.

Salvatore ushered the detective sergeant into his office. He said politely, “ Un caffè? ” to which Sergeant Havers went on at some length. Among her words, Salvatore caught one: time . Ah, he thought. She was telling him they did not have time. Bah, Salvatore thought. There was always time for caffè .

He went to make it after gesturing her into a seat. When he returned to his office, she’d set up her laptop in the middle of his desk and she was standing at the ready. She’d lit a cigarette, which she looked at, gestured to, and said, “Hope it’s buono with you.” Salvatore smiled, nodded, and opened a window. He indicated the caffè he’d brought her. She put two sugar cubes into it, but during the course of their meeting, she never took a sip.

As he stirred his own caffè , she said, “Ready?” with lifted eyebrows. She pointed to the laptop and smiled encouragingly. He shrugged his acceptance. She left-clicked on the laptop and gestured Salvatore over to join her at the desk.

She said, “Right. Well, watch this , Salvatore,” from which he presumed she meant guardi , so that was what he did. In short order he found himself viewing the interview of Angelina Upman and Taymullah Azhar that had appeared on the television news. It contained their appeal for the safety of their child and their appeal for her return. It also contained Piero Fanucci’s frothing rant about bringing the malefactor to justice one way or the other. Salvatore cooperatively watched the sequence, but he gained absolutely nothing from it. When it was over, he looked at Barbara Havers, frowning. She pointed upward with a finger and said, “Wait,” and she directed him to watch the screen where the film continued.

The sequence comprised conversation that was mostly inaudible during which people removed their microphones. Salvatore didn’t see what any of this had to do with anything. Then Lorenzo Mura appeared with a tray. On it were an array of wineglasses and plates that he began to hand out to the film crew. He then set a plate and a glass in front of Fanucci, gave the same to the reporter, and then to Taymullah Azhar. To Angelina he gave only a plate.

Barbara Havers froze the picture at that moment. She pointed to the screen and said with excitement in her voice, “There’s your E. coli , Salvatore. It’s right there in the glass he gave to Azhar.”

Salvatore heard “ E. coli .” From where she was directing his attention—her finger pointing to the glass sitting in front of the professor—he understood what she meant. He was less clear when she went on, her voice so rapid that only individual names were clear to him. She said, “He intended Azhar, not Angelina, to drink the wine with the E. coli in it. But he didn’t know that Azhar’s a Muslim. He has one vice that he shouldn’t have—he smokes—but he doesn’t drink. And he does the whole Muslim bit from A to Z otherwise. The hajj, the fasting, the almsgiving, whatever. But he doesn’t drink. He probably never has. Angelina knew that, so she took the wine from him. Here, watch.” And she showed the next sequence of the film. In it, Angelina took the wine meant for Azhar and Barbara Havers said with a wink at him, “Just like bloody Hamlet , eh, mate? Mura tried to stop her from drinking it, but she thought he was just worried because she was pregnant. So what the hell was he supposed to do? I expect he could’ve leapt over the table and dashed the glass out of her hand. But it all happened too fast. She just knocked the vino back. And then? That’s what you want to ask, eh? Well, he could’ve made her sick it up, I s’pose, or he could’ve thrown himself on her mercy and told the truth, but he was never completely sure of her, was he? No bloke ever was. She loved ’em and she left ’em and sometimes she had three of ’em at once and that’s just who she was. It’s what, I expect, made her different from her sister and God knows they wanted to be different from each other. But let’s suppose he goes ahead and tells her what he’s done—sorry, darling, but you’ve just knocked back a glass of deadly bacteria—and then what? How does she view him then, eh?”

Nearly all of which Salvatore did not follow. So he was more than grateful when Ottavia appeared with the questura ’s translator, a multilingual and distractingly buxom thirtyish woman showing so much cleavage— Dio , was it eight inches?—that he momentarily forgot her name. Then it came to him: Giuditta Something. She asked how she could be of assistance.

She and Barbara Havers spoke at some length. After an equally lengthy translation from Giuditta, Salvatore asked only two questions. Both were crucial to building a case if, indeed, a case even could be built on something that seemed so speculative. How? he wanted to know. And why?

Barbara Havers went with the why first: Why would Lorenzo Mura want to kill this man Taymullah Azhar? Good question, Salvatore. He, after all, had won Azhar’s woman. He had taken her from the Pakistani man. She lived with him in Italy, far from London. He had made her pregnant. They were to marry. What was the point?

“But who could ever be sure of Angelina Upman?” was the Englishwoman’s explanation. “She’d messed about with Esteban Castro while she was with Azhar. She’d left them both for Lorenzo Mura. Anyone could see there was still a bond between Azhar and her, and beyond that, they shared Hadiyyah. Once Azhar appeared on the scene, he was going to be a permanent fixture in their lives. She might have decided to return to him. Who the hell ever knew what she would do?”